ANOTHER WORLD TOUR HITS CARDIGAN: Darsombra is a cinematic conceptual rock band from Baltimore, Maryland, USA. Featuring composer Brian Daniloski on guitar, bass, and vocals, and filmmaker Ann Everton on synth, vocals, percussion, and projections, Darsombra is internationally known for walking the line between glam-prog-psych-stoner metal and site-specific installation performance art. Live, their carefully crafted songs and videos create a hallucinogenic synesthesia for the audience, as Everton and Daniloski build a temporary reality from sound, sight, and movement.

But beyond their notoriously psychedelic stage shows, they have a strikingly distinctive and unique sound, which runs the gamut from minimal pulsating drone soundscapes, to intricately layered album-length psych/metal opuses, to glam/prog Krautrock-esque tracks drenched with field recordings. Expect cosmic guitar solos and interweaving riffs, blissed-out synth sequences and bass lines, and emotive whacks of a gong or tolls of bells peppered throughout their work, in addition to vocal stylings that range from wordless choral harmonies to percussive chants, grunts, and word-salad lyrics. These sonic elements combine to conjure seamless, evocative music, communicating a sense of emotion, narrative, or ideas that are all entirely subjective for the listener—this is music for the imagination. Darsombra calls their sound "trans-apocalyptic galaxy rock": dynamic, kaleidoscopic music for people transitioning through endtimes and dreaming of space.

In 1998, Darsombra was initially conceived as SUCKPiG, Daniloski’s solo side project to his renowned sludge metal band, Meatjack. In 2005, he began touring under the new name Darsombra. In 2010, Darsombra became a two-piece with the addition of video artist Ann Everton. By 2013, Ann had joined Brian as a musician, performer, and composer, as well as continuing to produce and project her mind-bending video tracks composed exclusively for each song.

Prolifically touring for well over a decade, Darsombra has performed in 48 states and 20 countries throughout North America, Asia, and Europe, at music venues, festivals, DIY spaces, house shows, galleries, city ruins, dive bars, cultural centers, record stores, coffee shops, and parks—not to mention their legendary pop-up generator shows at national monuments and forests, or just by the side of the road. No matter where they perform, the most common responses a Darsombra show elicits are, “I didn’t know what to expect, but that was awesome”, “I’ve never seen anything like that before”, and “it was like an acid trip, but without the acid."

Following releases on labels in the US, Europe, and Asia, such as At A Loss (US), Public Guilt (US), Exile On Mainstream (Germany), Translation Loss (US), Dogma Artistic Guerrilla (Malaysia), and Noise Bombing (Indonesia), Darsombra's latest double album "Dumesday Book" was released on their own label, Pnictogen Records. Darsombra also manages a robust YouTube channel, complete with videos of their shows, their live projections, music videos, livestreamed shows, and episodes of Darsombra TV—the ongoing chronicles of their adventures at large. A true cottage industry DIY band, self producing their music and videos and booking their own tours globally, Darsombra brings a stadium show in a cargo van or a handful of suitcases.

“Darsombra navigates multiple sonic vistas, from drone-fueled doom and twisty progressive rock to lush, ambient psych-pop.”
- James Christopher Monger - AllMusic

“…while their music has the horizontal heft of the heaviest drone metal, it is refreshingly free of the grimness. Instead their music exudes a stoned wonder at the immensity of the universe and, of course, the majesty of rock. Without a doubt one of the most joyous experiences I’ve had during lockdown.”
- Joseph Standard - WIRE

"If you’re of the belief that sonic resonance can affect those who experience it on a spiritual level, I can only recommend you open your mind as wide as (possible) and go see Darsombra. There are few live acts who so clearly revel in the process of what they’re creating on stage and presenting what they have created. . . it’s hard not to be swept up in that joy as it hits in swells and waves of experimentalist guitar, keys, percussion, vocals, and visuals.”
“. . . to call it drone would be underselling its complexity and psychedelic nuance.”
- JJ Koczan - The Obelisk

". . . the perfect soundtrack to being transported either bodily or mentally to another world, to be immersed into another culture, another civilization . . . sounds and experiences that could be described as beyond this world."
- Luke Hayhurst - Destructive Music

". . . the sound of a slow ascension towards a higher elevation, if not a higher state of consciousness."
- Ray Van Horn, Jr. - Blabbermouth

"Despite their clear psych trappings and nods to the likes of Hawkwind and Magma, Darsombra's sound is modern and tuned-in, a perfectly interlocked web of visuals and electronic sounds, exploratory and grasping toward transcendence."
- Matthew Moyer - Orlando Weekly

"With a unique sonic blueprint, Darsombra achieve the sheer transcendence and intensity that most acts can only dream of with an enviable effortlessness . . . (the band) aims skyward, reaching for a celestial warmth, while skillfully implying a myriad of other textures and emotions en route. The sheer evocative power of the music is huge . . . feels like a psyched-out soundtrack to the Earth’s formation and evolution of complex life in slow motion – majestic and utterly vast."
- George Leeming - The Sleeping Shaman

"I encourage you to clap on a pair of headphones, close your eyes, and let Darsombra coax you away into a kinder, brighter, trippier plane of existence."
- Kim Kelly - NOISEY

“I think it’s fair to say that the duo would insist that the best way to experience Darsombra would be in the live setting, where their music melds and merges with their audio-visual show to invoke a real sense of sonic transcendence. However, what is impressive is, unlike many of their contemporaries, the duo manages to transfer a great deal of that elevated, nigh-on spiritual plain they conjure onto their recordings.”
- Chris Keith-Wright - Echoes and Dust

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STINKING LIZAVETA:

If you want to know how hard Stinking Lizaveta rocks, ask people who rock.

“When people ask who my greatest musical influences are, they typically expect me to say Black Sabbath or Slayer. The real answer includes the mighty Stinking Lizaveta,” said guitarist Kyle Schutt of the Sword. “A truly masterful set of musicians.”

Born in West Philadelphia basements, raised in a blue Chevy van, Stinking Lizaveta has spent almost three decades building an unmatched catalog of instrumental rock, starting with its self-titled 1995 EP released on Joe Lally’s (of Fugazi) Tolotta Records.

“They blew us all away,” recalled Gary Mader, bass guitarist with Eyehategod. “Heavy in a whole different way - dynamic riffs with fractal perfection, a rhythm section with the fluidity and warmth of old school jazz, and guitar leads that made vocals unnecessary.”

Today, the band is preparing its ninth release, as yet untitled, which finds Stinking Lizaveta as challenging and vital as ever.

“Their latest work finds them inspired and in full stride,” says Lamb of God guitarist Mark Morton. “Heavy, hypnotic grooves. Soaring lead guitar. Swaggering riffs that peel away into lurching, angular blasts. Driving ?lows that feel balanced and cohesive.”

“Stinking Lizaveta has always brought the raw, unfiltered truth,” said Damon Locks, vocalist with Black Monument Ensemble. “Every Stink release is worth your time and this one is no
exception."

None of it happens by accident. Named for a doomed Dostoyevsky character, known as “the Stinkies” to friends, Stinking Liz’s trademark is meticulously arranged, carefully rehearsed, furiously deployed rock compositions that feature generous strains of jazz, classical, punk and even Greek music.

“How do we tell stories without preaching, with just an upright electric bass, guitar and drums? Compelling melody. Hypnotizing rhythm. Passion and detail,” explains drummer Cheshire Agusta.

And where many bands crumble under the weight of their own ambitions, Stinking Lizaveta stands up strong, wielding its spiky, elaborate tunes like a gladiator’s mace. Live or on record, the band delivers its material with fury, precision, swing and – rarest of all among heavy bands - an unmistakable sense of joy.

“More than anything, their performances sound like the band is having fun,” said Lamb of God’s Morton. “That makes them fun to listen to.”

Thirty years of that savage delight has earned the band a reputation as one of the nation’s heaviest, most original, and most challenging power trios.

“Both polished and unruly,” wrote the LA Weekly in 2001. “Uncompromising in the best sense,” wrote the New Yorker Magazine in 2009. “The word is ‘unfuckwithable,’” wrote reviewer JJ Cozan in 2022 after the band’s appearance at New York City’s Desertfest. “Not a single second was misspent. By the time they were done I wasn’t even tired anymore.”

Stinking Lizaveta features Yanni Papadopoulos on guitar, brother Alexi Papadopoulos on upright electric bass, and Agusta on drums. All three came to the band with various backgrounds in rock, jazz, punk rock and classical music. The trio found its collective voice in West Philadelphia’s early-90s underground scene. They’ve toured and recorded steadily ever since, sharing stages in America and Europe with such bands as Clutch, Mastodon, Beehoover, the Sword, Torche, Weedeater, Fugazi, Don