08.12.23 – Sat. – Fest site

Before show

Found a shady spot and got here in time to catch some of Earthless’ soundcheck. The haze of yesterday and mist/rain of last night have been replaced by a bit of wind and blue skies clear enough to see neighborhoods on Mars. It is a little cooler than yesterday, about which I will not complain. If it holds till tonight, I’ll be glad I have my wizard flannel.

To get here today I took the beach route, rather than going by the river as Church of the Cosmic Skull once advised, and the waves looked like something off a wall calendar. They sell shirts here that say “beach and riffs,” and I’ll tip my goofy wide-brimmed hat to whoever decided to roll that out. Marketing making the world go around.

I’ve done a fair amount of writing the last couple days, which has felt good, seen wonderful people and heard great music at consuming volumes, which as far as I’m concerned is the stuff of life. Traveling alone can feel weird sometimes — like anything — but the truth is that once I get where I’m going, I’m never alone except when I want to be, to work or sleep, and so on. It’s been busy, and I think it’ll be a few days home before I really process any of it beyond the initial impressions conveyed in the notes I’ve been taking as it’s taken place — check in Friday — but I feel good about the work and the experience, and I’m glad I came.

This is the last day, and I expect by six or seven this evening my head will start to move back into travel-mode thinking about getting on the plane tomorrow — the airport in Porto is beautiful, as it would invariably be — and I don’t know if I’ll get to write again before I’m back in the US. Accordingly, thank you again to Ricardo, Thelma and all here at SonicBlast. I have been treated better than I probably needed to be, and am on awe of the passion and drive that has built this festival up to what it is over the last 11 years. As I listen to Kanaan line-checking before they open the day on the third stage — that’s four-for-four on kickoffs, if you’re keeping score — and look over the now-empty-but-soon-to-be-slammed main stage(s) area, it’s a little surreal, but as realities go, I’m happy to dwell in it while I can. Thank you for reading. Thanks to the bands and everyone I’ve spoken to or hung out with. Thanks to my family and obviously, thanks to Wendy, through whom all things are possible.

Getting close now. I can feel it. Here’s the day:

Kanaan

Noting from the stage that it was their first time in Portugal, Norwegian instrumentalist trio Kanaan did not look back after a 15-or-so-minute delayed start owing to a fence blowing over outside as doors were supposed to open. So yes, the wind is a factor. Or at least it was until they put the fence back up and Kanaan came out to lock into the hypnojazz of “Downpour” from the 2022 album of the same name (review here), bass, guitar and drums coming together, seeming to each split its own direction, meeting up later on as one might with friends, only with riffs instead. This was my second time seeing them. The first was Høstsabbat last Fall in Oslo, which is about as different a setting as you can get from SonicBlast, and it’s to the band’s credit that their sound holds up to either context. Maybe it was the sun, or the wind, or the last-day blues, but the spacey, patient unfolding of “Pink Riff” felt extra resonant, as did the synth-laced fuzz that followed to underscore the upward launch in progress. Working against gravity, they rode that groove for a while and did a few orbital laps in circles and twists of rhythm, and resolved in a noisy freakout before coalescing again around the guitar, but the message was clear and the controls were set to ‘far out.’ If they were bummed at cutting their set short, they didn’t show it as they finished with “Return to the Tundrasphere,” having saved the thickest nod for last. Right on. I’ll take seeing them at any opportunity. Wound up chatting with them later on and let it spill that I thought they were onto something really special and they talked about some of their plans for future records. This is a band with the potential to be very good for a long time. A band that can grow with its players. Fingers crossed.

—

Black Rainbows

Space hippies of the world, unite! You have nothing to lose but your dayjobs! I’d been looking forward to Black Rainbows, as they always seem to find a line between more straightforward heavy rock, classic cosmodelia, and hooks, hooks, hooks, and wouldn’t you know, that’s precisely what they delivered to open the main stage. They covered MC5’s “Black to Comm” and gave it due urgency, and with their new album, Superskull (review here), relatively fresh in mind, I dug the crap out of it. I think they get overshadowed in a weird way by the work founding guitarist/vocalist Gabriele Fiori does in running the Heavy Psych Sounds label/booking company, but god damn, if you actually listen to their records, they’re spot on heavy psych rock, taking some of the energy and enthusiasm that I forever associate with the Italian underground and making it theirs through performance and a strong stylistic foundation. I dig this band, is what I’m saying. If you haven’t been introduced, hit up the latest album and work your way back to the desert idolatry of their earliest stuff and I sincerely doubt you’ll regret it. They’re like a one-stop shop for everything you could ask modern stoner rock to be, while also being able to occasionally blow it out or loose a riff like “Grindstone,” and hold another level of thrust in reserve for a multi-tiered finish. First band on the big stage and people were already dancing. This place is amazing, this band way undervalued.

—

Spirit Mother

The only reason I wasn’t absolutely blindsided by how heavy Sprit Mother’s thud landed in-person was because of being fortunate enough to premiere their “Dead Cells/Locust” two-songer last month. Both those songs were aired, and it was likewise a pleasure to hear their rawer, more all-in sensibility extended to tracks from their 2020 debut, Cadets (review here). They played as a double-guitar, double-violin five-piece. One violin? Well that’s interesting. Outside the heavy norm. Respect to that, especially since the songs are good. Two? That’s downright individual. Maybe by their fourth record they’ll be doling out fuzz accompanied by a string quartet — and I’m not trying to be a smartass; I think that’d rule — but the takeaway is that the Los Angeles band are growing. Growing heavier, growing in depth and texture, and looking for ways to distinguish themselves. They’re on their way. This tour and the upcoming US run with Hippie Death Cult will help, but there’s nothing they should be doing that they’re not already doing. I’ll look forward to remembering seeing them here for the first time, including that laugh shared by the band and the front row when guitarist/vocalist Armand Lance attempted to throw his bandana out to the crowd but it hit a wall of wind and didn’t travel more than a meter before landing unceremoniously in the photo pit. Sometimes it’s the little things.

—

Earthless

It’s safe by now to call Earthless legends, right? A fully-earned reputation two decades running that precedes them by miles, the quintessential heavy trio released Night Parade of 100 Demons (review here) in January, and even though I knew what was coming, it was hard not to feel physically overwhelmed as they built up the characteristically extended, vinyl-side-consuming title-track to its full breadth. And I saw them like a month and a half ago. Shit, I heard their soundcheck today! Nonetheless, when guitarist/sometimes-vocalist Isaiah Mitchell, bassist Mike Eginton and drummer Mario Rubalcaba dug in, you had no real choice but to bodily sense it. Sure, it’s been loud all weekend, but with Earthless it’s never quite just about any one thing — even Mitchell’s guitar, which feels like sacrilege to say somehow — but about the full combination of all of it working at a scale that belongs solely to the band. Maybe that’s how you get to be legendary to start with. There’s just something intangible there, and as much as it feels like they’re plunging headfirst into the unknown, you always know that they’re in control, hand-on-the-wheel, and so forth. As spacey as they got at SonicBlast, that was still true, and while I’m not so far removed from my last exposure, it’s a testament to the power of what they do that they could be so affecting. Rest assured, I went back after refilling my water bottle and taking a minute to write this, in more than enough time to catch the burner ending, the next outbound excursion, and the staple cover of The Groundhogs’ “Cherry Red” that capped the set.

—

A Place to Bury Strangers

Today I learned that the dude from A Place to Bury Strangers — multi-instrumentalist/live guitarist and vocalist Oliver Ackermann — really hates his guitar. Before the first song was done, he’d launched it in the air multiple times and let it hit the stage, swung it over his shoulder like he was trying to split wood, and run the strings along the front edge of the stage. Then he tuned up, which I think might’ve been my favorite part. I haven’t seen them before, but by all accounts that’s kind of how it goes. Not arguing. True to their New York roots, their sound is a kind of no-wave indie noise punk, but without atmosphere, but trying to crawl out of its own skin anyhow. Restless movement in the bass of John Fedowitz and drummer Sandra Fedowitz was fitting company for all that fucked up amp-noise wash, and I don’t know if Thurston Moore is still hanging around today — let’s figure probably not, but you never know — but it’s easy to imagine him smiling, wherever he may be. Intermittently caustic, light on accessibility and thick on fuckall, they sounded the way my brain feels when I think about the climate crisis, and soon enough, Ackermann left the stage to bring the shenanigans directly to the people out front, but he and maybe Sandra (?) got back up eventually and hit it on the next song, leaving half the crowd slackjawed and a whole other portion smiling knowingly. I guess they’re not really my thing sound-wise, otherwise I might have driven into NYC from Jersey to see them at some point in the last 20 years, but you have to appreciate the expression and the sheer physical effort in it. And the fact that they played after Earthless. I’m glad nobody got hurt, with the exception of that guitar, which, admirably, somehow made it through the whole set, Ackermann handing it behind the drum kit to free his hands so he could swing one of the stage strobes around by the cable — you know, like you do — before taking it back to finish the song, getting a couple more high-arc tosses in in the meantime. There was more as Fedowitz came out from the kit to the front of the stage for vocal duties, bringing the floor tom and snare along and playing while standing up. I have to think you get the point. A spectacle.

—

Eyehategod

I don’t know how long it’s been since I saw Eyehategod, and in the spirit of the band, I don’t really give a shit. The New Orleans sludge originators — they didn’t do it on their own, but there’s sludgers the world over who should be calling them Uncle — came out and jammed for a couple minutes before the set actually started, and from there it was feedback abrasion, raw-throated gnash from vocalist Mike IX Williams, the somehow-bouncing riffs of Jimmy Bower and bassist Gary Mader’s tonal density like the dirt from which their mud is made, while drummer Aaron Hill — who’s been in the band a decade now — managed to make it go. I was off them for a few years, but they’ve stood up to the years with middle fingers ever raised, and I can’t think of another band who can come across as both completely professional and unhinged at the same time, as when Williams started the faux-prayer “dear god, please forgive us,” before seeming to think better of the whole idea and end with a quick “fuck you” as the next song slammed in. In a crowd with this many people, it was most likely somebody’s first Eyehategod show, and while I’m no expert on the subject, when I think of Eyehategod, I think of precisely the kind of omnidirectional aggro disaffection they tore into. “How many people have to go to work tomorrow?” Some hands. I have to think more would be up if tomorrow was Monday. Right into “Every Thing, Every Day.” They’re a band who’ve been underestimated for over 30 years, and much more than most, they make it believable that they don’t care. And probably by now they don’t, if they ever did. That, plus riffs.

—

Imarhan

Today’s Tuareg contingent, Imarhan come from Algeria and followed suit in rhythmic style and resultant danceability from Bombino and Etran de L’Aïr, both of whom also had the crowd moving yesterday and the day before, which is starting to feel like a very, very long time ago. Whatever focus might be on the guitar, Imarhan kept the theme running of bass I could happily spend an evening listening to, as well as clearing the slate after the aural violence of Eyehategod and the actual violence of A Place to Bury Strangers to transition into the evening ahead. I know little about Tuareg culture or the plight of the people who are part of it, but the music as an outlet for that reinforces the communicative nature of art, and the more Imarhan jammed, the more they got their point across. Their latest album is called Aboogi, and the connection between desert rock and, well, desert rock, should be plain to anyone who encounters it. Mellow, warm boogie gave over to sweet psych instrumental melody, spirals of engaging guitar noodling, vocals and hand-percussion going right along, as if they wouldn’t, and the flow held. In America, everything is political and everything is race, and I’d be more than happy to go on about the long history of white producers “discovering” and recording music from around the world, from Lead Belly to Bombino — aesthetic colonialism — and I noted in reading up that Aboogi was recorded by Gruff Rhys of Super Furry Animals, but this isn’t the time or place for that rant. I’m not looking to be misunderstood, and frankly, the music felt more about erasing lines than drawing them. Probably that makes me chickenshit. A privilege afforded by my own culture. As the sundown act for the final day of SonicBlast 2023, Imarhan invited all to dance, and many took them up on it.

—

The Black Angels

I’ve dabbled in the work of Austin psych rockers The Black Angels, but not much more than that. Most of what I know is people like them and they’re well regarded critically. Big mags that go to SXSW write about them, though that’s hardly their fault. There were times when it seemed like the kick drum was the only thing keeping the whole set from turning into a puddle of goo, but obviously that’s on purpose, and with the keys and the two guitars, bass, more keys, multiple vocalists, one drummer — more two-drummer psych bands now! — all seeming to go at once, they were full in sound and heavier live than I would have expected them to be, which I guess is a compliment since they also had that languid sway speaking to some notion of coolness that is timeless if you believe the Baby Boomers invented time or that anyone in mainstream culture knows psych rock still exists, or cares, for that matter. You could call it indie crossover if you want — it’s the internet; the stakes couldn’t be lower — but they were plenty lysergic, and parts felt like a grown-up version of what Spirit Mother were up to this afternoon, rockin’ out in Reverb City. But the crowd knew them more than I did and they put out a record last year called Wilderness of Mirrors that was probably genius and if I bothered to listen would change my life, so there you go. I guess they left me a little cold, but I’ll take that on myself since I’m both waiting for Dozer and half thinking about packing and flying out tomorrow. Did I say “last day blues” yet? Fair enough. Throbbing, they were.

—

Church of Misery

It would be fun to put together a list of the best riff writers of all time — I’m not going to; no fun — but any such endeavor would be bullshit without the inclusion of Tatsu Mikami from Church of Misery. The low-slung founding bassist of Japan’s leading doom rock export has been through entire lineups of singers, guitarists and drummers, but the guitar of Yukito Okazaki, the drums of Toshiaki Umemura and returning vocalist Kazuhiro Asaeda marked themselves out as a version of Church of Misery to see, making the case strongly on this year’s Born Under a Mad Sign (review here) for showing up. Certainly Church of Misery fucking did. And oh, when that bass tone hit, I could feel it like a rumbly in my tumbly and all of a sudden I didn’t care if the lyrics were about the dude feeding his cat, it was that groove that had me. They were on fire. Kazuhiro waving his hands around swimming through the fog of the riffs — also the actual fog — absolutely nailing “Born to Raise Hell,” and Yukito might be a generation younger but he also might be the best guitarist I’ve seen with this band, and by this time in my life I’ve seen a few. For a new incarnation of the band, everybody owned the material, Toshiaki with the oh-so-essential swing to make that doom boogie, and Tatsu on the far side of the stage, an absolute master at this thing he does. As the photographers were getting kicked out of the pit — not complaining; that time/song limit is useful every now and again to keep you in check and handling your shit — I put my body in front of the P.A., just for a second, so I could feel it in my bones. Incredible how a band so obsessed with mass murder can be so life-affirming. I’m glad they’re back, and I’m lucky to have seen this version of the band. They finished with “Beltway Sniper” and “Freeway Madness Boogie,” both from the new record, and the place went off like the songs were 20 years old. It was a celebration.

—

Dozer

Life affords you very few — none to date, in my case — to get on stage and watch while Dozer are playing. Did I dare? It was now or never. And as experience-making as that was, I’m glad I went out front again in time to see Arvid from Greenleaf come out for a guest spot on “Rings of Saturn.” I’d heard before they went on that was going to happen, and it was quick but great, no less because they followed it with “Supersoul” and man, I just went nuts. It was so great. So great. Chills the entire time, not even exaggerating. Well maybe a little bit fucking hell give me a break Dozer were so god damned amazing I was headbanging in the photo pit. Maybe the pics will suck. Who cares? Arvid back out: “this is Monster Truck. That big thing that pushes stuff.” A bit of standup “Always eat spinach.” My friend, I have been trying for three days to find some to no avail. If you got the hookup don’t hold out. Yes, I saw Dozer last December. Again, who cares? If I saw them yesterday this would’ve still been incredible. Shit, I DID see Greenleaf yesterday. Unreal. Culmination of the weekend. “Born a Legend.” Existential high point I feel like I’ve been chasing for the last two and a half years. The payoff for my pandemic. Sebastian Olsson on drums. Holy shit. Fredrik Nordin’s vocals coming through those giant speakers. That shout. Those riffs. Johan Rockner’s bass not only keeping up with Tommi Holappa’s twists and punches and shred but doing so with a singular immediacy. Dozer is the band who taught me heavy rock could be explosive, propulsive, volcanic, and still beautiful. They went to their first album in 15 years, Drifting in the Endless Void (review here), to close out with “Missing 13,” Olsson knocking over a cymbal and Arvid picking it up en route to Dozer riding that riff and Holappa soloing away. There was some mic feedback toward the end, but it didn’t matter. I stopped writing. I stopped worrying. I put my phone down and banged my fucking head and threw my fist in the air, and for a few gorgeous minutes I hope I never forget that’s what life was.

—

Lunavieja

An occult epilogue to my evening and my SonicBlast, Lunavieja had skulls, reeds, incense and centuries of Iberian heathenism to draw from, and with a sound that was vibrant and a theatricality unlike anything else I’ve seen this weekend, they built an atmosphere of malevolent, writhing doom, psychedelic post-metal, some rock, and meditative, dark folk. I said a few goodbyes and made my way out during their set, stopped up on the boardwalk to sit on a little bench there in the mostly dark — the town is right there, so there is ambient light — and look at the stars and listen to the music and the waves together. “Beach and riffs,” right? It wasn’t planned, and it was only a few minutes, maybe five, but just stopping, sitting for a breath, it was like taking a huge drink of water. I was already on my way out mentally and physicality — got my ride to the airport tomorrow confirmed and everything — so this was just about being there, putting myself in that moment, to be, just to be, in that place one more time. Lunavieja’s grim mass behind, the anticipation of returning to my family ahead, I allowed for the appreciation of being in the middle, not existing in either world yet. Not thinking about the travel, the writing, the to-do list that awaits. I doubt Lunavieja will ever know they were a part of that, that they helped make it happen in a weird kind of way — ‘weird’ suiting them quite well, generally — but they were. It meant something to me. I learned a lot here. They were a part of that, too.

—

Thank you. If your eyes are on these words, thank you. The list of names is so long. Everybody I spoke to, everyone who came up and said hi, the fucking Sasquatch guys shouting me out, being onstage while Dozer are playing. Meeting Berto, seeing Claire after a decade, hanging out with Dr. Space, chatting music with Daniel and Bruno in the photo pit, taking pictures of bands, pictures with people, trying to cram as many memories into my head as I possibly could because I’m just so god damned lucky to be here. The flight, the nerves. It was all worth it, easily. For Dozer alone, never mind Acid King, Ruff Majik, Greenleaf, Kanaan, Church of Misery, Spirit Mother, Temple Fang, Naxatras (now I get to say I’ve seen Naxatras forever!), Weedpecker, Kadavar, all the way back to Plastic Woods, the first band at the pre-show, absolutely schooling me on where I was and what it meant to be here. Thank you. Thank you for reading. Thank you Ricardo and Telma. Thank you for inviting me, for welcoming me, for the music and the place. The reality of what you’ve built is so much more than just the beach and riffs. Thank you.

I fly out tomorrow evening, 6PM-ish. I don’t know that I will or won’t write again before then, so one more time, thank you for reading, thanks to Wendy, The Pecan, my mother, my sister. I don’t know that I’ll be invited back to SonicBlast again, and that’s not what matters. What matters is how fortunate I was to be here at all. Thank you. Thank you.

More photos after the ‘read more’ jump.

Read more »

Spirit Mother release their new 7″ Locust/Dead Cells on Aug. 1, timed to coincide with their first European touring. The Cali-born outfit presently residing in Oregon will be on the road starting Aug. 1 — hey, that’s when the 7″ is out! — and play 11 shows in 12 days spread between Metal Days in Sweden and SonicBlast in Portugal, the festivals bookending club dates and an appearance at PALP Fest in Switzerland before the band return home to launch a September US tour (plus some Canada) in the company of Hippie Death Cult, built around stops at Lose Yr Mind in Portland and RippleFest Texas in Austin.

All that’s great, don’t get me wrong. I am unsarcastically, unironically and almost universally in favor of a band like Spirit Mother — relatively young, heading toward a follow-up to an impressive debut album in 2020’s Cadets (review here), cool, varied sound that has the potential to grow into something even more their own; I could go on — touring hard and often. But when you have a minute or seven to spare, take a listen to Locust/Dead Cells — also stylized with two slashes: Locust//Dead Cells — and catch a glimpse of where Spirit Mother are actually headed.

Especially if you were introduced to the band through their 2021 ‘Live in the Mojave Desert’ stream (review here) and live album (review here), the heft they proffer in “Locust” and “Dead Cells” might not be such a shocker, but set next to their last studio work — i.e. Cadets — it’s a striking turn Spirit Mother make toward heavier tones and impact. Still texturally influenced by psychedelic rock, they’ve mined immediacy out of meander and are fast finding their place in and around the style, with flourish of heavy Americana and grunge to make their sound all the more three-dimensional.

“Locust” feels like the catchiest track they’ve had on out yet until “Dead Cells” comes on with its All Them Witches-via-the-West-Coast slither and the shared vocals of bassist/principal songwriter Armand Lance and violinist SJ, but “Locust” also stands out for its urgency and for what comes across as a decisive focus on atmosphere. In discussing the tracks below, Lance notes that these songs were played live and workshopped on the road before being put to tape in a manner more representative of Spirit Mother‘s live sound than perhaps the debut, righteous as it was, turned out to be. Both offer palpable mood and the kind of atmosphere you feel like you can reach out and touch in front of you, but they move in a way that’s accessible and reaching out toward perhaps a broader audience than (only) genre heads.

Their having now fostered this approach in such a context, one can only hope they’re able to take the lessons from this two-songer, from all the touring at home and on foreign soil, and indeed from Cadets and use it to move forward with a new LP next year. Guess we’ll find out when we get there.

Until then, if you thought you had some idea of what Spirit Mother were about, feel free to delight in the correction:

Armand Lance on Locust/Dead Cells:

If you’ve seen us live, you know that we don’t play our songs “exactly” as they were recorded on Cadets. Part of that is because in our case, the record came before the band. But also, we believe that the live show should be a unique experience and we take pride in our doctored-up live arrangements. We still fuck with them to this day.

With these recordings, we did the opposite. We wrote it, and then they lived with us, grew with us, toured with us, partied with us, argued with us, crashed on floors, broke down, experienced straight up miracles, and everything in between that comes with being on the road. We recorded THAT version.

And we did it at the same studio we recorded Cadets – Jazzcats in Long Beach, CA. Our good friend and producer for this project, Jonny Bell, used his studio like an instrument and we were able to capture exactly what we wanted to, and then some. Working with someone you know, trust, and knows your music makes it easy to do that.

We decided to put this 7″ together to coincide our first European Tour. We set up a preorder for our fans in the states to reserve one before we leave, and our physical release date is 8/1 at Metal Days Festival in Slovenia. We’ll be taking them across Europe as we make our way to PALP Fest in Switzerland, and cap off our run at Sonic Blast Fest in Portugal. After that we have a couple weeks til we hit the road with Hippie Death Cult for a US/Canada tour.

LOCUST // DEAD CELLS 7″ Preorder: https://www.spiritmotherofficial.com

Originally formed by lead singer, songwriter, and bassist Armand Lance and violinist, SJ; their line-up solidified with guitarist Sean McCormick and drummer Landon Cisneros. This quartet often performs as a quintet with the use of two violins. Violinist, Camille Getz, has become integral to their live performances. Initially from Long Beach, CA, the band relocated due to the pandemic and is now headquartered in the high-desert of Eastern Oregon.

Shows:

07/26 Bamboo Club – Long Beach, CA (kickoff show)

Europe
01/08 Metal Days Fest – Velenje, SE
02/08 Kulturbahnhof – Lollar, DE
03/08 P8 – Karlsruhe, DE
04/08 Supersonic – Paris, FR
05/08 Terminus – Saarbrucken, DE
06/08 Cafe The Jack – Eindhoven, NL
07/08 Mcp-Apache – Fontaine L Évêque, BE
09/08 Brin De Zinc – Barberaz, FR
10/08 Cascina Bellaria – Sezzadio, IT
11/08 PALP Fest – Val De Bagnes, CH
12/08 Sonic Blast Fest – Àncora, PT

US/Canada w/Hippie Death Cult
9/8 Lose Yr Mind Fest – Portland, OR
9/9 El Corazón – Seattle, WA
9/10 The Wise – Vancouver, BC
9/12 Palomino Smokehouse – Calgary, AB
9/15 Pyramid Cabaret – Winnipeg, MB
9/16 Turf Club – St. Paul, MN
9/17 High Noon Saloon – Madison, WI
9/18 Reggies – Chicago, IL
9/19 Growlers – Memphis, TN
9/20 Freetown Boom Boom Boom – Lafayette, LA
9/21 Division Brewing – Arlington, TX
9/23 Black Magic Social Club – Houston, TX
9/24 Ripple Fest – Austin, TX
9/26 Sister Bar – Albuquerque, NM*
9/27 Yucca Taproom – Tempe, AZ*
9/28 The Usual Place – Las Vegas, NV*
9/29 Permanent Records – Los Angeles, CA
9/30 Ivy Room – Albany, CA
10/1 Kilowatt – San Francisco, CA
*w/ Brant Bjork

Spirit Mother are:
Armand Lance
SJ
Sean Mccormick
Landon Cisneros
Camille Getz

Spirit Mother on Facebook

Spirit Mother on Instagram

Spirit Mother on Bandcamp

Spirit Mother website

Giant Rock Records website

Giant Rock Records on Bandcamp

Giant Rock Records on Instagram

Giant Rock Records on Facebook

While also making a mid-tour stop through Ripplefest Texas in Austin, Hippie Death Cult and Spirit Mother will head out on a West Coast tour together starting Sept. 8 in the former’s native Portland, Oregon, playing alongside the likes of Blackwater Holylight, Weeed, Robots of the Ancient World and R.I.P., among others in a variety of styles. They’ll hit Canada for three dates, and roll through known spots on the circuit like El Corazón in Seattle, Reggies in Chicago, Permanent Records in L.A. and Freetown Boom Boom Room in Louisiana. A couple shows with Brant Bjork. It’s a tour, in other words.

One anxiously awaits word of new material from both outfits, but I guess one (me, in this case) will keep waiting. This tour will be after Spirit Mother return from Europe after appearing at SonicBlast Fest in Portugal and Supersonic in France. Their debut full-length, Cadets (review here), came out in 2020 and was followed by the live album, Live in the Mojave Desert Vol. 3 (review here). For Hippie Death Cult, their next LP will be their first since paring down to a trio, putting Laura Phillips on lead vocals in addition to bass, and bringing in Harry Silvers on drums, basically restructuring the band. If you didn’t see their live clip covering Black Sabbath‘s “Rat Salad” (posted here), consider it recommended viewing.

Hippie Death Cult posted the following on socials. I added lineups and links, as I will:

Hey y’all ✌(#127996#) We are VERY excited to announce that we will be rolling through some select cities across America and Canada this September with our good buddies in @spiritmotherband !! Come join us for a one of a kind psychedelic soul heavy Rock N’ Roll experience !! This is not to be missed !! Tickets go live TODAY at 10am PST. Get ‘em NOW !!! Link in our bio (#127915#)

Leave us a comment if we’re gonna see YOU this fall.

9/8 Portland, OR- Lose Yr Mind Fest
9/9 Seattle, WA – El Corazón
9/10 Vancouver, BC – The Wise
9/12 Calgary, AB – Palomino Smokehouse
9/15 Winnipeg, MB – Pyramid Cabaret
9/16 St Paul, MN – Turf Club
9/17 Madison, WI – High Noon Saloon Madison
9/18 Chicago, IL – Reggies
9/19 Memphis, TN – Growlers
9/20 Lafayette, LA – Freetown Boom Boom Room
9/21 Arlington, TX – Division Brewing
9/22 Austin, TX – Ripplefest
9/23 Houston, TX – Black Magic Social Club
9/24 El Paso, TX – TBA
9/26 Albuquerque, NM – Sister *
9/97 Tempe, AZ – Yucca Taproom *
9/28 Las Vegas, NV – The Usual Place *
9/29 Los Angeles, CA – Permanent Records
9/30 Albany, CA – Ivy Room
10/01 San Francisco, CA – Kilowatt Bar
*w/ @brant_bjork

HIPPIE DEATH CULT is:
Harry Silvers – Drums
Eddie Brnabic – Guitar
Laura Phillips – Vocals/Bass

SPIRIT MOTHER is:
Vocals, Bass / Armand Lance
Violin, Vocals / SJ
Violin, Vocals / Camille Getz
Guitar / Sean McCormick
Drums / Landon Cisneros

https://hippiedeathcult.bandcamp.com/
https://instagram.com/hippiedeathcultband/
https://www.facebook.com/hippiedeathcultband/
https://soundcloud.com/hippie-death-cult
https://www.hippiedeathcultband.com/

https://www.facebook.com/SpiritMotherBand/
https://www.instagram.com/spiritmotherband/
https://spiritmother.bandcamp.com/
https://www.spiritmotherofficial.com/

heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/
https://www.instagram.com/heavypsychsounds_records/

Hippie Death Cult, “Nice to Know You”

Spirit Mother, “Black Sheep” official video

I don’t feel the need to even really say anything here. The lineup speaks for itself. And those who go to this year’s RippleFest Texas will also speak of it, for years, probably in a similar way people now talk about having been at this or that Emissions From the Monolith when that was going on in Ohio. The stuff of legend, in other words. Yeah, you can put on a fest and try to make it cool and fun, or you can do something like this and make it the highlight of everybody who attends’ year.

Kudos to Lick of My Spoon Productions and Ripple Music on a job well done. This will be something special. Bands have been leaked out one at a time at intermittent daily intervals, but the final lineup is out as of today, and it’s stunning. A blend of generations, a reach from on end of the country to the other, and a swath of the heavy underground all rallied in one place for a few days, pre- and after-parties included. Fucking a. If you’re attending, count yourself lucky.

As seen on socials:

Here it is! The full lineup for RippleFest Texas #3! This will be one for the ages with a stacked lineup and lots of special treats in between. Get your tickets now!

Amazing art by @1horsetown

* playing the Pre-Party
+ playing the Afterparty

King Buffalo, Acid King, Brant Bjork Trio, Sasquatch, Wo-Fat, Fatso Jetson, Mondo Generator, Unida, The Well+, The Atomic Bitchwax, Telekinetic Yeti*, Duel, Forming the Void, Hippie Death Cult, High Desert Queen*, Avon, War Cloud, Rubber Snake Charmers, Spirit Mother+, Kind, Nick Oliveri, Thunder Horse, Royal Sons+, Restless Spirit*, (Big) Pig, Fostermother, Dead Feathers+, Rainbows Are Free, Warlung*, Sun Voyager, Red Mesa, Dunes, Tia Carrera+, Mr. Plow, The Heroine*, Michael Rudolph Cummings, The Absurd+, GoodEye*, Red Beard Wall, God Damn Good Time Band+

Plus a “Legends of the Desert and Friends” jam session to close out Saturday night!

And as always, the visuals by The Mad Alchemist Liquid Light Show

All-Access passes are SOLD OUT! All we have left are 2 Day Passes and Pre/Afterparty tickets available. Many more bands to be announced! Get your tickets now before the full lineup is revealed and the ticket price goes up!

FESTIVAL TIX: https://bit.ly/faroutxripplefest
PREPARTY TIX: https://www.eventbrite.com/e/ripplefest-texas-pre-party-tickets-548171905927
AFTERPARTY TIX: https://www.eventbrite.com/e/ripplefest-texas-afterparty-tickets-548185095377
FB EVENT: https://www.facebook.com/events/1351567998746933/

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

https://www.facebook.com/LOMSProductions
https://www.instagram.com/LOMSProductions/
http://www.lickofmyspoon.com/
https://linktr.ee/Lickofmyspoon

King Buffalo, “Regenerator” live at Sonic Whip 2023

Portugal’s SonicBlast Fest will mark its 11th go in 2023 with a massive, still-more-to-be-announced lineup that spans styles and geographies, from Norway to Greece to Japan and New Orleans to San Diego, Poland and Los Angeles and New York and sludge to psych-jazz and on from there into however many ethers of prog and rock. It’s easy to admire even from across an ocean what SonicBlast has built over its years, and the photos that emerge from each edition — just a bunch of awesome bands playing in paradise, no big deal — are enviable to say the least, and while I don’t want to be engaging too deeply in promo speak or trying to tap anyone’s FOMO, if you’re thinking of making the trip, however far it may or may not be, it’ll probably sell out.

Check out OFF! hitting the heavy fests, huh? Not quite what I’d expect there, but cool to see Acid King getting out, and good to know Naxatras will be back on the road as well next summer along with a host of others. Over the last couple weeks, a lot of the Spring and Summer 2023 festival season in Europe has taken shape, and with the promise of so much more to come, it looks like it’s gonna be a good one. Call it revelry well earned, and let’s all appreciate it whether or not we can actually be there.

To wit:

We’re so psyched to announce the first bands to join us at SonicBlast Fest’s 11th edition: OFF!, Acid King, A Place To Bury Strangers, Earthless, KADAVAR, Elder, EYEHATEGOD, Death Valley Girls, Church of Misery, Frankie and the Witch Fingers, Weedpecker, Mondo Generator, Naxatras, Kanaan, BLACK RAINBOWS, Acid Mammoth, Monarch, Spirit Mother and El Altar Del Holocausto!

*** many more to be announced soon ***

Full festival tickets are already on sale at BOL (https://garboyl.bol.pt/Comprar/Bilhetes/114471-sonicblast_fest_2023-garboyl_lives/Sessoes) and at masqueticket.com

Artwork by Branca Studio

https://www.facebook.com/sonicblastmoledo/
https://www.instagram.com/sonicblast_fest
https://sonicblastfestival.com/

In the dark, hunkered-down, showless expanse of time that was Winter 2020/2021, then-Long Beach-based heavy psychedelic rockers Spirit Mother took part in the livestream series ‘Live in the Mojave Desert’ (review here) at the behest of producer/director Ryan Jones, whose Giant Rock Records would later release the resultant live album(s) in cooperation with Heavy Psych Sounds. In Spirit Mother‘s case, the live record made for a vibrant follow-up to their 2020 debut LP, Cadets (review here), and helped showcase what the band might have to offer on tour when and if such things ever became possible again.

They did, and starting this Saturday, Spirit Mother — now relocated to Eastern Oregon, as we’ve all fantasized about doing at one point or another — will kick off a weekender leading to a longer stint in the formidable company of Blackwater Holylight on the West Coast/Midwestern portion of that band’s inaugural headlining tour. To mark the occasion, the then-four-piece of bassist/vocalist Armand Lance, violinist/vocalist SJ Lance, guitarist Sean McCormick and drummer Landon Cisneros offer the new video below for “Black Sheep,” taking the Cadets audio and bringing the nighttime vibes from Live in the Mojave Desert Vol. 3 (review here) to create a ritualistic visual that’s meditative and seething with violence at the same time. I won’t spoil it, but it’s fairly consuming.

Since recording Cadets and performing the livestream, Spirit Mother have become a (sort of?) five-piece with the addition of Camille Getz to at least the touring lineup. I’m really not sure the status on that. Tell you what, if you go see them on tour, let me know who’s there — thanks in advance. In the meantime, I and anyone else sharing the geographic misfortune to not be on the other side of the Mississippi River have at least this video to dig into like so much raw organ meat, and while I would love, love, love to tell you all about Spirit Mother‘s new album, their lush, ranging, folk-informed psychedelic unfurling and this and that and whatever else I might say, I have no knowledge (truly) of such a thing existing or even being in the works. Let them tour first, then we’ll worry about the rest.

All of which is to say this: “Cool band. Hope they do more soon. Go see them if you can. Enjoy the video either way.”

Thanks for reading:

Spirit Mother, “Black Sheep” video premiere

Spirit Mother is an American heavy-psych rock group. Originally hailing from Long Beach, CA, an isolated ranch house in the high-desert of Eastern Oregon now serves as home base for the band.

The band stayed busy during lockdown by putting together a new collection of music. The first two songs of this collection were released exclusively for their acclaimed live record/concert film, “Live In The Mojave Desert Volume 3” a Stoned And Dusted production released jointly by Giant Rock Records and Heavy Psych Sounds Records.

Spirit Mother Tour Dates:
May 28 – Bozeman, MT – Filling Station VFW
May 29 – Rapid City, SD – Cave Collective
May 31 – Des Moines, IA – Gaslamp
June 1 – Chicago, IL – Sleeping Village (w/Blackwater Holylight)
June 2 – Milwaukee, WI – Cactus Club (w/Blackwater Holylight)
June 3 – Green Bay, WI – Lyric Room (w/Blackwater Holylight)
June 5 – Omaha, NE – Slowdown (w/Blackwater Holylight)
June 7 – Denver, CO – Hi-Dive (w/Blackwater Holylight)
June 8 – Salt Lake City, UT – Metro Music Hall (w/Blackwater Holylight)
June 9 – Boise, ID – Neurolux Lounge (w/Blackwater Holylight)
June 17 – Felton, CA – Felton Music Hall (w/Blackwater Holylight)
June 18 – Los Angeles, CA – Lodge Room (w/Blackwater Holylight)

Spirit Mother on Facebook

Spirit Mother on Instagram

Spirit Mother on Bandcamp

Spirit Mother website

Giant Rock Records website

Giant Rock Records on Bandcamp

Giant Rock Records on Instagram

Giant Rock Records on Facebook

Heavy Psych Sounds on Thee Facebooks

Heavy Psych Sounds on Instagram

Heavy Psych Sounds website

Heavy Psych Sounds on Bandcamp

Back for its second year and with a fourth day in tow, Ripplefest Texas 2022 confirms its full lineup, a total beast of legends and newcomers. Really, I don’t even know what to say here except that if you’re lucky enough to go, it’s probably the kind of thing you’re going to remember for a long gosh-darn time, and it’s the kind of lineup that serves as lording-over fodder on the part of those who were there to those who weren’t. Well, at least it would if the heavy underground weren’t too cool to each other for that kind of gatekeeping nonsense. In any case, this looks like a massive undertaking to put on, and the roster of assembled acts gets a hearty ‘fucking a’ from my corner of the universe.

Tickets for all four days will run you $150, but I feel like the festival earns that on both quality and quantity of product.

Here’s the announcement, info and links:

RIPPLE FEST TEXAS – The Far Out Lounge – July 21-24

4-day passes available now!

RippleFest Texas 2022 is back and the lineup is as big and hot as Texas itself! 4 days of blistering hot music at Austin’s premier music venue The Far Out Lounge. There will be everything from crushing heavy riffs, to acoustic and banjo picking, to improvisation jam sessions and puppet shows! So many legends and great music that this will be a 4 day weekend you will not want to miss!

TICKETS:
https://www.tickettailor.com/events/thefaroutloungestage/639551

FULL LINEUP:
Eagles of Death Metal, The Sword, Crowbar, Mothership, Big Business, The Obsessed, Stöner, Spirit Adrift, The Heavy Eyes, Sasquatch, REZN, Fatso Jetson, Heavy Temple, J.D. Pinkus, Lord Buffalo, Lo-Pan, Wino, El Perro, Void Vator, Hippie Death Cult, Howling Giant, Doctor Smoke, Nick Oliveri, High Desert Queen, Destroyer of Light, Ape Machine, High Priestess, Dryheat, Rubber Snake Charmers, Sun Crow, Holy Death Trio, Bone Church, Horseburner, Spirit Mother, Thunder Horse, Mother Iron Horse, The Age of Truth, Salem’s Bend, Las Cruces, All Souls, Kind, Fostermother, The Absurd, Godeye, Ole English, Mr. Plow, Snake Mountain Revival, Blue Heron, Grail, Formula 400, Rickshaw Billie’s Burger Patrol, Eagle Claw, Bridge Farmers.

The Far Out Lounge is located at 8504 South Congress. Winner of Best New Venue at the Austin Music Awards 2020.

http://www.thefaroutaustin.com/

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

Lo-Pan, Live at the Grog Shop, Cleveland, Ohio, Feb 18, 2022

Late in 2020, when the project was announced, Live in the Mojave Desert sounded immediately ambitious. A series of five exclusive streams, taking bands and putting them out in the Californian deserts, with civilization somewhat visible from the aerial drone shots, but definitely far enough away to have been left behind, to record live sets by Giant Rock (see also: Yawning Man, Live at Giant Rock, the video/LP something of a precursor) and be captured doing so by professional audio and video. The series was successfully pulled off, which was impressive in itself, and it set a standard for heavy acts in this era of streaming that few could hope to match. The intention was concert-film, and the results were likewise.

Heavy Psych Sounds and the newly-formed Giant Rock Records — helmed by series director Ryan Jones — have overseen physical pressings of the sets as live albums, taking the audio caught by Dan Joeright of Gatos Trail Studio in Joshua Tree with mixing by Matt Lynch at Mysterious Mammal and others. From this comes Live in the Mojave Desert Vol. 1-5, and from the moment Isaiah Mitchell starts echoing out the notes that signal the pickup in “Violence of the Red Sea” to the final wah-out, crashes and shout of Mountain Tamer‘s “Living in Vain,” it remains clear the series is something special — a grand monument built to an ugly time.

A rundown:

Earthless, Live in the Mojave Desert Vol. 1

(stream review here)

The crazy thing about this series — or one of the crazy things, anyhow — is that if it had been just Earthless, that probably would’ve been enough to be staggering. Admittedly, it is difficult to hear the audio from bassist Mike Eginton, drummer Mario Rubalcaba and the aforementioned Isaiah Mitchell and not think of the desert at night being lit up by the Mad Alchemy Liquid Light Show, drones flying overhead as trippy lights flash and shift with the music, but I’m not sure that’s a bad thing. Earthless played three songs — “Violence of the Red Sea,” “Sonic Prayer” and “Lost in the Cold Sun” — and that’s enough to make their release the only 2LP of the Live in the Mojave Desert set, topping out at about 77 minutes, with the entirety of sides C and D dedicated to “Lost in the Cold Sun”‘s 39-minute sprawl.

There’s a reason Earthless were the headliners for this thing, and it’s because there’s no one else who has the same instrumental dynamic they bring to the stage — or sand, as it were — and because if you’re going for “epic” as a standard, they’re the band you call. Will Live in the Mojave Desert Vol. 1 replace Live at Roadburn 2008 (discussed here) as the band’s supreme live-recorded statement? I don’t know, but it sure sounds incredible. “Sonic Prayer” comes through with due sense of worship and “Lost in the Cold Sun” fuzzy grace feels like the kind of thing a future generation might think of as classic rock. Watching, it was easy to get lost in the show, follow the head-spinning turns of guitar atop the ultra-sure foundation of bass and drums, and listening, it’s the same. With an exquisite mix and a vital performance, it’s every bit the best-case-scenario for what Live in the Mojave Desert could and should be.

Earthless on Thee Facebooks

Earthless on Twitter

Earthless on Instagram

Earthless on Bandcamp

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Nebula, Live in the Mojave Desert Vol. 2

(stream review here)

With Live in the Mojave Desert Vol. 2, I consider Nebula‘s comeback complete. The band reformed in 2017, hit the road hard, and in 2019 offered up the return studio full-length, Holy Shit! (review here), and toured again for as long as that option was available. They have new material in the works too, and what’s most striking about the trio’s performance the 10-song/48-minute set here is how characteristic it sounds. Drummer Mike Amster (also Mondo Generator, etc.) and bassist Tom Davies strap the listener down while founding guitarist/vocalist Eddie Glass takes off to the center of the universe, and amid classics like that opener, Holy Shit! cuts like “Messiah,” “Let’s Get Lost,” “Man’s Best Friend” and the new song “Wall of Confusion” fit right in. There’s never a doubt, never a question of who you’re hearing. Even the sloppiest moments are pure Nebula.

That’s what they’ve always been — part punk, part heavy psych, part pure go — and Live in the Mojave Desert Vol. 2 brings that to bear without question. As a follow-up to Holy Shit! as well as the band’s second sanctioned live recording behind 2008’s Peel Session, it captures their inimitable sonic persona and the sense of chaos that their material always seems to carry, like it’s all about to come apart at any second and if it did, fuck it anyway, you’re the one with the problem. It never does come apart here, which I guess is to the band’s credit as well, but this set is nonetheless a full expression of who Nebula are as a group. Now get to work on that next record.

Nebula on Thee Facebooks

Nebula on Instagram

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Spirit Mother, Live in the Mojave Desert Vol. 3

(stream review here)

If one might think of including Spirit Mother in the series as a risk, the risk was mild at best, and as the first of two bands representing a next generation of California’s heavy underground, the Long Beach troupe more than acquitted themselves well in their relatively brief 10-song/33-minute showing. Live in the Mojave Desert Vol. 3 basks in the violin-conjured atmospheres of the four-piece’s debut album, Cadets (review here), and wants nothing for impact to complement that ethereal sensibility. Their songs are short, and that gives them a kind of proto-grunge edge, and the vocals of bassist Armand Lance, who shares those duties with violinist SJ, add drug-punkish urgency to the procession of one song into the next.

For a band coming off their first album, they are intricate in aesthetic in ways that might surprise new listeners, and that’s exactly why they feature behind Nebula in this series. Hearing them dig into “Black Sheep” and “Martyrs” and “Dead Cells” on Live in the Mojave Desert Vol. 3 is the best argument I can think of in favor of signing the band for their next studio release, and if Heavy Psych Sounds doesn’t, someone else surely will. Not trying to tell anyone their business, of course, but Spirit Mother are happening one way or another. That combination of air, earth, and fuzz is too good to leave out.

Spirit Mother on Thee Facebooks

Spirit Mother on Instagram

Spirit Mother on Bandcamp

Spirit Mother website

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Stöner, Live in the Mojave Desert Vol. 4

(stream review here)

Aired fifth but billed almost inevitably as Vol. 4, the unveiling of Stöner, the new trio from Brant Bjork and Nick Oliveri with Ryan Gut (also of the former’s solo band) on drums was a bonus to the Live in the Mojave Desert. On-again-off-again collaborators across decades, Bjork and Oliveri nestled into mostly laid-back, stripped down grooves, their stated purpose in going back to the roots of the sound they helped create in the first place. The Kyuss-ness of the central riff of opener “Rad Stays Rad” is no less demonstration of their having done so than the driving punk of the Oliveri-fronted “Evel Never Dies.” The vibe is nostalgic in that song, as well as “Rad Stays Rad,” the gleefully funked “Stand Down,” and “The Older Kids,” but if Stöner is about looking back at this point, they’re doing so with fresh eyes.

To wit, “Own Yer Blues,” “Nothin’,” and the 13-minute mint-jam finale “Tribe/Fly Girl” are more endemic of who these players have become than who they were in the early ’90s or before, and that applies to “Stand Down” too. Bjork‘s vocals sound double-tracked on some of the parts (or at least close delay), but he and Oliveri work well together as one would expect, and as a reveal for what these guys had come up with in renewing their collaboration, Live in the Mojave Desert Vol. 4 offers seven memorable songs that would make anything more seem unnecessarily fancied up. If their calling card is that rad stays rad, they prove it. And I know he’s not the top bill in the trio with Bjork‘s flow and Oliveri‘s bass tone, but Gut‘s contributions here aren’t to be understated.

Stoner on Instagram

Stoner website

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Mountain Tamer, Live in the Mojave Desert Vol. 5

(stream review here)

Second only to Stöner in curiosity factor, L.A. trio Mountain Tamer have always held a darker edge in their sound, and that comes through in the brash 36 minutes, shouts and screams echoing out over fuzzed garage metal in a fuckall that’s punk in attitude but angrier in its underlying core. Guitarist/vocalist Andrew Hall, bassist Dave Teget and drummer Casey Garcia are the kind of band who open the show and sell the most merch when they’re done. The elements they’re working with are familiar and have been all along in their decade together and across their three LPs — the latest of them, 2020’s Psychosis Ritual (review here), was released by Heavy Psych Sounds — but more even than in their studio work, Live in the Mojave Desert Vol. 5 brought to light just how much their own their sound really is.

Whether languid as in “Chained” or “Black Noise” or furious as in “Warlock” and “Living in Vain,” Mountain Tamer give Nebula a run for their money in terms of chaos, and easily make for the most pissed off listen of the bunch in Live in the Mojave Desert. The relative roughness of their edge suits them, however, and the rampant echo on the guitar assures there’s still a spacious sound to act as counterbalance to all that thrashing and gnashing. If you can call it balance, I don’t know, but it works for them and they wield their sound as knife more than bludgeon when it comes to it.

Mountain Tamer on Thee Facebooks

Mountain Tamer on Instagram

Mountain Tamer on Bandcamp

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Live in the Mojave Desert Vol. 1-5 teaser

Giant Rock Records Instagram

Live in the Mojave Desert website

Heavy Psych Sounds on Thee Facebooks

Heavy Psych Sounds on Instagram

Heavy Psych Sounds website

Heavy Psych Sounds on Bandcamp