Posted in Whathaveyou on February 3rd, 2017 by JJ Koczan
Heavy Psych Sounds enters the Spring festival game with Sonic Ritual Fest 2017. The announcement of the new fest comes only days after a Heavy Psych Sounds night was also confirmed for Desertfest Berlin 2017 (info here), and as Sonic Ritual will take place over the course of two nights in three different cities in two different countries, it’s nothing if not an ambitious rollout. That’s before you get to the lineup, which spans Europe and both coasts of the US in its scope, importing acts like desert rock legends Yawning Man and Philly cosmic rockers Ecstatic Vision to play alongside Scotland’s The Cosmic Dead and Italian spaceheads Giöbia.
Sonic Ritual Fest 2017 is intended as a springtime companion to the fall’s Heavy Psych Sounds Fest, so we’ll have to see over time how the two develop, but the idea off the bat of a multi-city approach over subsequent nights, with two different packages that then converge for one huge blowout is a pretty cool way to start. Heavy Psych Sounds still has two more bands to add to the Athens show for May 19, so I’ll be keeping an eye open to see who makes the cut. Perhaps a native Greek act or two would fit the profile? Could be just about anybody, I suppose. There doesn’t seem to be much that’s out of HPS‘ reach these days.
Info and ticket preorder links follow:
Sonic Ritual Fest 2017
HEAVY PSYCH SOUNDS Records & Booking Is really happy to unveil the line ups for the SONIC RITUAL FEST
May 19 IT Ravenna-Bronson: GIOBIA THE COSMIC DEAD ECSTATIC VISION ISTVAN
May 19 GR Athens-An Club: YAWNING MAN DUEL +2 more bands to be announced!
May 20 IT Bloom-Mezzago: YAWNING MAN GIOBIA THE COSMIC DEAD DUEL ECSTATIC VISION DOCTOR CYCLOPS ANANDA MIDA THE CLAMPS
Posted in Whathaveyou on February 1st, 2017 by JJ Koczan
A couple weeks ago when Desertfest Berlin 2017 announced Saint Vitus as its final headliner, the festival noted that it was in the process of partnering with other promoters on smaller shows to surround the fest proper and, ultimately, enrich it. I’m assuming that this teaming up with Italian imprint Heavy Psych Sounds to bring Farflung, Giöbia, Duel and Glitter Wizard to the bill is the first realization of that idea. Hard for them to pick a better first pairing, frankly. I’ve gone on at length about the depth of work Heavy Psych Sounds has done over the last however many years, so I’ll spare you that, but suffice it to say they’ve more than earned this showcase, and if anything, they could no doubt add to it easily.
Still, a cool addition for Desertfest Berlin 2017. From the PR wire:
We are thrilled to announce four more bands today, all invited by the Italian label Heavy Psych Sounds Records! Heavy Psych Sounds specializes in Heavy Psych, Stoner, Retro Rock, Vintage Rock, Proto Punk, Sludge, Acid Rock, Doom, Space Rock, 70 Rock, Garage Psych and Fuzz Blues. They released more than 50 albums with great bands such as Nick Oliveri, Karma To Burn, Black Rainbows, Farflung, Fatso Jetson, Mos Generator, The Freeks, Glitter Wizard, Wedge, Sgt Sunshine and many more!
FARFLUNG (USA) Internationally recognized as torchbearers in the contemporary space rock scene, Los Angeles-based cult band Farflung is ready to bring the universe sound at DesertFest Berlin! Imagine, as if the bastard child of Amon Duul ii and Hawkwind arose from the ashes of America… stark and glimmering… bathed in the energetic glow of the Stooges… one last cup raised to the lunatics and wishing for wounds… They have set their course for the farthest reaches of the universe…
GIÖBIA (IT) Giöbia has been one of the most influential psychedelic bands in Italy over the last years. Seduced by the lysergic side of the ‘60s, by exotic mantras and the evocative power of space-rock, Giöbia is a band with many facets and one only faith, that is to turn every encounter with sound into a psychedelic experience.
DUEL (USA) Duel is heavy psychedelic stoner doom metal from Austin, Texas, hugely influenced by the darker sounds of early 70’s Proto-metal. The band features two ex Scorpion Child (Nuclear Blast) members. Their sound is menacing and brutally old school. Total purists, their tunes cut right to the bone with heavy, deep groove and blistering tone. Tough and Loud! Hard rock as it should be!
GLITTER WIZARD (USA) This band of California rifflords pillage the best of vintage hard rock while keeping their laser eyes on the future, creating a unique brand of oddball psychedelia. Their onstage performance is a glammed-up force to be reckoned with and they’ve been taking their act on the road from the West Coast all the way to Europe.
Previously confirmed for this year’s DESERTFEST BERLIN: SLEEP, JOHN GARCIA & BAND (playing songs from Kyuss to Slo Burn), SAINT VITUS, BONGZILLA, SAMSARA BLUES EXPERIMENT, MARS RED SKY, LOWRIDER, 1000MODS, STONED JESUS, TOUNDRA, ECSTATIC VISION, SUMA, MAMMOTH MAMMOTH, THE COSMIC DEAD, PONTIAK, TUBER, SATAN’S SATYRS, WUCAN, VENOMOUS MAXIMUS, THE WELL, GOLD, RIFF FIST, ODD COUPLE, TSCHAIKA 21/16.
DESERTFEST BERLIN 2017 will feature more than 50 bands in total! Remember that you have until Wednesday, February 1st to buy your tickets for 85€ (visit our Website, or use the links below in this release). After that, the weekend pass will be 95 €.
Posted in Features on January 23rd, 2017 by JJ Koczan
Looks like it’s going to be another busy 12 months ahead. It’s been a busy better-part-of-a-month already, so that stands to reason, but you should know that of the several years now that I’ve done these ‘Tomorrow’s Dream’ posts, this is the biggest one yet, with over 150 upcoming releases that — one hopes — will be out between today and the end of 2017.
Actually, at last count, the list tops 180. Do I really expect you to listen to all of them? Nope. Will I? Well, it would be nice. But what I’ve done is gone through and highlighted 35 picks and then built lists off that in order of likelihood of arrival. You’ll note the categories are ‘Gonna Happen and/or Likely Candidates,’ ‘Definitely Could Happen’ and ‘Would be Awfully Nice.’
Beyond that last one, anything else just seems like speculation — one might as well go “new Sabbath this year!” with zero info backing it up. The idea here is that no matter where a given band is placed, there has been some talk of a new release. In some cases, it’s been years, but I think they’re still worth keeping in mind.
Another caveat: You can expect additions to this list over the next week — probably album titles, band names people (fingers crossed) suggest in the comments, and so on — so it will grow. It always does. The idea is to build as complete a document as possible, not to get it all nailed down immediately, so please, if you have something to contribute and you’re able to do so in a non-prickish, “You didn’t include Band X and therefore don’t deserve to breathe the same air as me,” kind of way, please contribute.
Other than that, I think it’s pretty straightforward what’s going on here and I’ll explain the category parameters as we go, so by all means, let’s jump in.
— Tomorrow’s Dream 2017 —
1. Abrahma, TBA
Late last year, Paris heavy progressives Abrahma announced a new lineup and third full-length in progress. No reason to think it won’t come to fruition, and a follow-up to 2015’s Reflections in the Bowels of a Bird (review here) is an easy pick to look forward to. Even with the shift in personnel, it seems likely the band will continue their creative development, driven as they are by founding guitarist Seb Bismuth.
2. All Them Witches, Sleeping Through the War
If 2017 ended today, Sleeping Through the War would be my Album of the Year. Of course, there’s a lot of year to go, but for now, Nashville’s All Them Witches have set the standard with their second album for New West Records behind 2015’s Dying Surfer Meets His Maker (review here) and fourth overall outing. They’ve got videos up so far for “3-5-7” (posted here) and “Bruce Lee” (posted here). Both are most definitely worth your time. Out Feb. 24. Full review should be later this week.
3. Alunah, Solennial
Seems like UK forest riffers Alunah are on this list every year. Wishful thinking on my part. Nonetheless, their fourth LP and Svart Records debut, Solennial, is out March 17, and if the tease they gave already with the clip for “Fire of Thornborough Henge” (posted here) is anything to go from, its Chris Fielding-produced expanses might just be Alunah‘s most immersive yet.
4. Arbouretum, TBA
I asked the Baltimore folk fuzzers a while back on Thee Facebooks if they had a new record coming in 2017 and they said yes, so that’s what I’m going on here. The last Arbouretum album was 2013’s Coming out of the Fog (review here), and even with frontman Dave Heumann‘s 2015 solo outing, Here in the Deep (review here), factored in, you’d have to say they’re due. Keep an eye on Thrill Jockey for word and I’ll do the same.
5. Atavismo, Inerte
This is another one that already has a spot reserved for it on my Best-of-2017 year-end list. Spanish heavy psych rockers Atavismo up the progressive bliss level with their second full-length, Inerte, without losing the depth of style that made 2014’s Desintegración (review here) so utterly glorious. It probably won’t have the biggest marketing budget of 2017, but if you let Atavismo fly under your radar, you are 100 percent missing out on something special.
6. Bison Machine, TBA
In addition to the video for new track “Cloak and Bones” that premiered here, when Michigan raucousness-purveyors Bison Machine put out the dates for their fall 2016 tour, they included further hints of new material in progress. As much as I dug their earlier-2016 split with SLO and Wild Savages (review here) and 2015’s Hoarfrost (review here), that’s more than enough for me to include them on this list. Killer next-gen heavy rock.
7. Brothers of the Sonic Cloth, TBA
News of a follow-up to Brothers of the Sonic Cloth‘s 2015 Neurot Recordings self-titled debut (review here) came through in October, and it remains some of the best news I’ve heard about 2017 doings. Took them a while to get the first record out, so we’ll see what happens, but it kind of feels like looking forward to a comet about to smash into the planet and cause a mass extinction, and by that I mean awesome. Can’t get here soon enough.
8. Cloud Catcher, Trails of Kosmic Dust
Okay, so maybe I jumped the gun and did a super-early review of Denver trio Cloud Catcher‘s second long-player and Totem Cat Records debut, Trails of Kosmic Dust, but hell, no regrets. Some albums require an early-warning system. Their 2015 debut, Enlightened Beyond Existence (discussed here), was a gem as well, but this is a band in the process of upping their game on every level, and the songwriting and momentum they hone isn’t to be missed.
9. Colour Haze, TBA
I’ve gotten some details on the upcoming full-length from Colour Haze. They do not include a title, artwork, audio, song titles or general direction. Less details, I guess, than word that the CD version of this answer to 2015’s To the Highest Gods We Know (review here) is set to come out next month, as ever, on Elektrohasch. That puts it out in time for Colour Haze‘s upcoming tour with My Sleeping Karma (announced here). Fingers crossed it happens. Colour Haze are perpetual top-albums candidates in my book.
10. Corrosion of Conformity, TBA
Signed to Nuclear Blast after being rejoined by guitarist/vocalist Pepper Keenan, North Carolina’s C.O.C. have been in the studio since last year. The lineup of Keenan, bassist/vocalist Mike Dean and guitarist Woody Weatherman and Reed Mullin on drums is the stuff of legend and last worked together on 2000’s America’s Volume Dealer, so no question this reunion makes for one of 2017’s most anticipated heavy rock records. They nailed the nostalgia factor on tour. Can they now add to their legacy?
11. Elder, TBA
I was incredibly fortunate about a month ago to visit progressive heavy rockers Elder at Sonelab in Easthampton, MA, during the recording process for their upcoming fourth album. I heard a couple of the tracks, and of course it was all raw form, but the movement forward from 2015’s Lore (review here) was palpable. That LP (on Stickman) brought them to a wider audience, and I expect no less from this one as well, since the farther out Elder go sound-wise, the deeper the level of connection with their listeners they seem to engage.
12. Electric Wizard, TBA
Could happen, could not happen. That’s how it goes. Announced for last Halloween. That date came and went. Word of trouble building their own studio surfaced somewhere along the line. That was the last I heard. Frankly, I wouldn’t be surprised if it showed up tomorrow, if it showed up in 2018, or if the band broke up and never put it out. They’re Electric Wizard. Anything’s possible.
13. John Garcia, The Coyote Who Spoke in Tongues
Out Jan. 28 on Napalm, The Coyote Who Spoke in Tongues (review here) is the first-ever acoustic album from former Kyuss frontman John Garcia, also of Unida, the reunited Slo Burn, Hermano, Vista Chino, Zun, etc. — basically the voice of desert rock. He does a couple Kyuss classics for good measure, but shines as well on the new/original tracks, and while it’s a piece for fans more than newcomers — that is, it helps if you know the original version of “Green Machine” — his presence remains as powerful as ever despite this new context.
14. Goya, Harvester of Bongloads
Riffs, dude. Goya seem to have them to spare. The Arizona-based wizard doomers have set a pretty prolific clip for themselves at this point, with at least two short releases out in 2016, one a 7″ of Nirvana covers (review here), and the The Enemy EP (review here). Set for a March 3 release through their own Opoponax Records imprint, Harvester of Bongloads continues the march into the abyss that 2015’s Obelisk (review here) and 2013’s 777 set in motion, finding the band coming more into their own as well. Creative growth — and bongloads! The best of both worlds.
15. Ides of Gemini, TBA
Ides of Gemini are set to record their yet-untitled third album with Sanford Parker early this year, and it will also mark their debut on Rise Above Records upon its release. They’ve also got a new lineup around vocalist Sera Timms and guitarist J. Bennett, so as they look to move forward from 2014’s Old World New Wave (review here), one can’t help but wonder what to expect, but to be honest, not knowing is part of the appeal, especially from a band who so readily specialize in the ethereal.
16. Kind, TBA
Three-fourths of Kind feature elsewhere on this list. Bassist Tom Corino plays in Rozamov. Drummer Matt Couto is in Elder. Vocalist Craig Riggs is in Roadsaw. And for what it’s worth, guitarist Darryl Shepherd has a new band coming together called Test Meat. How likely does that make Kind to release a second LP in 2017? I don’t know, but their 2015 Ripple Music debut, Rocket Science (review here), deserves a follow-up, and I know they’ve demoed some new songs. If it happens, great. If it’s 2018, at least these dudes will be plenty busy besides.
17. Lo-Pan, In Tensions
Yes, Lo-Pan‘s In Tensions (review here) has already been released — CD/LP with an artbook on Aqualamb. It’s out. Limited numbers. You can get it now. Why include it on a list of most anticipated releases? Because that’s how strongly I feel about your need to hear it. The fruit of a shortlived lineup with guitarist Adrian Zambrano, it distinguishes itself from everything they’ve done before in style while still keeping to the core righteousness that one hopes the Ohio outfit will continue to carry forward. It’s more than a stopgap between albums. Listen to it.
18. The Midnight Ghost Train, TBA
It seems to have been a rough ride for hard-boogie specialists The Midnight Ghost Train since their 2015 Napalm debut and third album overall, Cold was the Ground (review here). They’ve never taken it easy on the road or in terms of physicality on stage, and between injuries and who knows what else, their intensity at this point veers toward the directly confrontational. Nonetheless, they’ve been writing for album number four, may or may not have started the recording process, and I expect that confrontationalism to suit them well in their new material.
19. Monster Magnet, TBA
I have it on decent authority that NJ heavy psych innovators Monster Magnet were in the studio this past autumn. I’ve seen no concrete word of a new album in progress from Dave Wyndorf and company, and I wouldn’t necessarily expect to until it was time to start hyping the release, but after their two redux releases, 2015’s Cobras and Fire (review here) and 2014’s Milking the Stars (review here), their range feels broader than ever and I can’t wait to hear what they come up with next.
20. Mothership, High Strangeness
A pivotal moment for Mothership arrives with High Strangeness, and the heavy-touring, heavy-riffing Texas power trio seem to know it. Their third record on Ripple Music pushes into new avenues of expression and keeps the energy of 2014’s Mothership II (review here) and 2012’s Mothership (review here), but thus far into their career, it’s been about their potential and what they might accomplish going forward. 2017 might be the year for Mothership to declare a definitive place in the sphere of American heavy rock.
21. The Obsessed, Sacred
On Halloween 2016, founding The Obsessed guitarist/vocalist and doom icon Scott “Wino” Weinrich announced a new lineup for the band, with his former The Hidden Hand bandmate Bruce Falkinburg on bass/vocals, Sara Seraphim on guitar and Brian Costantino continuing on drums. A genuine surprise. Their first album since 1994, Sacred (due on Relapse) was tracked as the trio of Weinrich, Costantino and bassist/vocalist Dave Sherman, but clearly they’ve moved into a new era already. Wouldn’t even guess what the future holds, but hopefully Sacred still comes out.
22. Orange Goblin, TBA
When it was announced that London’s Orange Goblin were picked up by Spinefarm as part of that label’s acquisition of Candlelight Records last Spring, the subheadline from the PR wire was “Working on Ninth Studio Album.” I haven’t heard much since then, but even as 2014’s Back from the Abyss (review here) pushed them deeper into metallic territory than ever before, their songs retained the character that’s made the band the institution they are. Always look forward to new Orange Goblin.
23. Pallbearer, Heartless
Doomers, this is your whole year right here. I haven’t heard Pallbearer‘s third album, Heartless (out March 24 on Profound Lore), but I have to think even those who haven’t yet been won over by the Arkansas four-piece’s emotive, deep-running style have to be curious about what they’ve come up with this time around. I know I am. These guys have been making a mark on the genre since their 2012 debut, Sorrow and Extinction (review here), and there’s little doubt Heartless will continue that thread upon its arrival.
24. Radio Moscow, TBA
Fact: Radio Moscow stand among the best classic heavy rock live acts in the US. They’re the kind of band you can watch upwards of 15 gigs in a row — I’ve done it — and find them putting on a better show night after night, in defiance of science, logic and sobriety. Word of their signing to Century Media came just this past week and brought with it confirmation of a follow-up to 2014’s stellar Magical Dirt (review here), and for me to say hell yes, I’m absolutely on board, seems like the no-brainer to end all no-brainers. Can’t wait.
25. Roadsaw, TBA
Nearly six full years later, it’s only fair to call Boston scene godfathers Roadsaw due for a follow-up to their 2011 self-titled (review here). Granted, members have been busy in Kind, White Dynomite, and other projects, but still. Their upcoming outing finds them on Ripple Music after years under the banner of Small Stone Records, and though I haven’t seen a solid release date yet, my understanding is they hit Mad Oak Studio in Allston, MA, this past fall to track it, so seems likely for sooner or later. Sooner, preferably.
26. Rozamov, This Mortal Road
Speaking of albums by Boston bands a while in the making, This Mortal Road (out March 3 on Battleground Records and Dullest Records) is the debut full-length from Boston atmospheric extremists Rozamov. Haven’t heard it yet, but I got a taste of some of the material when I visited the band at New Alliance Audio in Aug. 2015, and the bleak expanses of what I heard seem primed to turn heads. I’m a fan of these guys, but in addition, they’ve found a niche for themselves sound-wise and I’m curious to hear how they bring it to fruition.
27. Samsara Blues Experiment, TBA
It’s been a pleasure over the last couple months to watch a resurgence of Berlin heavy psych trio Samsara Blues Experiment take shape, first with the announcement of a fourth album in October, then with subsequent confirmations for Desertfest, Riff Ritual in Barcelona, and a South American tour. Reportedly due in Spring, which fits with the timing on shows, etc., the record will follow 2013’s righteous Waiting for the Flood (review here) and as much as I’m looking forward to hearing it, I’m kind of just glad to have these guys back.
28. Seedy Jeezus, TBA
Work finished earlier this month on Melbourne trio Seedy Jeezus‘ second full-length. As with their 2015 self-titled debut, the band brought Tony Reed of Mos Generator to Australia to produce, and after their blissed-out 2016 collaboration with Earthless guitarist Isaiah Mitchell, Tranquonauts (review here), it’s hard not to wonder what experimentalist tendencies might show in the trio’s style this time out, and likewise difficult not to anticipate what guitarist Lex “Mr. Frumpy” Wattereus comes up with for the cover art.
29. Shroud Eater, Strike the Sun
Not to spoil the surprise, but Feb. 1 I’ll host a track premiere from Florida’s Shroud Eater that finds them working in a different context from everything we’ve heard from them to this point in their rightly-celebrated tenure. They also recently had a split out with Dead Hand, and their second long-player, Strike the Sun, will be their debut through STB Records. It’s been since 2011’s ThunderNoise (review here) that we last got a Shroud Eater album, so you bet your ass I’m dying to know what the last six years have wrought.
30. Sleep, TBA
If Sleep were any other band, they’d probably be in the “Would be Awfully Nice” category. But they’re Sleep, so even the thought of a new record is enough to put them here. The lords of all things coated in THC are reissuing their 2014 single, The Clarity (review here), on Southern Lord next month, but rumors have been swirling about a proper album, which of course would be their first since the now-legendary Dopesmoker. If it happens, it’ll automatically be a heavy underground landmark for 2017, but it’s one I’m going to have in my ears before I really believe it.
31. Stoned Jesus, TBA
Even as they tour playing their second album, 2012’s Seven Thunders Roar (review here), to mark its fifth anniversary and continued impact, Ukrainian trio Stoned Jesus are forging ahead with a fourth record behind 2015’s The Harvest (review here). The capital-‘q’ Question is whether or not looking back at Seven Thunders Roar and engaging that big-riffing side of their sound will have an impact on the new material, and if so, how it will meld with the push of The Harvest. Won’t speculate, but look forward to finding out.
32. Stubb, TBA
Since reveling in the soul of 2015’s Cry of the Ocean (review here) on Ripple, London trio Stubb have swapped out bassists, and they were in Skyhammer Studio this month recording a single that may be an extended psychedelic jam. I’ll take that happily, but I’m even more intrigued at the prospect of a third LP and what guitarist/vocalist Jack Dickinson, bassist/vocalist Tom Hobson and drummer Tom Fyfe might have in store as the band moves forward on multiple levels. Might be 2017, might not.
33. Sun Blood Stories, It Runs Around the Room with Us
It Runs around the Room with Us seems to find peace in its resonant experimentalist drones, loops, open, subdued spaces, but there’s always some underlying sense of foreboding to its drift, as if Boise’s Sun Blood Stories could anticipate the moment before it happened. Toward the end of the follow-up to 2015’s Twilight Midnight Morning (review here), they execute the 90-second assault “Burn” and turn serenity to ash. Look for it in April and look for it again on my best of 2017 list in December.
34. Ufomammut, TBA
Any new offering from the Italian cosmic doom magnates is worth looking forward to, and while Ufomammut have left the 15-year mark behind, they’ve never stopped progressing in style and form. To wit, 2015’s Ecate (review here) was a stunner after 2012’s two-part LP, Oro (review here and review here), tightening the approach but assuring the vibe was no less expansive than ever. They started recording last summer, finished mixing in November, so I’m hoping for word of a release date soon.
35. Vokonis, The Sunken Djinn
Born out of Creedsmen Arise, whose 2015 demo, Temple (review here), offered formative thrills, Swedish trio Vokonis debuted with last year’s Olde One Ascending (review here) and proved there’s still life in post-Sleep riffing when it’s wielded properly. They signed to Ripple in November and confirmed the title of their sophomore effort as The Sunken Djinn, as well as a reissue for the first album, which will probably arrive first. I don’t know how that will affect the timing on this one, but keep an eye out anyway.
Gonna Happen and/or Likely Candidates
Obviously some of these are more likely than others. Some have solidified, announced release dates — Dopelord‘s out this month, Demon Head‘s out in April, etc. — and others come from social media posts of bands in studios and hints at upcoming releases and so on. A big tell is whether or not a band has an album title with their listing, but even some of those without have their new albums done, like Atala and Royal Thunder, so it’s not necessarily absolute.
Either way, while I’m spending your money, you might want to look into:
36. Against the Grain
39. Attalla, Glacial Rule
40. Ayahuasca Dark Trip, II
42. Beaten Back to Pure
45. Buried Feather, Mind of the Swarm
46. The Clamps
47. Cold Stares
48. Coltsblood, Ascending into the Shimmering Darkness
49. Come to Grief, The Worst of Times EP
51. Cruthu, The Angle of Eternity
52. The Dead-End Alley Band, Storms
53. Dead Witches, Dead Witches
55. Death Alley, Live at Roadburn
56. Demon Head, Thunder on the Fields
57. The Devil and the Almighty Blues, II
58. Devil Electric
59. Doctor Cyclops, Local Dogs
60. Dool, Here Now There Then
61. Dopelord, Children of the Haze
62. Doublestone, Devil’s Own/Djævlens Egn
63. Dread Sovereign, For Doom the Bell Tolls
64. Drive by Wire
65. Elbrus, Elbrus
66. Electric Age
67. Electric Moon, Stardust Rituals
68. Endless Floods, II
69. Five Horse Johnson
70. Forming the Void, Relic
71. Funeral Horse
73. Green Desert Water
75. Grifter / Suns of Thunder, Split
76. Hair of the Dog, This World Turns
77. Heavy Temple, Chassit
78. Here Lies Man, Here Lies Man
79. Hollow Leg, Murder EP
80. Holy Mount, The Drought
81. Hooded Menace
82. Horisont, About Time
83. Hymn, Perish
84. Lecherous Gaze
85. Magnet, Feel Your Fire
87. Merlin, The Wizard
89. Mindkult, Lucifer’s Dream
90. Mirror Queen
91. Moonbow, War Bear
92. Mos Generator
93. The Moth
95. Mouth, Vortex
96. My Sleeping Karma, Mela Ananda – Live
99. PH, Eternal Hayden
100. Psychedelic Witchcraft, Magick Rites and Spells
101. Royal Thunder
102. Saturn, Beyond Spectra
103. Season of Arrows, Give it to the Mountain
104. Siena Root
105. Six Organs of Admittance, Burning the Threshold
106. Six Sigma, Tuxedo Brown
108. The Sonic Dawn, Into the Long Night
110. Spidergawd, IV
112. Stinking Lizaveta, Journey to the Underworld
113. Sula Bassana, Organ Accumulator
115. Sun Voyager, Sun Voyager
116. Sweat Lodge, Tokens for Hell EP
117. Thera Roya, Stone and Skin
119. Troubled Horse, Revelation on Repeat
120. VA, Brown Acid The Third Trip
122. Youngblood Supercult, The Great American Death Rattle
Definitely Could Happen
Maybe a recording process is upcoming (Gozu, Cities of Mars, YOB), or a band is looking for a label (The Flying Eyes), or they’ve said new stuff is in the works but the circumstances of an actual release aren’t known (Arc of Ascent, Dead Meadow, High on Fire), or I’ve just seen rumors of their hitting the studio (Freedom Hawk, La Chinga, Ruby the Hatchet). We’ve entered the realm of the entirely possible but not 100 percent.
So, you know, life.
123. The Age of Truth
124. Ape Machine
125. Arc of Ascent
126. At Devil Dirt
131. La Chinga
132. Chubby Thunderous Bad Kush Masters
133. Cities of Mars
134. Crypt Sermon
135. Dead Meadow
136. Death Alley (Studio LP)
137. Dee Calhoun
138. Destroyer of Light
140. Devil Worshipper
144. Electric Moon
145. Elephant Tree
147. The Flying Eyes
148. Freedom Hawk
150. The Great Electric Quest
151. Green Meteor, Consumed by a Dying Sun
152. High on Fire
154. Insect Ark
155. In the Company of Serpents
156. Iron Monkey
157. Jeremy Irons and the Ratgang Malibus
158. The Judge
159. Killer Boogie
160. King Dead
161. The Kings of Frog Island
162. Lords of Beacon House, Recreational Sorcery
164. Mondo Drag
166. Mountain God
167. The Munsens
169. Never Got Caught
175. Purple Hill Witch
176. Ruby the Hatchet
178. Satan’s Satyrs
179. Serpents of Secrecy
181. Shooting Guns
182. Sleepy Sun
183. Slow Season
184. Snowy Dunes, Atlantis
185. Spectral Haze
186. The Sweet Heat
187. Switchblade Jesus
191. Zone Six
Would be Awfully Nice
This last category is basically as close as I’m willing to come to rampant speculation. Endless Boogie have hinted at new material, and Queens of the Stone Age have talked about hitting the studio for the last two years. There were rumors about Om, and though Kings Destroy just put out an EP, they have new songs as well, though I doubt we’ll hear them before the end of 2017. I’ll admit that Across Tundras, Fever Dog, Lord Fowl, Lowrider and Hour of 13 are just wishful thinking on my part. A boy can hope:
192. Across Tundras
194. Elephant Tree
195. Endless Boogie
196. Fever Dog
197. Fu Manchu
198. Halfway to Gone
199. Hour of 13
201. Kings Destroy
202. Lord Fowl
204. Masters of Reality
207. Queens of the Stone Age
If you’ve made it this far, thanks for reading. Whatever this year brings, I hope it’s been great so far for you and I hope it continues to be so as we proceed inexorably to 2018 and all the also-futuristic-sounding numbers thereafter. At least we know we’ll have plenty of good music to keep us company on that voyage.
As always, comments section is open if there’s anything I’ve left out. I’m happy to add, adjust, etc., as need be, so really, have at it, and thanks in advance.
Posted in Features on December 15th, 2016 by JJ Koczan
Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2016 to that, please do.
Of all the lists I do to wrap up or start any given year, this is the hardest. As someone obviously more concerned with first impressions than I am and thus probably better-dressed once said, you only get one chance at them. For bands, that can be a vicious bite in the ass on multiple levels.
To wit, you put out a great debut, fine, but there’s a whole segment of your listeners who’re bound to think you’ll never live up to it again. You put out a meh debut, you sell yourself short. Or maybe your debut is awesome but doesn’t really represent where you want to be as a band, so it’s a really good first impression, but a mistaken one. There are so many things that can go wrong or go right with any LP, but with debuts, the stakes are that much higher because it’s the only time you’ll get the chance to engage your audience for the first time. That matters.
And when it comes to putting together a list of the best debuts of the year, how does one begin to judge? True, some of these acts have done EPs and singles and splits and things like that before, and that’s at least something to go on, but can one really be expected to measure an act’s potential based on a single collection of songs? Is that fair to anyone involved? Or on the other side, is it even possible to take a debut entirely on its own merits, without any consideration for where it might lead the band in question going forward? I know that’s not something I’ve ever been able to do, certainly. Or particularly interested in doing. I like context.
Still, one presses on. I guess the point is that, like picking any kind of prospects, some will pan out and some won’t. I’ve done this for enough years now that I’ve seen groups flame or fade out while others have risen to new heights with each subsequent release. It’s always a mix. But at the same time, it’s important to step back and say that, as of today, this is where it’s at.
And so it is:
The Obelisk Presents: The Top 20 Debut Albums of 2016
1. King Buffalo, Orion
2. Elephant Tree, Elephant Tree
3. Heavy Temple, Chassit
4. Holy Grove, Holy Grove
5. Worshipper, Shadow Hymns
6. Vokonis, Olde One Ascending
7. Wretch, Wretch
8. Year of the Cobra, In the Shadows Below
9. BigPig, Grande Puerco
10. Fuzz Evil, Fuzz Evil
11. Bright Curse, Before the Shore
12. Conclave, Sins of the Elders
13. Pale Grey Lore, Pale Grey Lore
14. High Fighter, Scars and Crosses
15. Spirit Adrift, Chained to Oblivion
16. Bellringer, Jettison
17. Church of the Cosmic Skull, Is Satan Real?
18. Merchant, Suzerain
19. Beastmaker, Lusus Naturae
20. King Dead, Woe and Judgment
There are many. First, the self-titled from Pooty Owldom, which had so much weirdo charm it made my head want to explode. And Iron Man frontman Dee Calhoun‘s acoustic solo record was technically a debut. And Atala‘s record. And Horehound. And Mother Mooch. And Domkraft. And Spaceslug. And Graves at Sea? Shit. More than a decade after their demo, they finally put out a debut album. And Second Grave‘s full-length would turn out to be their swansong, but that doesn’t take away from the quality of the thing. There were a lot of records to consider in putting this list together. As always, it could’ve been a much longer list.
For example, here are 20 more: Swan Valley Heights, Arctic, Blues Funeral, Teacher, Psychedelic Witchcraft, Nonsun, Duel, Banquet, Floodlore, Mindkult‘s EP, Mountain Dust, Red Lama, Red Wizard, Limestone Whale, Dunbarrow, Comacozer, Sinister Haze, Pants Exploder, Akasava, Katla and No Man’s Valley. That’s not even the end of it. I could go on.
It was a fight to the finish. There’s always one, and as late as yesterday I could be found kicking back and forth between King Buffalo and Elephant Tree in the top spot. What was it that finally put King Buffalo‘s Orion over Elephant Tree‘s self-titled? I don’t know. Ask me tomorrow and the answer might be completely different.
They had a lot in common. Not necessarily in terms of style — King Buffalo basked in spacious Americana-infused heavy psych jams while Elephant Tree proffered more earthbound riffing and melodies — but each executed memorable songs across its span in a way that would be unfair to ask of a debut. The potential for what both bands can turn into down the line played a part in the picks, but something else they share between them is that the quality of the work they’re doing now warrants the top spots. Orion and Elephant Tree were great albums, not just great first albums.
From there, we see a wide swath of next-generation encouragement for the future of heavy rock, whether it’s coming from Sweden’s Vokonis or Philadelphia’s Heavy Temple, or London’s Bright Curse, or Los Angeles duo BigPig. The latter act’s punkish fuzz definitely benefited from guitarist/vocalist Dino von Lalli‘s experience playing in Fatso Jetson, but one hopes that as the years go on his own multifaceted songwriting style will continue to grow as well.
A few offerings weren’t necessarily unexpected but still lived up to the anticipation. High Fighter‘s EP prefaced their aggro sludgecore well. Ditto that for the grueling death-sludge of Massachusetts natives Conclave. The aforementioned Bright Curse, Merchant, Fuzz Evil, Atala, Bellringer, Holy Grove, Wretch and Worshipper all had offerings of one sort or another prior to their full-length debuts — in the case of Bellringer, it was just a series of videos, while Wretch had the entire The Gates of Slumber catalog to fall back on — but each of those albums offered surprises nonetheless.
It would’ve been hard not to be taken by the songwriting on display from the likes of Holy Grove, Year of the Cobra, Pale Grey Lore and Beastmaker, who between them covered a pretty broad variety of atmosphere but found ways to deliver high-quality crafted material in that. Those albums were a pleasure to hear. Put Boston’s Worshipper in that category as well, though they were just as much a standout from the pack in terms of their performance as what they were performing. Speaking of performance, the lush melodies from Church of the Cosmic Skull and classic progressive flourish were enough to make me a believer. Simply gorgeous. And one-man outfit Spirit Adrift shined, if in that matte-black doom kind of way, on an encouraging collection of modern melancholic heavy that seemed to hint at sprawl to come.
As we get down to the bottom of the list we find Pennsylvania ambient heavy post-rockers King Dead. Their Woe and Judgment was released digitally last year (2015) but the LP came out earlier this year, so I wasn’t quite sure where to place them ultimately. I know they got some mention on the 2015 lists somewhere, but while they’re an act who’ve flown under a lot of people’s radar as yet, I have good feelings about how they might continue to dig into their sound and the balance of bleakness and psychedelic color they bring to their material. They’re slated for a follow-up in 2017, so this won’t be the last list on which they appear in the next few weeks.
Like I said at the outset, putting out a debut album is a special moment for any band. Not everyone gets to that point and not everyone gets beyond it, so while a list like this is inherently bound to have some element of speculation, it’s still a worthy endeavor to celebrate the accomplishments of those who hit that crucial moment in their creative development. Hopefully these acts continue to grow, flourish, and build on what they’ve thus far been able to realize sonically. That’s the ideal.
And before I go, once again, let me reinforce the notion that I recognize this is just a fraction of the whole. I’d like it to be the start of a conversation. If there was a debut album that kicked your ass this year and you don’t see it here, please drop a note in the comments below. I’m sure I’ll be adding more honorable mentions and whatnot over the next couple days, so if you see glaring omissions, let’s have ’em.
This list could easily go to 20. Or 30. Or 50. The democratization of media and the flourishing of aesthetic thanks to wide-open digital interaction across national and cultural borders has meant that bands in Texas can get artwork from Spain easily — something we’ve come to take for granted in this age of messages flying through space in indeterminate instants. There’s a lot of art out there. A lot of it is very, very good. Not all, but a lot.
In the particular realm of heavy rock and doom, I’ve spent a lot of time this year being discouraged at the continued and apparently flourishing objectification of women. Cartoon tits. Get out of here with that shit. You’ll notice none of the covers on this list go that route. It’s boring, it’s easy and it’s sexist. If you want to establish your masculine dominance, go pull your dick out at the mall and see how that does for you. Putting other people down to make yourself feel bigger is for kindergarten. As human beings, we should be past it.
Nonetheless — and I’d be a hypocrite if I didn’t also note the lack of women on this list — there is a ton of interesting and forward-moving work being done around the world and I think that’s worth taking a couple minutes to celebrate even just a fraction of it. Hopefully you agree, and if you have some favorite art you’d like to add to the list, please hit up the comments.
Sourvein‘s Aquatic Occult (review here) was a dense, multi-faceted work, and one imagines that for Jordan Barlow of New Orleans’ Abracadabra Tattoo, part of the challenge was in either finding or creating a design that coincided with that without coming across as confused or off-theme. This bevvy of undersea elements gives us a central figure in a frustrated Neptune with a shark-teeth crown, a human presence in the two diver helmets (is anyone in there?) and highlights the dangers of the ocean with its hammerheads and threatening-looking seahorse, as well as what seems to be a whirlpool and another swirl in opposite top corners. All told, the deep blue and green tones complement the morass of Sourvein‘s sound, raw and natural as it is, and provide moody intrigue to coincide with the wide variety of songwriting on display. Like the album, it is defined in no small part by its haze.
Portland-based Adam Burke is something of a repeat offender when it comes to badass artwork. He regularly posts works in progress on social media and the lushness of his technique astounds me nearly every time out. Holy Grove‘s self-titled debut (review here) was far from the only piece of his a band used this year, but what stood it out most was the balance between nighttime — as seen in the stars and the darkness of the sky and trees — and the aurora borealis that offered such a rich, otherworldly feel. Beautiful, immediately recognizable as Burke‘s, and it pays subtle homage to his and the band’s Cascadian home region with the shapes of the tall evergreens in the foreground, speaking all the more to the beauty of the Pacific Northwest and the classic soul fused into the record itself.
How could one not look at the cover of Duel‘s debut album, Fears of the Dead (review here), and not immediately think of the Misfits? And yet, Barcelona-based Pol Abran Cantador, operating under the banner of Branca Studio, brings a freshness to the striking, landmark skull design. The face is off-center, the eyes looking outward. While there’s little doubt as to the visual reference being made, it’s just that — a reference, not an emulation. Treading that balance would be admirable enough for inclusion here, but impact of the piece becomes greater with the distressed look and the deep blood red surrounding, giving dimension as a backdrop, reinforcing the perspective of the figure, and providing Duel with a horror-cinema vibe that begs the question of just what those eyes are staring at.
Sometimes something just stays with you. On the surface, Dutch artist Maarten Donders brings forward a pretty simple idea for Norwegian boogie rockers Brutus‘ third album, Wandering Blind (review here). Images from ’60s-style psychedelic pulp horror come to mind — the bat, the spiderwebs, the blank stare on the face, the flowing hair through the open mouth of the skull, the monster eyeballs, the purposefully hand-drawn logo — but at the same time, the execution of these things is so intricate. Look at the bags under those eyes, the black holes where the teeth of that skull should be, the weird bubbles by the eyeballs, and the comic-style lettering of the album title itself, which switches back and forth between capitalized and lowercase letters. Look at the shadowed impression of a vinyl record that encircles the design but lets the chin of the skull and the band’s logo protrude. It’s so immediate but so deceptive, hiding its devils in its details.
While it’s true that for this collaboration between Earthless guitarist Isaiah Mitchell and Melbourne heavy psych rockers Seedy Jeezus, the front cover only tells half the story of the full Tranquonauts (review here) gatefold, even 50 percent is enough to justify inclusion here. Put together by Mr. Frumpy Frumpedia, aka Seedy Jeezus guitarist Lex Waterreus, it was one of several artworks this year to feature smaller figures against a grand backdrop — Geezer‘s self-titled and Sunnata‘s Zorya, featured below, come to mind immediately, as well as the last Fu Manchu — but it was the openness of the space itself that Waterreus captured, both on the ground and in the sky, and the atmosphere that brought to the instrumental, jammed-put proceedings on the LP’s two sides, that made it work so well. The humanoid figures — maybe the total four-piece of the lineup? — are so utterly overwhelmed by their surroundings, and yet they seem more than ready to make their journey through them, finding life along what seems to be a barren path.
Sebastian Jerke has kind of become Napalm Records‘ go-to artist over the last couple years, as his past and upcoming work for the likes of My Sleeping Karma, monkey3, Ahab, The Answer and others can attest, but the strangeness of the natural world, the three-dimensional protrusion of the trees, the layered depths, and the commanding presence of the bear, owl, snake and winged insects standing above it all made his work for Greenleaf‘s Rise Above the Meadow (review here) my favorite album cover of the year. It’s very much in his painterly, somewhat classical style, but the way the light seems to come from the band’s logo and behind the planet, the use of shadow and shading on the trees, and the monstrously blank eyes of the bear and owl give it a depth and narrative that remains nothing short of breathtaking. Clearly a labor of love.
My only question was whether it was the cover for The Death of all Things (review here) I’d include or Keller‘s piece that was used for Child‘s new album, Blueside (review here), but with the context of this very likely being the final offering from New Zealand sludgecrushers Beastwars, the answer was plain. Either way, Keller‘s sense of scale and scope remains immense and he continues to bring a feel of the epic to his work here as he did to his two prior covers for Beastwars, on 2013’s Blood Becomes Fire (review here) and the band’s 2011 self-titled debut (review here), resulting in a more than suitable pairing of visual representation and impact of sound. Rarely does one find an artist and a band so much on the same page.
Charm goes a long way in my book, always, and Göran Nilsson‘s cover for the second outing by Swedish doomers Goatess, II: Purgatory Under New Management (review here), has it in bulk supply. The underlying mischief of depicting the four-piece as medieval-esque saints painted on wood like something out of the Middle Ages — their faces grim with a seriousness of purpose not at all letting on to the tongue-in-cheek nature of the record’s title — with halos behind their heads and scripture in tow, well, it’s got a humor that most doom wouldn’t dare go near for fear of losing the edge of its miseries. For Goatess, however, it works perfectly in conveying an essential piece of where the band is coming from, in that their output in the first place seems to be as much about getting together and celebrating the act of writing songs as a unit as it is worshiping the traditions of the style.
While a jpeg of the cover alone doesn’t quite do justice to the full presentation of Eli Quinn‘s artwork for Droids Attacks‘ Sci-Fi or Die (review here), which went so far as to print the title of the record in gold ink on the CD case, feature even more detailed work inside and even go so far as to create an entirely separate artwork scheme for a bonus track hidden on a mini-CD under the back tray under the disc for the album (detailed here), I still find the image of the launching South American-style pyramid as a full diamond taking off — especially with the lights beaming out the bottom — among the most striking of 2016. Reminiscent of Arik Roper‘s detailed style, Quinn‘s cover added depth and purpose to the band’s never-tighter songcraft while also speaking to the love of science-fiction storytelling that drove them to use the title in the first place. Hard not to win with ancient aliens.
Derived it would seem at least in part from a piece called “Erosion of Self,” or at very least of a kin to it, like a lot of Smith‘s work, his art for Zorya (review here) by Polish heavy rockers Sunnata treats light with a religious reverence. Like a Kubrick shot, the sun is dead-center of the painting itself, framed and encircled by gaseous-looking clouds, and as the dawn seems to break over this landscape (or is it sunset?), it becomes difficult to tell where the robed monks end and the rocky protrusions begin. Our eyes are drawn immediately toward the light, and it’s the light that ultimately defines the story here, the way the beams of light shoot outward and turn the desert floor white so that it almost reminds of a body of water as much as a place where nothing seems to grow. Stark but consuming.
This one was so dark, so malevolent, with such a violent bend in its prominent central figure, that it seemed to encapsulate the underlying threat that always seemed to loom over High Fighter‘s Svart Records debut album, Scars and Crosses (review here). Because the faceless blue skin and hanging, stringy hair are so reminiscent of Japanese horror films, and because the heart in the right hand stands out so much in its silvery tone and because the pattern on the dress/cowl is so intricate, you almost don’t notice at first that it’s blood shooting out of that figure’s left wrist filled with upside-down and rightside-up crosses or that it seems to be veins in the top left corner acting as puppet strings, propping up the entire play. But it definitely is, and that only furthers the horrific, nightmarish imagery surrounding, where even the shaded background seems to want to lure you in with no hope of escape.
Come on. So you mean to tell me you went ahead an reinvented KISS‘ cover for Destroyer with Ohio heavy rockers Bridesmaid dressed as the Village People? Be still my beating heart. The art for International House of Mancakes (review here) offers subversive humor without judgment, winking at the homoeroticism that has always been and likely will always be a part of rock and roll, and ultimately mocks the ridiculousness of the denial of that same homoeroticism. From the hands raised in triumph on either side (an element pulled right from the original KISS cover) to the stacks of pancakes the instrumental outfit is standing on, it functioned as artwork to say so much about the band and was perhaps all the more effective in conveying its message and their message since there were no lyrics to pull in other directions. It’s all right there in your face; bright and brilliant.
Because I can’t seem to get out of one of these lists without a series of honorable mentions, I’ll say too that 2016 offerings from Borracho, SubRosa, Inter Arma, Mars Red Sky, Vokonis, Elephant Tree, EYE, Slomatics, Gozu and Black Moon Circle managed to strike on one level or another.
Thanks for reading. Like I said at the outset, this is barely a fraction of the amazing art that came down the line this year. If you’ve got something to add, please hit up the comments.
Posted in Whathaveyou on October 4th, 2016 by JJ Koczan
The name just rolls off the tongue. Similar perhaps to the way in which sliders might roll on the tongue in quick enough succession to earn you $500 worth of band merch at The Decemburger at Hi-Dive in Denver, Colorado, on Dec. 3.
That’s the rather considerable prize for the first person to eat 10 sliders — sounds easy, right? — at an eating contest that’s set to take place later in the day at this new fest from Dust Presents, who also put on the Electric Funeral Festival this past June. They’ll bring together a raucous assemblage of acts — from skate rock forerunners The Shrine on down through Austin, Texas, riff ambassadors The Well and Duel to home-grown heavy classic prog upstarts Cloud Catcher, among many others — in order to complement this gluttony with a corresponding potentially-lethal dose of fuzz. It looks like it’s gonna be a party.
If you’re interested in trying your luck with the slider contest — and I mean, come on, it’s not like it’s full-sized burgers — there are only 10 spots available. I’ve never done any competitive eating, and I wouldn’t disrespect anyone who has because I’ve seen those videos and that Nathan’s Hot Dog Eating Contest looks hard as hell, but in addition to a killer show, this seems like an awesome way to get both a bunch of new t-shirts (provided they’ll still be the right size when you’re done) and a great story to tell about how you obtained them.
Tickets available now. Full lineup and show info follows, courtesy of the Thee Facebooks event page linked below:
DUST Presents: The Decemburger 2016
“Grass-Fed Rock n Roll”
Saturday, December 3 at 3 PM Hi-Dive Denver 7 S Broadway, Denver, Colorado 80209
The Shrine The Well In the Company of Serpents Zig Zags DUEL Malahierba Cloud Catcher The Munsens LOVE GANG
SLIDER EATING CONTEST **Want to share the stage with your favorite bands? There are 10 tickets available for the slider-eating contest (fest entry included), which will be held on stage before one of the last sets. First contestant to eat ten sliders will win a merch package worth $500!
Austin-based heavy rockers Duel made their debut earlier this year with Fears of the Dead (review here) on Heavy Psych Sounds, and today the band announces that the booking wing of the same concern has lined up their European tour, set to include slots at Desertfest Belgium 2016, Keep it Low and the Heavy Psych Sounds Fest as well, where Duel will join Fatso Jetson and others in Parma, Italy, ending their run in the same country where it will have started.
Joining Duel for the stretch will be Komatsu from the Netherlands, who are getting ready to release their new album, Recipe for Murder One, on Sept. 23 via Argonauta Records.
Heavy Psych Sounds announced the dates thusly:
HEAVY PSYCH SOUNDS Records & Booking is proud to announce the dates for the upcoming European Fall Tour of DUEL. The band will be supported the entire tour by Komatsu band from Netherlands.
Tour Supported by Soz Sozconcerts
The tour will feature two great festivals: Desertfest Belgium and Keep it Low Festival!
Tour Dates: 11.10.2016 IT Pescara-Scumm 12.10.2016 IT Viterbo-Secret Show 13.10.2016 IT Ravenna-Bronson 14.10.2016 IT Treviso tba 15.10.2016 IT Lago di Como tba 16.10.2016 BE Antwerp-Desert Fest Belgium 17.10.2016 DE Lichetenfeld-Paunchy Cats 18.10.2016 CH St Gallen-Rumpeltum 19.10.2016 AT Wien-Das Bach 20.10.2016 CH Basel-Hirschneck 21.10.2016 CH Luzern-Bruch Bros 22.10.2016 DE Munich-Keep It Low 23.10.2016 AT Feldkirch-Graf Hugo 24.10.2016 AT Salzburg-Rockhouse 25.10.2016 DE Dresden-Tba 26.10.2016 DE Berlin-Urban Spree 27.10.2016 DE Leipzieg-Liwi 28.10.2016 CH Olten-Coq D’Or 29.10.2016 IT Parma-Mu/HPS Fest 3
DUEL is heavy psychedelic stoner doom metal from Austin, Texas. Hugely influenced by the darker sounds of early 70’s Proto-metal. Features two ex Scorpion Child (Nuclear Blast)members. Their sound is menacing and brutally old school. Total purists, their tunes cut right to the bone with heavy, deep groove and blistering tone. Tough and Loud! Hard rock as it should be!
One could hardly accuse Desertfest Belgium 2016 of playing it subtle. The Antwerp-based festival has upped its stakes considerably this year, bringing in Goat as its first-announced headliner and now adding Red Fang to the bill as the second of three with the third still TBA. Perhaps even more of a consideration are the acts built around these major-force names: Uncle Acid, YOB, Pentagram, Weedeater, Elder and so on, that really demonstrate just how far the festival has come, adding its name to the elite class in a crowded European fall fest sphere.
Red Fang will have their new album out by the time they head over to play. Weedeater, SubRosa, Duel, Black Rainbows and Giobia have also signed on. The PR wire brings details:
RED FANG COMES TO DESERTFEST BELGIUM! Weedeater and others also confirmed
We promised you whopping big news, so whopping big news is what you get!
It is a true pleasure and honour to announce the stoner rock phenomenon RED FANG will be headlining Desertfest Belgium for 2016. As one of the most exciting bands to break out of the scene and into the collective rock community, this is truly a dream come true for us.
Allow us to further blow your excitement level through the roof with another great addition to the line-up: Southern moguls WEEDEATER will be playing the festival as well, along with the oldschool-not-retro heavy heavy psych of DUEL and BLACK RAINBOWS. And with SUBROSA and GIOBIA, we add some truly progressive stoner sounds to the Desertfest mix.
And we’re still not done! We’ll return to you in August with the reveal of our last headliner… we promise it’ll be another mindblower.
How about this for a good omen: Red Fang’s new album ‘Only Ghosts’ drops on the first day of our festival… so what else could we do but try and do our stinking best to get them on board!
And so here they are – the Portlandian stonerockers who have been on the rise since 2005, earning their respect and fame the good old fashioned way: by consistently blowing the mind of whoever witnessed their rifftastic songs, their scorching liveshows, their hilarious videos. Headlining this year’s Desertfest Belgium – you bet your ass we’re psyched!
Another scene mainstay that needs no introduction. You know Weedeater’s got the heaviest tone in the business, you know last year’s album ‘Goliathan’ delivered another slab of grooves thick as molasses. You know Dixie Dave will toast us with whiskey and throw up halfway the set from sheer excitement, you know drummer Travis will juggle his sticks a lot. But most of all: you know the gums will be fuzzed straight off your teeth when Weedeater hits the stage.
Duel from Austin, Texas bring a brand of stoner doom that is utterly menacing and brutally old school. Hugely influenced by the pure darker sounds of early 70’s Proto-metal, their tunes cut right to the bone with heavy deep groove and a blistering tone. Tough and Loud, Hard rock as it should be!
The Italian Black Rainbows have established themselves as one of the most active fuzz-fueled rock acts in Europe. Blending the drive and swagger of 70’s hard rock with the sun-baked thickness of 90’s stoner rock, their sound could be described as “Hawkwind, MC-5 and Nebula crashing cars in the middle of the Mojave desert”. For proof, look no further than this year’s killer album ‘Stellar Prophecy’.
Subrosa brings you Ancient Magickal Doom from the bowels of Salt Lake City. Balancing a sludgy low-end and high volume with ultra-melodic folk and experimental elements, the haunting ambience of two electric violins makes this a singular trip that feels emotional, eerie, bleak, and beautiful.
Hailing from Milan, Giöbia is a celebration of the authentic sixties psychedelic underground, brought to taste with strong shoegaze influences. and sitars, old organs and synthesizers as well as a shitload of effects. A real treat for true lovers of psychedelic music!