Live Review: Desertfest NYC Night Two, 04.27.19

Posted in Reviews on April 28th, 2019 by JJ Koczan

Windhand (Photo by JJ Koczan)

The Well — not to be confused with the Austin, Texas, band of the same name — is around the corner from where The Acheron used to be in Brooklyn and there still stands The Anchored Inn as a congregation point. I was there for not the day’s first cup of coffee before day two of the inaugural Desertfest NYC kicked off back at the venue. It was cloudy and the air was chilled — April in New York — but by the time Electric Citizen were done, the sun was out and would remain so for the bulk of the day. That helped all the more since the main stage was outside.

A large tent was erected on an expansive enclave of a patio space. In back was the merch area, seating at picnic tables and along the other side there was a bar, taco stand, and the raised shipping container up some stairs that had been converted to a backstage lounge, complete with deck. The vibe was immediately relaxed and cool, with another bar inside and the second stage, in a smaller room off to the side of The Well‘s main corridor. My first time in the space, and it seemed ready for the event from its basic structure to the tent outside, though if Desertfest NYC is going to be an annual event, they’ll need a bigger one.

The afternoon kicked off soon enough, but though the venue switched from the Saint Vitus Bar the evening prior, the mood around was much the same. It was something Ron Holzner of The Skull would effectively summarize in saying, “About damn time we had a European festival come to the States. A sign of good things to come.” One hopes he’s correct in the foresight.

It was a packed nine-band day, mostly alternating back and forth between the stages, and it went vaguely like this:

Electric Citizen

Electric Citizen (Photo by JJ Koczan)

It had been a few years since I last caught Ohio heavy rockers Electric Citizen, but their 2018 album, Helltown (review here), was a stripped down and switched on groover that at the same time offered the band’s most developed sense of melody yet, so yes, it was something to look forward to. I don’t think they were helped by the early slot, but with the bill as stacked as it was, there wasn’t really anywhere else to put them. There was, fortunately, a good crowd to start the day off, and that only grew in number as the RidingEasy Records five-piece went on, their sound pulling elements from cult rock, glam, doom and proto-metal in order to create a brew that’s readily familiar and nuanced at the same time. They played as a five-piece, with keys alongside the guitar, bass, drums and vocals, and frontwoman Laura Dolan noted from the stage that this was their sendoff for a European tour. They’ll spend the month of May in the UK and EU, playing Desertfest in London and Berlin as well as other dates before and after. They sounded ready to go, to say the least.

Tower

Tower (Photo by JJ Koczan)

Immediately after Electric Citizen wrapped on the main stage, the second stage launched with the classic metal stylings of Tower, who continue a tradition of gritty NY homage to the NWOBHM and early thrash that goes back pretty much to when that sound was current. There’s always been a place for that stuff in New York, and Tower represented well what Brooklyn has done in the wake of bands like Early Man in the last decade and Natur and others in this one, two guitars blazing to coincide with the first off-stage frontperson of the weekend — presumably not the last, though one never knows — and a riotous stage presence that all the more justified that spillover onto the floor. They were probably the most metal act of the day, but still well accessible to the Desertfest NYC crowd. I’ve made the argument a thousand times at this point that classic metal is the domain of the heavy underground. Tower were another notch in favor of that position, and they effectively captured the spirit of the metal to which they were paying homage via their material. Not unfamiliar, but that’s the point.

Danava

Danava (Photo by JJ Koczan)

Back on the main stage, Portland, Oregon, stalwarts Danava answered such metallurgy with a bit of boogie, a bit of NWOBHM dual-guitar action, and a lot of soul. I’ve been fortunate enough to see Danava a couple times over the years, and though my initial impression of them wasn’t positive, they’ve proven consistent in terms of the high-quality of their work on stage and off — my initial impression, in other words, was wrong. The simple fact that they haven’t put a record out in eight years and continue to get booked on shows like Desertfest NYC and Psycho Las Vegas, where they’ll play the pool party in August, should speak volumes to their continued relevance, and though they had the At Midnight You Die single (review here) out through Tee Pee in 2016, you would have to say they’re due for a record. Overdue. But they killed. Founding guitarist/vocalist Gregory Meleney warned the crowd before they played what was presumably a new song, “Nothing but Nothing,” that they might screw it up, but by all appearances they nailed it, which was basically the case for their entire set.

The Skull

The Skull (Photo by JJ Koczan)

Yeah, I know The Skull is Ron Holzner and Eric Wagner from Trouble, and I know they’ve got Rob Wrong from Witch Mountain on guitar alongside Lothar Keller and they’ve got Brian Dixon from Cathedral on drums (though it was Chad Walls for this show). They’ve got all that, and I won’t take away from anyone’s pedigree whatsoever. But you know what else The Skull have? Songs. Songs. Songs. They’ve got songs that are memorable. Songs that stay with you after you put the album down and move onto the next thing. Songs that, when they play them on stage, you go, “Oh shit yeah, this song!” as I did when they launched into “When the Sun Turns Black” from their 2014 debut, For Those Which are Asleep (review here) and the title-track of last year’s follow-up, The Endless Road Tuns Dark (review here). Stage presence is a factor, of course, and if you’re going to call anyone in American doom a supergroup, it’s probably fair to do so for The Skull, but whatever they do, their foundation is there in the songs, and it’s the songs that carry them most of all. They were and are the best example I can think of for a band building something new out of a storied legacy.

Worshipper

Worshipper (Photo by JJ Koczan)

Boston’s Worshipper packed the second stage room beyond capacity — there was a line out the door to get in — and played like a band who are about to release one of the best records of the year, which they are in the form of their second album, Light in the Wire (review here). They opened with “Visions from Beyond” and “Coming Through” from that offering and gave a preview of what they’re soon to take on the road in Europe with their Tee Pee labelmates in The Skull — they too will be at Desertfest‘s London and Berlin editions — as guitarist John Brookhouse and bassist Bob Maloney proffered dead-on vocal harmonies on material new and old, guitarist Alejandro Necochea tore into leads and offered more harmony alongside Brookhouse‘s guitar, and drummer Dave Jarvis pushed the entire thing forward, grounding the psychedelic stretches and keeping momentum on their side, which it was for the duration. They were the band I was most looking forward to in the lineup for the day, particularly in light of their new album, and they very clearly played to the momentousness of the occasion at the first American Desertfest. It was the kind of thing I’ll be glad to have seen.

Weedeater

Weedeater (Photo by JJ Koczan)

Some technical trouble with the bass amp before Weedeater went on, but plenty of shenanigans to fill the time and bassist/vocalist “Dixie” Dave Colins spat out auctioneer’s chatter and lines like “crack rocks” and “wow, wow, mom” in checking the mic. The North Carolinian trio — Collins, guitarist Dave “Shep” Shepherd, drummer Ramsey Ateyeh (I think; someone please correct me if I’m wrong) — are on a forever-tour, their last record, Goliathan (review here), having come out in 2015, but they absolutely packed that tent and people went apeshit for them to the point that, when I went into the photo pit later for Windhand, the barricade had moved up in front of the stage to the point that there was no more access to the other side. Weedeater do nothing but deliver, and I know Dixie is kind of playing to character, but dude is working from the moment he hits stage to the moment he leaves. He’s the James Brown of sludge, and Weedeater‘s legend has grown all the more over their nearly-25-years because of that. They played the songs they always play, they kicked ass like they always do, and they proved once more that there’s only ever been and there only ever will be one Weedeater. Accept no substitutes.

Mirror Queen

Mirror Queen (Photo by JJ Koczan)

Let’s face it: you’re never going to beat Weedeater at their own game. Luckily for all involved, Mirror Queen were on a different wavelength entirely. Their progressive-tinged classic heavy rock is a staple of New York’s underground, and with guitarist/vocalist Kenny Sehgal‘s dual-role as the head of Tee Pee Records, their inclusion was all the more fitting. The four-piece, with Morgan McDaniel on guitar, James Corallo on bass and Jeremy O’Brien on drums, bounced and careened through a set that acquitted them well with the Desertfest crowd — doubly fortunate since they’ll be in Berlin soon enough — and asked nothing by way of indulgence while bringing to bear material of melody and weight that wanted neither in perspective or delivery. Mirror Queen have been around, and have had their share of lineup turnover, but the band as they are now was only engaging, and to those familiar with them and not in the crowd, they were a return to consciousness after the bash over the head that the main stage had just delivered. Heavy rock and roll is always welcome, and Mirror Queen were a fitting reminder why.

Windhand

Windhand (Photo by JJ Koczan)

Like Weedeater before them, like Black Cobra the night prior and like Monolord and Elder to follow the next day, Windhand were not an unknown quantity, but for a festival brand feeling its way out in a hard city, they made perfect sense for the bill, and their doom was absolutely massive in the tent that held the main stage. I had been thinking after The Skull played that there was no doom left for anyone else — and certainly Windhand‘s 2018 album, Eternal Return (review here), had more going on than just that — but the Richmond, Virginia, four-piece managed to scrape enough together in order to feel like they were burying the crowd alive in low end. I will gladly argue for Windhand as being among the most important bands of their generation, particularly for those who’ve come up since and have taken influence from the sense of atmosphere they bring to their material in the studio and on stage, and though they had a hard act to follow on the main stage, they lived up to even the mighty expectations that are placed on them at this point wherever they go. They are a headlining band, full stop. They’ve worked hard to become one, and they deserve every bit of significant acclaim they’ve garnered over the years, while still sounding like they want nothing more than to move forward.

Steak

Steak (Photo by JJ Koczan)

Ambassadors from London’s populous heavy underground, Steak were nothing short of a refreshing way to close out the night. They’ve been a staple act of Desertfest London, which guitarist Reece Tee is also involved in organizing via Desertscene, as he was with Desertfest New York, so like Mirror Queen, they also had a family connection to the proceedings, but even their soundcheck drew a crowd keyed in to the fuzz tone and heavy roll they let loose. They were not halfway through the first song before frontman Chris “Kippa” Haley was standing on the front-of-stage riser, and he’d spend a goodly portion of the set up there, toasting the crowd and personifying the entire band’s really-glad-to-be-here mood, which was infectious. They too packed out the second stage room and held the crowd for the duration, begging a revisit for 2017’s No God to Save (review here) and showing off the development in their dynamic since which is set to manifest on their next record, due out before they play Keep it Low in Munich this October. Seeing them live for the first time in I don’t even want to count how many years only made me look forward to that more, whenever and however it might actually show up, and for the first Desertfest New York, they hit stage like a mission statement of what the festival brand is all about, from top to bottom. It was right on and then some.

It was not a small amount of day. As of now, it’s about two hours until it’s time to get back on the road from New Jersey to Brooklyn for the third and final round with Desertfest New York. The weather thus far seems to be uncooperative, but we’ll see how it all pans out this afternoon. Shower first. Shower first.

That’ll be good.

More pics after the jump. Thanks for reading.

Read more »

Tags: , , , , , , , , , , , ,

Psycho Las Vegas 2019 Announces Psycho Swim Pool Party with C.O.C., Lucifer, Danava and More

Posted in Whathaveyou on April 5th, 2019 by JJ Koczan

You know, last year, when Psycho Last Vegas hosted the likes of Bell Witch and Wolves in the Throne Room at its Pool Party pre-show (review here) in the 100-plus degree heat, the “this I gotta see” factor was pretty high. The tone of spectacle that the Pool Party sets is in no small part a defining factor for what makes Psycho Psycho. And by that I mean it’s completely insane, front to back, concept to execution, and yet somehow it not only works, but works well. You’re gonna put Primitive Man — one of the most abrasive, filthiest-sounding, heaviest acts on the planet right now, on a stage used for poolside dance parties and techno nights? How does this even make sense?

It doesn’t need to. Corrosion of Conformity headline the newly-christened Psycho Swim — because you’re god damn right they do — and Lucifer, Danava, ASG, indeed, Primitive Man, Idle Hands, Howling Giant and Thrown into Exile will play. It’s the biggest Pool Party yet that Psycho has hosted, because duh, of course it is, and it seems that as the fest itself continues to scale upward on just about every level — creative scope, reach of the acts it pulls in stylistically and geographically, and the number of venues and attendees — it’s bringing the Pool Party along for the ride. All the better.

Lineup and ticket info follow. It’s going to be limited space, so keep that in mind before you get stoned and try to wander in late or something.

Dig:

psycho swim

PSYCHO SWIM 2019

Official Psycho Las Vegas 2019 pre-party Aug. 15. Daylight Beach Club, Mandalay Bay Resort & Casino.

CORROSION OF CONFORMITY
LUCIFER
DANAVA
ASG
PRIMITIVE MAN
IDLE HANDS
HOWLING GIANT
THROWN INTO EXILE

limited to 1500 people, 300 vips get in for free and receive private cabanas and dipping pools as part of the psycho vip experience….tickets are only available online while supplies last. tickets are $35 & $55.

https://www.facebook.com/events/2035404693146567/
https://www.facebook.com/psychoLasVegas/
https://www.instagram.com/psycholasvegas/
http://vivapsycho.com

Corrosion of Conformity, Live in Atlanta, GA, Feb. 23, 2019

Tags: , , , , , , , , , , ,

Desertfest NYC 2019 First Lineup Announcement: Windhand, Elder, Monolord, The Skull, The Atomic Bitchwax, Danava, Mirror Queen, Worshipper and Dommengang to Play

Posted in Whathaveyou on November 27th, 2018 by JJ Koczan

DESERTFEST NYC 2019 BANNER

I’m not trying to toot my own horn here or anything, but I’ve been posting about Desertfest lineups pretty much since the whole thing started. And to me, this already looks like a Desertfest. The first lineup announcement for Desertfest NYC 2019 has been made, and the inaugural New York incarnation of the festival brand in partnership with Sound of Liberation and Tee Pee Records seems to represent multiple sides well. Windhand and their new Relapse labelmates Monolord are given prominent showing, as are Elder — because, let’s face it, if you’re running the first-ever Desertfest on US soil and you don’t get Elder to play, you’re fucking up — and Tee Pee Records is well represented with the likes of The Skull, The Atomic Bitchwax, Danava, Mirror Queen and Worshipper.

Rounding out the bill are L.A.’s Dommengang, who would seem to be the odd band out, but one listen to their Love Jail album that Thrill Jockey put out and you’ll see it’s no mystery why they’re here. I wouldn’t be surprised if they wound up touring east with another West Coast band — Danava come immediately to mind — but of course nothing to that effect has been announced and I’m just speculating.

Point is it’s already a solid bill and in addition to the bands, we now know that the venues involved will be the Saint Vitus Bar and The Well. I’ll have more on the lineup and whatnot as soon as I see it, but early bird tickets are on sale now at the long link below.

Dig it:

DESERTFEST NYC 2019 POSTER

FIRST ACTS ANNOUNCED FOR DF NYC + EARLY-BIRDS NOW ON SALE! We are stoked to welcome Windhand, Elder, Monolord, The Skull, The Atomic Bitchwax, DANAVA, Mirror Queen, Worshipper & Dommengang to the first edition of Desertfest New York – Taking place at Saint Vitus Bar on Friday 26th April and The Well on Saturday 27th April + Sunday 28th April.

A limited amount of 3-day early-bird passes are available for $65 via the below link – https://www.ticketweb.com/event/desertfest-nyc-2019-the-well-tickets/8942735?pl=thewell&fbclid=IwAR28zNtuppWWRVoi3vCXRkeGIg4wOD4FShfPgjbIPDGiOGPDOzbL2vj_UWE

Artwork by the wildly talented Mercerrock (Brian Mercer Design)

https://facebook.com/Desertfestnyc/
http://www.desertfest.nyc/

Monolord, Rust (2017)

Tags: , , , , , , , , , , , ,

Quarterly Review: 40 Watt Sun, Worm Ouroboros, The Heads, Jason Simon, Danava, Pylar, Domkraft, Picaporters, Deamon’s Child, Fungal Abyss

Posted in Reviews on December 30th, 2016 by JJ Koczan

the obelisk winter quarterly review

We press on with the Quarterly Review and writeups #41-50 of the total 60 to be featured. Some considerable names in this batch, as I suppose there have been all along, but one of the functions this feature has come to serve is to allow me a space to offer some comment on bigger records that, let’s be frank, are being covered everywhere in the universe, while fleshing out coverage elsewhere of things like bands’ debuts and some other less-ubiquitous offerings. That’s become the idea anyway. Doesn’t always go like that, but it’s kind of a relief to have somewhere I can put the extra 200 reviews per year rather than miss out. We’ll wrap this one up on Monday, but just because it’s the end of the week and because it’s my general sentiment, thanks for reading.

Quarterly Review #41-50:

40 Watt Sun, Wider than the Sky

40 watt sun wider than the sky

With their second album, the awaited Wider than the Sky, London’s 40 Watt Sun continue to be defined by their depressive expressionism. The six-track/62-minute follow-up to 2011’s The Inside Room (review here) finds guitarist/vocalist Patrick Walker (ex-Warning), bassist William Spong and drummer Christian Leitch opening with the longest inclusion (immediate points) in the gorgeously mournful 16-minute unfolding of “Stages.” Sonically lush but still somehow raw and minimal in its emotionality, a slow drear sets the tone for what will follow in “Beyond You” and “Another Room,” “Pictures and “Craven Road,” which alternate on either side of the 10-minute mark until closer “Marazion” (3:57) seems to resonate a less-hopeless spirit. More than The Inside Room, Wider than the Sky realizes itself in emotional rather than tonal weight, and while one often identifies these feelings with things cold and grey, it would require a willful blindness not to recognize the humanity and warmth coming through in Walker’s delivery of this material. Wide it may be, but not at all distant.

40 Watt Sun on Thee Facebooks

40 Watt Sun website

 

Worm Ouroboros, What Graceless Dawn

worm ouroboros what graceless dawn

The duality of Worm Ouroboros’ third album for Profound Lore, What Graceless Dawn, is almost as prevalent as the irony that its title should include the word “graceless” when the 63-minute six-tracker itself is so melodically poised. It’s dark, but hopeful, spacious and compact, challenging but simply and often minimally arranged, patient and emotionally intense, and heavy even as it seems to float from one extended piece to the next on a current of intertwining, nigh-operatic vocals from bassist Lorraine Rath (ex-Amber Asylum) and guitarist Jessica Way (World Eater) while Aesop Dekker (Agalloch, Vhöl) seems just as comfortable in the quiet midsection stretch of 13-minute centerpiece “Ribbon of Shadow” as in the rumbling payoff of “Suffering Tree” just before. Running from opener “Day” to closer “Night,” What Graceless Dawn is nothing if not coherent, and while the band’s core approach has been largely consistent across their 2010 self-titled debut (review here) and 2012’s Come the Thaw, the Bay Area trio maintain a clear commitment to forward-moving artistry that stirs the consciousness.

Worm Ouroboros on Thee Facebooks

Profound Lore Records website

 

The Heads, Burning up With: Live at Roadburn 2015

the heads burning up with

I was fortunate enough to be there when UK heavy psych legends The Heads played the Main Stage set at Roadburn 2015 captured on the Burning World Records release Burning up With…, and indeed the preservation of the band’s utter liquefaction of that large room is well worth preserving across the four sides of a double-LP. The only drawback to a vinyl version of their set is that while the individual songs are presented as side-consuming medleys – “Cardinal Fuzz/KRT,” “Gnu/Legevaan Sattelite/U33,” and so on – that still requires some measure of break to flip from one to the next, whereas in the all-at-once linearity of a CD or digital listen, one finds the overwhelming lysergic proceedings intact as they were from the stage, gloriously molten and entrancingly jammed out by the longtime masters of the form. I won’t even attempt to give its spaciousness a proper assessment since just about anything The Heads do is a gift defying impartiality, especially something like this, but yeah, get on it.

The Heads on Thee Facebooks

Burning World Records website

 

Jason Simon, Familiar Haunts

jason simon familiar haunts

Back in 2010, Dead Meadow frontman Jason Simon released an eponymous solo debut on Tee Pee that found him working in a folkish sphere, and his six-years-later follow-up, Familiar Haunts (on Tekeli-Li, Cardinal Fuzz, Burger Records and Blind Blind Tiger), has some of those elements as well on the twanging, finger-plucking “Pretty Polly” and subdued strum of “Seven Sisters of Sleep,” but Simon has also assembled a four-piece band here, and from the pickup of opener “The People Dance, the People Sing,” through the fuzz experimentalism of “Now I’m Telling You” and the airy linear build of the penultimate 11-minute highlight “Wheels Will Spin,” there’s no lack of fullness in the sound. One finds a particularly engaging blend on “Hills of Mexico,” a six-minute rambler that fluidly brings together neofolk and desert ambience, though as Simon and company play sounds off each other in this material, “engaging blend” would seem to be the underlying theme of Familiar Haunts as a whole.

Jason Simon on Bandcamp

Cardinal Fuzz Records

 

Danava, At Midnight You Die

danava at midnight you die

Over a decade removed from their 2006 self-titled debut and five years past their third album, 2011’s Hemisphere of Shadows, one might easily argue that Portland, Oregon’s Danava are due for a full-length release. Sure, the band led by guitarist/vocalist Gregory Meleny have toured plenty in that time in the US and abroad, put out splits and so on, and that has consistently and organically grown their fanbase. Sating that fanbase would seem to be the motivation behind the two-song 7” At Midnight You Die (on Tee Pee), on which the titular A-side finds the four-piece making the most of their dual guitars – Meleny and Pete Hughes (Sons of Huns) shredding in proto-NWOBHM fashion – while the B-side takes on the bizarre and foreboding folk ambience of “My Spirit Runs Free,” short at three minutes, acoustic and sourced from 1979’s The Capture of Bigfoot. So yeah, it’s like that. No new record, but a ripper and some delightful weirdness on hand, and I suspect at this point many of their followers will take what they can get.

Danava on Thee Facebooks

Danava at Tee Pee Records

 

Pylar, Pyedra

pylar pyedra

Some bands are just on their own wavelength, and as much as one might be tempted to relate Sevilla’s Pylar to SunnO))) with their robes and their drones, the Spanish troupe’s four-track full-length, Pyedra (on Alone Records), sees them emitting a slew of horrors all their own. Working as a five-piece, Pylar open with “Menga” (10:57), their longest cut (immediate points) and establish a basis of amelodic, largely arrhythmic noise-jazz. There are more straightforward currents in the subsequent rumble and roll of “Megalitos” (10:33), and “Menhir” (9:37) would seem to draw both sides together before “Meteoros” (9:07) rounds out with an airy, horn-topped alternate-universe victory, but the whole of Pyedra remains informed by the way-off-kilter challenge it poses at the outset, and part of the thrill is making your way through with no idea of what’s coming next other than another extended song beginning with the letter ‘m.’ Will be too much for some, but Pylar’s bleak experimentalism assures cultish appeal worthy of those robes the band wears.

Pylar on Bandcamp

Pylar at Alone Records

 

Domkraft, The End of Electricity

domkraft the end of electricity

Proliferating a combination of speaker-punishing low-end riffs and post-rock-derived spaciousness, Swedish trio Domkraft debut on Magnetic Eye Records with the wholesale immersion of The End of Electricity and evoke heft no less substantial than their stated theme. They begin with their two longest tracks (which I guess is double points?) in “The Rift” and “Meltdown of the Orb,” and by the time they’re through them, bassist/vocalist Martin Wegeland, guitarist Martin Widholm and drummer Anders Dahlgren have already doled out a full LP’s worth of nod, which would seem to make what follows after the momentary breather of “Drones” in “Red Lead,” “All Come Hither” the shorter “Dustrider” and closer “We Will Follow” a bonus round – in which Domkraft also dominate. Because its heavy is so heavy and because Wegeland’s vocals arrive across the board as far-back, shouted echoes, it’s easy to lose sight of the ambience that goes with all that roll, but what ultimately gives The End of Electricity such character is that it creates as much of a world as it destroys.

Domkraft on Thee Facebooks

Magnetic Eye Records on Bandcamp

 

Picaporters, El Horror Oculto

picaporters el horror oculto

Back in 2013, Buenos Aires outfit Picaporters made an encouraging debut with Elefantes (review here). They’ve teased the follow-up, El Horror Oculto (on South American Sludge), over the last year-plus with several digital singles, but the album’s arrival hits with a distinct fleshing out of atmosphere, as heard on the grueling second cut “Diferentes Formas de Ostras” or the manner in which the centerpiece title-track departs from its raucous opening into a heavy-psychedelic meander, never to return, feeding off of the structure of “Humo Ancestral” directly before. An interlude “Etude 6” leads into the opening drift of “Ra,” but it’s a ruse as Picaporters offer some of the album’s most driving heavy rock in that cut’s second half, and close out with Sabbath-darkness-via-Zeppelin-noodling on “War is Over,” the trio coming together in a molten psychedelic doom that seems to draw from the various sides they’ve shown throughout without losing sight of pushing further in its summary.

Picaporters on Thee Facebooks

South American Sludge Records on Thee Facebooks

 

Deamon’s Child, Scherben Müssen Sein

deamon's child scherben mussen sein

It would be a mistake to judge Deamon’s Child’s second full-length, Scherben Müssen Sein (on Zygmatron), by any single one of its tracks, as the German trio makes plain in the dramatic shift from the crushing sludge of “Zucker” into the raw punk thrust of the subsequent “Keine Zeit.” Elsewhere, they find funky footing before punking out once again in “Schweinehund, Kimm Tanz Mit Mir!” and rumble the outing to a finish consuming in its largesse on the 10-minute “Nichts,” so yes, as they follow-up their 2014 self-titled debut (review here), Deamon’s Child hold fast to the sense of the unhinged proffered therein while uniting their material through an intensity that comes across regardless of tempo or surrounding purpose. They are on the beat, not behind it, pushing forward always. That can make Scherben Müssen Sein difficult to keep track of as it moves swiftly through the blast of “Monster” and the manipulated samples of “In Kinderschuhen” toward that finale, but the mission here is far, far away from easy listening, so all the better.

Deamon’s Child on Thee Facebooks

Deamon’s Child on Bandcamp

 

Fungal Abyss, Bardo Abgrund Temple

fungal abyss bardo abgrund temple

Adansonia Records offers a bonus-track-laden revisit of the 2011 debut release, Bardo Abgrund Temple, from Seattle shroom-jammers Fungal Abyss, whose improvisational sensibility comes through the original four extended cuts with no diminishing of their otherworldly trip-out for the half-decade that’s passed since they first surfaced. Those looking for a US counterpart to European psych-improv outfits like Electric Moon or Øresund Space Collective – i.e., me – would do well to dig into opener “Arc of the Covenant” (20:12) or closer “Fungal DeBrist” (24:07) as a lead-in for the earlier-2016 follow-up, Karma Suture (review here), as well as their companion live outings, but whatever contextual approach a listener might want to take, the instrumental stretch of Bardo Abgrund Temple is a serenely heavy and meandering path to walk, given to bouts of space-rock thrust and long passages of low-end droner nod, as heard on the 10-minute “Timewave Zero,” turned on and duly ritualized in its swirl and far-off vocalizations. A reissue well-earned of a gracefully cosmic debut.

Fungal Abyss on Thee Facebooks

Adansonia Records on Thee Facebooks

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Giveaway: Enter to Win a 3-Day Pass to Northwest Hesh Fest 2016!

Posted in Features on September 12th, 2016 by JJ Koczan

northwest-hesh-fest-2016-poster

[TO ENTER GIVEAWAY: Leave a comment on this post with your email address in the form. You’ll be contacted at that address if you win.]

Sorry, but the lineup here pretty much sells itself. Over three nights, Sept. 22-24, at Dante’s in Portland, Oregon, Northwest Hesh Fest 2016 will host:

Night 1:
Red Fang
American Sharks
Witch Mountain

Night 2:
Uncle Acid and the Deadbeats
Danava
Banquet

Night 3:
Deafheaven
The Blood Royale
Diesto
Greenbeard

If you enter now by leaving a comment on this post, you can win a three-day pass to see all of the above and get a limited, signed screenprint of the poster shown here, of which only 100 are being made. Obviously, you need to get your ass to Portland — if I could afford to fly you in, I would, believe me — but barring for anyone in that part of the world who’s maybe been on the fence about going or just hasn’t managed to buy tickets yet, yeah, entering seems like it would be kind of a no-brainer. High “duh” factor and whatnot.

For the headliners alone, never mind the chance to see locals like Witch Mountain, Danava and Diesto tear it up alongside imports from Austin, Texas, like American Sharks, The Blood Royale, Banquet and Greenbeard, essentially pairing two of the country’s strongest scenes — Portland and Austin — and topping it not only with the Pacific Northwest’s number one heavy rock export in Red Fang, but bringing up Uncle Acid and the Deadbeats on their tour with The Shrine, as well as Deafheaven, who seem to divide opinion everywhere they go while consistently drawing a crowd from both sides of the argument.

Killer lineups, killer shows, free pass and free poster. Like I said, it sells itself. One winner picked a week from today. Thanks to all who enter and to American Icon for letting me host the giveaway.

[TO ENTER GIVEAWAY: Leave a comment on this post with your email address in the form. You’ll be contacted at that address if you win.]

Northwest Hesh Fest on Thee Facebooks

Northwest Hesh Fest 2016 tickets at Eventbrite

Tags: , , , , , , , , , , , , , ,

Northwest Hesh Fest 2016 Announces Lineup with Red Fang, Uncle Acid and Deafheaven Headlining

Posted in The Obelisk Presents, Whathaveyou on June 22nd, 2016 by JJ Koczan

Last year, The Obelisk was proud to be among the presenters for the Northwest Hesh Fest, and it looks like Northwest Hesh Fest 2016 — set for Sept. 22-24 at Dante’s in Portland, Oregon — will be no different. I’ll have a ticket giveaway closer to the event, so keep an eye out for that, and the festival has just unveiled the lineup for each night, and it brings some formidable names.

Headliners are Red FangUncle Acid and the Deadbeats, and Deafheaven, which I think would probably be enough on their own to draw a three-night crowd, but they’re joined by American Sharks, native Portlanders Witch MountainDiesto and Danava, as well as The Blood RoyaleBanquet and Greenbeard.

American SharksGreenbeard and The Blood Royale hail from Austin, Texas, which makes sense as a complement to the Portland acts since American Icon, which puts together the festival, is based there as well. Of the non-headliner acts, that’s as far east as Northwest Hesh Fest 2016 looks, but in bringing aboard UK garage doom forerunners Uncle Acid and the Deadbeats, it extends its reach internationally for the first time. That’s a hell of an opening salvo to the rest of the world.

More to come as we get closer to September and the fest itself, but American Icon announced the lineup today and tickets are now on sale both for the individual nights — for which you can see the complete lineup breakdown below — and for a combined three-night pass. I won’t tell you what to do with your time, but this looks like an awful lot of fun:

NORTHWEST HESH FEST 2016

Sept 22-24 @ Dantes in Portland Oregon
RED FANG-UNCLE ACID & THE DEADBEATS-DEAFHEAVEN
American Sharks-Witch Mountain-Danava
The Blood Royale-Diesto-Banquet-Greenbeard

9/22/16
Red Fang, American Sharks, Witch Mountain
http://www.ticketweb.com/t3/sale/SaleEventDetail?eventId=6780785&pl=dante&dispatch=loadSelectionData

9/23/16
Uncle Acid & The Deadbeats, Danava
http://www.ticketweb.com/t3/sale/SaleEventDetail?eventId=6776535&pl=dante&dispatch=loadSelectionData

9/24/16
Deafheaven, The Blood Royale, Greenbeard, Diesto, Banquet
http://www.ticketweb.com/t3/sale/SaleEventDetail?eventId=6780605&pl=dante&dispatch=loadSelectionData

Northwest Hesh Fest Three-Day Pass

Northwest Hesh Fest event page

Northwest Hesh Fest on Thee Facebooks

Tags: , , , , , , , , , , , , , ,

Uncle Acid and the Deadbeats Announce US Tour with Danava and The Shrine

Posted in Whathaveyou on June 20th, 2016 by JJ Koczan

uncle acid and the deadbeats

UK garage doom forerunners Uncle Acid and the Deadbeats will use Psycho Las Vegas as the launch point for a coast-to-coast US tour joined by Danava and The Shrine. The band, who were also announced as headliners for North West Hesh Fest, which caps the run on Sept. 23 at Dante’s in Portland, Oregon, seem to be hitting some places beyond the major markets this time around — granted they’re still in Brooklyn, Dallas, L.A., Chicago, etc., but they’ll be at The Orange Peel in Asheville, North Carolina, and The Stone Pony in Asbury Park, New Jersey, too, which finds them digging deeper into the US circuit than they have in the past. Of course, they’ll likely draw just about anywhere, so all the better as they continue to support last year’s fourth outing, The Night Creeper (review here), on Rise Above Records.

Just off the PR wire:

uncle acid tour poster-700

UNCLE ACID & THE DEADBEATS Announce Details of North American Tour

The UK’s greatest cult band, UNCLE ACID & THE DEADBEATS, have announced details of a run of North American dates beginning at the end of August and running through September.

The dates are as follows:

UNCLE ACID With Danava and The Shrine:
8/27: Las Vegas, NV @ Psycho Fest*
8/28: Los Angeles, CA @ Fuck Yeah Fest*
8/29: Phoenix, AZ @ Club Crescent
8/31: Dallas, TX @ Trees
9/2: Birmingham, AL @ The Saturn
9/3: Atlanta, GA @ Terminal West
9/4: Tampa, FL @ State Theater
9/6: Asheville, NC @ The Orange Peel
9/7: Richmond, VA @ Broadberry
9/8: Washington, DC @ The Howard Theater
9/9: Asbury Park, NJ @ Stone Pony
9/10: Brooklyn, NY @ Music Hall of Williamsburg
9/12: Detroit, MI @ The Majestic
9/13: Chicago, IL @ Metro
9/15: Denver, CO @ Gothic Theater
9/16: Colorado Springs, CO @ Rawkus
9/17: Salt Lake City, UT @ The Complex
9/19: Boise, ID @ Neurolux
9/20: Missoula, MT @ The Wilmna
9/22: Seattle, WA @ El Corazon
9/23: Portland, OR @ Dante’s*

*Festival Appearance

They released their breakthrough album Blood Lust in 2011, a homage to British Hammer and folk horror films of the 1970s, a candle-lit head-trip of withered hands, ritual knives and gallows ropes. Mind Control (2013), their third album, looked further afield, to the post-Charles Manson US for inspiration: Jim Jones dosing the Kool-Aid. Blue Cheer, Blue Oyster Cult and B-movie biker movies. War, Watergate, serial killers and suicidal TV evangelists.

www.acidcoven.com
www.facebook.com/uncleacid

Uncle Acid and the Deadbeats, Live in Athens, May 20, 2016

Tags: , , , , ,

Psycho Las Vegas Announces Initial Lineup

Posted in Whathaveyou on January 20th, 2016 by JJ Koczan

psycho las vegas banner

In the fine tradition of, well, last year’s Psycho fest, 2016’s Psycho Las Vegas has announced an overwhelmingly impressive initial group of acts for its lineup, including some of the finest North America has to offer and choice imports. Notable in that category are Candlemass, The Crazy World of Arthur Brown, Colour Haze, Mars Red Sky, Belzebong, Øresund Space Collective and The Cosmic Dead, and they’re joined by returning figureheads Sleep and Pentagram, who headlined the 2015 Psycho California fest, along with YOB, Down, Mudhoney, Acid King, Fu Manchu and a whole host of others listed below.

The truly insane part about Psycho Las Vegas is that, like last year with Psycho California, the lineup is staggered, so this isn’t it. On Valentines Day, the festival will announce its full lineup of acts, which I’m just going to go out on a limb and assume includes everyone else on earth, and then after that, in March, they’ll follow up again with the headliners. So what we learn today is that 2015’s headliners will have someone playing over them. I don’t know who, or how that could be possible, but you can bet your ass I’m anxious to find out.

All the details so far unveiled about Psycho Las Vegas, as well as the link to purchase tickets, appear below:

psycho las vegas poster

PSYCHO LAS VEGAS 2016

Neon Knights arrive and ignite the the city of light in a sleepless celebration of heavy culture. High rollin’ low lifes will low roll the high life at the world famous Hard Rock Hotel and Casino in “Sin City”, Las Vegas. For three straight days, from August 26th through the 28th, born losers win as Psycho Las Vegas holds a rock steady hand of bands, performance artists, tattoo artists, art exhibits, a black light chamber, custom van and chopper show, pinball arcade, and much more.

Psycho Las Vegas sins and grins two blocks south of the strip at the expansive Hard Rock Hotel and Casino. The high-octane Rock ‘n’ Roll-themed casino resort hosts three stages; The Joint, which is a main stage, Vinyl, the rock club and out under the desert night sky is the second main stage, The Pool Stage. Experience live music, 24 hours a day.

In between bands and bets, ride outside to the venue’s open lot and witness the most bitchin’ rides this side of Death Valley at Psycho’s first ever custom van and chopper show!

Psycho Las Vegas features some of the most revered screen printed poster artwork with an exclusive exhibition from commissioned Psycho Las Vegas artist David D’Andrea. D’andrea, who returns to Psycho for a second year, created all the official festival artwork. Attendees will be able to eternally commemorate the event on their own walls with signed, limited edition works from D’Andrea.

Psycho Las Vegas acts and events were co-curated with music scene stalwart Sean “Pellet” Pelletier. (“Last Days Here” documentary) “Thief Present’s ‘Psycho’ festivals are visionary and have consecutively been the number one music event I’ve want to attend since they’ve started”, said Pellet. “I’ve been dreaming about putting on a cool culture and music festival for quite some time and I jumped at the chance to help us all go psycho in Las Vegas! The event is a celebration of subculture and a spiritual gateway for all of us into sonically connected sub-genres of heavy rock that hopefully, some of which, may be new to our senses. I’m booking bands that I’ve always personally wanted to see and have requested setlists that we’ve all wanted to hear.”

Among the first string of live acts announced will be hard rock legends, BLUE OYSTER CULT with a set heavy on their early songs that have inspired so many great bands over the years. Mark Arm and Steve Turner, also both of Green RIver-fame, will remind us why MUDHONEY are heralded as essential grandfathers of grunge. English psych rock pioneer, THE CRAZY WORLD OF ARTHUR BROWN returns to America with a performance sure to highlight where groundbreaking artists such as Kiss, Alice Cooper, and Ghost may have gotten some of their ideas. We’ve reunited proto-metal masters TRUTH AND JANEY who will appear for an exclusive live set to celebrate the 40th anniversary of their underground classic debut, “No Rest For The Wicked”! “A Band Called Death” documentary film stars DEATH, pulsate the pool stage and will show us why they are finally considered one of the first Detroit punk bands. Germany’s top psychedelic stoners COLOUR HAZE have chosen the festival for a rare US manifestation that’s sure rise us all high above the neon. Swedish doom metal ministers CANDLEMASS come crushing in yet another one of Psycho Las Vegas’s special performances. Stay tuned for the announcement of even more acts, over 60 in total, over the next few months.

Thief presents
Friday, August 26, 2016 at 12:00 PM – Sunday, August 28, 2016 at 12:00 AM (PDT)
Las Vegas, NV

SLEEP
BLUE ÖYSTER CULT
CANDLEMASS
DOWN
THE CRAZY WORLD OF ARTHUR BROWN
MUDHONEY
COLOUR HAZE
PENTAGRAM
FU MANCHU
ACID KING
DEATH (Detroit)
YOB
BELZEBONG
ORESUND SPACE COLLECTIVE
DANAVA
TRUTH AND JANEY
GOLDEN VOID
JUCIFER
BONGRIPPER
MARS RED SKY
A STORM OF LIGHT
CAVE OF SWIMMERS
THE COSMIC DEAD

ACCOMMODATIONS
Join the bands and crew at the Hard Rock Hotel & use the code: Psych16 at checkout to recieve 30% off your rooms.

ANNOUNCEMENT SCHEDULE
1/20 – “Warm up” Tickets Onsale 8am pst
2/14 – Full Lineup (60+ acts)
3/15 – Headliners Revealed
5/4 – Van/Chopper & Alt Exhibitions

http://www.eventbrite.com/e/psycho-las-vegas-2016-tickets-20777507083
WWW.PSYCHOLV.COM
WWW.HARDROCKHOTEL.COM

Sleep, Live at Psycho California

Tags: , , , , , , , , , , , , , , , , , , , , , , , ,