The Obelisk Questionnaire: Yusuf Tary of Slabdragger & Poseidon

Posted in Questionnaire on June 14th, 2022 by JJ Koczan

Yusuf-Tary-of-Slabdragger-and-Poseidon

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Yusuf Tary of Slabdragger & Poseidon

How do you define what you do and how did you come to do it?

I think I do what I do out of a necessity to express, vent and release multiple things from inside me whether it’s frustration, mental health stuff or just a pure need to create something out of love. My love of music goes back as far as I can remember and I have always had an affinity for it my entire life. I started playing guitar when I was about 10 or 11 and joined my first band at about 14 or 15. Since then, I have been in bands pretty much non stop my whole life and I’m pushing 40 now. The very first band I played in was just me and my friends jamming in a garage and was pretty short-lived. But it felt like such a huge deal at the time, to be part of something cool that only we were doing at school.

Describe your first musical memory

Three years old, singing/screaming “New York, New York” by Frank Sinatra at the TV every day (I think it was re-released into the charts in the early/mid ’80s). Every day it would come on and I would just explode with excitement! My dad was a huge Sinatra fan, so he fanned the flames for sure. I remember it very clearly and the impactful joyous feeling it gave me. It definitely awoke something in me that has stayed with me to this day.

Describe your best musical memory to date.

There are many. If we are talking about bands or records that have inspired me, the first band I fell in love with and saw live was Aerosmith. I was about 12 and I got a copy of Big Ones, their greatest hits one Christmas. I then saw them live at Wembley Stadium a few years later and it was life changing. I’d never been to a concert before, much less one at a huge stadium. Not just the gig itself, but the atmosphere and being there with my friends blew my mind. I knew that I wanted to someday do this myself. If we are talking gigs/experiences I’ve played/had myself, there’s a lot.

My last show with my old band Inner Rage was crazy. It was the perfect send off for a band that I ultimately learnt my chops in and learnt how to gig properly and perform. The place was packed and went crazy. Big mosh pits and stage diving all the way through our set, great stage sound, smiling faces everywhere, our guitarist vomited on the front row at the end of the set! Everything you could want playing a heavy live show.

With Slabdragger, we played Supersonic Festival in 2011 which was the first time we played a big fest in front of a lot of people. In fact that whole time when we released our debut album Regress, was a huge turning point for me as we started getting fans that were not just our friends, being written about in magazines and we were being asked to do bigger shows. It was the first full-length album I had done and was actually being released on physical formats.

That was such a great time in my life as I felt like ‘progress’ was finally being made as a musician. Touring with Saint Vitus was another high point. Just generally being able to play with and hang out with bands that pioneered the genre is such an honour.

When was a time when a firmly held belief was tested?

That’s probably more recently as I have gotten older. Playing in a active band starts to change as you get older and you have more responsibilities such as family and more bills to pay. The band isn’t your only priority anymore and there’s a certain amount of anxiety in that you love your family life and growing older but you don’t want to lose sight of what you are doing as a musician. So you have to adapt the band around a new way of life, which can be very challenging.

Where do you feel artistic progression leads?

I feel like it leads to personal progression from within. When you start achieving your musical/artistic goals, one by one, you are evolving not just as an artist but as a human being.

How do you define success?

Success is totally subjective and unique to everyone. To me, it’s being able to conceptualize an idea creatively and being focused enough to see it through to fruition. This is not just in music or art but anything you want to do in life that results in you being happy, whether it’s financial, creative or something that makes your life more full in any way.

What is something you have seen that you wish you hadn’t?

Probably my father’s death. I didn’t actually see the moment he passed and it’s not that I wish I didn’t see him when he passed but it shouldn’t have happened the way it happened at the time it happened.

Describe something you haven’t created yet that you’d like to create.

I am really looking forward to making some solo projects and there are things in the works already. I’m also currently working on a lofi hip hop project that’s been really fun to make. I really just want to carry on making music in and out of Slabdragger and Poseidon, my two current bands.

What do you believe is the most essential function of art?

Imagination and focus. Also a willingness to be patient and open minded as some of the best things happen by accident when you least expect it. Also being really good at hiding what you steal haha! No one makes anything without some kind of pre ordained stimulus/stimulae but it’s how you use it that counts.

Something non-musical that you’re looking forward to?

Watching my son grow up and getting married to my partner.

https://www.facebook.com/Slabdragger/
https://www.instagram.com/slabdragger/
https://slabdragger.bandcamp.com/

https://www.facebook.com/weareposeidon
https://www.instagram.com/weareposeidon_/
https://poseidondoomband.bandcamp.com

https://www.facebook.com/SludgelordRecords/
http://instagram.com/sludgelordrecords
https://sludgelordrecords.bandcamp.com/

https://www.facebook.com/theripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

Wallowing, Thin, Slabdragger & Maw, 4-Way Split (2021)

Poseidon, Prologue (2017)

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Desertfest London 2022 Adds Bongzilla, Slabdragger and More

Posted in Whathaveyou on January 24th, 2022 by JJ Koczan

Fitting that Desertfest London should respond to two years without a festival by making a festival big enough for two years. A new stage has been added for Sunday and Bongzilla (who we knew were spending some significant time abroad this Spring) and Slabdragger and Poseidon and Parish have been added, as well as an Eric Wagner tribute that, while details are scant as yet, will no doubt be something special. Perhaps some Orange Goblin involvement there? They’ve covered Trouble before, if you’ll recall.

In any case, it’s an astounding bill Desertfest London 2022 is hosting. The kind of thing one daydreamed about even harder during lockdown, and it seems they’re not done, either. I’m not 100 percent on the location of ‘stoner alley,’ but if it’s that spot right outside the Black Heart, there’s plenty of room to get up to some shenanigans there, and apparently announcements to come in that regard.

The word here is ‘admirable,’ and I can hardly think of a more appropriate way for Desertfest London to mark the beginning of its second decade as well as its return after two years’ absence.

From the social media:

Desertfest London 2022 poster

***DESERTFEST ADDS BONGZILLA, SLABDRAGGER & MORE WITH ADDITION OF POWERHAUS ON SUNDAY MAY 1ST PLUS 2-DAY ‘NON-ROUNDHOUSE’ PASSES AVAILABLE NOW**

We are thrilled to be adding another stage to the mammoth Desertfest London 2022 line-up, as PowerHaus will host stoner favourites Bongzilla on Sunday 1st May (we know you’ve been waiting for that one!). Alongside hometown heroes Slabdragger, the cathartic sounds of Poseidon, plus pastoral power-trio Parish. We will also be welcoming a very special collaborative tribute to doom legend Eric Wagner, with more details TBA.

We know some folk have missed out on general tickets, so we are releasing a 2-Day Saturday + Sunday Combo pass that provides access to all venues EXCEPT the Roundhouse. Due to specific venue protocols & capacity restrictions, we are unable to release more general weekend or full day tickets. We hope you understand that we are trying to accommodate as many of you as possible in the spaces we have.

tickets are available here ↠ https://link.dice.fm/o420178fe2d8

The best way to be in with a chance of picking up a general weekend or Friday day ticket is to join the waiting list at DICE – which is the only re-seller of DF tickets. Thank you so much for the continued support, we still have a lottt more to announce in regards to ‘Stoner Alley’ on Greenland Place + some v. special after-parties!

https://www.facebook.com/events/464163361105416/
http://www.desertscene.co.uk/support
https://www.facebook.com/DesertfestLondon
https://www.instagram.com/desertfest_london/
https://twitter.com/DesertFest
https://www.desertfest.co.uk/

Bongzilla, Weedsconsin (2021)

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Quarterly Review: CHRCH, Bongripper, King Chiefs, Bonnacons of Doom, Boar, June Bug, Tired Lord, Bert, Zen Bison, Wheel in the Sky

Posted in Reviews on July 16th, 2018 by JJ Koczan

quarterly-review-CALIFORNIA-LANDSCAPE-Julian-Rix-1851-1903

You know the deal by now, I’m sure: 50 reviews this week between now and Friday, in batches of 10 per day. It’s an unholy amount of music, but those who really dig in always seem to find something cool within a Quarterly Review. Frankly, with this much to choose from, I’d certainly hope so. I’m not going to delay at all, except to say thanks in advance for coming along on this one. It’s got some core-heavy and some-not-really-core-heavy stuff all bundled next to each other, so yeah, your patience is appreciated. Okay. No time like the present. Let’s do it.

Quarterly Review #1-10:

CHRCH, Light Will Consume Us All

chrch light will consume us all

Yeah, yeah, yeah, the songs are long. Blah blah blah it’s heavy as whatever kind of construction equipment you could want to name. What’s even more striking about Los Angeles doomers CHRCH’s Neurot Recordings debut, Light Will Consume Us All, is the sense of atmosphere. The follow-up to 2015’s massively well-received Unanswered Hymns (review here) is comprised of three songs presented in descending time order from opener/longest track (immediate points) “Infinite” (20:41) to centerpiece “Portals” (14:50) and closer “Aether” (9:29) and it finds CHRCH refining the unremitting patience of their rollout, so that even when “Aether” explodes in its second half to charred blastbeating and abrasive screams, the ambience is still dense enough to feel it in one’s lungs. CHRCH keep up this level of progression and soon enough someone’s going to call them post-something or other. As it stands, their second album builds righteously on the achievements of their debut, and is a revelation in its bleakness.

CHRCH on Thee Facebooks

Neurot Recordings website

 

Bongripper, Terminal

bongripper terminal

Pressed up as ever in DIY fashion, Bongripper’s Terminal presents two gargantuan slabs – one per vinyl side – that only seem to highlight the strengths in the Chicago instrumentalists’ approach. The tones are huge, the grooves nodding, the impact of each kick drum forceful. Repetition is central, that feeling of aural mass and destructiveness, but neither is Terminal – comprised of “Slow” (25:11) and “Death” (18:15) – lacking a sense of atmosphere. After 21 minutes of grueling pummel, “Slow” devolves into droning layers of noise wash and quiet guitar to finish out, and “Death” seems to hold onto an echoing lead in its closing minutes that accomplishes much the same thing in broadening the atmosphere overall. I don’t know if the two songs were composed to fit together –the titles would hint yes – but they invariably do, and as “Death” unleashes a more insistent punch before turning to a post-YOB gallop, it reconfirms Bongripper’s worship-worthy place in the stoner doom milieu, how their sound can be so familiar in its threat and yet so much their own.

Bongripper on Bandcamp

Bongripper webstore

 

King Chiefs, Blue Sonnet

King Chiefs Blue Sonnet

Born as Chiefs ahead of their 2015 debut album, Tomorrow’s Over (review here), Arizona-based four-piece King Chiefs make their own first outing in the form of the easily-digestible desert rocker Blue Sonnet (on Roosevelt Row and Cursed Tongue Records), comprised of 10 tracks running just under 40 minutes of older-school laid back heavy, swinging easy on cuts like “Surely Never” and “Drifter” while still finding some Helmeted aggressive edge in the riffs of “Slug” and “Walk the Plank.” The overarching focus is on songwriting, however, and King Chiefs hone in cleverly on ‘90s-era desert rock’s post-grunge sensibility, so that their material seems ready for an alternative radio that no longer exists. Such as it is, they do just fine without, and hooks pervade the two-guitar outfit’s material in natural and memorable fashion all the way to five-and-a-half-minute closer “Shrine of the Beholder,” which embraces some broader textures without losing the structural focus that serves so well on the songs before it.

King Chiefs on Thee Facebooks

Roosevelt Row Records website

Cursed Tongue Records website

 

Bonnacons of Doom, Bonnacons of Doom

bonnacons of doom bonnacons of doom

Heavy psychedelic experimentalism pervades the Rocket Recordings-issued self-titled debut album from Liverpool collective Bonnacons of Doom, rife with tripout ritualism and exploration of sound as it is, all chasing light and getting freaky in any sense you want to read it. Five tracks, each a voyage unto itself – even the bass-fuzzy push of shortest cut “Rhizome” (5:55) is cosmos-bound – feed into the larger weirdness at play that culminates in the undulating grooves of “Plantae” (8:39), which is perhaps the most solidified cut in terms of choruses, verses, etc., but still a molten, headphone-worthy freakout that pushes the limits of psychedelia and still holds itself together. If the album was a to-do list, it would read as follows: “Eat mushrooms. Get naked. Dance around. Repeat.” Whether you do or don’t is ultimately up to you, but Bonnacons of Doom make a pretty convincing argument in favor, and I don’t generally consider myself much of a dancer. Among the most individualized psych debuts I’ve heard in a long time.

Bonnacons of Doom on Thee Facebooks

Rocket Recordings on Bandcamp

 

Boar, Poseidon

Boar Poseidon

Poseidon, at six songs and 39 minutes, is the second long-player from Finnish four-piece Boar. Released on vinyl with no shortage of backing — Lost Pilgrims Records, Dissonant Society, Impure Muzik, S.K.O.D., Rämekuukkeli-levyt – it hurls forth a High on Fire-informed vision of noise rock on its opening title-track only to take on a slower roll in the subsequent “Shahar’s Son” and dig into massive crashing on “12.” Using echo to add a sense of depth all the while, they scream in tradeoffs à la Akimbo and boogie in “Featherless” and seem to find a post-metallic moment on “Dark Skies” before closing with the alternately brooding and scathing “Totally out of This World,” the song sort of falling apart into the feedback and noise that ends the album. There’s a persistent sense of violence happening, but it’s as much inward as outward, and though some of Boar’s most effective moments are in that rawness, there’s something to be said for the contemplation at the outset of “Shahar’s Son” and “12” as well.

Boar on Thee Facebooks

Boar on Bandcamp

 

June Bug, A Thousand Days

June bug A Thousand Days

Seemingly unrestrained by genre, the Lille, France-based duo June BugJune on vocals and multiple instruments and Beryl on backing vocals and multiple instruments – dig into some post-punk nudge on early cut “Reasons” from their debut album, A Thousand Days (Atypeek Music) after the folkish melodies of opener “Now,” but whether it’s the fuzzy indie vibes of “Freaks” or the harmonies, electronics and acoustic guitar of “Let it Rest,” or the keyboard-handclaps, lower tones and poppish instrumental hook of centerpiece “Mama,” there’s plenty of variety throughout. What ties the differing vibes and richly nuanced approach together is the vocals, which are mostly subdued and at times hyper-stylized, but never seem to fail to keep melodicism as their central operating method. That remains true on the subdued “Does it Matter” and the beat-laden “Silenced” at the album’s finish and brings everything together with an overarching sense of joy that holds firm despite shifts in mood and approach, making the complete front-to-back listen as satisfying as it might seem all over the place.

June Bug on Thee Facebooks

Atypeek Music website

 

Tired Lord, Demo

tired lord demo

Released by the band last year, the four-song Demo by San Francisco outfit Tired Lord has been picked up for an official cassette issue through From Corners Unknown Records and will reportedly be the only release from the black metal/sludge genre-benders. Presumably that means they broke up, rather than just refuse to ever record again, though the latter possibility intrigues as well and would be meta-black metal. Spearheaded by guitarist Bryce Olson, Tired Lord effectively bring a thickness of tone to charred riffing, and a balance between screams and growls brings a cast of general extremity to the material. So I guess this is the part where I’m supposed to regret their dissolution and wish they’d do a proper release. Fair enough for the brutal chug in “Serpent’s Ascent” and the 7:51 closer “Astaroth,” which one wouldn’t mind hearing fleshed out from their current form. Failing that, one of the 30 tape copies pressed of Demo seems like decent consolation. At least while they’re there for the getting and before Tired Lord go gleefully into that black metal demo tape ether where so many seem to dwell.

From Corners Unknown Records on Thee Facebooks

From Corners Unknown Records website

 

BerT, Relics from Time Zero

bert relics from time zero

Lansing, Michigan, trio BerT – bassist Phil Clark and brothers Ryan (guitar) and Rael (drums) Andrews – broke up. They even put out a posthumous rare tracks release in 2017’s The Lost Toes (review here), so what’s left? Well, another album, of course. Intended as a sequel to the sci-fi narrative of the never-released long-player Return to the Electric Church, the five-track/35-minute Relics from Time Zero is unfinished, sans vocals where they might otherwise be, and basically a look at what might’ve been had the band not dissolved. For those prior-exposed to the once-prolific heavy rock bizarros, some of the proceedings will seem familiar: riffs are plentiful and fluid in their tempo changes from driving rock to droned-out stomp, and there seems to be about 1.5 of them in the four-minute “In the Cave of the Batqueen,” so but for the fact that it’s not done, I’d just about call it business as usual for BerT. I know they’re done and all, but I still wouldn’t mind hearing these songs with some lyrics, let alone the record this one was intended to follow-up. Either way, even defunct, BerT remain on their own wavelength.

BerT on Thee Facebooks

BerT on Bandcamp

 

Zen Bison, Krautrocker

zen bison krautrocker

Classic-style heavy rock riffing pervades opener “Blow My Mind” (5:47) and the subsequent “Backseat Lovers” (5:15) – somewhere between Stubb and Radio Moscow — on Zen Bison’s debut LP, Krautrocker, but as the five-track/42-minute self-release moves into the 11-minute title-track, guitarist/vocalist Philipp Ott, bassist Steffen Fischer and drummer Martin Konopka – joined by organist Hans Kirschner and percussionist Bobby Müller –move into deeper-grooving and more psychedelic fare. That turn suits the mostly-live-recorded outfit well on the longer instrumental piece, and that leads to a side B with the likewise-sans-vocals “La Madrugada” (9:56) and the closing cover of Don Nix’s blues rocker “Going Down” (10:24), jammed out at the end in its middle and end with quick return to the chorus between. There isn’t much on Krautrocker one might actually consider krautrock in the traditional sense, but there’s certainly plenty of rock to go around on the impressive and varied first offering from the Rostock trio.

Zen Bison on Thee Facebooks

Zen Bison on Bandcamp

 

Wheel in the Sky, Beyond the Pale

wheel in the sky beyond the pale

From opener “Rivers of Dust” onward, Wheel in the Sky’s second album, Beyond the Pale (on The Sign Records), proffers classy and classic digs, informed by a heavy ‘70s uptempo spirit on its title-track and moving into more complex volume and arrangement shifts in “Burn Babylon Burn” (video premiere here) and a poppy, goth-informed hook on “The Only Dead Girl in the City,” all the while held together through a quality of songwriting that even the band’s 2015 debut, Heading for the Night (review here), seemed to hint toward. It’s a mover, to be sure, but Wheel in the Sky execute their material with poise and a sense of clear intention, and no matter where they seem to go, their tonality and natural production assures the listener has an easy time tagging along. Might be a sleeper for some, but there are going to be people who really, really dig this album, and I’ve got no argument with them.

Wheel in the Sky on Thee Facebooks

The Sign Records website

 

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Tomorrow’s Dream: 200+ of 2017’s Most Anticipated Releases

Posted in Features on January 23rd, 2017 by JJ Koczan

tomorrow's dream 2017

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 —

Presented Alphabetically

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

all them witches sleeping through the warIf 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

cloud catcher trails of kosmic dustOkay, 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 NapalmThe 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 BurnHermanoVista ChinoZun, 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

lo-pan in tensionsYes, 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 WeinrichCostantino 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

pallbearer heartlessDoomers, 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 KindWhite 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 DesertfestRiff 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 MitchellTranquonauts (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

sun blood stories it runs around the room with usIt 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
37. Amenra
38. Atala
39. Attalla, Glacial Rule
40. Ayahuasca Dark Trip, II
41. Beastmaker
42. Beaten Back to Pure
43. Blackout
44. Bretus
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
50. Cortez
51. Cruthu, The Angle of Eternity
52. The Dead-End Alley Band, Storms
53. Dead Witches, Dead Witches
54. Dealer
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
72. Greenbeard
73. Green Desert Water
74. Greenleaf
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
86. Mastodon
87. Merlin, The Wizard
88. Merchant
89. Mindkult, Lucifer’s Dream
90. Mirror Queen
91. Moonbow, War Bear
92. Mos Generator
93. The Moth
94. MotherSloth
95. Mouth, Vortex
96. My Sleeping Karma, Mela Ananda – Live
97. Orango
98. Papir
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
107. Sólstafir
108. The Sonic Dawn, Into the Long Night
109. Spelljammer
110. Spidergawd, IV
111. Steak
112. Stinking Lizaveta, Journey to the Underworld
113. Sula Bassana, Organ Accumulator
114. Summoner
115. Sun Voyager, Sun Voyager
116. Sweat Lodge, Tokens for Hell EP
117. Thera Roya, Stone and Skin
118. Toke
119. Troubled Horse, Revelation on Repeat
120. VA, Brown Acid The Third Trip
121. Weedpecker
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.

Dig it:

123. The Age of Truth
124. Ape Machine
125. Arc of Ascent
126. At Devil Dirt
127. Bantoriak
128. Bask
129. BCAD
130. BoneHawk
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
139. Devil
140. Devil Worshipper
141. Duel
142. Dustrider
143. Egypt
144. Electric Moon
145. Elephant Tree
146. Farflung
147. The Flying Eyes
148. Freedom Hawk
149. Gozu
150. The Great Electric Quest
151. Green Meteor, Consumed by a Dying Sun
152. High on Fire
153. Horrendous
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
163. Mangoo
164. Mondo Drag
165. Monolord
166. Mountain God
167. The Munsens
168. Naxatras
169. Never Got Caught
170. Ommadon
171. Orchid
172. Ordos
173. Pilgrim
174. Poseidon
175. Purple Hill Witch
176. Ruby the Hatchet
177. Sasquatch
178. Satan’s Satyrs
179. Serpents of Secrecy
180. Shabda
181. Shooting Guns
182. Sleepy Sun
183. Slow Season
184. Snowy Dunes, Atlantis
185. Spectral Haze
186. The Sweet Heat
187. Switchblade Jesus
188. Superchief
189. Tÿburn
190. YOB
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
193. Eggnogg
194. Elephant Tree
195. Endless Boogie
196. Fever Dog
197. Fu Manchu
198. Halfway to Gone
199. Hour of 13
200. Kadavar
201. Kings Destroy
202. Lord Fowl
203. Lowrider
204. Masters of Reality
205. Om
206. Orodruin
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.

All the best.

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Poseidon Sign to Ripple Music

Posted in Whathaveyou on November 22nd, 2016 by JJ Koczan

I can’t think of an American heavy rock label that undertook growth to match that of Ripple Music in 2016. Don’t get me wrong, there are plenty out there, large, medium and small, doing good work, but in the quality and quantity of their roster expansion, the West Coast imprint stood itself out particularly this year as one of the foremost US outlets for things that go fuzz in the night, and they’ll look to continue their momentum into 2017 with signings like that of Poseidon. Look for the London-based psych-sludge doomers to make their full-length debut through Ripple having played Desertfest London, Bloodstock and more besides in a landmark 2016 of their own on the strength of their single-song Prologue: Omega EP, released just about a year ago and offering atmosphere a-plenty to go with its post-metallic quantum mysticism.

The PR wire takes it from here:

poseidon

Poseidon signs worldwide deal with Ripple Music; Debut Album in the Works

Ripple Music is proud to announce the worldwide signing of UK stoner/doom rockers Poseidon to their ever growing roster of top-notch heavy bands. Having gestated for almost a year in the guts of East London, Poseidon rise to the fore. With their seeds rooted firmly in the dense sounds of 70’s rock and Doom metal, and having spawned from bands including the now defunct Light Bearer, the band bring together a sound that celebrates the vastness of the sonic landscape. From a rage of aggressive riffs, barked vocals and elemental drums to swimming rhythms and earthy melodies, Poseidon invoke the catastrophic nature which occupy both ends of their musical spectrum and dive head first into the abyss of the melancholic.

Raza Khan on signing to Ripple:
“A chance to sign to a label of this realm and reputation, doesn’t come everyday. Poseidon are honoured and humbled to become part of the Ripple family, alongside such luminaries as Wo Fat, Mos Generator and Mothership. We couldn’t imagine better people to work with than Todd and Pope, and we cant wait to unleash the first Poseidon release next year!”

Poseidon bring a whole new dynamic to their heavy rock, with pulverizing heavy riffs, moments of stark, barren beauty, and mixture of Neurosis-ish drone and nuclear test site volume. Poseidon are currently writing their debut studio album, set for a 2017 release.

Having already stormed major festivals such as DesertFest London, Bloodstock Open Air, and Hard Rock Hell, and having shared the stage with the likes of Mastodon, Orange Goblin and Electric Citizen, Poseidon aims to take their critical success to new heights on their upcoming debut for Ripple Music. 2017 will surely see Poseidon back on the road again, and at the forefront of the heavy rock and metal world.

Poseidon is:
Raza khan – Drums
Matt Norris – Guitar
Matthew Bunkell – bass/vocals
Jamie Starke – guitar

https://www.facebook.com/weareposeidon?
https://poseidonii.bandcamp.com/releases?
http://www.ripple-music.com/
http://ripplemusic.bandcamp.com/

Poseidon, Prologue: Omega (2015)

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Desertfest London 2016: Blood Ceremony, Oranssi Pazuzu, Witchsorrow, Bast and More Added to Lineup

Posted in Whathaveyou on December 23rd, 2015 by JJ Koczan

desertfest london 2016 header

Seems like a few festivals aren’t ready to let the year end quite yet, which is fair enough. Desertfest London 2016 has unveiled a slew of new acts for its lineup — enough to fill a whole other stage and then some — and along with Monomyth, who were previously announced as taking part in Desertfest Berlin as well, the DesertScene crew has seen fit to bring aboard Pelican, Blood CeremonyBastWitchsorrowDusertoidLionize, impressive upstarts Sunder and others. It was a packed bill before. Now it’s a more packed bill. Funny how that works.

Here’s the latest with Happy Holiday wishes from the PR wire:

desertfest london 2016 poster

Pelican, Asteroid, Blood Ceremony and more added to the DESERTFEST LONDON 2016 lineup!

Jingle bells, jingle bells… The DESERTFEST LONDON promoters have one more treat for you before Christmas, with thirteen more bands confirmed to play the festival in Camden this spring, including the Old Empire Stage lineup that will be hosted at the Electric Ballroom on the Sunday.

Like the previous edition, DESERTFEST LONDON 2016 will broaden its horizon by bringing an alternative darker edge to the lineup. London’s independent promoters Old Empire will thus take over the Electric Ballroom on May 1st, with industrial metallers GODFLESH headlining the stage, plus five fantastically heavy acts including BLOOD CEREMONY, ORANSSI PAZUZU, BAST and WITCHSORROW.

As a mouth-watering addition, ten other delightful acts are added to the weekend, with Illinois legendary dream rock merchants PELICAN, Ukraine’s finest stoner trio STONED JESUS, as well as grooving rock’n’rollers LIONIZE, French proto-rockers SUNDER, UK’s post-doom outfit OHHMS, DUSTEROID, MONOMYTH, BLACK PUSSY and POSEIDON.

– DESERTFEST LONDON 2016 –
April 29th to May 1st in Camden, London (UK)
Weekend tickets available AT THIS LOCATION

Current lineup is as follows:
ELECTRIC WIZARD – CORROSION OF CONFORMITY w/ Pepper Keenan PELICAN – GODFLESH – CROWBAR – TRUCKFIGHTERS – BLOOD CEREMONY – ELDER – EGYPT – CONAN – ORANSSI PAZUZU – WO FAT – MOTHERSHIP – MONOLORD – ROTOR – ASTEROID – RAGING SPEEDHORN – STONED JESUS – LIONIZE – PLANET OF ZEUS – MONOMYTH – BLACK PUSSY – WITCHSORROW – OHHMS – SUNDER – DUSTEROID – BAST – POSEIDON

https://www.leedstickets.com/eventinfo/4804/Desertfest-2016
http://www.thedesertfest.com/london/
https://twitter.com/DesertFest
https://www.facebook.com/DesertfestLondon
https://instagram.com/desertfest
http://desertfest.bigcartel.com/

Pelican, “Immutable Dusk” live on Sound Opinions

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