The Obelisk Show on Gimme Radio Recap: Episode 13

Posted in Radio on April 1st, 2019 by JJ Koczan

gimme radio logo

This was a good one. After last episode, which was kind of working on a theme of balancing different kinds of heavy against each other, it felt rewarding to just get down to business and play some tunes without worrying really about some grander statement. Plus, during the voice breaks I got to bitch about having a cold, and you know I loves me some complaining. What other recourse is there for such a condition? DayQuil? Well, okay, yes, but also complaining.

Anyway, it starts with new Valley of the Sun because golly goodness golly golly is that record good, and then there’s some High Reeper, and then Saint Vitus because I’m still so gosh darn proud of having premiered that track that I included it basically as a gloat to myself. It’s mostly new music this time, which is how I like it, but I’ll say that in doing my typical classic-track thing, the intro to Electric Wizard‘s “Funeralopolis” is the best one I’ve ever done. Look out for the Centrum and Sigils tracks — both are marvelous — and though I was basically late to the party on Mammoth Grove‘s Slow Burn, which came out last year, “Gloria” makes an excellent closer to the set, which doesn’t really have a miss in the bunch. Again, it was a good one.

Note the second airing has moved from Tuesday morning to Thursday morning. It’ll be this Thursday at 6AM Eastern, which I’m calling the “Euro airing,” which means it comes with universal healthcare and old buildings, I guess. That’ll be fun, and hopefully the cold will be gone by then, because it certainly isn’t yet.

Here’s the full playlist:

The Obelisk Show – 03.31.19

Valley of the Sun Means the Same Old Gods*
High Reeper Eternal Leviathan Higher Reeper*
Saint Vitus Bloodshed Saint Vitus*
BREAK
La Grande Armée Normandía La Grande Armée*
Sigils Faceless You Built the Altar, You Lit the Leaves*
Pyramidal Digital Madness Pyramidal*
Spaceslug Ahtmosphere Split with Major Kong, Dopelord & Weedpecker*
BREAK
Electric Wizard Funeralopolis Dopethrone
Abrahma Lost Forever In Time for the Last Rays of Light*
Centrum Stjärnor För Meditation*
The Devil and the Almighty Blues Salt the Earth Tre*
BREAK
Monocluster Leviathan Ocean*
Mammoth Grove Gloria Slow Burn

The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Thursday at 6AM. Next show is April 14. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

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Magnetic Eye Records Completes Backing for Vol. 4 Redux & The Best of Black Sabbath Tributes

Posted in Whathaveyou on March 28th, 2019 by JJ Koczan

Wasn’t this bound to happen? Either Vol. 4 or Master of Reality? And by the way, there’s really no wrong answer there. So, you know, yeah. April 2020 is the listed ship date on Vol. 4 Redux and The Best of Black Sabbath, both of which continue Magnetic Eye Records‘ wildly successful ‘Redux’ series that’s already touched on HendrixFloydHelmet and has Alice in Chains on deck as a next installment. Still, obviously Black Sabbath have a special place in the history of heavy — right there at the start of it, maybe page three? — and accordingly, the big guns are coming out for the homage, whether it’s Matt Pike doing “FX” or Bongzilla taking on “Snowblind” or Tony Reed doing “Laguna Sunrise.” There’s no way it’s going to miss.

My only hope is that High Reeper make “Changes” heavy.

Interested to see how The Best of Black Sabbath pans out as well, with Year of the CobraElephant Tree and Earthless and a host of others confirmed. I saw Elephant Tree do a killer version of “Paranoid” live this past Fall. Wouldn’t mind a studio take on that from them as well.

But really, there’s no way to lose here.

Word from Magnetic Eye follows:

vol 4 redux

If you told us even as recently as six weeks ago that we’d be working on a Redux version of Black Sabbath’s Volume 4 and, before the end of March, artists including The Obsessed, Whores, Zakk Wylde, and Matt goddamn Pike would have all committed to be part of the project, we would’ve probably answered, “Wow.”

And if you’d then said, “Oh yeah, you’ll also assemble a Best of Black Sabbath companion LP featuring Earthless, Elephant Tree, Year of the Cobra, and tons of other great artists including a whole crop of brand-new Magnetic Eye roster bands, who by the way you’ll find time to sign during all the madness of your Vol. 4 Kickstarter,” we’d have most likely said, “piss off.”

And yet, here we are, and all of the above has come to pass.

We are indeed reduxing Volume 4 and offering up a Best of Sabbath companion record, we do have some of the greatest heavy artists in the world committed to be part of this project, and we did somehow find time to sign three new bands during all of this, each of whom we’ll have a new record coming from later this year, and all of whom we’re inviting to be part of the project.

So, yeah. Wow.

THOU – WHEELS OF CONFUSION / THE STRAIGHTENER
THE OBSESSED – TOMORROW’S DREAM
HIGH REEPER – CHANGES
MATT PIKE – FX
SPIRIT ADRIFT – SUPERNAUT
BONGZILLA – SNOWBLIND
WHORES – CORNUCOPIA
TONY REED – LAGUNA SUNRISE
HAUNT – ST VITUS DANCE
ZAKK SABBATH – UNDER THE SUN / EVERY DAY COMES AND GOES

ALBUM ART AND DESIGN ALYSSA MOCERE

IN ADDITION, WE HAVE INCREASED THE SCOPE OF OUR PROJECT TO INCLUDE 13 ADDITIONAL BLACK SABBATH SONGS ON A BEST OF BLACK SABBATH REDUX RECORD.

Summoner
Elephant Tree
Scott Reeder
IRONWEED
Earthless
Chris Wyse
Rwake
Mooner
Year of the Cobra
Leather Lung
Brume
Caustic Casanova
Dead Witches

http://store.merhq.com
http://magneticeyerecords.com/
https://www.facebook.com/MagneticEyeRecords

Black Sabbath, “Snowblind”

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Quarterly Review: 11PARANOIAS, Robot Lords of Tokyo, The Riven, High Reeper, Brujas del Sol, Dead Witches, Automaton, Llord, Sweet Jonny, Warp

Posted in Reviews on March 20th, 2019 by JJ Koczan

quarterly-review-spring-2019

Day three. Cruisin’. Oh, another 10 reviews to write? Yeah, no problem. I’m on it.

Okay, maybe a little less that and a little more be banging my head against the wall of sound, but the point is we — you and I — move forward anyhow. The Quarterly Review continues today with the third batch, which at the end will bring us to the halfway point, 30 of the total 60 records done, and that always feels like an occasion. Also helps that it’s a pretty good batch of stuff, so let’s not waste time with formalities, right?

Quarterly Review #21-30:

11PARANOIAS, Asterismal

11paranoias asterismal

It’s a freakout, but not the good kind. More like a panic attack happening in slow motion on another dimensional plane. The masters of murk, 11PARANOIAS return through their own Ritual Productions imprint with Asterismal, collecting/conjuring upwards of nine tracks and 73 minutes of material depending on in which format one encounters it. The core of the outing is the six-song/45-minute vinyl edition, and that’s plenty fucked enough, to be honest, as bassist/vocalist Adam Richardson (Ramesses), guitarist Mike Vest (Bong) and drummer Nathan Perrier (ex-Capricorns) unfurl a grim psychedelic fog across songs like opener “Loss Portal” and tap into The Heads-style swirl on “Bloodless Crush” only to turn it malevolent in the process. The 12-minute “Quantitative Immortalities” finds Vest in the forward position as it summarizes the stretch of doom, psych, and bizarre atmosphere that’s utterly 11PARANOIAS‘ own, and that’s before you get into the experimental and sometimes caustic work on the CD/digital-only “Acoustic Mirror” (10:35) and “Acoustic Mirror II” (15:08), which both rise from minimalist bass to become a willful test of endurance only a select few will pass. All the better.

11PARANOIAS on Thee Facebooks

Ritual Productions website

 

Robot Lords of Tokyo, Rise Robot Rise

Robot Lords of Tokyo Rise Robot Rise

Was there ever any doubt Robot Lords of Tokyo could do it on their own? Not if you ever listened to Robot Lords of Tokyo, there wasn’t. The Columbus, Ohio-based outfit built a reputation in the earlier part of the decade by bringing guests onto their records, but their new EP and first outing in half a decade, Rise Robot Rise, features five songs of just the band itself, with founders Rick Ritzler (drums) and Paul Jones (vocals) joined by bassist Joe Viers and guitarists Steve Theado and Beau VanBibber. Their last outing was the 2013 full-length Virtue and Vice (review here), but they seem in “In the Shadows” and “Looking for the Sun” to come into their own with Jones bringing a John Bush-type edge to the hook of “Looking for the Sun” and echoing out a bit on centerpiece “Hell Camino,” which boasts not the band’s first nod to Clutch. With opener “In the Shadows” setting the tone for an undercurrent of metal, “My Aching Eyes” and “Terminus” pay that off without losing their rock edge and thereby highlight just how much force has always been in the core lineup to start with.

Robot Lords of Tokyo on Thee Facebooks

Robot Lords of Tokyo at CDBaby

 

The Riven, The Riven

The Riven The Riven

Issued by The Sign Records, the self-titled debut from Sweden’s The Riven (also discussed here) hones in on classic heavy rock but never actually quite tips all the way into vintage-ism. It sounds like a minor distinction until you put the record on and hear the acoustic guitar lines deep in the mix of “Far Beyond” or the echoing vocal layers in the second half of the later “Fortune Teller” and realize that The Riven are outright refusing to sacrifice audio fidelity for aesthetic. There’s no shortage of shuffle to be had, rest assured, but The Riven are less concerned with aping traditionalism than updating it, and while they’re not the first to do so, the fact that on their first record they’re already working to put their stamp on the established genre parameters bodes well, as does the bluesy float of “I Remember” and the mellow vibing early in “Finnish Woods.”

The Riven on Thee Facebooks

The Sign Records on Bandcamp

 

High Reeper, Higher Reeper

high reeper higher reeper

Philadelphia exports High Reeper offer their second full-length through Heavy Psych Sounds in Higher Reeper, upping the stakes from their 2017 self-titled debut (review here) in more than just title. In the intervening two years, the five-piece have toured extensively, and it shows in the pacing and general craft of the eight songs/38 minutes here, from the perfectly-timed nod at the end of “Buried Alive” to the face-slap proto-trash riff that starts the subsequent “Bring the Dead,” from the mountaintop echoes of “Obsidian Peaks” (note the “Hole in the Sky” riff rearing its head) to the howling roll through “Plague Hag” and into six-minute closer “Barbarian,” as High Reeper hone elements of doom to go with their biker rock sleaze. Stellar guitar is a running theme beginning with opener “Eternal Leviathan,” and Higher Reeper quickly proves that if you thought the debut had potential, you were right.

High Reeper on Thee Facebooks

Heavy Psych Sounds website

 

Brujas del Sol, II

brujas del sol ii

if the 6:40 album opener “Teenage Hitchhiker” from Brujas del Sol‘s Kozmik Artifactz-delivered II makes anything plain, it’s that the songs that follow on the seven-track/43-minute outing are going to pay attention to texture. Still about half-instrumental, the Columbus, Ohio, four-piece veer from that modus with “Sisterlace,” the New Wave-y “Fringe of Senility,” the delightfully dream-toned “White Lights,” and the final Floydian section of closer “Spiritus,” adding vocals for the first time and leaving one wondering what took them so long. Nonetheless, the winding lines and later subtly furious drums of “Sea Rage” and the scorching leads of the penultimate “Polara” bring the proggy mindset of the band that much more forward, and if II is transitional, well, it was going to be anyway, because a band like this never stops growing or challenging themselves. They certainly do here, and the results are an accomplishment more than worth continuing to build upon.

Brujas del Sol on Thee Facebooks

Kozmik Artifactz website

 

Dead Witches, The Final Exorcism

dead witches the final exorcism

The centerpiece of Dead Witches‘ sophomore album, The Final Exorcism, is a play on ’60s psych-garage-folk that asks “When Do the Dead See the Sun?,” and the rest of the LP that surrounds provides the answer: The sun isn’t showing up anytime soon, for the dead or otherwise. After issuing their first full-length, Ouija (discussed here), in 2017, the multinational horror-cinema doomers brought aboard vocalist Soozi Chameleone alongside drummer Mark Greening (Ramesses, ex-Electric Wizard), bassist Carl Geary and guitarist Oliver Irongiant, and one might be tempted to think of The Final Exorcism as a kind of second debut were it not for the fact that it’s so cohesive in its approach. With Greening‘s swinging march at the foundation, cuts like the title-track and “The Church by the Sea” stomp out thick-toned and grainy organic creep, plundering through the cacophonous “Lay Demon” en route to the abyssal plod of “Fear the Priest” at the end, fearsome in purpose and realization and hopefully not at all “final.” Like any good horror franchise, there’s always room for another sequel.

Dead Witches on Thee Facebooks

Heavy Psych Sounds website

 

Automaton, TALOS

automaton talos

It was hard to know where Automaton were headed after they remixed their debut EP, Echoes of Mount Ida (review here), and released it in LP format with two additional tracks. The original version was raw and weighted, the remix spacious and psychedelic. With TALOS, their first proper long-player (on Sound Effect Records), they answer the question with seven songs/48 minutes of expansive and richly atmospheric post-metal, seeming to take from all sides and shift their focus between crushing with dense tones on 11-minute opener and longest track (immediate points) “Trapped in Darkness,” as well as the frantically drummed “Automaton Marching,” “The Punisher” or the end stage of “Talos Awakens” and honing more of a varied and atmospheric approach throughout the sample-laced “Giant of Steel,” the drifting “Submerged Again” and the minimalist acoustic-led closer “Epilogue,” all the while donning both an overarching concept and a new level of production value to bolster their presentation. It is a significant step forward on multiple fronts.

Automaton website

Sound Effect Records website

 

Llord, Cumbria

llord cumbria

Raging and experimental, the rumble-laden Barcelona duo Llord make their full-length debut on Féretro Records with Cumbria, which culls together five punishing-but-still-atmospheric tracks of plod and drive as bassist Aris and drummer David share vocal duties and bludgeoning responsibilities alike. Ill-intentioned from the get-go with the two-minute “Adtrita Sententia,” Cumbria unfurls its 29-minute run like a descent into low-end madness, varying speed and the amount of samples involved and bringing in some guest gralla on “Brega” and closer “Kendal/Crewe,” but finding itself in a consistent tonal mire all the same, shouts reverberating upward from it as through trying to claw their way up during the collapse of earth beneath their feet. It is brutal — an extreme vision of atmospheric sludge that makes the concept of a guitar riffing overtop seem like an indulgence that would only dull the impact of the proceedings as they are, which is formidable.

Llord on Bandcamp

Féretro Records on Bandcamp

 

Sweet Jonny, Sweet Jonny

sweet jonny sweet jonny

I can’t claim to be an expert on the ways of Britpunk classic or modern, but UK swagger-purveyors Sweet Jonny weave a heaping dose of snearing attitude into their self-titled, self-release debut album’s 12 tracks, and it comes set up next to a garage rock fuckall that isn’t necessarily contradicted by the actual tightness of the songwriting, given the context in which they’re working. “American Psycho,” well, that’s about American Psycho. “Sick in the Summer?” Well, guess that could be taken multiple ways, but somebody’s sick in any case. You see where this is going, but Sweet Jonny bring character and addled-punk charm to their storytelling lyrics and barebones arrangements of fucked-up guitar, bass and drums. I don’t know what the punkers are into these days, but the vibe here is rude in the classic sense and they bring a good time feel to “Superpunch” and “It Matters Not” — which stretches past the four-minute mark(!) — so what the hell? I’m up for something different.

Sweet Jonny on Thee Facebooks

Sweet Jonny website

 

Warp, Warp

warp warp

If the approval stamp of Nasoni Records isn’t enough to get you on board — and it should be, frankly — the Sabbathian lowercase-‘g’ ghost rock Warp proffer on their self-titled debut is bound to turn heads among the converted. The Tel Aviv-based outfit tear through eight tracks in a crisp, bitingly fuzzed 28 minutes, taking on classic boogie and doom alike before they’re even through opener “Wretched.” They get bonus points for calling their noise interlude “‘Confusion Will Be My Epitaph’ Will Be My Epitaph,’ as well as for the shuffle of “Gone Man” that precedes it and the stomp of “Intoxication” that comes after, the latter a rhythmic complement to the central progression of second cut “Into My Life,” which only departs that snare-snare-snare to soar for a dual-layered solo. Hard not to dig the space-punk edge of “Hey Little Rich Boy II” and the throttled-back stoner nod of closer “Enter the Void,” which is done in under five minutes and still finds room for the album’s best stop-and-crash. Fucking a.

Warp on Bandcamp

Nasoni Records webstore

 

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The Obelisk Show on Gimme Radio Recap: Episode 11

Posted in Radio on March 4th, 2019 by JJ Koczan

gimme radio logo

Oh, it was a cold and snowy Sunday night, but the rawk was hawt, and so on. Okay, so maybe I’m not much for the introductions, but I dug this episode. I want to screw with what I’ve kind of made the “format” of this show, and starting out with Kings Destroy, Clamfight and Forming the Void in honor of the show I saw on Saturday at the Saint Vitus Bar was fun. So it’s a little more than just be being like, “Duh, I like this record so here’s this song by this band,” though of course that pretty much applies here as well. I don’t know. Just something a little different. Branch out a bit. Try not to set rules for myself.

Speaking of a lack of rules, this one gets a little weird. Look out for Return to Worm Mountain and Hhoogg in the second hour, and then Volcano leading into longer tracks from Sons of Morpheus and Bees Made Honey in the Vein Tree. That last song from the latter is 17 minutes long, and hell yeah I was going to include it. So good. That record is an unexpected turn from them, but absolutely awesome, so if you know it, all the better, and if not, maybe you’ll dig. Dig dig dig.

New tunes besides from Hexvessel, Snowy Dunes, High Reeper, Yatra and the sadly-defunct Cloud Catcher, and a classic riff-roll from Spirit Caravan round out what I thought was a pretty killer mixtape, so yeah, if you checked it out last night or get to listen to it tomorrow morning, thank you.

Here’s the full playlist:

The Obelisk Show – 03.03.19

Kings Destroy Fantasma Nera Fantasma Nera*
Clamfight Echoes in Stone III
Forming the Void On We Sail Rift
BREAK
Yatra Smoke is Rising Death Ritual*
Hexvessel Wilderness Spirit All Tree*
Snowy Dunes Let’s Save Dreams Let’s Save Dreams*
High Reeper Bring the Dead Higher Reeper*
Cloud Catcher Beneath the Steel The Whip*
BREAK
Spirit Caravan Cosmic Artifact Jug Fulla Sun
Hhoogg Journey to the Dying Place Earthling, Go Home!*
Return to Worm Mountain Song for the Pig Children Return to Worm Mountain*
Smokey Mirror Sword and Scepter Split w/ Love Gang*
Volcano No Evil Know Demon The Island*
BREAK
Sons of Morpheus Slave (Never Ending Version) The Wooden House Session*
Bees Made Honey in the Vein Tree Cinitus Grandmother*

The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Tuesday at 9AM. Next show is March 17. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

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Tube Cult Fest 2019: Zaum, Coltsblood, Oreyeon, Sherpa, Tuna de Tierra and More to Play

Posted in Whathaveyou on February 26th, 2019 by JJ Koczan

tube cult fest 2019 banner

Extra credit for Tube Cult Fest 2019 not making a single joke about this being the edition that ‘goes to 11.’ Way to play it with class. The Italian festival headed by Davide Straccione of Skeptic Events is indeed in its 11th incarnation this April, with ZaumColtsbloodWayfarer and Entropia serving in headliner roles and killer Italy natives like OreyeonSherpa and Tuna de Tierra, among others, obviously, rounding out the bill. I’m generally a fan of writing/daydreaming about fests in far-off (to me) places, but I feel compelled to add there are a few bands here I don’t know, and given the quality of the names that are more familiar, posting the full lineup here is as much a note to myself about homework to do as it is anything else. Like a to-do list. “Don’t forget to check out The Marigold,” and so on. I have little doubt I’ll be glad I did.

The full announcement from the festival follows here, courtesy of the PR wire:

tube cult fest 2019 poster

Tube Cult Fest is a true celebration of the Underground, an amp-worshipping ritual based in the coastal city of Pescara in the heart of Italy, delving deep into the realm of Heavy Psychedelia since its inception in 2008. The festival has seen a consistent growth throughout the years incorporating Stoner Rock, Doom, Sludge, Drone, Psych Rock, Post Metal as well as some of the most experimental and atmospheric forms of Extreme Metal, while keeping the same original spirit unchanged. In the previous 10 editions this little city on the Adriatic Sea has been touched by the likes of Weedeater, Ufomammut, Samsara Blues Experiment, Monkey3, 1000mods, Belzebong, Karma To Burn, Los Natas and many more.
Chapter 11 will be once again split in the two tiny venues Scumm and MamiWata, hosting 14 bands in 2 days:

Friday 19 April
WAYFARER (USA)
ENTROPIA (PL)
IMPURE WILHELMINA (CH)
THE MARIGOLD (IT)
OREYEON (IT)
THE BLACK CANVAS (IT)
DRESDEN WOLVES (MEX)

Saturday 20 April
ZAUM (CAN)
COLTSBLOOD (UK)
SHERPA (IT)
GORILLA PULP (IT)
S A R R A M (IT)
TUNA DE TIERRA (IT)
KATASTAH (IT)

DJ Aftershows by Moos (https://www.facebook.com/volksradiomoos666) and La Peligrosa (https://www.facebook.com/liathepeligro)

A juicy Free Entry Warm-Up is scheduled for Thursday 18 April always at Pescara’s Scumm with the Philadelphia Stoner-Doom Rockers HIGH REEPER.

Tickets can be reserved by sending an email to tubecultfest@gmail.com

Friday 19 April= 10 €
Saturday 20 April= 10 €
2-DAY PASS = 15 €

http://www.facebook.com/tubecultfest
https://www.instagram.com/tubecultfest
https://www.facebook.com/events/368216713728711

Zaum, Eidolon (2016)

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High Reeper to Tour Europe in April-May; Higher Reeper Available to Preorder

Posted in Whathaveyou on February 8th, 2019 by JJ Koczan

high reeper (Photo Drew Wiedemann)

Last year, Philadelphia heavy rockers High Reeper went to Europe and toured in Spring around a swing through Desertfest Berlin. It seems only fair that in 2019 they’d go back for another month and hit up CANDLEMASS REVIEW London as well. Heavy Psych Sounds is taking preorders as of now for their new album, Higher Reeper, and will have it out on March 22 — they’ll be at Maximum Fest in Italy that night — and in addition to Desertfest, they’re also set to play Esbjerg Fuzztival in Denmark on May 11. With a heaping portion of shows in Germany and Italy, it should be a killer tour all the way around, and as High Reeper are quickly making themselves veterans of the European circuit, no doubt they’ll find welcome on this return trip. They’ve got a poster and everything.

The PR wire brought that and the accompanying dates:

high reeper tour poster

*** HIGH REEPER – EUROPEAN TOUR 2019 ***

We are very happy to announce that our beloved HIGH REEPER are gonna smash Europe next Spring.
DON’T MISS THEM !!!

HIGH REEPER will present their upcoming album HIGHER REEEPER that will be released on March 22nd via Heavy Psych Sounds Records.

Formed in 2016, High Reeper is made up of Zach Thomas, Justin Di Pinto, Andrew Price, Pat Daly and Shane Trimble. Originally started as just a studio band, it rapidly became apparent that these songs were meant to be heard live and loud. The band made their debut in the Philly/DE stoner rock scene in early 2017 with success which was followed up by the recording of their self-titled debut in May. With a sound deeply rooted in modern stoner rock while still giving a nod to the earliest Sabbath records, HighReeper’s first offering is driven by pounding rhythms, thick guitars and soaring, screeching vocals.

For their second record, the addition of Di Pinto on drums helped focus their sound in an even more powerful direction. The result is a new record with riffs that are even heavier than before that explore new directions, including the ballad “Apocalypse Hymn”. After a successful 2018 European tour that included Desertfest Berlin, High Reeper Will once again tour Europe in 2019 visiting ten countries as well as an appearance at Desertfest London.

‘Higher Reeper’ preorder: https://heavypsychsoundsrecords.bandcamp.com/album/high-reeper-higher-reeper-presale

HIGH REEPER EUROPEAN TOUR 2019
18.04.2019 IT Pescara-Scumm
19.04.2019 IT Cecina-Spazio Live Ritmi
20.04.2019 IT Parma-Splinter
21.04.2019 IT Verona
22.04.2019 IT Zerobranco-Maximum Fest
23.04.2019 IT Torino-Blah Blah
24.04.2019 FR Chambery-Brin Du Zinc
25.04.2019 CH Martigny-Sunset Bar
26.04.2019 CH Oberentfelden-Borom Pom Pom
27.04.2019 DE Kempten-13th Floor Kulturetage
28.04.2019 AT Salzburg-Rockhouse
29.04.2019 IT Trieste
30.04.2019 AT Bludenz-Villa K
01.05.2019 DE Augsburg-City Club
02.05.2019 DE Tubingen-Goldene Zeiten
03.05.2019 DE Mannheim-7er
04.05.2019 BE Liege-La Zone
05.05.2019 UK London-Desert Fest
07.05.2019 DE Frankfurt-DKK
08.05.2019 DE Oldenburg-Mts Records
09.05.2019 DK Copenhagen-Lygtens Kro
10.05.2019 SW Malmoe-Plan B
11.05.2019 DK Esbjerg-Esbjerg Fuzzfest
12.05.2019 DE Berlin-Toast Hawaii
13.05.2019 DE Leipzig-Black Label
14.05.2019 DE Erfurt tba
15.05.2019 DE Dresda-Chemo
16.05.2019 AT Wien-Kramladen
17.05.2019 AT Innsbruck-PMK
18.05.2019 CH Altdorf-Vogelslang

HIGH REEPER are:
Zach Tomas – Vocals
Shane Trimble – Bass
Pat Dealy – Guitars
Andrew Price – Guitars
Justin Di Pinto – Drums

https://www.facebook.com/HIGHREEPER/
https://highreeper.bandcamp.com/
https://www.facebook.com/HEAVYPSYCHSOUNDS/
http://www.heavypsychsounds.com/
https://heavypsychsoundsrecords.bandcamp.com/

High Reeper, “Eternal Leviathan”

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Esbjerg Fuzztival 2019: The Machine to Headline, BlackWater HolyLight, Alastor, Psychlona, Domkraft, High Reeper, Saint Karloff and Thunderwhip Added

Posted in Whathaveyou on December 12th, 2018 by JJ Koczan

esbjerg fuzztival 2019 banner

A slew of lineup adds from Esbjerg Fuzztival 2019, which has said that The Machine will headline, playing Denmark for perhaps the first time in their more than 10 years together. The Netherlands-based trio will take the stage at Huset Esbjerg with their new lineup that includes bassist Chris Both, who recently played his first show with the band stepping into the role. The fest has further filled out its two-day lineup with the likes of Alastor and Domkraft from Sweden — the latter of whom seem like they’re going to be kind of all over the place next year — as well as Saint Karloff from Norway, High Reeper from the States and many more.

Seems like they’re taking advantage of some bands being on tour at that time for the busy Spring fest schedule — one imagines that BlackWater HolyLight, the latest of these additions, will be on the road supporting their 2018 self-titled debut on RidingEasy, which is one of the year’s best — but it seems to be an awesome conglomeration that, again, I have no idea why they asked me to be involved with presenting. You know I’d be posting about it anyway.

But here we are anyhow. Tickets are on sale now and limited.

Announcements from the fest’s social media follow:

esbjerg fuzztival 2019 poster

We are STOKED to announce The Machine will headline Fuzztival in 2019! No introduction needed! We screamed like teenage girls when they agreed to stop by! First time in Denmark, too! (Fact check?)

Please note: The Machine will be filling in for Spelljammer, who unfortunately had to cancel their appearance at Fuzztival.

We have been graced with the presence of the daughters of fuzz. Blackwater Holylight confirmed for Fuzztival 2019!

Let the mojo rise! Psychlona added to the bill! Having just released their vinyl on the danish label Cursed Tongue Records they have set out to prove there’s a desert in ye olde England! The groove is real!

Next on the bill: Domkraft. Wielding a mindbending soundscape of obeliskian riff-majesty, Domkraft discharge layer upon layer of crushing fury, weaving through the wormhole punctures of spacetime.

Fuzztival are proud to present Alastor! Get your occult doom on!

Northern stoners Saint Karloff will be taking the riffs to a whole new stage, with local legends ThunderWhip bringing the old school doom! Ramping up to a great fest!

https://www.facebook.com/esbjergfuzztival/
https://www.facebook.com/events/880111745513014/

The Machine, Rehearsal Video Dec. 2018

BlackWater HolyLight, BlackWater HolyLight (2018)

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Desertfest London 2019 Confirms Om, Wovenhand, Stoned Jesus, Great Electric Quest, Elephant Tree, Messa, High Fighter and More

Posted in Whathaveyou on November 29th, 2018 by JJ Koczan

desertfest london 2019 square poster

A monstrous announcement from Desertfest London 2019 finds the festival, as it has over the last several years, with a far reach in geography and style alike. Acts like Great Electric Quest, High Reeper, Salem’s Bend, The Devil and the Almighty Blues, High Fighter, and Messa represent a flood of up and coming underground heavy from the US and Europe — I’d count hometown heroes Elephant Tree and Greece’s Naxatras at the forefront of that surge — while Om, Wovenhand, Mondo Generator, Stoned Jesus, Sabbath AssemblyJaye JayleHHY and the Macumbas and Wiegedood are of course no minor shakes in terms of draw or aesthetic swath.

Desertfest‘s first announcement, which came through in September with Earthless, All Them Witches, Kadavar and Colour Haze, among others, was enticing enough. This one does nothing but make one want to book travel and lodging.

The PR wire has the details:

desertfest london 2019 old empire stage

Drone doom pioneers OM confirmed as first headliner + 15 more acts added to the DESERTFEST LONDON 2019 lineup!

After warming you up with our first announcement in September, it’s time to break out the big guns. Today we’re adding 16 killer bands to Desertfest, including the lineup for 2019’s Old Empire stage, which, after years of bringing some of the heaviest sounds all weekend, will this year takeover as our Friday main stage. We couldn’t be happier with their first pick, Desertfest 2019’s opening headliners, the incomparable, spiritual force of stoner drone that is Om.

Formed in 2003 as one great band drifted off for a decade, Om – then consisting of the two-part assault of Sleep’s Al Cisneros and Chris Hakius – brought with them an extension of the hypnotic heavy first hinted at on Sleep’s Jerusalem/Dopesmoker. Achieving more with just vocals, bass and drums than most can dream of with a packed out stage, the opening one-two punch of Variations on a Theme and Conference of the Birds serves as a revelation to many; stripped-back power that cleans the cobwebs from your brain with reverberating blasts of droned-down stoner-doom.

By 2007’s Pilgrimage – the last full-length to feature Hakius on drums – Om had begun to lean more and more heavily into spiritual themes and Eastern tones, bringing about a new definition of what exactly heavy is; because let’s be clear, Om are heaviness incarnate, just not in the traditional sense. Through God is Good and their latest LP, Advaitic Songs – their first as a trio and surely one of the finest put to record this decade – Om continued down a path of hazed out perfection. It’s a testament to the importance of the band that, even as Sleep woke up, Om persist, ready to send you into a trance at the pluck of a bass. Be sure to catch Om when they headline the Old Empire stage – and Desertfest at large – on Friday 3rd May.

Joining them on the Old Empire stage, and continuing Old Empire’s tradition of showcasing heaviness from unexpected places, are Wovenhand. Labelled many things over the near two decades they’ve been kicking around, from alternative country, to neofolk, to Southern-gothic, Wovenhand are simply low and slow, oozing with an atmosphere of gloom. Music torn from the heart and soul of David Eugene Edwards (ex-16 Horsepower), Wovenhand are a deeply personal experience that you won’t want to miss.

But that’s not all for the Old Empire stage, who offer up three more treats for Desertfest 2019; firstly, a slice of black metal in the shape of Wiegedood, whose Die doden hebben het goed trilogy serves as a granite slab of brutality. Featuring members of post-black metal heroes Oathbreaker, as well as being part of the illustrious Church of Ra collective – a handful of acts tethered by a DIY ethic – Wiegedood will bring heaviness as we traditionally know it to the stage.

The jazz-inspired, ominous soundscapes of HHY & the Macumbas bring an exploration of the apocalypse to proceedings. Showcasing why they’re one of the most inimitable acts in the Portuguese, or perhaps even European underground scene, HHY are ordered chaos, wielding a twin attack of percussion and horns, tied together with a thin spine of drone.

Rounding off this year’s Old Empire stage come the desolate, minimalist sonic mantras of Louisville’s Jaye Jayle. Revelling in the simplicity of a “Less is more” philosophy, Jaye Jayle build tension with their barely crawling musical progressions and stitch it all together with the gruff, semi-spoken vocals of Evan Patterson.

Yet again, the Old Empire stage looks set to be one of the most exciting places to be over the whole of the Desertfest weekend, bringing both the darkness and the light; but that’s not all to expect over the May Bank Holiday weekend in Camden.

Elsewhere over the weekend, we’re excited to be welcoming Ukraine’s Stoned Jesus to Desertfest London. The stoner blues trio, who released their 4th full-length Pilgrims in September, possess a tone all of their own. Offering up one of the scene’s most beloved albums in 2012’s Seven Thunders Roar, Stoned Jesus remain a treat to catch live; as do punk infused stoner rockers Mondo Generator. Headed up by legend of the underground, Nick Oliveri, Mondo Generator are, like any of Oliveri’s myriad projects, an undeniably raucous experience live.

Next up, a double bill of some of Europe’s finest heavy psych; Part of the modern Greek wave of stoner and psych, without ever disappearing into the crowd, Naxatras are unashamed worshippers of the 70s riff. That said, they bring plenty of their own flavour to the mix. Whilst Oslo’s The Devil and the Almighty Blues live up to their name, bringing a devilishly groovy stomp and infusing it with their almost nonchalant, relaxed tones, fast becoming one of the most exciting bands in all of heavy psych.

There’s doom aplenty as ever at Desertfest, with all angles covered; the occult is worshipped with Sabbath Assembly and Messa’s take on the science of slow, whilst Elephant Tree will continue to show why they’re one of the UK’s finest acts with their uncompromising push outwards to the outer limits of doom.

A double dose of 70’s worship comes in the form of the strutting duo of Great Electric Quest and Salem’s Bend, with today’s announcement rounded off by two chances to get high; High Fighter are set to surround us with a densely packed smog of doom and High Reeper filtering the riffs of classic heavy metal through the So-Cal skater scene.

With dozens more bands still to be announced, including our Saturday and Sunday headliners, Desertfest 2019 is shaping up to be another hit of the best stoner, doom, sludge and psych on the planet. Don’t miss the annual celebration of the underground in Camden next May Bank Holiday weekend. Book your tickets today.

http://www.desertfest.co.uk/
https://www.facebook.com/DesertfestLondon
https://www.instagram.com/desertfest_london/
https://twitter.com/DesertFest

Wovenhand, Live at Fire in the Mountains, Jackson, WY, June 30, 2018

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