In 1995 ‘KARMA TO BURN’ put instrumental rock music on the map. Hailing from the Appalachian mountains, swigging on hip flasks full of cheap whiskey and 20/20 vodka, ‘KARMA TO BURN’ started their journey with only a backpack full of riffs and a bad at- titude for authority. After signing to Roadrunner Records in 1997, ‘KARMA TO BURN’ released their first album (self titled). Roadrunner insisted that the album include vocals in order to mar- ket the release to a wider audience. The group ultimately gave in and found a vocalist, but the members knew this was a temporary fix. The music they were writing did not need vocals; it spoke for itself. After the album was released, the vocalist was ditched, leaving the band free to pursue their original purely-instrumental vision. This vision paved the way for two seminal and critically acclaimed masterpieces ‘WILD WONDERFUL PURGATORY’ (1999) & ‘ALMOST HEATHEN’ (2001). The group imploded in 2002, re-united in 2009 and returned to pursuing the instrumental vision that they originally created, however, integrated a more experimental approach to their musical style.

Growing up in Varberg,
a small town on the west coast of Sweden,
Roger, Thomas and Tobias were all rehearsing at the same place,
though in different bands,
exept for the occasional weekend jamsession.
In their mid teens, Roger and Thomas moved
to pursue their musical carreer elsewhere,
Roger to the east and Thomas to the north,
while Tobias continued his back home.
Some learnful years of touring and recording albums
with all kinds of different acts later,
they met up again in Varberg for a
Jimi Hendrix tribute concert in 2001,
and after a successful performance the guys simply
came to the conclusion that they should start a band.
Roger came up with the name Kamchatka,
and the band was formed.

A few years later, after saving up enough money,
they decided to record an album in their own studio
(which has been developing ever since),
with the help of an old friend of Roger's,
Nicholas Elgstrand, who recorded,
mixed and produced it together with the band.
Bullen & Sillen, friends of the band, mastered it
at Studio Mega in Valinge, just outside of Varberg.
An old friend of Thomas', Per Wiberg,
who also designed the album cover,
hooked them up with a New York based indie label
called Grooveyard Records,
where the first Kamchatka album was released January 1st 2005.

After about a year of an occasional gig here and there,
which were all well recieved, the guys started to get restless,
so they decided to record another album,
subsequently known as "Volume II",
this time recording it themselves on an eight-track,
Tobias bringing the technichal expertise.
Once again they called in Nicholas to help mix and produce,
but this time mastered it themselves,
lending the gear from Jonas Eckerström,
another old friend of the band,
mainly with Tobias behind the controls.
Per, again, standing for the artwork.
It was released on Grooveyard Records in January 2007.

After yet another year of an occasional gig here and there
(there is a serious lack of venues to play at in sweden),
they had started recording their third album
when the American rockband Clutch,
whom they had opened a few gigs for in Sweden in 2007,
invited Kamchatka to open for them on their US-tour,
which gave the guys their first opportunity to proove themselves
to the American audience. After 21 successful performances
they returned back home to complete "Volume III",
Tobias standing for the technical expertise,
and Per Wiberg adding his magic,
this time both with beautiful keyboards,and magnificent artwork.
It was mastered by Johan Eckerblad at Mintelligence Studios and
released on Swedish label Superpuma Records
at the beginning of March, 2009.

In November 2009 Kamchatka were once again invited by Clutch to open for them,
this time on a month long tour of 23 gigs throughout western Europe.

2010 Kamchatka first and foremost focused on the writing of their fourth album.
It was recorded and mixed in their very own Shrimpmonkey Studios,
once again mainly with Tobias behind the controls,
during the winter and spring of 2010/2111,
and mastered by Johan Eckerblad at Mintelligence Studios.
Like on the previous albums, the cover art is the work of Per Wiberg,
who also appears on keyboards on one of the songs.
The album was released September 5th on GMR.

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. 

Sons of Morpheus impress with their interplay, improvisation and wild, infectious live shows that culminate in spaced out, excessive orgasms of sound. They left an impression at the Musexpo in Los Angeles ("band of the week") and recorded their new album with Jim Waters (Jon Spencer Blues Explosion, Sonic Youth, etc.) in Tucson, AZ. With this new album, Sons of Morpheus are now ready to detonate on stages the world over.