Posted in Whathaveyou on September 18th, 2014 by H.P. Taskmaster
You know, the thing about DesertFest Belgium 2014 is that, if you look at the poster, it’s like every logo on the damn thing should be huge. Colour Haze, Blues Pills, YOB, Toner Low, Brant Bjork, Conan, Pallbearer? Seriously, what, is everyone headlining? I know there are some bands on there who aren’t necessarily as huge as the likes of Electric Wizard, but thus far, the inaugural Belgian edition of the DesertFest has over 40 bands, and there isn’t a dud in the bunch. If you were putting on a show with half as many killer acts, I’d want to know about it.
Barring a fiscal miracle, I’ve got no hope of getting over to see this festival, but still it’s worth the daydream while I kick around in my jammies and dwell on the thought of seeing Colour Haze again, or Death Alley – who were awesome at Roadburnthis year — or 1000mods, and on and on. Good times.
Here’s the latest from the fest and the stream of Death Alley‘s debut single (review here), in case you missed it:
Less than a month to go and we’re not done just yet! Proud to welcome Colour Haze (GER), Death Alley (NL), Cowboys & Aliens (B), 1000mods (GR), Bloodnstuff (US) and BRUTUS (B)! To find out what day each band is playing, take a look at our line up page!
There’s been a tiny change to our starting time on Friday;
Friday: Doors – 6PM 1st band – 6:30PM
Saturday and Sunday: Doors – 3PM 1st band – 3:30PM
Ticket sales are going faster and faster, don’t hesitate! Hotel tickets are completely sold out! If you’re coming from abroad, we suggest you have a look at Booking.com to find the best accommodations in Antwerp.
Don’t forget Belgians can head to FatKat (Antwerp) and GigaSwing (Hasselt) to pick up their hard ticket!
Posted in Reviews on June 25th, 2014 by H.P. Taskmaster
Among desert rock “outsiders” — that is, those not actually living in the Californian desert from which the genre takes its name — Greek four-piece 1000mods have to be somewhere near the top in terms of accurately conveying the swing, the tonal weight and the focus on vibe that typify the style. Their 2011 full-length debut, Super Van Vacation (review here), announced their arrival as professionals in terms of their grip on the aesthetic, having refined the approach to that point over two EPs — 2006’s Blank Realityand 2009’s Liquid Sleep(review here) — as well as a 2010 split tape with similarly-intentioned German outfit Wight, and the follow-up long-player, Vultures, which also comes after late 2012’s Valley of SandEP (discussed here), they continue to proffer classic stoner rock riffing. You could take the eight-track/39-minute The Lab Records outing as further evidence that fuzz knows no geographic boundaries, or you can simply approach Vulturesas a killer heavy rock record. The latter makes for a more satisfying listening experience, I’ll admit, and for those who approach songs like “She” and “Horses’ Green” with the expectation of their traditionalist spirit, 1000mods will answer back with high-grade rolling grooves that cut to the same root influences Lowrider once embroiled themselves in to craft Ode to Io. One hears more than a little Kyuss throughout, but 1000mods make the sound their own both through the energetic charge of their swing and the memorable hooks around which their songs are based, pieces like “Big Beautiful” and “Modesty” running at full-speed while “Low” and the closing “Reverb of the New World” have a more spacious take.
They skirt the line here and there, particularly on the finale, the title of which derives from a Carl Sagan sample that also appears in the song, but 1000mods never quite tip over into heavy psychedelic jamming, holding instead to the structures around which their songs are based and keeping a sense of movement even in their most languid stretches. If they’re exploring, they’re exploring the impact of the riffs, rather than the riffs themselves. That’s not to say they never have an open feel — even before “Low” starts its laid back push, “She” caps off with an instrumental build that’s as wide a berth as anyone could ask — but there’s always a conscious purpose at work, and as the vibe is so loose of the album overall, it’s doubly impressive, the four-piece of guitarists Gianni and George, bassist/vocalist Dani and drummer Labros never lacking for direction even when they want to and succeed in sounding lost. Opener “Claws” probably could’ve closed Vulturesjust as easily as it leads off, but the in medias res feel of the guitar line that starts it makes the momentum all the more immediate, and with the speedier boogie of “Big Beautiful” — a lyrical reference to Queen‘s “Fat Bottomed Girls” in the line, “Big bottom woman, you can make a big boy out of me,” is a nice touch — following, 1000mods are almost into the thick of Vulturesbefore the listener knows it, the Sky Valley-style opening of “She” giving way to one of the album’s biggest riffs, Dani‘s voice echoing and gruff over top. Groove is paramount on “She” as throughout, but the riffs, the crash, the groove all comes in service to the song, and even as “She” enters its reaches in guitar solo tradeoffs to make for as big a finish as possible — the ending of “Claws” seemed to come in movements, “She” is more linear — 1000mods waste nothing in conveying the intended atmosphere.
Here is the Music Player. You need to installl flash player to show this cool thing!
The apparent hubris I showed in bragging last time around at the silly method by which I transferred audio editing software from one laptop to another came back to bite me in the ass as I put this podcast together. Finally, last night, I turned to Thee Facebooks for assistance and received an amount of input that was both useful and encouraging on a personal level. Thanks to everybody who took the time to help and to recommend alternative programs to the one I was using. I’m by no means technically inclined, so it is very much appreciated.
So yeah, there was a bit of drama in the making maybe — it was right around the Buzzo track that everything went to hell — but I don’t think you’ll get any clue of that from the audio, which has a few unexpected turns in its progression. At least in the first hour. Hour two is huge jams, because basically there was no way I wasn’t going to put that 17-minute-long Wo Fat song in there and I wanted to have some other stuff to stand up to it, but hour one takes a couple different avenues toward heavy rock and I guess I was feeling some bluesy psych this time as well. I won’t spoil it any more than I already have. Hope you enjoy.
The Scimitar, “Babylon” from Doomsayer (2014)
Moab, “No Soul” from Scion A/V Presents Billow (2014)
Monobrow, “Cicada” from Big Sky Black Horse (2014)
1000mods, “Horses’ Green” from Vultures (2014)
Mat McNerney & Kimmo Helén, “Blood and Bone Revival” from The World is Burning OST (2014)
The Atlas Moth, “City of Light” from The Old Believer (2014)
Highlands, “Your Let Down” from Dark Matter Traveler (2014)
Blues Pills, “River” from Blues Pills (2014)
Sea Bastard, “Door Sniffer” from Scabrous (2014)
Major Kong, “Acid Transmission” from Doom for the Black Sun (2014)
Buzz Osborne, “The Ripping Driving” from This Machine Kills Artists (2014)
Prisma Circus, “Napalm” from Reminiscences (2014)
The Heavy Company, “One Big Drag” from Uno Dose (2014)
Mope, “Doomed to Feed the Ground” from Mope (2014)
Idre, “Witch Trial” from Idre (2014)
Harsh Toke, “Weight of the Sun” from Light up and Live (2013)
Wo Fat, “Dreamwalker” from The Conjuring (2014)
Here is the Music Player. You need to installl flash player to show this cool thing!
It was getting on two in the morning last night and I was yet again trying to figure out how to get the audio editing software I use to make podcasts to work on this laptop. Numerous failed downloads later, I decided screw it, I had nothing to lose, and I zipped up the directory containing the program on my old computer, WeTransfered it to myself, and unzipped it on the newer machine. Frickin’ worked. I couldn’t believe it. Proof that sometimes the stupidest solution of all is the way to go.
This is the first new podcast in a long time, I know. There’s been a lot of really cool stuff coming out in the last few months, but I wanted to still keep it as recent as possible. Some of this is out now and has been for a couple weeks, some of it isn’t out yet. I think it’s a good mix or I wouldn’t have uploaded it, and it gets pretty heavy for a while there, so watch yourself. Figured a good couple of rockers to open wouldn’t meet any complaints either, and hopefully that’s the case. Please enjoy.
Fu Manchu, “Radio Source Sagittarius” from Gigantoid (2014)
Radio Moscow, “Death of a Queen” from Magical Dirt (2014)
Abramis Brama, “Blåa Toner” from Enkel Biljett (2014)
The Ultra Electric Mega Galactic, “Spoonful” from Through the Dark Matter (2014)
Boris, “Heavy Rain” from Noise (2014)
Eyehategod, “Robitussin and Rejection” from Eyehategod (2014)
Serpentine Path, “House of Worship” from Emanations (2014)
Triptykon, “Boleskine House” from Melana Chasmata (2014)
Wovenhand, “Field of Hedon” from Refractory Obdurate (2014)
Been Obscene, “Memories of Salvation” from Unplugged (2014)
1000mods, “Reverb of the New World” from Vultures (2014)
Electric Citizen, “Light Years Beyond” from Ghost of Me b/w Light Years Beyond (2014)
Mars Red Sky, “The Light Beyond” from Stranded in Arcadia (2014)
Salem’s Pot, “Creep Purple” from Lurar Ut Dig På Prärien (2014)
Black Bombaim, “Arabia” from Far Out (2014)
Dopelord, “Pass the Bong” from Black Arts, Riff Worship and Weed Cult (2014)
Holly Hunt, “Prometheus” from Prometheus (2014)
This was it. The official start of London Desertfest 2013. Well, okay, maybe not. That’s tomorrow, but tonight had the banner up and that’s something. The Black Heart hosted what was billed as the “Official Desertfest Pre-Show” with Greek stoner heavies 1000mods and UK rockers Enos and Blasted. Three bands to ease the way into what’s destined to be a landmark weekend of riffs and fuzz. Their task was laid out before them, but if any of the acts was feeling the pressure, the sweat was lost in that from the raging performances. It was a varied bill, with Blasted showcasing punkish roots and Enos hinting at heavier space rock while the headliners basked in European fuzz, but all three were met with a decidedly positive reception.
Since this is the start of the Desertfest 2013 coverage, I’m going to present the show like I will the fest as a whole. Hope you dig it. Let’s get started.
I guess if you had to pick one, Blasted would be the standout act on the bill, less riff-minded than either of the other two and they didn’t get through their soundcheck without shrapnel flying from one of drummer Tommy Randhawa‘s sticks, but it seems to not really matter which end of heavy a band comes from over here to make a good bill, and I like that. I was early to the show, but Blasted got going soon enough and sprinted through a set of speed rock with thoroughly punkish overtones and aggression. Guitarist/vocalist Ben Perrier used to be in Winnebago Deal, but Blasted is by and large faster and meaner, bassist James Phung answering back in call-and-response choruses to “This Place is Nothing” and “Living Nightmare,” both highlights of their set for being catchy as well as blazing. They were crisp and efficient in getting from point-A to punch-you-in-your-kidneys, but not without locking in the occasional heavy groove along the way, as though to portend what would come for the rest of the night.
Despite having some warning of what Enos got up to when I received and added their late-2012 All too Humanalbum and added the tracks to The Obelisk Radio, when the Brighton four-piece actually got to work on stage, they immediately surpassed my expectation. There are a lot of bands who blend heavy psych and stoner riffing to one degree or another, but Enos blur the lines well with a wash of echo and cymbals that nonetheless come underscored by a near-constant forward motion. They had an open sensibility, and with the two guitars of Sean Cox and Chris Rizzanski, there was plenty of room for exploration while bassist George Cobbold and drummer Sparky Rogers held down thick and dense grooves, but Rizzanski‘s vocals also had a throaty, motor rock delivery that grounded the songs well (when he wasn’t using a second mic setup for a talk box, that is). The crowd was obviously more familiar with their breadth than I was, though even with a regular sprawl of effects on Rizzanski‘s guitar, it was easy to dig into Enos‘ gripping material, the band tossing in a hook riff more than often enough to hold attention for the duration. They were a pleasant surprise, and I picked up a copy of All too Human on CD for further investigation. They were also selling glow-in-the-dark shirts, which are always fun, but I didn’t dare.
With riff-worship culled from early Dozer and stoner rock’s alleged ’90s glory days (I happen to think the glory days are going on now, particularly in Europe), 1000mods came up to Camden Town from Greece en route to the Desertfest in Berlin this weekend, and I’m glad they did. Their 2011 full-length debut, Super Van Vacation (review here) took cues from some of modern heavy psych’s laid back atmospheres, but it was the more powerful, rocking moments that stood out live. They got going with a cut listed as “Zamataz” that didn’t appear on the album — maybe new? — and just as they were kicking into The. Big. Groove., the power went out of Giannis and George‘s guitar. Like, gone. No coincidence I’m sure that they were rocking at full throttle. A couple minutes of lost momentum didn’t help — bassist/vocalist Dani (his instrument slung low in the tradition of Church of Misery) and drummer Lab did the best they could to fill the time — but by the time they were into their third song, it was more or less forgotten. They resumed their rush and continued on unabated. Highlights from Super Van Vacation included “7 Flies,” “Set You Free” and “Navy in Alice,” but the best came later into the set, with the sweet guitar interplay of “Vidage” and the sing-along-ready hook of “El Rollito,” The Black Heart crowd fist-pumping and shouting along to the chorus ending with the memorable, “…Nothing can save my soul.” They ended with the opener and closer of Super Van Vacationin that order, and both “Road to Burn” and “Super Van Vacation” locked in rolling riffs that drew likewise vehement response from the audience, duly sauced. They went a few minutes past the 11PM curfew, but fortunately no one seemed to register a complaint, and when it was over, there was as much a sense of something having begun as having ended.
At the downstairs bar, which is awesome, the Desertfest crew were holding an after party DJ’ed by none other than Rich from the The Day After the Sabbath, which, man, if you haven’t checked out his podcasts, you should. Certainly the guy for the job — I don’t think I’ve ever been to London and not heard Leaf Hound‘s “Freelance Fiend” at one point or another — he was holding it down for sure, but I needed to get back to the hotel and write and so didn’t linger as I otherwise might have. Many did, though, and it seemed like Desertfest was getting its due for an opening night pregame.
Tomorrow starts early and runs late, is my busiest day of the festival. I won’t have time to check in during the day, but will report in afterwards with words and pics on the proceedings. I was feeling beat going into today, but after tonight, I’m more geared up and excited for what’s to come over Friday, Saturday and Sunday. It’s going to be a blast, I can tell already.
Posted in Whathaveyou on March 1st, 2013 by H.P. Taskmaster
More news from Desertfest 2013 to round out the week. Fresh off their run in the US with Graveyard, Cali stoner-skaters The Shrine will be playing as part of Desertfest‘s London lineup, and traveling from Greece, heavy psych rockers 1000mods will make an appearance at the Berlin fest.
Here are the official announcements, culled from their respective websites (London, Berlin):
The Shrine to Shine at Desertfest
Smashing their way straight into Desertfest, L.A. young bloods The Shrine are set to bring their in-your-face and to-the-point brand of hardcore desert rock. Not many bands out their can claim to mix the tripped-out echoes of fuzz with the rough and ready aggressiveness of early punk, but the upcoming three piece of Josh Landau (guitar/vocals), Courtland Murphy (bass) and Jeff Murray (Drums) make it effortless.
Last year’s Tee Pee Records debut, the appropriately titled Primitive Blast, is a lightning paced wall of sound that blows off your ears. Traces of almost everyone, from Truckfighters, to Misfits, to MC5, are there to find within an all too short 35 minutes of raw, chugging stomp.
It’s no surprise to see that they’ve already notched up some impressive support slots with, among others, Kyuss Lives!, Graveyard and Desertfest headliners Pentagram. No doubt at Desertfest The Shrine will be some of the heaviest fuzz you’ll ever hear.
Desertfest Berlin – 1000MODS (GR)
Today, we are thrilled to welcome the first Greek band at DESERTFEST BERLIN : the striking 1000 MODS !!
1000 MODS is a 4-piece psychedelic/stoner rock band from Chiliomodi, Greece, formed in 2006. They play an impressive and highly addictive piece of downtuned, fuzzed up and hard hitting stoner rock, hone in a serious groove.
In the beginning of 2007, they released their first (self-financed) EP “Blank Reality”, and in December 2009 they stroke back with a brand new 7” EP titled “Liquid Sleep”, on the Greek label CTS Prods. In may 2010, they released a split tape with the German psy-doomsters Wight, and few months later, they recorded their full-length debut album “Super Van Vacation”, produced by the almighty Billy Anderson, and released by German label Kozmic Artifactz (vinyl) and CTS Prods (Digipack) in September 2011. Last December, the band released their latest EP “Valley of Sand” on Lab Records.
Since their beginning, they have played over 100 live shows, including openings for Brant Bjork, Colour Haze, Karma to Burn, My Sleepin Karma, Radio Moscow and many others. In October 2011, they toured in Europe playing 25 gigs in 12 countries, with an appearance as special guests at Up In Smoke 3, and in August 2012, they played at Aquamaria Festival.
This year, it’s time for them to play at DESERTFEST BERLIN ! “Super Van Vacation” vinyl re-issue is scheduled in April 2013 by CTS Prods, just in time for the festival, so get in the van, and come to Berlin !!
Posted in Whathaveyou on December 28th, 2012 by H.P. Taskmaster
You probably already knew this, because you’re hip like that and/or have effectively arranged your Facebook updates so that you still get them, but Greek heavy psych unit 1000mods released a new EP last week called Valley of Sand. Comprised of four tracks but mostly centered around the 17-minute titular opener, it’s a laid back jammer’s delight complemented by three live cuts, “7 Flies,” “Navy in Alice” and “Track Me,” all of which appeared in regular ol’ studio form on the foursome’s killer 2011 outing, Super Van Vacation(review here).
The new EP comes in an edition of 500 white vinyl 12″ records, pressed on The Lab Records, and it’s available now through the 1000mods Bandcamp. In case you should happen to be in Korinthos this weekend — hey, it could happen — they’re playing a release show for it at Artichoke, the poster for which can be enlarged by clicking the image on the right. Basically, they’re a good band and I thought after listening to it that the EP was worth a plug, so if you get a second and feel like checking it out, here’s the Bandcamp stream:
Posted in Reviews on September 13th, 2011 by H.P. Taskmaster
Fuzz abounds on the Billy Anderson-produced full-length debut by Greek trad stoner rockers 1000mods. The Chiliomodi four-piece made a splash late in 2009 with the well-riffed Liquid Sleep 7”, and they follow much the same course on the 10-track Super Van Vacation, nodding at desert rock while keeping a looseness in the material that speaks to a love of jamming. Released by SuiSound/Catch the Soap Productions, Super Van Vacation is long at 65 minutes, but mostly immersive, and 1000mods do well within the rigid parameters of genre they’ve set for themselves, launching the album with the nod-fodder groove of “Road to Burn” (a call-out to Roadburn, perhaps?), one of several extended cuts reaching well over the eight-minute mark. The Orange-amped guitars of Giannis and George are expectedly thick and lay down solid riffs throughout for drummer Labros and bassist/vocalist Dani to follow. Their choice of producer couldn’t have been better, as Anderson is among those who set the standard for recording this kind of music in the first place in his work with the Melvins, Sleep, Acid King and Weedeater (among others), and sure enough, the balance of sounds on Super Van Vacation is near perfect. Tones are dialed in thick and full, and Dani’s vocals cut through well but never dominate the guitars, which are clearly intended as the focus.
The groove of “Road to Burn” – or at least the delivery of the chorus – reminds a bit of Alabama Thunderpussy’s “6 Shooter” from 2000’s Constellation, and that’s one of several moments on Super Van Vacation where 1000mods make their influences explicitly known. Fourth track “Set You Free” seems to find its roots in a combination of Dozer and Astrosoniq, and the ringing guitar notes in the more subdued parts of “Vidage” seem to be calling out to the same sandy gods as did those of Elvis Deluxe’s “Take it Slow” from their stellar 2011 album, Favourite State of Mind. That’s doubtless coincidental and the result of a common Kyuss/Josh Homme influence in both bands, but worthy of note anyway, as it speaks to how much of Super Van Vacation is going to be immediately familiar to experienced heavy rock listeners. Ultimately, it works to 1000mods’ benefit, as it makes them seem like fans of the music they’re playing, and I’ll take nothing away from Dani’s bass runs, which are pushed to the fore of the mix in the second half of “Vidage” before the guitar solo kicks in. They’re a genre band, definitely, playing largely off the characteristics that have emerged over the past several years of stoner rock revivalism in Europe – the emphasis on jamming one finds in the second half of Super Van Vacation only speaks further to that – but damned if they don’t do it well on these tracks and earn their place at the head of the Greek stoner scene along with the stalwart likes of Nightstalker, who themselves lifted a great deal from Monster Magnet along the way.