Posted in Whathaveyou on September 18th, 2024 by JJ Koczan
To answer your first question first, no, there isn’t a track streaming yet. However, since it’s only been a year since Weite made their debut with Assemblage (review here), I have a hard time imagining that the first record isn’t still relevant, whatever direction the forthcoming Oase might take from its proggy pastoralia and wherever its own songs might go. We’ll find out, presumably, when preorders open. It’s a Nov. 22 release date, so there’s time.
Given some of the description that came in from the PR wire — below in the blue text — I’m curious to hear how these elements manifest in the next batch of songs from the project that includes Michael Risberg and Nick DiSalvo of Elder and emerges from the sphere of Big Snuff Studios in Berlin, though you’ll note it doesn’t actually say where Oase was recorded, so yes, some more details to surface as we get closer, in addition to whatever audio/video might be leaked before Stickman puts it out. This, then, is a start to that process. Weite also played live to support Assemblage. If European touring hasn’t been announced yet, more likely than not it will be.
For now, then, feel free to dive in:
Prog-Psych/Krautrock Project WEITE (feat. members of ELDER & DELVING) announces upcoming Studio Album “Oase” for a November Release on Stickman Records!
Prog-psych/krautrock band WEITE, featuring Nicholas DiSalvo (Elder, Delving), Michael Risberg (Elder, delving), Ingwer Boysen (delving), Ben Lubin (Lawns) and Fabien deMenou (Perilymph), has announced the release of their brand new studio offering, entitled “Oase”, for November 22, 2024 on Stickman Records!
“Oase” is the sophomore album from Berlin-based progressive rock collective Weite, and the follow-up to the band’s 2023 debut LP “Assemblage”. Clocking in at almost an hour, “Oase” — German for “Oasis” — takes listeners on an intricate and textured journey that draws inspiration from the pioneering spirit of 70s psychedelic rock, blending influences from “Canterbury scene” prog, Krautrock, early electronica, post rock, and Americana. The new album showcases Weite’s ability to merge the old with the new, creating an immersive, exploratory sound that moves from contemplative and pastoral to riffy and doomy without ever sacrificing melody. “Oase” is characterized by longer expansive, atmospheric compositions yet is undoubtedly more composed than the band’s debut, with more of a focus on songs, albeit in the broader sense of the word. With the focus on melody, texture and mood— although not necessarily always in that order — Weite create a sound that’s intricate and meditative, inviting the listener to embark on a journey through shifting soundscapes and evolving musical narratives.
“We’re really proud of this album and worked super hard to channel all our influences into it: everything from the 70s prog we all love, to krautrock, americana and ambient, among other stuff,” Ben Lubin comments. “It’s definitely much stronger compositionally-speaking because of it, and we’re a much better band after gigging over the past year since the first LP came out.”
Nick DiSalvo adds: “Weite has come to embody a sort of collective spirit both within the band and within our little Berlin scene – musicians and friends, all in a seemingly rotating cast with each others’ bands, as guest musicians, tour help, etc. Each member takes the strengths and experiences from their other projects and pours it into our music, which results in a pretty interesting mashup, especially the longer we play together. “Oase” is for me personally an homage to the little oases in life: the couch, the rehearsal space, and yes, even the Späti – a Berlin biotope, a small convenience store where you can sit and take a break from the daily stress and enjoy a drink, a smoke or a conversation.”
Weite was formed in Berlin in winter 2022 by bassist Ingwer Boysen recruiting drummer Nick DiSalvo and guitarists Michael Risberg and Ben Lubin. Initially intended as a one-off recording session, the four recognized an obvious musical chemistry and common ground and decided to turn the project into a proper band. Keyboardist Fabien deMenou joined in 2024. “Oase” will be available on 180gr. pink marbled 2LP, on CD and digitally on November 22, 2024 via Stickman Records. Watch out for many more details, single releases and the album pre-sale to start soon!
Cover Art by Sofia Hjortberg. Band photo by Maren Michaelis.
Posted in Whathaveyou on September 17th, 2024 by JJ Koczan
Though one is rarely mellow in this regard, it does feel especially self-flagellating to keep harping on how good the lineup for Høstsabbat 2024 is since, for the second year in a row, I can’t be at the fest owing to familial obligation. I know very well that in this day and age, “family first” is the accepted norm, and that it’s just one of those timing things, but that’s precious little comfort when it comes to missing out on seeing the likes of Monkey3, who are one of the pioneers of heavy psychedelic instrumentalism in Europe, for the first time, or Träd, Gräs och Stenar, who are psych-folk legends and probably a once-in-a-lifetime chance (at least for me) to catch.
This is the part where I usually say “alas” and move on with the post, but you’ll forgive me if I’m having an increasingly hard time kissing this up. Aside from enjoying the jaunt to Oslo every October and seeing friends and bands in the church — a special place that plays host to special performances, whether it’s on the altar or in the crypt/basement downstairs — it’s a stellar and broad-ranging edition of Høstsabbat that the team behind the fest has put together, and all the more impressive as they’re now splitting time, one assumes, with assembling a roster for next Spring’s Desertfest Oslo. I don’t go to more fests than I do go to, and so I’m well used to missing out — can’t see everything — but while I spent a goodly portion of this past summer ‘away’ and was at New York’s own Desertfest this past weekend, it’s hard to resist being greedy with a bill like this.
Alas.
Wherever you are in the world, if you’re going to this one, here’s another reason to look forward to it from the fest’s socials:
We are over the moon to be able to present to you the Swiss astronauts, the instrumental space drifters, the extraterrestrials: monkey3!
Hailing from the Olympic city of Lousanne, the sonic cosmonauts are looking to add an Olympic ring to their festival CV, after playing Hellfest, Desertfest, Freak Valley and Roadburn they are now gracing our Church of Riffs in October.
Their psychedelic/space/stonerrock is as captivating as the view of the Swiss alps, and accompanied by their otherworldly flair for visualizers and art, this concert is gonna be absolutely wild!
Each album gives you a new theme or backdrop, and each album guides you through space-time continuum, from slower “floating in space” parts, to the heaviest sun storms of riff-galore.
There is no sound in space, but Monkey3 perfectly captures what we all think it sounds like.
Buckle up and get ready to detach your mind from your earthly body, board our church-like spaceship, cause we’re going to the event horizon together in October!
Posted in Whathaveyou on September 17th, 2024 by JJ Koczan
Granted, Truckfighters are pretty fresh in the ol’ brain after seeing them this past weekend, but while ‘always deliver live’ is an essential part of their ethic as a band, the Swedish troupe behind this fifth edition of the aptly-named Truckfighters Fuzz Festival are hardly the only appeal here. 1000mods will have just released their new album a couple weeks before Fuzz Festival #5 gets underway, and Slomosa and Bottenhavet, Daevar, High Desert Queen and 10,000 Years have or will have 2024 releases under their belt as well. Not to harp on it, but I also saw Domkraft this past weekend, and they don’t have a 2024 record but would nonetheless be a significant draw in this two-nighter’s favor if I happened to live in Stockholm.
Grand Atomic, Steak, Witchrider, Goddess (who I don’t know at all, but am inclined to check out based solely on their inclusion here), Siena Root, Håndgemeng and the ever-fluid Besvärjelsen complete a strong bill for the Debaser and adjacent Bar Brooklyn, and you’ll find the full lineup and ticket link, courtesy of the band’s socials and website:
The Truckfighters Fuzz Festival is back! For the 5th time, there will be riffing in the name of fuzz at Debaser Strand and Bar Brooklyn, this year on the weekend of November 22-23! One could say that the festival has become Sweden’s answer to a company party but here it’s all about fuzz, swing, and a damn good mood. All spread across 2 stages as we combine Debaser and Bar Brooklyn into a single festival frenzy over 2 days. You will be treated to great music from 6:15 pm to midnight on 2 stages, and the evening is not over there as DJs extend the nights with cool music and we hope for a great hangout.
The Venue is located on the island of Södermalm, in Stockholm. This is a very nice area in the central parts of town. Get there with subway or bus to “Hornstull” station.
The bands on the bill are hand picked by us to ensure a great evening! All bands are good! All bands play some kind of heavy groovy rock music with a fuzzy sound! We hope to see you. Keep the fuzz burning! / Truckfighters
Stockholm! Debases & Bar Brooklyn = Fuzz Festival #5 November 22nd & 23rd! 🔥🔥🔥
The lineup is nailed, one day tickets are released now so now we go!
Lineup: Truckfighters 1000mods Siena Root Slomosa Domkraft Witchrider Steak 10,000 Years Besvärjelsen Håndgemeng High Desert Queen Grand Atomic Bottenhavet Daevar Goddess
[Click play above to stream Blue Heron’s Everything Fades in full. The album is out Sept. 27 on Blues Funeral Recordings. The band play Ripplefest Texas on Sept. 20.]
The second full-length from Albuquerque’s Blue Heron begins, of course, with a science lecture. Okay not quite. Lead cut “Null Geodesic” unfolds with a snippet about or responding to or by theoretical physicist Richard Feynman, and before it evaporates into echoing trails a few seconds later, it reminds the listener that science is based on observation. Fair enough. One might observe a similarity in concept behind the title of Everything Fades — the four-piece’s second album — and their first, 2022’s Ephemeral (review here). Accordingly, since when in side A’s “Swansong” frontman Jadd Shickler declares, “I’m running out of legends and I’m sick of saying goodbye,” the hardest thing to know is which legend he’s talking about (I’d guess Mark Lanegan, but feel free to make your own pick), it feels safe on a scientific level to note the continued relevance of the theme.
Joined in the band by guitarist Mike Chavez, bassist Steve Schmidlapp and drummer Ricardo Sanchez, Shickler is a significant presence in the material as he is in the broader heavy underground. Like Chavez, he formerly featured in Spiritu, and in addition to founding Blues Funeral Recordings and serving as label boss for Magnetic Eye Records, he’s one of the two founders of the defunct imprint MeteorCity, and arguably somebody who has been part of shaping heavy rock as it is today on a level few others could claim as their own.
He’s not writing songs about it, so it’s not all directly relevant to Everything Fades, but he’s someone I’ve known for 20 years, give or take, and one can hear in the included nine-tracks/38-minutes a conversation happening with the modern sphere — you’ll recall the band took part in RippleMusic‘s split series with last year’s Turned to Stone Ch. 8 (review here), sharing a platter with now-on-Magnetic–Eye Texas rockers High Desert Queen; the coursing, grunge-nodding progression of “Clearmountain” on Everything Fades would seem to show some effect of that — as Blue Heron build on the accomplishments of their debut.
And Everything Fades very much does that. “Null Geodesic” serves double-duty as a proper opener and an album-intro, and its sub-three-minute run recalls the interludes from the prior long-player but is more of a song despite a simpler structure where the heavy middle establishes the desert-hued tonal heft to come, brings the first gritty vocal echoes and balances impact and atmosphere. Much of Everything Fades feels tighter-wrought than Ephemeral, and part of that may just be that “Null Geodesic” is backed by the four-and-a-half-minute title-track instead of a 13-minute jam-out, but there’s no lack of expanse carried in the sound either way.
Tonally rich, Chavez‘s guitar and Schmidlapp‘s bass intertwine fluidly over the emphatic march of Sanchez‘s drumming as “Everything Fades” moves toward its pedal-click volume burst, and Shickler‘s guttural take recalls some of Neil Fallon‘s throatier moments but proves malleable in the more melodically-focused “Swansong,” which includes backing harmonies, and side B’s aforementioned “Clearmountain” as well as the penultimate “Bellwether,” which ties it all together with a particularly heavy push near the finish, ready to give over to 1:17 instrumental capper/outro “Flight of the Heron.”
This evolved approach corresponds with an instrumentalist breadth that manifests a crushing lumber on centerpiece “Dinosaur” at the start of side B, an immersive roll through “Swansong” and others, and a bluesy psychedelic turn in the sans-vocal “Trepidation,” which scorches in spacious lead guitar over Sanchez‘s steady thud until it fades out. As a whole, then, Blue Heron present a more dynamic take across Everything Fades, and do not draw needlessly stark lines between elements in their blend of microgenres. When “Flight of the Heron” kicks in with a riff that feels as purely Kyussian as desert rock could to be — Sanchez‘s soon-arriving drums give a more urgent edge to that — that point of arrival is earned all the more by the swath of ground the band have covered in getting there.
Be it in the tense thud and crawl of the first half of “We Breathe Darkness” that resolves in a consuming, fluid sprawl of distortion, or in the stomp of “Dinosaur,” which revels in its stomp and is one several showpieces for Sanchez besides, or Shickler‘s higher-register reach in the apex of “Bellwether,” Blue Heron find ways to underscore their development as a band over the last several years, without either making Everything Fades about that more than its own songs or letting the material stray too far from where they want it to go. This self-awareness is a strength in terms of their craft and aesthetic purposes, and the album is able to cast itself as a front-to-back journey in part because of it. There may be a lot going on at any given point, and variety is given to structure as well as volume throughout — and not just with what’s a ‘song’ and what’s an interlude — but Everything Fades is cohesive and directed, and boasts a depth of mix that affects the listening experience, whether they’re going all-out and not.
Spiritu never got to put out a follow-up to their 2002 self-titled, and some of what Blue Heron do is directly inherited from Chavez and Shickler‘s work in that outfit, but not all of it. Certainly a powerhouse rhythm section, modern production, and greater stylistic range make a difference, and these are aspects of Blue Heron that come to light throughout Everything Fades in relation to its own predecessor. As the band dig further into their songwriting modus, they seem to find more that works, and even if the pieces included are shorter on average, they’re allowed more impact for that individually while feeding into the overarching flow that, like the movement in “Bellwether” from mellow, tom-backed sandy brooding into a vibrant, hard-hitting course, comes across as organic. At no point does Everything Fades feel forced to go somewhere it doesn’t want to, and much to Blue Heron‘s credit, “Flight of the Heron” resists the temptation to undo its impact with cleverness and ends cold.
To bottom line it, while Ephemeral saw Blue Heron setting forth with an idea of who they were and the kind of music they wanted to make, Everything Fades magnifies that exponentially and is therefore an greater showing of potential for continued growth. Without pretense, they align to an expanded definition of what desert rock is, and in fostering a more varied persona across these songs, they sound ready to add to it. Speaking scientifically, the record kicks ass.
Posted in Whathaveyou on September 17th, 2024 by JJ Koczan
The new 1000mods album, Cheat Death, will be out Nov. 8 through Ouga Booga and the Mighty Oug Recordings in Europe/ROW and, as announced just over a week ago, through Ripple Music in North America, and what’s happening below, in addition to spreading the word for preorders opening through both imprints is setting up the unveiling of the first single from the record, the opening track “Overthrown.”
At a little under eight minutes in runtime, the album’s lead cut is a not-unsubstantial sampling of what the hour-long LP has in store for listeners taking it on. If you’re a longtime fan of the band, you know to there’s a lot that’s fair game in terms of where they’re progression might take them at this point, and if the band are cheating death creatively, they’re for sure doing it by continuing to grow as players and artists. I have no ‘skin in the game’ in terms of involvement making or promoting the release, but I find all the same I’m excited and interested to see what people make of it when they hear it. Also I guess I’m no longer pretending not to have heard it. Oops.
Found this on socials. Bonus points for misleadingly punkish cover art:
***1000mods – Cheat Death***
Dear friends,
We’re thrilled to announce that our new album Cheat Death will be released on November 8th through Ouga Booga and the Mighty Oug worldwide and Ripple Music in North America only.
You can pre-order Cheat Death through our brand new website for Ouga Booga!
Pressings: Yellow & Red Splatter Vinyls 2LP Ltd to 500 (available only for pre-order) 180g Black Vinyl 2LP
1. Overthrown 2. The One Who Keeps Me Down 3. Götzen Hammer 4. Astral Odor 5. Love 6. Speedhead 7. Misery 8. Bluebird 9. Cheat Death 10. Grey, Green Blues
Artwork by Eva Mourtzi
On Friday, the 20th of September we will release our first single “Overthrown”
Posted in Whathaveyou on September 16th, 2024 by JJ Koczan
This isn’t a new album announcement, but if you’re on board and you want to take it as a heads up on a thing, do. Weather Systems‘ debut full-length, Ocean Without a Shore — which as a title is a hell of a description of depression, if nothing else — will be out Sept. 27 through the Mascot Label Group, and in addition to prior single “Do Angels Sing Like Rain?,” the band has posted the nine-minute opening track from the 2LP, “Synaesthesia.” Of course, the moniker is sourced from the 2012 album (review here) from multi-instrumentalist/vocalist Daniel Cavanaugh‘s former outfit, Anathema, and the record has been in the works for a while, as a demo of “Still Lake” surfaced in 2021.
Preorders are up, and I suspect if you’re still reading this, you probably know the background, with Anathemacalling it quits in 2020 after the release and touring cycle of 2017’s The Optimist (review here). Ocean Without a Shore seems ready to engage the Anathema legacy, with “Are You There? Pt. 2” set up as a sequel to one of the standout cuts from 2003’s A Natural Disaster (reissue review here) — something I’m excited to hear, as mid-period Anathema was always a personal favorite — and “Untouchable Pt. 3” presumably picking up where the first two parts left off on the aforementioned Weather Systems LP. The Optimist itself was a continuation of the thematic of 2001’s A Fine Day to Exit (reissue review here), so it’s by no means Cavanaugh‘s first time in this world, even if the context of the band itself has changed around the core intention of emotionally expressive, heavy and progressive sounds.
The two tracks are streaming at the bottom of this post. I would encourage you to engage at your nearest convenience. Info comes from Bandcamp:
Weather Systems have announced a global release date of September 27 for their anticipated debut album titled Ocean Without A Shore, via Music Theories Recordings. The new band from former Anathema mastermind and multi-instrumentalist Daniel Cavanagh and former Anathema drummer and producer Daniel Cardoso.
Music allows us to channel emotions, thoughts, and truths too transcendent for mere conversation. In essence, it breaks down barriers and enables discourse on a higher plane. Daniel Cavanaugh has always communicated via his music. Throughout three decades as co-founder, lead guitarist, and songwriter for Anathema, he struck a chord with generations of fans, delivering globally acclaimed albums and selling out hallowed venues. Now at the helm of Weather Systems, he brings audiences closer than ever by not only picking up where he left off, but also confidently taking the next step on his creative journey with the band’s 2024 full-length debut.
In 2019, Daniel immersed himself in writing what he believed would be the next Anathema offering. Two years prior, the long-running UK-bred group reached numerous critical and commercial milestones with its final LP, The Optimist. In the studio, he hit his creative stride with a myriad of elegantly heavy and enigmatically entrancing material. However, 2020 saw the band agree upon an indefinite hiatus. As such, the majority of Ocean Without A Shore originated during those Anathema sessions.
Daniel finished the music joined by some familiar faces. Once again, he reteamed with The Optimist producer Tony Doogan [Mogwai, Belle & Sebastian]. Alongside Anathema drummer Daniel Cardoso behind the kit and as Live Musical Director, and Cavanagh’s performances on vocals, piano, electric piano, keyboards, vocoder, electric and acoustic guitars, bass and programming, the album features vocals from Soraia, Petter Carlsen, Oliwia Krettek and Paul Kearns.
Like everything Daniel has done up to this point, the sound of Weather Systems has the power to connect. “Anathema never really had ‘casual fans’,” he leaves off. “The music was so intense and emotional, and people were affected by it on a deep level. I really respect that, and I just try to write music that will resonate in the hearts and souls of listeners. I hope it heals.”
1. Synaesthesia 2. Do Angels Sing Like Rain? 3. Untouchable Part 3 4. Ghost In The Machine 5. Are You There? Part 2 6. Still Lake 7. Take Me With You 8. Ocean Without A Shore 9. The Space Between Us
Posted in Whathaveyou on September 16th, 2024 by JJ Koczan
You know what’s rad about the new Lowrider video for “And the Horse You Rode in On?” Well, the song, for one. Also the video itself. But also also the fact that they made it like a week ago. I saw on social media the band was doing some filming and kind of assumed it was for the next video, whatever and whenever that might be, but no. As straight-ahead as “And the Horse You Rode in On” is in terms of both message and structure, the clip would seem to have shared a similar sans-bullshit mentality. This is a thing to appreciate.
If it needs to be said, the first part of the idiom is “fuck you,” and Lowrider aren’t shy in getting the point across. Following behind Elephant Tree‘s “Long Forever” as a single from the split LP, The Long Forever, that the two bands will share next month on Blues Funeral — it’s the last PostWax release for the second wave; I did liner notes for it that last I heard will be available with the regular edition as well — the arrival of “And the Horse You Rode in On” means that the LP’s opening and closing tracks are both out there. I don’t need to tell you to listen. I have no doubt you already have.
In the PR wire info, Peder Bergstrand mentions it’s the first music video Lowrider have done. That may be true in terms of one featuring the band themselves, but if you’ll recall, the one they put out for “Red River” (premiered here) in 2021 was a gem as well, however you want to count it.
Enjoy:
LOWRIDER share new track off upcoming split album with Elephant Tree, out October 25th on Blues Funeral Recordings.
Swedish stoner rock heroes LOWRIDER share their new single “And The Horse You Rode In On” on all streaming services today! The song is taken from “The Long Forever”, their eagerly anticipated split album with London psych-doom royalty ELEPHANT TREE, to be issued on October 25th through Blues Funeral Recordings.
“We just wanted to do something different,” says LOWRIDER frontman Peder Bergstrand. “How do you follow up the 11 minute closing track everyone loved on our last album? I have no idea, but a two-and-a-half minute punk banger on the current state of the world seemed like the only way” he chuckles. “Weirdly enough it’s also our first music video ever. I’ve done more music videos for others than I can remember (for Greenleaf & Dozer among others) but somehow this is our first. Feels nice to have ripped that bandaid, 25 years into the career haha!”
“We just wanted people to see the raw energy of the band. And Niclas’ tshirt is a slight nod to current events and kind reminder to take care of your pets and not eat them… and also to not believe everything you see on TV” he adds with a smirk.
Watch Lowrider’s new video “And The Horse You Rode In On” + listen to the single on all streaming services:https://lnkfi.re/lowriderhorse
Elephant Tree and Lowrider have come together to present the collaborative album “The Long Forever”, easily one of the most eagerly awaited split releases in heavy rock history. Arriving in the wake of their landmark 2020 releases, “The Long Forever” finds both bands at critical junctures: each has a broad and expanding influence, each is revered onstage and off, and each is about to deliver its first proper new music in four years to tremendous anticipation.
“The Long Forever” takes its title from the nickname Elephant Tree singer and guitarist Jack Townley gave to the multi-week coma he was kept in for medical reasons following a near-fatal biking accident in early 2023. Dreaming without waking and losing all sense of time as his mind attempted to process and cope with the ordeal, that lyrical description can only hint at the enormity of Jack’s experience. And yet, the year or so that followed manifested a musical freedom in the bands’ respective approaches. Lowrider has grown more complex and expressive, while Elephant Tree has chosen a rawer, set-up-the-mics-and-go approach. “The Long Forever” is the vehicle through which the bands meet, subverting and superseding the expectations on them, with a traumatic nexus as the gravitational singularity around which the entire LP orbits, bending and shaping every note that escapes forth.
Stress, trauma, time, gravity, sound, joy, catharsis and texture all find a place across the record’s 43 minutes, but what resonates is the stridence with which Elephant Tree and Lowrider meet at the convergence of timelines and complement each other in evolving listeners’ ideas of who they are. In the end, perseverance, healing and stubbornness of passion are what made “The Long Forever” a reality. We invite fans to listen with open minds and love in their hearts. Check out the album’s debut single with ELEPHANT TREE and LOWRIDER’s collaborative track “Long Forever”!
TRACKLIST: 1. Lowrider – And The Horse You Rode In On 2. Lowrider – Caldera 3. Lowrider – Into The Grey 4. Lowrider – Through The Rift (feat. Elephant Tree) 5. Elephant Tree – Fucked In The Head 6. Elephant Tree – 4 For 2 7. Elephant Tree – Long Forever (feat. Lowrider)
Posted in Reviews on September 15th, 2024 by JJ Koczan
Before Show
Truckfighters soundchecking outside with “Desert Cruiser.” There’s a concrete rise in back of the Knockdown Center, up to a train platform presumably leftover from when whatever what manufactured here, and last year it was open for people to go up like a balcony and watch the bands on the outside stage. It would be hot up there today with the sun beating down, but it doesn’t matter since it’s closed off. So it goes.
Today is the last day of Desertfest New York 2024, and it brings that third, outside stage, where yesterday alternated between the two in the building itself. There are picnic tables out here, corners you can put yourself in if you want, and I appreciate that kind of thing, especially on a day with a crunch of bands. The most brutal schedule conflict? High Desert Queen playing in the Texas room during Truckfighters. Hard choices will be made. I don’t know that I’ll get to take pictures of both, but I plan to watch at least part of each set since it’s not like you have to go down the block to see one or the other. We’ll see how it goes.
Got back and crashed out last night around 1AM. It’s the last day here, so of course one’s head drifts to thoughts of returning to real life after this relatively brief but certainly welcome sidestep. I started packing that glut of stuff I brought with me. I was thinking of driving home tonight, maybe splitting out during Russian Circles, throwing my bags in the car and letting out for Jersey, but I don’t actually expect to be in any shape to do such a thing by then, and Saturday night traffic in New York is like Thursday afternoon. By the time I got home, any favors I’d have done myself by leaving early would have evaporated. That’s me, talking myself out of a thing.
Doors are in four minutes, reportedly. People were waiting out in the sun when I got here. I don’t have an AAA pass or anything because I’ve never been cool, ever, but I do like getting j and sitting a bit before the show starts, writing and whatever else. Calm before the storm? Maybe. Some quiet for the subsequent volume to contrast once the day actually starts. Light tension in the air. You know how it goes.
Like this:
Kadabra
There’s a lot to look forward to today, front to back, but Kadabra must definitely aren’t to be left out of that consideration. The Spokane, Washington-based trio played Desertfest London earlier this year as well and are a better band than the general underground consensus seems to know, though they drew a decent crowd for being the first band on, so maybe I’m wrong on the hype level. Fine. They’re here supporting their 2023 album, Umbra (discussed here, review here), and I very clearly was not the only one who thought to get to Knockdown Center early. The groove and sinister vibe came quick like the haze from the fog machine, only not so quickly breezed away. “The Serpent” and “The Devil” from the latest album featured, and if you wanted to call either a highlight, I won’t fight you. The sound came through clear enough to do justice to the vocal melodies, and their swing was the start today needed.
Gozu
I don’t know how long it’s been and I don’t feel like looking, but it’s too long, in any case. Soul and hard-hitting groove, fury (of the markedly impatient) and craft underneath it all. And every now and again, Gaff might do a softshoe. Well earned. I was watching them play and trying to write, but couldn’t get out of my head, and in what might be the best decision I make today, I stopped trying to write. I put my phone in my pocket and let Gozu bowl me over with their particularly classy roll. It was the right choice, and after half a decade — I felt guilty and looked; last time I saw Gozu was before the pandemic; too long — they both played songs I’d never heard live before and, as of course they would, nailed new material and old. Never a doubt in my mind. Honestly, I was just happy to see them, let alone see them kill it. Not going to pretend to be the impartial observer. I missed Gozu.
Spaceslug
You know that feeling when you’ve dug a band for a while and you see them live for the first time and you dig it and it’s a relief? Seeing Spaceslug for the first time was like that for me. Because it was that, exactly. It was also good to finally see for myself how the live show and the sound of their albums — a consistently evolving thing, definitely on a path — intertwine in terms of presenting the material. The division of duties on vocals and the arrangements have gotten more complex with time, and while you might put on their 2016 debut, Lemanis (discussed here), and 2024’s Out of Water (review here) in succession and know it’s the same band, their breath changes what they mean, and on stage, they can lean into different sides at different times, dynamic without being hurried about it. I don’t know that I’d ever get to see Spaceslug if this wasn’t happening — though I’d certainly make it happen if I could — so thank you Desertfest, and thanks Spaceslug for making the trip and for the show.
Hippie Death Cult
Hippie Death Cult and Kadabra have been out on a tour since last week and were in Rhode Island last night. Meanwhile, Boston got a dose of High Desert Queen, Gozu and Dozer. It’s a good weekend to be on the Eastern Seaboard. Last time I saw the band was at Psycho in 2022 (review here), and that was before basisst Laura Phillips took over on lead vocals. Last Fall brought the release of their first album with Harry Silvers on drums and Phillips on vocals, and with a foundation in Eddie Brnabic’s fluid riffing, they were a Hippie Death Cult able to bring more of an aggressive roll to bear with intermittent harsher vocals; something of a sludgier potential that may or may not be explored over time as they continue to grow. But they were rad when they had Ben Jackson singing and they’re rad now. Hypnotic enough that I forgot to be anxious about missing the start of Eagle Twin, which was nice for a couple minutes to get out of my own head. Twice today. I’m coming dangerously close to letting myself enjoy a thing.
Eagle Twin
Doom with antlers, but not literally, because that also exists. They’re not a band who comes to the East Coast every day, or year, and though I imagine a specific ideal is seeing Eagle Twin out in the woods someplace, they brought a more than solid main stage crowd. I was thinking it hadn’t been that long since I saw them but it turns out it was six years ago at Høstsabbat (review here), where they made a specifically bluesy impression. Go figure. Their sound feels no less born of bigger, more ancient forests than one finds here, but on a level even just of performance and the aforementioned tone, they brought it. There’s a lot to dig about them, I’m just out of metaphors. I took a peak in the Texas stage at Trace Amount, then found a spot at a table with some friends and planted there until a bit before Dozer went on. Eagle Twin were cool, but until I looked just a bit ago I thought I’d seen them in the last few years, and I don’t get a lot of nice, human conversation with people I like in my day-to-day.
Dozer
Powerhouse set, and Dozer’s first time in the States in at least two decades. The urgency of last year’s Drifting Through the Endless Void (review here) speaks for itself, and I’m not here to sell records anyway. But I’m lucky enough that this is my third Dozer show in the last three years after seeing them on what was then a one-off at Desertfest London 2013 (review here), and as classic as their early work is, they’re vital, moving forward in sound from where they left off after 2008’s Beyond Colossal (featured here), coming back after a stretch of time that in hindsight they made short. Propulsive unto themselves in the sphere of heavy rock, people clapping along to Sebastian Olsson’s drums. Their show with High Desert Queen and Gozu in Boston last night precedes them much as it did Gozu, put there were clearly people in the crowd who’ve never seen Dozer before, one can only hope they come back again. Bonus, the train platform was open, so I got to watch from there for a minute too. Enough to witness a light mosh taking shape for the last song.
Green Lung
I wouldn’t hazard to predict the future, but Green Lung look like they’re in it for the long haul. Stage presence enough that I don’t feel ridiculous imagining them playing festivals like this 20 years from now. They could probably play “Mountain Throne” then too. Their organic cultistry, nature-worship and on-stage harmonies were on point, and though I knew all of that would be the case going into the set, it was exciting to see them play songs from last Fall’s This Heathen Land (review here) and take advantage of the full breadth of their sound and a reach that only seems to be expanding. Part of the appeal is that they’re over the top, and they are, but there’s so much raw talent on stage when they play, and they’re clearly learning how to wield it. This is their first US tour. I have a hard time imagining it will be their last. “Maxine (Witch Queen),” “Old Gods,” “Hunters in the Sky,” “Graveyard Sun.” Fucking “Let the Devil In.” Everything they played sounded like it could’ve been on a greatest hits collection. Hooks and performance. They made it a show. It was a spectacle, classic metal in many ways, some of them theatrical, but brought to life with its own take on both conceptual and stylistic traditions.
Truckfighters
This was my moment to both have and eat cake. Truckfighters went on five whole minutes before High Desert Queen. The Ruins (outside) stage is about a minute’s walk from the Texas room, so I watched the start of Truckfighters and then went back and forth for the duration. Acid King was getting started soon enough as well, so it’s probably the most ‘go’ moment of the fest, at least for me, but those are three different parties you want to be at. Truckfighters aren’t the only band this weekend whose reputation precedes them, and they had the biggest crowd of the night outside — also at some point it became night; when may or may not be clear in the photos — and another mosh. Surprising amount of mish this year. It’s like New York is extra antsy since the Saint Vitus Bar closed, which is reasonable, frankly. I got to see Truckfighters do “The Chairman,” and that was justification enough for the back and forth, a mellower vibe in the buildup to the payoff, as opposed to some of their stuff, which is more pure shove and roll. A reputation well and continually earned. Weren’t they recording an album? Or is that just me hoping for a thing?
High Desert Queen
Just a blast of a band. For a good time, call. Up from Austin, they’re on the already noted tour with Dozer and Gozu, playing in support of this Spring’s Palm Reader (review here), their second album and first for Magnetic Eye. Those songs rightly featured heavily in the set, which started 30 seconds after I walked into the Texas room like it was on cue. Tight, heavy groove, nothing too fancy stylistically — I always hear some C.O.C. in their sound, one way or the other, and that was true tonight, but not the end of the story as regards their sound either. You can hear the influence of pre- and turn of the century heavy — if I held up Dozer and Acid King as examples, I’m not discounting the relevance of either’s present work in doing that; I’m just thinking of when they got going — and you can tell watching them that they’re into it. Not everybody on stage is dancing around like vocalist Ryan Garney might be to a given riff from guitarist Rusty Miller, but he, bassist Morgan Miller and drummer Phil Hook were right there too in the moment on stage. It was great to see, and even against Truckfighters on the bill, the room filled up.
Acid King
Fair to say Acid King remain at a crucial moment about a year and a half out from Beyond Vision (review here), which was my pick for album of the year last December — not just me, they topped the year-end poll as well. I’m not worried they’re about to immediately do another record right away — you never know, but Beyond Vision was eight years after 2015’s Middle of Nowhere Center of Everywhere (discussed here, review here), and that was down from 10. But the reason I’m saying see Acid King now isn’t just that Lori S. is a hero and bassist/synthesist Bryce Shelton and drummer Jason Willer are so dead on in the nod, but it’s the songs they’re playing from Beyond Vision. The material itself. “Mind’s Eye” and “Destination Psych.” Closing with that insane build from “Color Trails?” Come on. Any chance you’re afforded, see this band.
Russian Circles
Chicago instrumentalist forerunners Russian Circles came out with a burst, hitting hard in the spirit of 2022’s Gnosis (review here) and building outward from there in multiple directions. Post-hardcore is part of it, but so is psychedelic rock and the occasional time-to-crush bit of riffery, and they’ve found a way to keep structured songs from falling into a verse/chorus trap. They genuinely sound like a band who listen to more kinds of music than the kind they make, amd benefit from it in being able not just to pay loud or quiet, but evoke a different feel from song to song. A lot of anything would have been a comedown after Acid King, but Russian Circles in the headlining spot had a level of volume that was their own as much as their sound, and as it had been a while, I was glad to watch them, or at least listen in a spot where the strobe wasn’t quite so fast. Even as Desertfest draws down, it delivers. There were even more bubbles.
—
It was good to see old friends, new friends, and Desertfest friends, since as the years have gone on I’ve found there are people I see here and that’s it. I take that as a good sign — though I suspect I’d see more people if I went out more — since it means people are coming back, which is the ideal. Desertfest delivered a show to New York a show and a lineup worthy of the Desertfest brand, and I hope it continues to bring European acts over each year as it did in 2024 with Dozer, Spaceslug, Green Lung, Domkraft, Truckfighters, Belzebong, even Amenra. They’ve been working to build a sense of community since the inception, and between killer shows and returning patrons, I’d say they’re on their way.
A note about the Texas stage today before I leave off. I only got (some) photos of High Desert Queen, but I did get to pop in for some of Beinn and Trace Amount as well. I’d never seen either, so at least a few songs. Beinn were a pleasant surprise, kind of a heavy-ended post-hardcore thing, I heard some noise rock and some Cave In, and they went for it on stage, as did Brooklyn industrialist Trace Amount, whose studio work I’ve dug in a kind of machine-misanthropic vibe. On stage, it’s just Brandon Gallagher, and he was all-in, pacing back and forth and throwing himself around, screaming and in the crowd headbanging. It was by no means packed, but I respect the one-man show for sure. Not easy to keep up energy when you’re by yourself. Ask a standup comedian. Tower headlined the room and they continue to make a party out of trad metal in a way that is only endearing.
Thank you to Reece, Sarika, and the Desertfest crew. Thank you to Tim Bugbee, Dante Torrieri, the Great Tomoko, and Sean in the photo pit, and I’m sorry for taking up space. Thanks to everybody who said hi or something nice about the site — or both — and I can’t tell you how warm and welcoming it felt to be in a place where I felt like what I do matters to someone, even just a little bit. Thank you. Thank you for reading. And thanks, as always and most of all, to The Patient Mrs., though whom all things are possible.
More pics after the jump. And I’m mostly taking tomorrow (Monday) off to catch up on writing. Back Tuesday. Now, if you’ll excuse me, I’m going to go take a 90-minute shower.
