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FRIDAY 30th (Doors: 17h)





SATURDAY 31st (Doors: 12h)







+ Afterparty & DJ's (Both Days) 



Brown has been lead singer of various groups, most notably the Crazy World of Arthur Brown and Kingdom Come, followed by a varied solo career as well as associations with Hawkwind, the Who and Klaus Schulze. In the late 1960s, the Crazy World of Arthur Brown's popularity was such that the group shared bills with the Who, Jimi Hendrix, the Mothers of Invention, the Doors, Small Faces and Joe Cocker, among others.

He is best known for The Crazy World of Arthur Brown's 1968 single "Fire", reaching number one in the UK Singles Chart and Canada, and number two on the US Billboard Hot 100 as well as its parent album The Crazy World of Arthur Brown which reached number 2 in the UK and number 7 in the US. Following the success of the single "Fire", the press would often refer to Brown as "The God of Hellfire", in reference to the opening shouted line of the song, a moniker that exists to this day.

Though Brown has had limited commercial success and has never released another recording as commercially successful as "Fire", he has been a significant influence on Alice Cooper, David Bowie, Peter Gabriel, Marilyn Manson, George Clinton, Kiss, King Diamond, and Bruce Dickinson of Iron Maiden, among others, and his songs have been covered or sampled by a range of artists including Ozzy Osbourne, the Prodigy, Marilyn Manson, the Who, Death Grips, …

He has remained a significant influence on a wide range of musicians in numerous genres because of his operatic vocal style, wild stage persona and often experimental concepts; he is considered to be a pioneer of shock rock and progressive rock and has had an influence on both electronic and heavy metal music. In 2005 Brown won the 'Showman of the Year' award from Classic Rock magazine, receiving the award at the Classic Rock Roll of Honour Awards ceremony held in London's Café de Paris.

Brown quickly earned a reputation for outlandish performances, which included the use of a burning metal helmet, that led to occasional mishaps, such as during an early appearance at the Windsor Festival in 1967, where he wore a colander on his head soaked in methanol. The fuel poured over his head by accident caught fire; a bystander doused the flames by pouring beer on Brown's head, preventing any serious injury. The flaming head then became an Arthur Brown signature. He was also notable for the extreme make-up he wore onstage, which would later be reflected in the stage acts of Alice Cooper and Kiss. He was also famed for his powerful operatic voice and his high pitched screams.

By 1968, the debut album, The Crazy World of Arthur Brown became a hit on both sides of the Atlantic. Produced by the Who's manager Kit Lambert, and executive-produced by Pete Townshend on Track Records, the label begun by Lambert and Chris Stamp, it spun off an equally surprising hit single, "Fire", and contained a version of "I Put a Spell on You" by Screamin' Jay Hawkins, a similarly bizarre showman. "Fire" sold over one million copies, and was awarded a gold disc. The song has since seen its opening line "I am the God of Hellfire" sampled in numerous other places, most notably in the Prodigy's 1992 rave anthem "Fire". The band recorded a second album, titled Strangelands, intended for release in 1969 but shelved by their label over concerns that it lacked sales potential. The album featured a more experimental and avant-garde sound that shed the pop sensibilities of the Crazy World's debut. Strangelands was not issued until 1988. However, Crane and Palmer eventually left in June 1969 to form Atomic Rooster, spelling the end for the Crazy World of Arthur Brown.

On 29 March 2022 it was announced that the new Arthur Brown album, titled Long Long Road, would be released on his 80th birthday, 24 June 2022.

Current band members

  • Arthur Brown – lead vocals (1967–1970, 2000–present)

  • Jim Mortimore – bass, backing vocals, guitars, electronics (2000–present)

  • Samuel Walker – drums, backing vocals, percussion (2000–present)

  • Dan Smith - guitar, Hammond MX-1 organ, electronics, vocals (2019–present)

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Like clockwork, Swedish stoner rockers GREENLEAF spread their concentrated sludgy energy to disciples of the genre by releasing Echoes From A Mass in 2021, the successor to their 2018 epic, Hear The Rivers.

The album opener, “Tides”, immediately draws the listener into a swirl of guitar driven soundscapes, while Arvid Hällagård’s remarkable voice merges with hypnotizing background vocals, ceremonially inviting the listener into a heavy reverie.

Floating hypnotic grooves set the stage for the compelling yet chilling “Needle In My Eye” — with its incisive, driving drums and roaring riffs, the record’s third song accumulates piece by piece into a modern rock standout, taking the mind by storm. “Love Undone” breaks in with Tommi Holappa’s acclaimed, blistering guitar riffs that will keep the listener moving to the mesmerizing, distinctive sonic layers of GREENLEAF.

The bluesy mid-tempo track “Bury Me My Son” digs deep with its poignant lyrics and an extensive, grooving bass solo, reminiscent of their roots in the Dozer days. With “March On Higher Grounds”, the Swedes deliver a dusting of desert-vibes, merging into a truly catchy refrain, while closer “What Have We Become” offers a hallucinatory realm of calmness, setting a bold exclamation mark at the album’s epic end.

Once again, GREENLEAF prove that they dare to think outside the box and deliver a heavy roller comprised of Sebastian Olsson’s rumbling drumming performance, fuzzy guitars, Fröhlich’s haunting bass lines, Arvid Hällagård’s powerful yet ghoulish vocals and undeniable, heavy stoner, southern desert and blues vibes.

Echoes From A Mass was recorded at Studio Gröndahl in October 2020 by former band member Karl Daniel Lidén, who also mixed and mastered the record at Tri-Lamb Studios. Lidén is recognized for his work with well-known acts such as Katatonia, Bloodbath, Lowrider and Crippled Black Phoenix, to name a few.

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Since their inception, Gnod’s musical trajectory has been one of constant fluctuation borne out of an incessant need to discover new sonic worlds. Beginning life as a shamanic drone ensemble, at times fitting up to 15 members on stage, these early rituals informed the core ideals that have come to define the group in their years of activity; community and

trance-inducing repetition. Throughout a discography that has amassed dozens of CD-R’s, cassettes and vinyls for labels like Rocket Recordings, Trensmat, Krokodilo (Blackest Ever Black) and their own Tesla Tapes imprint,

a restless yet organic need mutate their music into new realms has had critics clawing for comparative touch stones. Acts as far ranging as Hawkwind,

Popul Vuh, Pan Sonic, Sunburned Hand of the Man and Pharaoh Sanders

have all been referenced in attempt to pinpoint their output, one that has historically never aped any genre but with each record furthered their own unique place in truly independent music. It is the exact same dedication to the live arena that has seen Gnod become one of the most celebrated live bands in the UK and secured them multiple tours and festival appearances throughout Europe. In these times of cash in hand ‘glory days’ reunions and bands simply rehashing their recorded material pitch perfect live, Gnod are

a stark and welcome anomaly. Already moving on from the barley released and universally acclaimed epic ‘Infinity Machines’, the current live incarnation of the band is characterised by a crushing, cataclysmic new protest music whose call to arms gravitas offers a meaningful defiance to Cameron’s Austerity Britain. Gnod have taken their very namesake and charged it with bludgeoning new edge that is as euphoric as it is nihilistic. It is one that stridently attests to the group’s spiritual center, one of community that is inclusive and respectful of its audience yet will never placate to their expectations. Instead, Gnod offer a gateway to an aural black hole and along with firm guiding hand, the opportunity to dive head and body first into a powerfully new psychedelic maelstrom full of possibilities.

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Merging stoner, progressive, and 70s space rock, ROTOR have been refining

their dry-as-abone instrumental sound for 25 years. Founded as a trio in Berlin

in 1998, the band has been carving their music in stone as a four-piece since

2014. ROTOR refuse to conform to conventional media and online practices,

which further adds to their legendary status as a oneof-a-kind cult band.

ROTOR are finally back with their much-anticipated album "Sieben"! Locked up in their rehearsal room for two years without any live shows, the band explored new riffage, melodies, and sonic worlds and forged them into 7 songs, which were tracked in the hot August of 2022 with Charlie Paschen (Coogans Bluff, Charlies Studio). Song titles such as "Kahlschlag", "Mäander", and "Reibach" are reflective of a new reality and speak for themselves as ROTOR don't need many words to get to the point and make themselves heard.

Those who have seen the band live know about the crushing heaviness, the melancholic space trips, the intoxicating energy, and the unique atmosphere of ROTOR shows. In a celebration of opposites, stoner, psychedelic, kraut, and prog rock collide and explode in pure energy. Don't miss out on the chance to witness ROTOR's mesmerizing wall of sound.

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Shrouded in darkness for over a decade, ever since the disturbing events

that lead to the band’s inception, B R I Q U E V I L L E have been bewitching

audiences with a hypnotising dirge that evokes the heaviest elements of

doom metal and post-rock before mixing them with eerie field recordings,

found sounds and haunting traditional instrumentation.

On November 3rd, 2023, as winter takes back the night, B R I Q U E V I L L E

will unveil ‘IIII’ – their latest exploration into the darkest depths of the soul.

The Belgian collective’s pulsating, repetitive rhythms and penetrating,

guttural guitar work return alongside a more prominent vocal presence with

ethereal melodies and brooding lyricism further exploring the deeper, richer

sonic palette first heard on 2020’s ‘Quelle.’

Drawing from members of their electro and metal scenes,

B R I Q U E V I L L E first assembled with the ambition of improvising

around a single, droned note. Having latched onto something raw and

powerful, the band suddenly found themselves confronted by a stranger

telling tales of a hatred years in the making. Floored by such a fateful

meeting, B R I Q U E V I L L E have anonymised themselves ever since;

unifying the collective as one sound, a singular faceless force hellbent on

converting audiences around the world.

With ‘IIII’ however, B R I Q U E V I L L E are beginning to lift the veil.

Alongside the aural despair that the band have been handcrafting ever

since their eponymous debut full-length in 2014, ‘IIII’ is imbued with an

intriguing duplicity. Within the mournful melancholy and grinding,

icy orchestration is the faintest glimmer of hope as the collective explores

the idea of creativity free from the confinement of morals, expectations

and time. ‘IIII’ sees subtle, tonal shifts and brief periods of warmth and richness now intersperse the band’s fearsome outbursts of unrivalled

heaviness in a new, intoxicating transformation of their formidable sound.

Do be careful though, B R I Q U E V I L L E may be stepping out of the

shadows, but they can easily drag us back in with them…

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Panta Rhei. Everything flows, nothing ever stays the same. Life itself is in a constant state of  change. Personal change, physical change, psychological change, the ever-changing world  around us. How does this affect us? And how do we keep being ourselves in a world that is so  incredibly demanding and aggressive with all its input? We must be as fluid as water to  navigate ourselves through this ocean of possibilities and uncertainties - and make peace with  chaos and impermanence. 

After critically acclaimed first two albums ‘Here Now, There Then’ (2017) and ‘Summerland’ (2020), Dutch five-piece, DOOL, returns with a captivating and enthralling album that shows a band that has truly developed their own unique identity. Produced and mixed by Magnus Lindberg (Cult Of Luna, Russian Circles, Tribulation ) and mastered by Ted Jensen (Ghost, Mastodon, Muse, Talking Heads, AC/DC), ‘The Shape Of Fluidity’ exhibits an eclectic but seamless mix between progressive rock , metal and post -rock in combination with a songwriting that doesn ’t lose sight of the inherent catchiness and dynamic backdrop that DOOL is so well known for.

The album is marked by the bundled forces of songwriting trio Raven van Dorst, Nick Polak, and Omar Iskandr. Combined with the sub-frequencies produced by JB van der Wal and the abundant creativity of new drummer Vincent Kreyder, this results in an album that is audibly the most collective endeavor of the band to date.

Thematically, the album deals with the concept of identity in a world that is constantly in  flux. How can we be true to ourselves when the world around us has such high and  constraining expectations? It is a question everyone faces one way or another. On a more  personal level, the lyrics deal with the story of lead singer Raven van Dorst, who was born  intersex, and as an infant surgically forced to live their life as a girl. That was until deciding  to take matters into their own hands a few years ago by reclaiming the space that was taken  from them, changing their name, and finally becoming at peace with their hermaphroditic  nature. These themes are materialized in ‘The Shape Of Fluidity’, which is an album about  finding oneself, swimming up against the stream, and facing the world head on. 


‘DOOL’, being derived from the Dutch word for ‘wandering’, originally emerged out of the  ashes of ‘The Devil’s Blood’ and ‘Elle Bandita’ in 2015. By soul-searching their way  through rhythms and melodies, debut album ‘Here Now, There Then’ was born. Not long after its release on German Prophecy Productions in 2017 the album was awarded Metal Hammer ’s ‘Debut Album Of The Year’. The album - which featured the cult hit ‘ Oweynagat’, with its accompanying ominous music video - also initiated the band’s fierce live reputation , by resulting in multiple headline tours throughout Europe , which included spots at festivals such as Graspop (Belgium), Lowlands (The Netherlands), Wacken Open Air (Germany), Wave Gotik Treffen (Germany), Hellfest (France), and Metal Days (Slovenia). 

Following the release of the ‘Love Like Blood’ EP, which included their unique and widely hailed take on Killing Joke’s classic song, the band returned to the studio for the recordings of ‘Summerland’ in 2019 - together with producer Martin Ehrencrona (Viagra Boys) and later on mixed and mastered by Magnus Lindberg. The sophomore album further developed the dynamic entity that is DOOL, as it blended its musical craftsmanship with an exploration of new dimensions and sonic atmospheres. 'Summerland' made it to number 9 in the German album charts and was praised by many . It was received as album of the year by Metal Hammer Poland, Rock Hard (France and Germany), and Sonic Seducer magazine amongst


Although the global pandemic put constraints on the worldwide tours that were planned for ‘Summerland’, the band toured through Europe in 2022 and was featured on festivals like Brutal Assault (Czech Republic), Desertfest (Belgium), Grauzone (The Netherlands), and Graspop (Belgium). The concluding show - which formed the apex of the tour for all those involved - was documented in the form of a live album, managing to capture DOOL’s spellbinding live energy. ‘Visions of Summerland’ was recorded underneath the colossal organ and stained-glass windows of the Arminius church, situated in the band’s hometown Rotterdam. It was also the last show of longtime friend and drummer Micha Haring. 

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Founded in 1997 by Dave Schmidt (aka Sula Bassana, on Spacebass) with his Liquid Visions pals Hans-Peter Ringholz (Guitar) and Claus Bühler (Drums), Zone Six are one of the first bands of the NEO-Krautrock and Improrock movement. Always evolving.

Not many words necessary, the music speaks for itself.
The line-up of the band changed very often which made their discography very colourful but never leaving the typical Zone Six manner! Also, the Zone Six concerts are rare so it's always a kind of psychedelic happening when they enter the stage.

Special guests for liveconcerts in the past: Ax Genrich (ex Guru Guru), Nik Turner and Huw Lloyd Langton (Hawkwind) and many more.

The crew is now:
Sula Bassana (Interkosmos, Die Raumpatrouille, ex Electric Moon etc.): Bass, fx, Synth, loops
Pablo Carneval (Electric Moon, Interkosmos): Drums
Manu Wohlrab (Yanos): Guitar, fx

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DOODSESKADER (Dutch for “Death Squad”) is a merging of the minds of Tim De Gieter (Amenra, Much Luv Studio) and Sigfried Burroughs (Kapitan Korsakov, Paard).

Throughout their three years of existence, DOODSESKADER has been relentlessly pushing the envelope of what it means to be a “heavy” band. From the grunge-infused sludge on their EP “MMXX : Year Zero” to the punishing blend of hiphop and hardcore of their debut album “Year One” and the sonic onslaught of relentless rapping on standalone singles such as “FLF” and “Still Haven’t Killed Myself”, they’re breaking free of any form of categorization.

The duo has been compared to genre-defying trailblazers such as Ghostemane, Show Me The Body, and Ho99o9, however, they clearly bring their own sonic palette to the table.

The red thread in all of this has been their brutally honest and introspective lyrics. Far from your run-of-the mill type of band, DOODSESKADER uses their instrumentation as a sonic backdrop for the emotion and message they try to convey; their music serves as a mirror for life itself. Sometimes brutal, sometimes fragile, sometimes energizing, but always unexpected.

Now, on March 8th, with the arrival of their sophomore album “Year Two”, DOODSESKADER takes things up another couple of notches. From silky-soft “Pastel Prison” to the absolute carnage of “The Sheer Horror Of The Human Condition”, this record is a testament to both their creativity and their will to leave their mark on this world. It’s a trip in every sense of the word, tapping into even more genres such as R&B, techno, hardcore punk, and moody ballads reminiscent of the 90s, all blended seamlessly in their musical vocabulary and making for a sonic journey unlike anything you’ve heard before.

Where their last record “Year One” saw the duo struggling with their inner demons both past and present, “Year Two” is an undeniable display of progress; not only introspectively, but also musically. De Gieter and Burroughs sound outright bloodthirsty, ready to take on anyone in their way. Tracks like “Bone Pipe” or “I Ask With My Mouth, I’ll Take With My Fist” paint a vivid picture of the band’s will to plot their own their path through this world, while at the same time slowly coming to terms with their pasts on tracks like “Peine” or “People Have Poisoned My Mind To A Point Where I Can No Longer Function”. “Year Two” undeniably sees DOODSESKADER’s promise fulfilled: it’s both a complete teardown of genres and boundaries, a sonic wrecking ball wielded by two people trying to get better.

Live, DOODSESKADER proves to be an absolute must see, translating into their sold out AB-release and a sleuth shows over Europe playing with acts such as Brutus and Amenra and on the stages of festivals such as Hellfest (FR), Mystic Fest (PL),  Lokerse Feesten (BE), Fluff Fest (CZ) and much more.

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Vandal X is een Belgisch noiserockduo uit Limburg dat werd opgericht in 1995. De band bestaat momenteel uit Bart Timmermans (zang, gitaar) en Günther Liket (drums). De eerste drummer was Jo Boes, hij werd opgevolgd door Dave Schroyen.

Vandal X is vernoemd naar een nummer van de Amerikaanse noiserockband Unsane.

Na enkele promocassettes werd het echte debuutalbum Little Man Blues opgenomen in 1997, met de hulp van Mauro Pawlowski

Het tweede album werd opgenomen met de Amerikaanse producer Steve Albini.

De band speelde onder meer drie maal op Pukkelpop en nu Down The Hill

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„Cloud Sculptors’ is the debut album of the experimental Oslo based

rock-quintet ‘Full Earth’.
The band is headed by the drummer and composer Ingvald Vassbø.

With a deep connection to minimalist music, especially that of Terry Riley’s

organ works, and heavy stoner rock a.l.a. Sleep, High on Fire and Elder, the

Full Earth-sphere circles in on fuzzed out riffs, sonic experimentalism and

noise music.

Cloud Sculptors, which is a kind of abstract, mythological and psychedelic account, consists of six thoroughly composed and extensively produced tracks. Four of them long-form, instrumental, fuzz-heavy and sludgy compositions stretching towards the 20-minute mark. Echo Tears and
Weltgeist are two shorter organ compositions inspired by James Ferraro, Onehotrix Point Nevers and Györgi Ligeti's genius contributions to musical history.

On Full Earth’s debut album the inspirations and references coalesce in a wholesome, truly progressive and vital way. In 2024 Full Earth will recreate

and expand the Cloud Sculptors universe in a hypnotic and intense concert


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Large Plants started in 2020 as a solo recording project for Jack Sharp, the singer and guitarist for Wolf People currently on hiatus. Sharp also plays guitar in the band Project Gemini and occasionally records andperforms as a solo folk artist.
Sharp currently fronts the live incarnation of the band on lead vocals and guitar with Paul Milne on bass andbacking vocals, Joe Wooley on guitar

and Itamar Rubinger on drums.

The music of Large Plants could be characterised as psych rock, with this outing having a folkier, proggier and more fantastic feel than the heavier biker-rock of the 2022 debut, The Carrier. The tracks on The Thorn also
weave synths into the traditional four-piece sound palette.
The Thorn was partly recorded at the same time as the The Carrier, with more songs added subsequently.
However, all tracks for both albums were recorded and performed entirely by Jack Sharp in a barn, since demolished. “It was a dirty, rusty, metal shack with no insulation or sound treatment, and it was full of junk, but it sounded weirdly great, and I loved it.” Sharp told Shindig magazine.

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TAKH found its origin back in 2015, when The black heart rebellion invited Annelies Van Dinter as guest musician on the record ‘people when you see the smoke ‘. A common love for doom and gloom, together with the raw approach of music that wrenches the soul, makes them write new music together.

Inspired by the likes of Swans, Low or Woven Hand, they challenge themselves to focus on pure intensity, not shunning the experiment and questioning what truly moves them in life.

TAKH released their self- titled debut album on Consouling Sounds records may 2023.


“For a debut album, this is pretty fucking great.” –

“The Takh sound is as big as it is dark, it is inviting, it does pull you in should you wish it to, it will reward you if you are of a mind to let it, it is an acquired taste but then most good art is.” –

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Kaleidobolt is a power trio that races through meticulously nuanced rock music at neck-breaking intensity. Since surfacing from the Helsinki underground scene in 2014, they have been blurring the lines between prog, garage and psychedelic rock.

Loud guitars and all that jazz!? The music of this young trio is a dizzying maelstrom of progressive song structures, crushing riffs and loose psychedelic soundscapes, delivered with joy and ferociousness.

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Ron Van Herpen, Rob Zim and Rob Martin are no longer unknown

in the world of stoner and psych. Since their first jam session in 2017,

the trio has performed several times at festivals such as Roadburn,

Into The Void, Desertfest and Down The Hill, and has also played

as a support act for Monster Magnet, Ecstatic Vision, Spidergawd and The Pretty Things, among others.

Influences come from the heavy and psychedelic seventies with bands such as Grand Funk Railroad, Stooges, Pink Floyd and Hawkwind.


The third album RRRAGS MUNDI, released last year, shows the band from its most eclectic side: RRRags never sounded heavier, but at the same time never trippier than on this versatile double album.


This band also performs live with a blend of long, instrumental jams and heavy, catchy songs. In short, a party not to be missed for the true psych head!

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Born of the encounter of 4 musicians from thesouth-west of france,

fuzzy grass craft their music from a furious jam-based form since 2015.

Rythmically carried by drums in a pure led zeppelin’s style, a bass guitar

that could be compared to kyuss, a hendrixian guitar and a vintage

lyricism’s lead vocal, fuzzy grass build an universe that blends the
psychedelic energies from the 70’s and the power of stoner-rock.

If it’s in the rehearsal studio that the band experiments, it’s definitely

on stage where they truly galvanize !
always offering new versions of their songs, halfway between

songwriting and improvising, those 4 musicians evolved through

the years in a perfect symbiosis. After three years of live concerts,

it’s in 2018 that the band released their first album «1971» and

travelled across france to promote it.

1971 is the spirit of live concerts recorded on tapes !

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Wyatt E. writes the soundtrack of a Pilgrimage to Neo-Babylonian Empire. A travel in the past which leads to ancient Gods, forgotten cities and lost civilisations.

In 2015, their debut EP Mount Sinai/Aswan caught the eye of Shalosh Cult, an Israel based label which released their critically acclaimed debut album Exile to Beyn Neharot in 2017.
Since then Wyatt E. went from being a band who wanted to remain anonymous to an highly appreciated live act in Europe and Israel: Desert Fest Antwerp, Stoned from the Underground, Smoke over Warsaw, Tales of Doom Basel, Bristol Psych Fest, Red Smoke Festival, Under the Doom Lisbon, Mount Of Artan, Dour festival, Electric Meadow, …

Their second full-length record āl bēlūti dārû seals the long-awaited return of the band.

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The beginning is fairytale-like. Drummer Dave Schroyen (Evil Superstars, Millionaire) and bassist Jacky Willems (Heisa) go to see the band Peuk. The veterans of the better Limburg music industry are flabbergasted by the presence of Nele Janssen, the fragile front woman of the trio.

Jacky proposes to her to jam together and Dave to become manager of the group. However, it turns out that the rhythm section is quitting and there are two vacancies. Bingo! The new Peuk is a fact.

The trio stands for surrender and feeling. Noise with melody. Tender for the soul. The pieces Hole, Pixies, Sonic Youth and riot grrrl whistle around the ears.


The second album 'Escape Somehow' (2023) is the trampoline towards the larger work. “The record feels like shouting into the depths, and noticing that the depths are shouting back,” writes De Standaard.

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Iron Jinn are Oeds Beydals (The Devil’s Blood/Molassess/Death Alley), Wout Kemkens (Shaking Godspeed/De Niemanders), Bob Hogenelst (Birth of Joy/Molassess) and Gerben Bielderman (Pauw) and their debut full length
on Stickman Records (21st of April 2023) is a frantic album that follows the logic of a dream; none. The album releaseparty was held at Roadburn Festival 2023 in a packed Green Room, a week later the band played
Desertfest London and Sonic Whip festival followed by own clubshows. The first albumreviews are in and Rockhard Magazine, OOR magazine, Visions Magazine, Aardschok magazine and others unanimously praise
the ambitious debut and Distorted Sound dubbed them as ‘masters of strange and etherial psychedelia’.

The nine songs on the album are the result of a chaotic accumulation of modern world impressions, information and conversations that are forcefully pushed through a human funnel: the minds of Oeds Beydals and Wout Kemkens. The album took shape against the background noise of shifting paradigms, universal cramps, massages of the primal brain, plays full of mad lines, and it hesitantly kisses the underbelly that got fed oh so well. The band and the music itself sounds downright exciting. The voices of Wout and Oeds reverberate passionately over mesmerizing grooves and pure melodies and harmonies, a rare combination in contemporary
(rock) music.

Iron Jinn is an album on the edge of reality, fantasy and dream, but induced by real life events. The writing process started amidst the cultural prohibition in may 2020, so the music and lyrical themes are certainly influenced by the hypnosis type state of this moment in time. How the collective consciousness got taken over by one story. How opinions and paradigms can quickly be influenced and formed. How lack of meaningful social interactions, feelings of fear and a hunger for one big solution to a problem really can drive people into isolation or cultlike devotion (or both). All this surfaced more than ever the last years and as songwriting scavengers Oeds Beydals and Wout Kemkens took it all in and used it to create a piece of art that hopefully mirrors, but also celebrates the human spirit. The album embodies the uprising of a new star and creates a much needed dot on the horizon for both the creators and listeners.

Guitarists/songwriters Oeds Beydals and Wout Kemkens crossed paths for several years whilst playing in Death Alley and Shaking Godspeed. Finding common ground in challenging the status quo in heavy rock music, their first real get-together birthed a festival: the all-nighter Last Night On Earth. For their second collaboration they took to the Roadburn 2018 stage and performed new original material as Iron Jinn (then spelled 'Iron Chin'). After their Roadburn live debut they kept on writing, teamed up with longtime friend and powerhouse drummer Bob Hogenelst (Birth of Joy) and commenced the recordings for this debut album in the spring of 2021 (with producer/mixer Sebastiaan van Bijlevelt at Galloway Recording Studio, Nijmegen). After the studio Gerben Bielderman was added to the band’s line-up. Now the record will lead them back to the stage as Iron Jinn; rise
and bloom!

Rolf Gustavus (Stickman Records): ‘As a rule, we at Stickman Records don’t just sign bands out of the blue, but rules are made to be broken. We are always looking for that indefinable quality in the bands we work with, a
unique spark that we feel sets our label apart from the pack. When we heard the first song “Winding World” we already knew this was a special record and a rare band that would fit our roster perfectly.’ The song ‘Soft Healers’. Is the first single of the album. “When we wrote 'Soft Healers', the nasty throbbing
sensation of the music drove me towards the old Dutch saying, ‘soft healers cause stinking wounds'. The song also deals literally with the physical side of thoughts and actions: matter over mind, a reversal of the popular modern world catchphrase. It’s hard to outsmart some realities even in a world where everything is supposedly possible. You cannot always place will above matter, something we love to do.” – Wout Kemkens on the song ‘Soft Healers’

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A 5-headed omnium gatherum of eclectically inspired music freaks from Belgium cooking up a late 60's early 70's minded mix of heavy progrock soaked in psychedelia.


The smells emanating from our kitchen recall bands like Black Sabbath, Wishbone Ash and Pink Floyd. However, M&TKB is more than a nostalgia trip. Firmly tuned into the spring of our contemporary psych rockers, Mojo & the Kitchen Brothers' catchy tunes, proggy riffs, deafening drums, roaring basslines and spacy, triple-guitar jams take the listener on a Janus-faced journey through the limbo between past and present.

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After an insane roadtrip, The Glücks got together as a couple and as a band. Alek and Tina first met in a blues band, but it soon became clear they were de stined to do their own thing, together. They bonded over a love for all things dirty and fuzzy: The Cramps, Stooges, Reatards, Sonics, Pebbles/Nuggets garage and punk. Add to that an urge to get away from the “shithole” they grew up in, and you’ve got the recipe for some good infernal rock’n’roll. The roadtrip led to a collaboration with Tina on vocals, and Alek on guitar. At one of their first live shows, Tina ended up behind the drums and that was that: The Glucks were born.

Like a Belgian coastal Bonnie & Clyde, The Glücks rely primarily on themselves, the world be damned. It’s this renegade spirit that leads to demonic liveshows that can veer off into unpredictable directions thanks to an
invariably rabid audience. Past shows have involved blood, demol ition, and physical confrontations but really: anything can happen.

After a demo tape that was basically a DIY home recorded jam with some catchy refrains (later released as the ‘Blow My Mind’ EP) the band won a talent contest, granting them some recordin g time at the Barefoot studio. Even with the mother of all hangovers, the band just nailed a full album of eight songs in 2 days. ‘Barefoot was released on their own label Suck My Goo, as was the subsequent single ‘ CuCuCuCool’. A record deal offe r prompted the recording of ‘Youth On Stuff’, again a speedy workout with 11 songs
cranked out in 48 hours.


The band took things to the next level in 2018 with 'Run Amok', a vibrant heartfelt piece of work filled to the brim with songs for the underdogs, the generation denied... the generation undefined. In April 2019, a 7" with the song 'Bought And Paid was released, featuring striking artwork and a
remarkable video by the Belgian illustrator King Rat.

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Ten earth years ago...

The sonic starcruiser KOZMOTRON was groovily truckin' along on its voyage beyond event horizon. It was just passing by an obscure body in the SK system, referred to by the inhabitants as the planet "Earth".

When, for reasons unknown, the ship's diatonic propulsion unit suffered an irreparable structural failure. All navigational control was lost and emergency protocols were initiated. Only seconds before the devastating crash into the surface, the crew who were hibernating in their stasis pods, got ejected and scattered into the atmosphere.

Stranded on a weird blue planet, without any means of contacting their home planet KOZ. Now, thanks to the help of the local Alien Underground, they were able to regroup and establish a base on Earth.

Sending out sonic messages of love and positive vibrations...

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CUBERDON is a pyschedelic post-rock band with stoner and noise climaxes from the region of Leuven, Belgium. For being a three-piece line-up they are known for giving a sonic experience that is both powerful, heavy and thundering as well as soft, floaty and melancholic.


Their first EP (recorded, mixed and mastered by Jan Viggria) was well received and will be followed up by a full length album in 2024


Come and experience the sweetness!!

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Desmond Dandies are a four-piece psych-garage rockband
based in Limburg, Belgium.

Heavily inspired by the sound of the 60’s and all its sidestreams,
they instinctively reproduce a genre that can’t be put into boxes.
Live sets vary every show, pushing their musical limits, but always
characterized by solid harmonized vocals, tight guitar riffs, and
energetic rhythm section.

On their debut album 57 Heaven, Desmond Dandies channel
their influences into an eclectic musical trip. Dreamy psychedelic
fragments intersperse with raw straight-forward riffs and hooks.
The energetic garage rock leaves plenty of room for more
profound songwriting, without being overcomplex. 57 Heaven is a
modern sounding album with a respectful nod to the past.

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In 2000, this duo played against all their expectations in the final of Humo's Rock Rally. The same edition for, among others. Zornik (Breknov), Mint, Admiral Freebee and Mintzkov (Luna). They were way past their time then. Drums, guitar and a lot of samples. The late Patrick De Witte (HUMO), who was a jury member, was an immediate fan from the preselection.

After a lot of wanderings and other projects, this duo has been continuing with what they stopped many years ago. Stringing together samples, supplemented with 'dirty' guitars and live drums.

They get their samples from all kinds of bands and from their favorite (underground) films. Bass and guitar samples from, among others. fIREHOSE, Smashing Pumpkins, Don Caballero, Primus and Fields of the Nephilim are mercilessly mixed with Cindy Lauper of the Scissor Sisters with some vocal samples from films such as: Bound, Living in Oblivion, Mallrats, Natural Born Killers and more.. .and this is all brought live with 'in-sync' video projection.

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Heavy-Psych-Stoner-Blues-Doom-Space-Kraut-Funk-Soul-Afro-Garage-Jazz-Erotic-Horror Grooves by Moos

You also might have heard him at Roadburn festival, Desertfest Belgium, and our previous editions.

Host of Volksradio Moos at Radio Scorpio

Mailman by day!

Check him out on between and after the bands on Friday & Saturday!

DJ Cosmic Masseur


DJ cosmicmasseur spinning tunes at Orange Factory Belgium concerts since 1997. You also might have heard him at Roadburn festival, Desertfest Belgium, Our previous editions and at Rock/metal café HELL and more, and of course as one of the crew of wake up at the other end of the universe by Orange Factory at Radio Scorpio.

Check him out between and after the bands on Friday & Saturday!



DJ Coconaut is mixing psychdoomstonerfuzznoisetripwavepunkheavygazerock,... yes indeed!

You also might have heard him at Plufest, Doornroosje Nijmegen, Roadburn, Sonic Whip, Into The Void, Zwarte Cross Baterbar,...

Check him out between the bands on Friday & Saturday!

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