German duo Pretty Lightning reveal ‘This Machine Is Running’ from forthcoming The Rhythm Of Ooze LP Out November 10th on Fuzz Club Records

Christian Berghoff and Sebastian Haas are two lifelong friends from Saarbrucken, Germany who back in 2007 formed the band Pretty Lightning. The duo tick off a long list of influences – from 60s psych and delta blues through to krautrock and drone – and the end-product is a heady dose of raw, twisted psychedelic-blues recalling an utterly visceral, mind-blowing mix of Oh Sees, Wooden Shjips and early Black Keys.

Pretty Lightning

Fast forward ten years and the German two-piece have two highly-praised LPs behind them and are now gearing up for the third effort, ‘The Rhythm Of Ooze’ – due for release November 10th on Fuzz Club Records. Their latest long player sees them dive even further down the rabbit-hole of stomping garage-blues rhythms and unremitting motoric drones to dizzying effects.

Following the howling and primitive garage-rock call to arms of lead single ‘Willow Valley Blues’ the band are now sharing the second cut from the album, ‘This Machine Is Running’ – an apt name considering the track doesn’t let loose for a second. Fuzzed-out guitars and echoing vocals are driven by a formidable gusto, only slowing down the pace to meander into a swirl of skewed, deranged keys. This is Pretty Lightning at their best – all their influences shining through as they take the listener on a head-heavy trip through their lysergic, rock’n’roll prowess.

In-your-face and twisted psychedelic blues-rock” Music & Riots

“As some of us continue to say that guitar-driven rock is a dying thing, I dare you to check out [Pretty Lightning]… With a psych rock theme, one will immediately notice the heavy guitars, wailing organ, tight drums, and majorly distorted vocals. Guitars are alive and well my friends!” Austin Town Hall

“A raw and lo-fi fusion of psychedelia that crunches, riffs, and howls its way leisurely down a path blazed over decades by a million joints, bright blotter hits, and countless empty bottles.” Noise Journal

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