Up in Smoke 2017 has made its first lineup announcements for this October. It’s the fifth anniversary of the Swiss-based fest put together by Sound of Liberation, and they’re immediately giving it due ceremony by putting word out that the just-broke-up-oh-wait-they’re-back-together-again Graveyard will headline. Will they have a new record out? Who will play drums? These are questions still to be answered, but there are seven months between now and then, so fair to expect it’ll all be worked out in the interim.
Along with Graveyard, putting the formidable likes of Orange Goblin, Radio Moscow (who will have a new album out), Ufomammut (who just might as well), Windhand and their tourmates in Satan’s Satyrs, as well as Swiss acts Zatokrev and Sons of Morpheus on the bill certainly doesn’t hurt it any either. Eight bands in the first batch to be announced and I’m already looking forward to the second. We’re not even really into the Spring season yet and Fall is starting to rear its head.
Festus fugit, my friends.
From the PR wire:
Up In Smoke 2017 – First 8 Bands confirmed: GRAVEYARD to Headline!
We are now finally ready to unveiled the official Up In Smoke 2017 poster, and the first bands confirmed for this outstanding 5th edition! Located as usual in Switzerland’s best rock venue, Z7 Konzertfabrik, only a few kilometres from the German and French borders, our festival will feature about 20 bands on two stages with no overlapping set times, to guarantee you two days of Volume Worshipping!
So mark October 6th & 7th in your calendar, and get your 2-pass as soon as you can here or here! Up In Smoke 2016 was sold out, so better be quick, and to help you make your decision, we are proud to give you the first 8 bands we have confirmed!
GRAVEYARD (SWE) ORANGE GOBLIN (UK) RADIO MOSCOW (USA) UFOMAMMUT (I) WINDHAND (USA) SATAN’S SATYRS (USA) ZATOKREV (CH) SONS OF MORPHEUS (CH)
Up In Smoke is an indoor festival for fans of Heavy Rock – Doom – Psych – Stoner… easily reachable by plane via the Euro-Airport (Basel/Muhouse) or by public transportations (train, bus) via Basel Main Station. There are plenty of affordable Hotels and Hostels located in Basel and for “budget savers” we are also offering to sleep over + breakfast (Coffee and bread rolls) in the venue for a small fee!
How does this work? After the last concert of the day, we ask everybody to step out of the venue for a few minutes. During that time, the venue and toilets are cleaned and the floor covered with a plastic sheet. (people have to bring their sleeping bags and air mattresses)
Posted in Whathaveyou on January 30th, 2017 by JJ Koczan
I have no problem admitting to feeling overwhelmed looking at the full lineup and individual day splits for Desertfest London 2017. I mean, seriously. Look at that poster. What a way to spend a weekend.
Likewise, I have few grand reflections to offer in light of that overwhelming feeling, except perhaps to take a step back and be massively impressed at how much this event has grown in just six incarnations. Along with Desertfest Berlin, the London edition has become an anchor not only for the UK heavy rock underground — which is well represented here as ever in Elephant Tree, Black Spiders, Stubb, Vodun, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Terminal Cheesecake, Chubby Thunderous Bad Kush Masters, Mammoth Weed Wizard Bastard, and so on — but for bands from abroad as well. You’ll note the three headliners: two American, one Norwegian, and the next line down on the poster is two Swedish, one American. Desertfest London 2017’s reach feels wider than ever. Staring at the final lineup, it’s clear just how much of a big fucking deal this festival has become.
Wish I could be there to see it.
Here’s the announcement of the individual day lineups from their website:
DESERTFEST 2017 DAY SPLITS AND DAY TICKETS ARE HERE!
Finally, the Desertfest 2017 day and stage splits are here, along with individual day tickets. It’s the point of the year where you can start planning the weekend, you can imagine the sets in your head and you can curse those god damned clashes.
Last things first, let’s get straight to that insane Sunday main-stage. To celebrate The Roundhouse joining the Desertfest family, we made their debut appearance something special. Not only will stoner doom icons Sleep be topping the bill, but the Roundhouse hosts a full bill of huge acts. Candlemass, with over three decades of underground acclaim to their name, bring the epic doom metal. USA’s Wolves in the Throne Room bring the atmospheric black metal. Traditional doom metal stalwarts Saint Vitus bring the classic riffs. And how about this for a ‘curtain jerker’? Bongzilla bring the raw weed metal for their second show of the weekend; more on the first later.
It’s not just about the Sunday though. Friday’s stage at the Electric Ballroom is headlined by returning heroes Slo Burn whose short run in the mid 90s furthered the then fledgling stoner rock scene. One band they surely had an impact on is Lowrider, who play Europe’s finest stoner rock alongside them. Ukraine’s Stoned Jesus celebrate their resonant album Seven Thunders Roar, and 1000Mods and Pontiak round up the main stage on the Friday.
The Electric Ballroom on Saturday will be swarming with Turbojugends as death-punk grandmasters Turbonegro turn Camden into party central. John Garcia sticks around for a solo show, sure to feature classics from his years of nonstop mastery in the stoner rock scene. Sheffield’s rock and roll five piece Black Spiders visit London for one last time on their farewell tour, with Satan’s Satyrs and Avon rounding up the main stage.
As ever though, it doesn’t stop at the main stages. Our regular partners have delivered three stages with diverse lineups. Human_Disease_Promo and When Planets Collide take over The Underworld on Saturday in a bill headlined by Bongzilla with a special set celebrating the band’s early work. The Quietus stage is led by synth wavers Zombi, and Nightshift Promotions bring an eclectic mix led by Hungary’s Apey & the Pea. To be honest, just stick a pin in the lineup poster and you’re guaranteed a good time.
For those who can’t make the full weekend, we have a limited number of individual day tickets. Priced at £40 for Friday tickets, £40 for Saturday tickets and £45 for Sunday tickets, links are below.
So there we have it. Our final lineup for Desertfest 2017. We hope you’re as excited as we are to get back to Camden this April and riff London to the ground.
DESERTFEST LONDON 2017 Final Lineup: SLEEP SLO BURN TURBONEGRO CANDLEMASS WOLVES IN THE THRONE ROOM SAINT VITUS JOHN GARCIA BAND BONGZILLA LOWRIDER SCISSORFIGHT BLACK SPIDERS SAMSARA BLUES EXPERIMENT THE PICTUREBOOKS STONED JESUS SATAN’S SATYRS INTER ARMA WEAR YOUR WOUNDS 1000MODS STEAK AVON DEATH ALLEY DEAD LORD BOSS KELOID PONTIAK YURI GAGARIN HARK VODUN CHRON GOBLIN PIGS PIGS PIGS PIGS PIGS PIGS PIGS THE WELL MAMMOTH STORM CELESTE STUBB MONOLITHIAN WUCAN VENOMOUS MAXIMUS BRUME APEY & THE PEA ELEPHANT TREE GRAVE LINES IRON WITCH EARTH SHIP BACKWOODS PAYBACK WIZARD FIGHT BRULE CLOSET DISCO QUEEN GRAND MAMMOTH CHUBBY THUNDEROUS BAD KUSH MASTERS MAMMOTH WEED WIZARD BASTARD SAMAVAYO WELCOME BACK DELTA DEAD LETTUCE MONSTERTONE LEDFOOT ZOMBI TERMINAL CHEESECAKE KHÜNNT BASK BRUXA MARIA
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 Whathaveyou on October 31st, 2016 by JJ Koczan
This was bound to happen. Desertfest Berlin 2017 has made its first lineup announcements. Already we’ve started to see Europe’s Spring festival season start to take shape, and as the German incarnation of Desertfest‘s London-based counterpart has already unveiled its first round of bands, it seems only fitting it should be Berlin’s turn. A return of Lowrider is notable, and frankly so are Toundra, The Cosmic Dead, Satan’s Satyrs and Ecstatic Vision, but as someone who keeps holding out hope the vaguely-reformed Swedish heavy rockers will show up one day with a new album, the more shows they do the merrier. One often finds them paired with Dozer at fests — that was the case last time they did Desertfest, in 2013 — so maybe they’ll show up as well in some future announcement. Wouldn’t complain at seeing either again one of these days.
Desertfest Berlin 2017 is April 28-30 at the Astra Kulturhaus. Look for much more to come, including some headliner info next month teased below:
Desertfest Berlin 2017 – First Bands Announcements (Lowrider, Toundra, The Cosmic Dead, Satan’s Satyrs, Ecstatic Vision)
DESERTFEST BERLIN 2017 – APRIL 28-29-30
Last year’s Desertfest Berlin was a great success with people taking part from almost 40 countries all over the globe. You came, you saw, you conquered! Now it’s about time for all you riff-rockers, doom and psych-heads to pump up the volume in your earchannel, because here is the first band announcement!!
LOWRIDER (SWE) We are stoked to have Lowrider back for our 6th edition of the Desertfest. The band hasn’t play any shows since 2014 and so it´s greater to welcome them back at our festival in Berlin. Even if it’s not about cars, this combo is as powerful as a Chevy 356 engine and will surely tear down the walls of Astra.
TOUNDRA (SP) Clear your mind for a musical journey with the beautiful soundscapes form the Spanish capital. This exclusive show will end up as one of those you’ll remember for years to come.
SATAN’S SATYRS (US) Hot rocking Virginia quartet Satan’s Satyrs is releasing a new album in spring and they asked themselves; “Is there any better way to celebrate this than doing it at Desertfest Berlin?” Of course not, so here they come.
THE COSMIC DEAD (UK) Trippy sounds from Glasgow will emerge when these four guys hit the stage. With a menu raging from psych to powerful cosmic rock, so let’s just pretend we are the space cadets.
ECSTATIC VISION (US) Bring back the 70’s would be a tempting phrase to use on Ecstatic Vision if you remember bands like Amon Düül II and Hawkwind. Forget all chemical substances, this music is a trip itself.
Stay tuned, by mid-November we’ll be back with a new announcement where some headliners will be unfolded. Last year’s 3-day festival tickets were sold out already early February, so don’t wait too long if you want to come along and experience some of the best acts in the genres of doom, sludge, psych, desert and stoner rock.
Posted in Whathaveyou on October 14th, 2016 by JJ Koczan
Desertfest London 2017 joins the Spring festival season fray with its first round of lineup announcements. Set for April 28-30 in its traditional home of Camden Town in London, the sixth incarnation of one of the two founding Desertfests will include a headlining set from Turbonegro, as well as appearances from Samsara Blues Experiment, who seem to be set on making a return to activity as we head into the New Year that I’ll be very interested in seeing how it plays out, plus blues-cycle duo The Picturebooks, Virginia’s Satan’s Satyrs, tribalists Vodun, Yuri Gargarin, Mammoth Storm, and London’s own Elephant Tree, whose 2016 self-titled debut (review here) stands among the year’s best in heavy rock. Bit of a no-brainer there, so I guess you might as well get the announcement out of the way early.
Not really looking forward to six months of cartoon-titty posters, but so it goes. Here’s word from the fest:
DESERTFEST LONDON: first bands announced; Turbonegro to headline the 2017 edition!
After a momentous fifth year anniversary, DESERTFEST LONDON proudly returns in 2017. As the festival grows from strength to strength, each year offers up a new challenge to bring a truly unique and amplified weekend to Camden Town. Desertfest aims to not only expand in all areas, but also to exceed expectations, and this year’s lineup is set to do just that.
The first headliner for 2017 is one of the most ludicrously high voltage, straight-up party bands in the history of rock’n’roll: Norway’s very own TURBONEGRO will be bringing their blend of high octane deathpunk to Desertfest 2017, for their first performance ever at the festival!
Joining them on the bill are one of the most requested Desertfest acts, German psych stalwarts SAMSARA BLUES EXPERIMENT, whose expert blend of stoner rock, psychedelic blues and Indian raga will bring some mind-bending goodness to the weekend’s trip.
THE PICTUREBOOKS will also be eagerly offering up their diverse alt-rock sound. The duo have pushed boundaries with their style – from drumming with mallets to building their own instruments, their live performances unquestionably follow suit and will not disappoint.
Virginia’s crème-de la-crème of thrash SATAN SATYR’S have effortlessly propelled themselves to cult status by paving the way for that true hard-attack heavy rock, making them stand out from a sea of peers who are just trying to hit half as hard.
VODUN are quickly gaining traction as one of those “must see” bands, and Desertfest is thrilled to show our loyal family as to why. An overwhelming talent of primal, genre-bending, heavy afro-soul rock – they’re not easy to describe, but being labelled one of the best new rock acts on the planet may help paint the picture. Swedish space rock cosmonauts YURI GAGARIN will also join the 2017 proceedings to launch revellers into a hypnotic otherworldly journey, alongside doom-drone power trio MAMMOTH STORM, who will be ready to batter out any cobwebs with a sonic tidal wave of riffs. Last but not least, is London’s very own ELEPHANT TREE with their melodic and weighty riffs that will rattle down on listeners like a stampede.
We are proud, and excited, for what next year has in store. But this is only the tip of the iceberg as there is much, much more to come. Stay tuned!
– DESERTFEST LONDON 2017 – 28th to 30th April in Camden, London Weekend passes are availableHERE
First bands announced: TURBONEGRO, SAMSARA BLUES EXPERIMENT, THE PICTUREBOOKS, SATAN’S SATYRS, VODUN, YURI GAGARIN, MAMMOTH STORM, ELEPHANT TREE
Posted in Reviews on January 8th, 2016 by JJ Koczan
Last day. It’s been some week. When I otherwise would’ve been putting these reviews together yesterday? Jury duty. Yup, my civic responsibility. Add that to a busted laptop, a full-time job and a couple busy days for news, and you have a good argument for why with Quarterly Reviews prior I’ve gotten up at six in the morning over the weekend before and started writing to get as much out of the way as possible. Oh wait, I did that this time too. Well, maybe it was seven.
Either way, as it comes to a close, I want to personally express my thanks to you for checking it out and being a part of what’s become a weird seasonal ritual for me. I hope you’ve found something (or find something today) that resonates with you and stays with you for a long time. I’m pretty sure that’s what it’s all about.
Quarterly Review #41-50:
Satan’s Satyrs, Don’t Deliver Us
Virginian riff-turner trio Satan’s Satyrs passed the half-decade mark with their third album, late-2015’s Don’t Deliver Us (on Bad Omen Records), just one year after their sophomore outing, Die Screaming! crawled up from the foggy ’70s ether. In addition to touring the US with Electric Wizard, with whom Satan’s Satyrs shares bassist Clayton Burgess (also vocals), one assumes the trio spent the remainder of the year mining old VHS discount-bin horror to find inspiration and fitting subject matter for quick-turning cuts like “(Won’t You be My) Gravedancer” and “Crimes and Blood,” but whatever they did, it worked. As “Spooky Nuisance” jams out its Hendrix-via-Sabbath vibing and the subsequent “Germanium Bomb” leans into yet another impressive solo by guitarist Jarrett Nettnin complemented by the fills of drummer Stephen Fairfield, there’s an element of performance to what they do, but whether it’s the proto-doom of closer “Round the Bend” or the motor-chug of “Two Hands,” Satan’s Satyrs find that sweet spot wherein they constantly sound like they’re about to fall apart, but never actually do. For sounding so loose, they are enviably tight.
Sometimes you have an idea for a band, and it’s like, “I’m gonna start a band that puts this genre and this genre together.” In the case of Aussie four-piece Wildeornes, it’s stoner and black metal coming together on their second full-length, Erosion of the Self. I’ll give it to them, they pull it off. I’m not sure the “arising” instead of “rising” in “Serpent Arising” or the “So fucking high!” at the end of “The Subject” are really necessary, but hard to ignore the fact that before they get there, they’ve nodded at Pentagram, Crowbar, and Goatsnakeand included a couple measures of blastbeats, or the fact that throughout the album they effectively tilt to one side or the other, riding atmospheric cymbals over a rolling groove in “The Oblivion of Being” only to tap into Nile-brand Egyptology in “Incantation for the Demise of Autumn” only to affect Erosion of the Self‘s biggest chorus on “Winter’s Eve.” Whatever genre tag they, you or I want to give it, their roots are definitely metal, but the juxtaposition they offer within that sphere works for them.
Raw groove is at the core of what Oakland, California’s Blackwülf offer on their second album and Ripple Music debut, Oblivion Cycle. Divided neatly into two sides for an LP, its 10 track hearken to a stripped-down vision of classic metal on “Memories,” Sabbath and Maiden both a factor but not the end of the line when it comes to the four-piece’s influences. Somebody in this band (if not multiple somebodies) is a punker. The two impulses play out in a balance of grand stylization and lean production – to wit, “Wings of Steel” sneers even as it puts a triumphant foot on the stage monitor and gallops off – and if the punk/metal battle isn’t enough of a tip-off, let the umlaut serve as confirmation that these guys are going to miss Lemmy (who isn’t?), but their methods ultimately prove more indebted to Judas Priest than Motörhead by the time they get down to “Never Forget,” which touches on some vocal soaring as it rounds out that feels especially bold as well as well placed as a late gem before the slamming-groove-into-Iommic-flourish of closer “March of the Damned.” As much as Oblivion Cycle has these elements butting heads across its span, that’s not to say Blackwülf lack control or don’t know what they’re doing. Just the opposite. Their pitting ideas against each other is a big part of the appeal, for listeners and likely for the band as well.
Four years after issuing their second album, 2011’s Galaxia (review here), late-2015’s Phantom of an Era finds Connecticut’s VRSA a considerably more crunch-laden entity. They’ve have some lineup changes in the past half-decade, which is fair enough, but guitarist Andrius and guitarist/vocalist Josh remain prominent, leading the rhythm section of bassist/vocalist John and drummer Wes through prog-metal cascades, quiet parts shifting on a dime to full-volume assaults or holding off and making the change more gradual as tension builds. Either way, if the end-goal is heavy, VRSA get there, whether it’s the rolling, chugging and growling of “Grand Bois” or the winding and crashing and thrashing of the later “Marble Orchard,” or how closer “Baron Cimetière” sets up its waltz rhythm subtly in the beginning only to bash the listener’s skull with it as the inevitable crushing begins anew. There’s plenty of it to go around on Phantom of an Era, which keeps a consistent air of brutality even as it veers into clean, progressive or atmospheric forms.
As they get down elsewhere with hard-driving, Steak-style post-Kyuss desertism, Swiss four-piece Marant have just a couple of more laid back trips perfectly placed along the path of their debut album, High Octane Diesel. The first of them, “Smoothie,” follows opener “Kathy’s Trophy,” and like the later “Road 222,” it has its more raucous side as well, but the big tone-wash happens with the languid heavy psych roll of closer “N’BaCon?,” also the longest track at 8:47. The effect that varying their modus has on broadening the scope of more straightforward songs like “Evil Schnaps” and “The Good the Bad and the Trip” isn’t to be understated. Not only does it show a different side of the emerging chemistry between vocalist Jimmy, guitarist Sergio Calabrian Donkey, bassist Aff Lee and drummer Sir Oli with Snake, but it gives High Octane Diesel an atmospheric range beyond the desert and into an expanse no less ripe for exploration. Whichever method they employ, Marant engage fluidly across their first record.
Lot of noise, lot of fuckall, not too many songs. Connecticut trio Grizzlor manage to pack seven songs onto a 7” release called Cycloptic (on Hex Records), most of which hover on either side of 90 seconds apiece. Dissonance, grit and tension pervade the offering front to back, and between “Sundays are Stupid” and “I’m that Asshole,” there’s an edge of experimentation in the vocals and rhythm as well, some starts and stops that add to the songwriting, though the peeled-skin noise rock of “Tommy” and the build-into-mayhem of “Winter Blows” ensure that the business of punkish intensity isn’t left out. Was it a danger to start with? Nah. Closer “Starship Mother Shit” and the earlier “Life’s a Joke” rolls out a sludgy-style groove, but with sneering and shouting overtop and hard-edged percussive punctuation, there’s no question where Grizzlor got all that aggression from. If Grizzlor are playing in the basement, somebody’s gonna call the cops.
Bull-in-a-china-shop’ing their way through nine mostly-blistering tracks in 43 minutes, Seattle trio Mother Crone make their full-length debut with the appropriately titled Awakening, a record that melts doom and thrash together with the best of earliest Mastodon and comes out of it sounding righteous, wildly heavy and solidly in control of their methods. Don’t believe it? First of all, why not? Second, check out the six-minute “Descending the North” – the third track after a beastly opening with the mysteriously JFK-sampling intro “Silt Laden Black” and “Black Sea” – which chugs and twists and stomps through its first half only to drop out to just-guitar ambience and burst to life again with a shredding solo finish that leads to – wait for it – the quiet guitar-and-vocals only spaciousness of “The Dream,” which marks a twist into a more experimental middle quotient of the album, the subsequent “Halocline” and furiously building “Revelation” more experimental in form, before the sludgy “Turning Tides” and raging “Apollyon” make the job of the nine-minute closing title-track even more difficult in summarizing everything that came before it. A task of which that song makes short work. For the momentum they build and the brashness they execute within that, Mother Crone‘s Awakening is indeed bound to stir.
Italian four-piece Psychedelic Witchcraft issued Black Magic Man in mid-2015 as their debut EP, and wound up selling through both its limited 10” vinyl pressings. For the Twin Earth Records CD version, it’s been expanded by two tracks – still EP length at 27 minutes – and given new artwork that underscores the band’s cultish bent, which comes across strong in the vocals of Virginia Monti, very much at the forefront of the group’s presentation on “Angela” and “Lying in Iron,” the opening duo that give way to the desert-toned push of the title-track, also the strongest hook included. Drummer Daniele Parrella leads the march into the grungier “Slave of Grief,” in which the guitar of Jacopo Fallai will take a noisy forward position in the midsection, giving way later to some blown-out singing from Monti given heft by bassist Riccardo Giuffrè, like 1967 time traveling to 1971. The production on the last two cuts, “Wicked Dream” and “Set Me Free” is audibly different (Vanni also plays bass), more modernly-styled, but the band’s core intent of living up to their name remains true.
Philadelphia and New York rarely agree on anything, but Chimpgrinder and Miscegenator, who make their homes respectively in those burgs, have come together at least long enough to share a split 7” between them, though of course what they do with that time is vastly different. Chimpgrinder proliferate a raw kind of sludge on their two tracks, not completely void of melody, but more geared toward groove than expanse, “Gates” taking off on an lengthy solo and deciding it’d rather not come back, ending in feedback fading to abrasive noise. That’s a fitting lead-in for what NY’s Miscegenator are up to on the other side, as “Hate Hate Hate” leads off a six-song set of visceral grind. Shit is raw and mean, and it d-beats its way either into your heart or off your turntable – it’s not the kind of music anyone ever played because they were feeling friendly. Blink and its gone, but the punk-rooted abrasion is like as not to leave a scar as closer “Tony Randall was Right” goes slicing, which is a fair enough answer to the pummel Chimpgrinder made their own a whopping five minutes earlier.
The self-titled, self-released, self-recorded debut EP from London four-piece Oak saves its burliest impression for “Ride with Me,” the third of its four component tracks. That’s not to say that “All Above” and “Queen of this Land” aren’t plenty dudely – the vocals of Andy Wisbey see to that – but “Ride with Me” feels particularly caked in testosterone. Somewhat quizzical that it also finds guitarist/engineer Kevin Germain, bassist Scott Mason and drummer Rob Emms (since replaced by Sergiu, it would seem) vibing out for a bit of quiet desert noodling in the middle and ending with a primo shuffle of the post-Kyuss variety. Maybe it’s a fine line when one considers the body of work of Orange Goblin as an influence, but it gives a different context to the two songs before and certainly to the stonerly bounce of “Dissolve” after to know that Oak have more in their playbook than the standard beer-pounding and chestbeating. Should be interesting to hear how the various impulses play out as they more forward.
Posted in Whathaveyou on September 18th, 2015 by JJ Koczan
An Oct. 30 release for a Satan’s Satyrs record seems only fitting. The newly announced Don’t Deliver Us will be the Virginian trio’s third, and it arrives bolstered by bassist/vocalist Clayton Burgess‘ double-tenure in Electric Wizard, for whom Satan’s Satyrs opened on their Spring 2015 US tour (review here). Speaking of touring, that seems to be precisely what the still-youngin’ three-piece have in mind to support the new album, as they’ll be out in the coming months with Pentagram and Electric Citizen in the US and with Kadavar in Europe, continuing to keep good company and spread the word of their biker-infused proto-doom. Maize, you call it heavy rock and roll.
The PR wire brings album details and copious calendar fodder:
SATAN’S SATYRS to Unleash New Album Don’t Deliver Us October 30
DC-area Psych / Doom Gang Unveils Electrifying New LP, Announces U.S. Tour with Pentagram
Bloodcurdling Virginia rock & roll creepers SATAN’S SATYRS will release their highly-anticipated new album Don’t Deliver Us on October 30 via Bad Omen Records. The underground trio, featuring bassist / vocalist Clayton Burgess (also of Electric Wizard), guitarist Jarrett Nettnin and drummer Stephen Fairfield, whose sound has been hailed as, “positively seething with a frenzied, untamed energy that takes everything you love about doom metal and punk rock and smashes them together in a glorious, technicolour explosion,” recorded the album in Nashville, TN and calls it, “more stripped down, more raw, and definitely heavier.”
“We wanted to recapture the primitive thrust of rock ‘n’ roll with our sound,” asserts Burgess, who recently achieved the considerable feat of completing a sold-out U.S. tour performing double-duty in both SATAN’S SATYRS and Electric Wizard. “I’ve watched Tony Iommi rip into the opening chords of ‘War Pigs’ from 30 feet away. I’ve had Bobby Liebling look me straight in the eyes as he sang ‘All Your Sins’. I’ve had my hair stand on end and felt strange frissons from the music which means so much to me. My ultimate desire is to reach people in the same way with our music. That’s what I strive for”
Track listing: 1.) Full Moon and Empty Veins 2.) Two Hands 3.) (Won’t You Be My) Gravedancer 4.) Spooky Nuisance 5.) Germanium Bomb 6.) Creepy Teens 7.) Crimes and Blood 8.) You-Know-Who 9.) ‘Round the Bend
Prior to the Halloween-ish release of Don’t Deliver Us, SATAN’S SATYRS will hit the road as hand-picked guests of the aforementioned Liebling and Pentagram for a slew of east coast U.S. tour dates. The terrifying trek will kick off on September 30 in Philadelphia, PA. The just-announced dates are as follows:
SATAN’S SATYRS U.S. tour dates: (All shows with Pentagram) September 30 Philadelphia, PA Underground Arts October 1 Providence, RI The Met October 2 Amityville, NY Revolution October 3 Washington, DC Rock N Roll Hotel October 6 New York, NY Saint Vitus October 7 Pittsburgh, PA Mr. Smalls October 9 Chicago, IL The Abbey October 10 Grand Rapids, MI Pyramid Scheme October 11 Cleveland, OH Grog Shop
SATAN’S SATYRS European tour with Kadavar: 05.11. F Strasbourg – La Laiterie 06.11. D Cologne – Kantine 07.11. NL Nijmegen – Doornroosje 08.11. UK Manchester – Sound Control 09.11. UK Glasgow – Audio 10.11. UK Leeds – The Brudenell Social Club 11.11. UK Wolverhampton – Slade Rooms 12.11. UK Bristol – Marble Factory 13.11. UK Cardiff – The Globe 14.11. UK London – The Dome 15.11. FR Tourcoing – Le Grand Mix 17.11. F Paris – La Trabendo 18.11. F Nantes – Stereolux 19.11. F La Rochelle – La Sirene 20.11. E Madrid – Penelope 21.11. E Barcelona – Razzmatazz II 22.11. F Bordeaux – Le Krakatoa 23.11. F Lyon – Ninkasi Kao 25.11. CH Zurich – Dynamo 26.11. CH Geneva – L’Usine 27.11. D Stuttgart – Wizemann 28.11. D Munich – Backstage 30.11. D Frankfurt – Batchkapp 01.12. D Hamburg – Markthalle 02.12. DK Copenhagen – Pumpehuset 03.12. N Oslo – Vulkan 04.12. S Gothenburg – Brewhouse 05.12. S Stockholm – Debaser Medis 07.12. FIN Jyväskylä – Lutakko 08.12. FIN Helsinki – Nosturi 09.12. EST Tallinn – Club Tapper 10.12. LT Vilnius – Propaganda 11.12. PL Gdansk – B90 12.12. PL Warsaw – Progresja 13.12. PL Krakow – Fabryka 15.12. A Vienna – Arena 16.12. D Nuremberg – Hirsch 17.12. B Brussels – Vk* 18.12. D Berlin – Astra 19.12. D Oberhausen – Turbinenhalle II 20.12. NL Amsterdam – Melkweg
Knowing that on a Friday night the Royale would have its dance club going by 10PM, I made sure I was at the venue early. Doors were slated for six for Electric Wizard and Satan’s Satyrs, and the venue would be cleared out before the dance party began. I neither begrudge Royale its double-booking — gotta make money, and the more the merrier as long as you can get away with it — nor mind an early night. While I’ve shown up late for shows in the past elsewhere and been pissed off missing this or that band, so long as the clientele are aware of the situation, an early end to the show isn’t necessarily a bad thing. One might go out to the bar with a group of friends and talk about how much the show kicked ass, feeling good and energetic after watching someone kill it. In my case, I went home and sat with the dog afterwards, but you know, you could go out and do something. If you’re in your 20s, maybe.
Two bands on the bill: Satan’s Satyrs and Electric Wizard. I was maybe fifth on line, which was enough to get me in and allow me to get a spot up front when the doors actually opened, closer to 6:30 than not. Satan’s Satyrs were slated to start at that point, but they didn’t actually go for another half an hour, the Virginia three-piece sharing bassist Clayton Burgess with the headliner. Satan’s Satyrs have been kicking around for the last six years, proffering ’70s boogie and doomly atmospherics — disciples conceptually, if not exactly sonically, of Electric Wizard — and they have two records out in 2012’s Wild Beyond Belief! and last year’s Die Screaming, as well as a handful of other EPs and live releases. Their third record is in the can, having been tracked in February, but the impression they give on stage, other than guitarist Jarrett Nettnin and drummer Stephen Fairfield winning any contest for big hair that might be going on, is of a young band.
The energy in their delivery, their presence on stage, the underlying vigor with which they present their material — it’s something they’ve managed to hold onto despite having a decent amount of experience under their collective belt at this point. They toured Europe last year, played Roadburn twice, and I don’t think that was their first time on the road. The kicker is that in addition to being young, they’re also ridiculously tight. So you’ve got Burgess spinning around on stage, Fairfield bounding around his teased-out coiffure, and Nettnin hitting Iommi poses for the leads, but they’re nailing it. All of it, really. Cuts like “Instruments of Hellfire” and “Lucifer Lives” from Die Screaming were boogie doom ragers, and they played a new song that, had it not been announced as such, it would’ve been easy to imagine they’d been kicking around for a couple years. It was my first time seeing them and they tore it up. Yeah, people were there to see Electric Wizard and it was Electric Wizard‘s show, but I didn’t hear one complaint while Satan’s Satyrs were on stage.
It felt like a long changeover, though I’ll allow that could’ve just been anticipation. I’ve seen Electric Wizard before, when guitarist/vocalist Jus Oborn curated a day at Roadburn 2013 (review here), but in the two years since, he and guitarist Liz Buckingham (ex-13, for New York types) have totally swapped out the rhythm section, bringing in Burgess on bass and drummer Simon Poole, and well, this was their first US tour since reactivating in 2007 — and several years before that — so it felt a bit like an event even before they took the stage. They did so preceded by burning enough incense to give me raised-Catholic flashbacks, which were perfect for Good Friday, and by bringing the lights all the way down for the intro “Crypt of Drugula.” A one-two punch of “Witchcult Today” from the 2007 landmark of the same name and “Black Mass” from 2010’s Black Masses (review here) followed and reaffirmed why we were all there: to worship. The riff, the nod, the horror. A crowd of scumbags and normal heads, hipsters, hippies and crust kids, headbangers and stoners, all of us drawn in by the eerie power and undeniable hooks of Electric Wizard, as beautiful as it is deranged. Altered movie clips playing behind them, the foursome wasted little time that could’ve otherwise been dedicated to Heavy, and they had plenty of that to go around.
Sound at the Royale can vary pretty widely depending on where you stand. It’s a club, remember. After “Satanic Rites of Drugula” came “Dopethrone” and I started make my way back from up front by the stage, found I could hear Oborn‘s vocals better and more of a balance between the guitars and bass. Earplugs pulled halfway out, the wash of noise was near-physical, a push that seemed to have presence. “Dopethrone,” taken from the 2000 album of the same name — 15 years later, its influence continues to spread — got a huge response, and while I’ll never understand people moshing to doom riffs, sometimes you just have to shrug your shoulders. Nothing to be done about it anyway. In back the audio was clear and I could see the screen behind them better, the cover of Dopethrone projected interlaced with ’60s/’70s horror boobage and other sundry whatnots, motorcycles and the like. Come My Fanatics (1997) opener “Return Trip” followed “Dopethrone” and only after that, more than halfway through the set, did they touch on the new album, 2014’s Time to Die (review here), with “Incense for the Damned” and “Time to Die” one into the next. Easy to get lost in that murk of riffage, but that’s the point. A quick second to catch breath later, and “The Chosen Few” from Witchcult Today once more had the room in a trance, the line “legalize drugs and murder” — also the name of an EP the band put out with a track on it based around the line copped from “The Chosen Few” — getting an extra-loud chant from the crowd.
That just left “Funeralopolis” to close out, and when the undulating Dopethrone track hit, there was little doubt that it was the culmination of Electric Wizard‘s set. The insistent riffs of the song’s early going were the night’s most engrossing nod, and the later tempo burst was met with a suitable audience response as it thrust forward into its own destruction into shouts, and noise, the whole set seeming to come off the rails with Oborn shouting out misanthropics as Buckingham and Burgess added to the mound of feedback and Poole attacked his drums to further the sense of chaos. One couldn’t ask a more fitting end to an Electric Wizard show than to have the whole thing dissolve right there on stage. No encore, nothing left to say, they took off. About a minute’s tease later, the lights came up and the early goers at the Royale shuffled their way downstairs and out of the building. I was home before 10:30.