[PLEASE NOTE: These are not the results of the year-end poll, which ends in January. If you haven’t contributed your picks yet, please do so here.]

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Hi, and welcome to The Obelisk’s year in review for 2024. This is a thing that’s kind of developed over the 15-plus years the site’s been in operation, and it’s something that people sometimes tell me has been a help when it comes to finding new music. I know for myself as well, I’ve referred back to these lists a lot in subsequent years, to see where bands were and where my head was, and so on. Are best-of lists meaningful, at all, in any way? Probably to the person making them, and that’s me, so I’ll proceed.

I thought the format last year worked pretty well, so I’ve hijacked it for use here. Not something I expect anyone to notice, but I did want to mention it on the off-chance. I don’t have a best live album of the year, but there are a few worth talking about, surely.

It’s been a busy, fast year. The barrage of music is overwhelming — and as problems go, that’s among the best ones to have — but I do think we’re seeing some tapering off. Generational turnover is, in fact, a constant, but the 2020s are taking shape now with bands who started making their name around the mid-2010s shifting into headliner status, new bands coming up beneath, more diverse in sound and construction, and with new ideas. This isn’t universal, but it is the ideal vision of the thing. Circle of life and such.

But it’s a lot. Including the 50-releases-strong Quarterly Review last week, I’m well north of having reviewed 400 total different mostly-full-lengths since January. That’s insane. The math is obvious, but I’ll point out anyhow that you could buy an album for every day of the year and have enough for an extra month-plus afterward. An astonishing amount of music, and I’m by no means reviewing everything.

Which brings me to the inevitable last point. I haven’t reviewed everything. If you’re here wondering where Opeth and Blood Incantation are landing on my list, they aren’t. Nothing against either of them, I just haven’t dug into the records since I knew I wouldn’t be reviewing them. The regular standard of doing as much as I can, when I can, about as much as I can, applies.

Please if you disagree with some pick below or other — and if you do, that’s healthy — I kindly ask you to keep things civil in the comments. I’m not here to call people out on enjoying things I don’t — fascism aside — and I know it makes me sad when I break my ass for days to put this together and the first comment is, “NO [WHOEVER]. LIST SUCKS. NEVER READING THIS FILTH AGAIN,” etc. Before you comment, please take a second to read what you put back to yourself for kindness. That’s good for spelling too, not that I’d know.

That’s all the stalling I can do. Time to dive in. Happy holidays.

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The Top 60 Albums of 2024

**NOTE**: If you’re looking for something specific, try a text search.

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60-31

60. Psychlona, Warped Vision
59. Trillion Ton Beryllium Ships, The Mind Like Fire Unbound
58. Massive Hassle, Unreal Damage
57. Temple of the Fuzz Witch, Apotheosis
56. Space Shepherds, Cycler
55. Abrams, Blue City
54. Castle Rat, Into the Realm
53. Heath, Isaak’s Marble
52. Weite, Oase
51. Cosmic Fall, Back Where the Fire Flows

50. Troy the Band, Cataclysm
49. Sunnata, Chasing Shadows
48. Skraeckoedlan, Vermillion Sky
47. Acid Mammoth, Supersonic Megafauna Collision
46. Deer Creek, The Hiraeth Pit
45. Big Scenic Nowhere, The Waydown
44. Grin, Hush
43. The Swell Fellas, Residuum Unknown
42. The Gates of Slumber, The Gates of Slumber
41. Coltaine, Forgotten Ways

40. Mountain of Misery, The Land
39. Mammoth Volume, Raised Up by Witches
38. Delving, All Paths Diverge
37. High on Fire, Cometh the Storm
36. Thou, Umbilical
35. The Giraffes, Cigarette
34. Fu Manchu, The Return of Tomorrow
33. Full Earth, Cloud Sculptors
32. Daevar, Amber Eyes
31. Causa Sui, From the Source

Notes:

Just in case you’re the type of person who’d say, “Oh how could you have a top 60? after a certain number it’s all the same,” I’ll admit that’s true, but 60 is apparently nowhere near the ‘certain number’ in question for me this year. I agonized over this part of the list. More than the top 30, and more than picking a best short release, best debut, or anything else. I wanted basically a second top 30, and I feel like if I saw this as that, as 30-1, I’d congratulate whoever submitted it on their taste. But maybe that’s just me agreeing with myself.

I like the mix of up and comers and established acts here. Sunnata and Skraeckoedlan, The Giraffes, of course High on Fire, Deer Creek and so on, mixing with up and comers like Full Earth, Daevar, Acid Mammoth, Trillion Ton Beryllium Ships, Heath, Troy the Band and Weite. I feel somewhat compelled to justify my High on Fire placement, especially looking at the results so far of the year-end poll. They’re amazing, they’re devastating, they’re a singular live act, but I just didn’t listen to the record that much. There. A big part of me feels like it should be top 10 just by virtue of who the band are, but if I did that for everybody who deserved it, I wouldn’t have room for anything new. All I can do is be honest to my own listening habits and opinions. I know High on Fire are really, really good. I know this album is really, really good. That’s why it’s on this list. Should it be higher? Probably. I’m doing my best.

Thank you for your kind attention in this matter. Also, listen to The Giraffes.

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30. Sundrifter, An Earlier Time

Released by Small Stone Records. Reviewed Jan. 29.

You won’t hear me say a downer word about An Earlier Time‘s quieter stretches, but it’s the sweeping moments like “Limitless” that find Boston’s Sundrifter making the most resonant impression. Their third full-length and the follow-up to 2018’s Visitations (review here), it was a strong declaration of who Sundrifter want to be as they continue to grow, and deserved more love than I saw that it got.

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29. Tranquonauts, 2

Released by Lay Bare Recordings and Blown Music. Reviewed Sept. 10.

Oh, look out for Mr. Blogosphere. He’s out here taking a real risk putting Tranquonauts on the year-end list, like the combining of forces between Melbourne, Australia, heavy psych blues rockers Seedy Jeezus and guitarist Isaiah Mitchell wasn’t gonna work the second time around? Wow, Mitchell‘s and Lex Waterreus‘ guitars sure do sound awesome together. Oh — it’s a hot-take! Better get your react videos ready. The internet is terrible. This album offers escape from it.

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28. Chat Pile, Cool World

Released by The Flenser. Reviewed Oct. 21.

At the risk of having to give back my Music-Journalism-Level membership to the Sycophant Society, I’ll dare to point out that Chat Pile are way, way hyped. That happens sometimes. It’s not like they’re out there being like, “Hey we’re the noise rock white dudes shifting paradigms for noise rock white dudes, best in a generation.” It’s people like me with all the hyperbole and comma splicing. I get that too. It’s a sound geared toward inciting a strong reaction, from the sneering sarcasm of the title down. By the way, am I the only one who looks at the title Cool World and thinks of the 1992 semi-animated film of the same name? I kind of hope so. See? Big feelings all around.

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27. Gnome, Vestiges of Verumex Visidrome

Released by Polderrecords. Reviewed Dec. 9.

Rest assured, I don’t, but if I had any friends, I’d be like, “Hey, you should check out this band Gnome from Belgium. They’ve got fun riffs and they beat you over the head with them until you remember them by heart.” And these ‘friends’ would be all, “Wow man, that sounds definitely like something I would ever want to introduce to the scope of my life experiences! Thank you! I’m so glad to be your friend and the world is definitely a better place with you in it.” And then everybody’s day is better, all because of sharing and the shenanigans-laced riff metal proffered by these three behatted miscreants from Antwerpen.

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26. Brant Bjork Trio, Once Upon a Time in the Desert

Released by Duna Records. Reviewed Sept. 18.

Brant Bjork‘s solo band begat Stöner, and Stöner begat Brant Bjork Trio as Bjork, drummer Ryan Güt and bassist Mario Lalli (Fatso Jetson, Mario Lalli and the Rubber Snake Charmers, Yawning Man, etc.). I’ll cop to being a nerd for Brant Bjork‘s output generally — it’s a kind of cool so definitively Californian, my NJ-ass self can’t help but admire it — but the chemistry in Once Upon a Time in the Desert is on point to an undeniable degree, and the songs are a reminder of how the back catalog got so strong in the first place. What else could you want?

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25. Sergeant Thunderhoof, The Ghost of Badon Hill

Released by Pale Wizard Records. Reviewed Dec. 12.

Five albums in, a post-arrival Sergeant Thunderhoof stand ready. They know who they are, what they want their songs to do, why and how to make it happen. The Ghost of Badon Hill gives a conceptual focus to unite material intentionally sprawling, and lets listeners immerse in a narrative all the more easily for the quality of its songcraft. Self-recorded, it is masterful in performance and assured of its execution, pored over but not overworked; the happy accidents might have been left in on purpose, but they still sound like accidents. And Sergeant Thunderhoof still sound like a band driving themselves toward the unknown.

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24. Early Moods, A Sinner’s Past

Released by RidingEasy Records. Reviewed March 29.

Doom metal is lucky to have Early Moods laying out a template for the next generation to hopefully follow. The Los Angeles five-piece’s second full-length, A Sinner’s Past, refined the lurch of their 2022 self-titled (review here), and the combination of hard touring and progressive craft continues to bode well as they look toward their next offering. They’ve put in their work, however swift their ascent to this point might feel, and they’re about one great record away from standing among the best doom of the 21st century. You could easily argue they’re already there. Every reason is accounted for on A Sinner’s Past.

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23. Morpholith, Dystopian Distributions of Mass Produced Narcotics

Released by Interstellar Smoke Records. Reviewed Oct. 22.

Iceland’s Morpholith enter the conversation with Dystopian Distributions of Mass Produced Narcotics, which has cosmic-doom breadth and bong-metal crush to spare in the first four minutes of “Psychophere” alone, never mind anything that surrounds. The band’s debut is a bombastic plodder, beating out the march to a futuristic — and cold — vision of the riff-filled land that may or may not be Reykjavik in the wintertime while simultaneously being both very much of weed and not outwardly about it, seeming to have much more than addled, Mid Atlantic Ridge-heavy riff worship because — look out! — they do. If cosmic doom is ever going to be more than a loose thread connecting YOB and Ufomammut, bands like Morpholith need to keep pushing it forward like this. “Dismalium.” I dare you.

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22. Lamp of the Universe Meets Dr. Space, Enters Your Somas

Released by Sound Effect Records. Reviewed May 24.

Lamp of the Universe is multi-instrumentalist, songwriter, producer and vocalist Craig Williamson, based in New Zealand. Dr. Space is synthesist, keyboardist, producer, bootlegger and bandleader Scott Heller. The ‘meeting’ of these two expanded minds takes place over two extended tracks, one vinyl side per, of lush psychedelic and multi-tiered drones, absolutely perfect for the zone-out hypnosis you’ve been trying to put yourself in all day but for that pesky consciousness. I wish I could come up with some kind of ritual awesome enough for the keyboard textures in “Enters Your Somas” or the propulsive space rock thuddenchug of “Infiltrates Your Mind,” but some sounds are just too cool for the planet. Come see how the freaks get down.

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21. Dool, The Shape of Fluidity

Released by Prophecy Productions. Reviewed May 15.

I spent some significant time with Dool‘s The Shape of Fluidity this Spring, before and after seeing them at Roadburn (review here), which was another highlight of the year. The album’s triumph, in songwriting, in transcending genre bounds and in conveying its theme of breaking loose from the gender binary, gave my parent-of-a-trans-kid self a hopeful vision of a future beyond dark, hateful rhetoric or implied/real violence. It showed me a possible path to victory on what will be and already is a hard road. It was there when I needed it, which is a specific ideal of art providing care. I’ll never forget that.

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20. Buzzard, Doom Folk

Self-released. Reviewed May 13.

Granted the Western soundscaping at the outset of the eponymous “Buzzard” lays it on thick, but it’s supposed to! We’re talking fire-and-brimstone earthbound Americana folk with a doomly rhythmic cast, given the self-aware title of Doom Folk by the solo artist Buzzard, aka Christopher Thomas Elliott, laying it on thick is the point. Elliott has a follow-up out soon already. Thinking of Doom Folk as the beginning of a creative progression makes its nuance and individualist drive even more exciting, but the rawness of this debut, the straightforwardness of its structures and the resulting memorability are part of the appeal for sure.

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19. High Desert Queen, Palm Reader

Released by Ripple Music. Reviewed April 30.

Seven bangers. Not a dud in the bunch. Two nine-minute songs and you still couldn’t say a moment of High Desert Queen‘s rightly anticipated sophomore LP is wasted. Not when you’re building up to the roll of “Head Honcho,” certainly. The Texas outfit built on the good-time largesse and party-but-not-a-party-so-cool-you-don’t-feel-welcome vibing of 2021’s Secrets of the Black Moon (review here) and set themselves vociferously to the task of being the change in heavy rock that they wanted to hear. Palm Reader‘s infectiousness is a strength, both in terms of a catchy piece like “Ancient Aliens” or “Time Waster,” and also in the overarching positive-framed mood and heart so clearly put into the material.

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18. Ufomammut, Hidden

Released by Supernatural Cat and Neurot Recordings. Reviewed May 21.

Now a quarter-century on from their start, Italian trio Ufomammut have yet to put out a record that didn’t sound like a forward step from the one before it. And Hidden is their 10th album. The band are progenitors and refiners of a cosmic doom sound that is unto itself, and cuts like “Kismet” and “Leeched” manage to be both lumbering in their massive-tone grooves and sprawling with a synthy ambience that, though certainly influential, is immediately recognizable as Ufomammut. Hidden is part of a creative trajectory, to be sure, and the arc is ongoing, but there’s more than enough substance here to leave a crater behind in the listener’s brain.

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17. Iota, Pentasomnia

Released by Small Stone. Reviewed March 20.

In its arrangement as five separate dreams taking place over its component tracks, the only thing Pentasomnia doesn’t take into account is that another Iota LP was a dream all on its own even before music actually happened. A full 16 years after shaking the galaxy’s core with their 2008 debut, Tales (discussed here, and here), the three-piece of guitarist/vocalist Joey Toscano (Dwellers, Hibernaut), drummer/producer Andy Patterson (The Otolith, ex-SubRosa, etc.) and bassist Oz Yasri (ex-Bird Eater) making a comeback — let alone it actually being good — was nigh on unthinkable. Then you heard “The Intruder” and reality shifted just a bit. Pretty sweet.

16. Kanaan & Ævestaden, Langt, Langt Vekk

Released by Jansen Records. Reviewed Oct. 18.

Few albums in 2024 were as entrancing as Langt, Langt Vekk, the hopefully-not-a-one-off collaboration between Norwegian progressive heavy instrumentalists Kanaan and neofolk contemporaries Ævestaden. Both adventurous outfits in their own right, the combination of elements, from live drums and synth to traditional plucked strings and Norwegian-language vocal choruses, works stunningly well. That little bit of fuzz in “Habbor og Signe,” or the cymbal wash behind “Dalebu Jonsson” — the songs are full of these little nuances or flourishes waiting to be found, but even with the most superficial of listens, the achievement resounds, whether one approaches from a viewpoint of heavy rock, prog, folk or psychedelia.

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15. DVNE, Voidkind

Released by Metal Blade. Reviewed May 6.

You know, I’ve kind of dug DVNE records all along, and I can’t really call Voidkind a surprise after 2021’s Etemen Ænka (review here), but these songs — “Eleonora,” “Sarmatae,” “Abode of the Perfect Soul,” among others — hit me much harder than I had expected, and the more I listened to try to twist my head around “Reliquary,” the more the album as a whole revealed of its character and detail. I review a lot of stuff, and I hear more than I review, so I don’t always get pulled back by every record, but Voidkind kept calling for return visits.

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14. Orange Goblin, Science, Not Fiction

Released by Peaceville Records. Reviewed July 22.

Look. If you’re reading this, I know I don’t have to tell you about Orange Goblin. Even if you don’t already have a soft spot for the long-running UK doom rockers, they’re perfectly happy to pummel one into you with Science, Not Fiction, their first album since 2018 and a realignment toward a harder-edged heavy rock sound, where the last, say, two records had leaned more metal. I heard some griping about the production not helping, but I heard absolutely nothing to complain about here. The band are on fire and the recording shows it, the songs aren’t necessarily any great progressive leap but for sure they’re Orange Goblin songs, and for a band who owes nobody proof of anything, they set a high standard and deliver accordingly, like god damned professionals should.

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13. Spaceslug, Out of Water

Released by Electric Witch Mountain Recordings. Reviewed May 14.

What I didn’t get about Spaceslug until I finally saw them live at Desertfest New York (review here) was just how metal the impact of their songs can get. It’s not necessarily that they’ve grown more aggressive, unless you want to incorporate harsh vocals or shouting — “Tears of Antimatter” also has gently-delivered barely-there spoken word, so it depends on the story you want to tell — but the blend of melancholic doom, heavy psychedelia and melodic fluidity that has become Spaceslug‘s stylistic wheelhouse is not to be missed. Out of Water finds them at their broadest and least concerned with genre, and brings into relief how special a band they’ve become. Also it rocks.

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12. Craneium, Point of No Return

Released by The Sign Records. Reviewed April 1.

No secret how Craneium are doing it on Point of No Return; it’s right there in the songs. All of them. “One Thousand Sighs,” “The Sun,” “A Distant Shore,” “…Of Laughter and Cries,” “Things Have Changed” and “Search Eternal.” Texture and hooks, heft and scope and melody and crash and shove, classy progressive execution and swaggering conjurations. Most of all, songs that stay with you. Chances are, if you heard this record and gave it its due attention at some point in your time with it, you didn’t have to do much more than read the titles to have the tracks playing in your head. That’s not a coincidence. It’s craft. It’s a willful outreach on the part of the band and material. It’s what makes you want to sing along. And why would you not?

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11. Guhts, Regeneration

Released by Seeing Red Records and New Heavy Sounds. Reviewed Feb. 5.

More on it below, but for the moment, suffice it to say that the bludgeoning and/or scathe of Regeneration at its most intense and the depths its mix seemed to find, the debut full-length from New York post-metallers Guhts dared visceral emotionality in a way few records so heavy could or would hope to. The willing-to-break-her-voice-if-necessary performance of Amber Gardner and the weighted undulations surrounding from guitarist Scott Prater, bassist Daniel Martinez and drummer Brian Clemens, the open sway, unfettered crush, and quiet spaces offsetting all that bombast result in both a chaotic feel and an applicable world. Therefore it must be modern. Fine. It sounds like the future.

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10. Heavy Temple, Garden of Heathens

Released by Magnetic Eye. Reviewed April 11.

As to how Philadelphia’s Heavy Temple managed to fit so much swagger onto a single platter, you’d have to ask them, but their second album, Garden of Heathens, landed hard in tone and attitude alike. Songs like “Extreme Indifference to Life,” “House of Warship” and the galloping payoff of “Jesus Wept” ahead of the thrashy finale “Psychomanteum” affirmed what was set out in 2021’s Lupi Amoris (review here) and their earlier short releases while marking out and conquering decisively new territory in their sound. I know it was recorded two years ago or something like that, but it’s still a band beginning to realize their potential in craft and performance, and if a third LP happens sooner than later, so much the better.

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9. 1000mods, Cheat Death

Released by Ouga Booga and the Mighty Oug and Ripple Music. Reviewed Nov. 11.

Whether one embraces Cheat Death because the songs kick ass or because 1000mods are so vivid and uncompromising in pushing themselves forward from release to release, I don’t think you’re wrong. The forerunners of their generation in Greek heavy rock remain among the finest Europe’s heavy underground have to offer, and the atmosphere they’re able to conjure alongside the straight-ahead Matt Bayles-produced punk-metal hooks of these songs is emblematic of why. Without ever giving up their foundation in heavy rock, 1000mods have consistently refined their processes and grown as songwriters. The joke of Cheat Death is how alive the material feels.

8. Ruff Majik, Moth Eater

Released by Sound of Liberation Records. Reviewed Oct. 3.

Faced with the considerable task of following up the to-date album of their career, Elektrik Ram (review here), just one year later, South African heavy rockers Ruff Majik did not flinch. Instead, Moth Eater takes the outright charge and sharpness-minded efficiency of its predecessor in a stated trilogy that began with 2020’s The Devil’s Cattle (review here) and sets it as the foundation for a confident, creative growth and sustainable expansion of sound. They’re a little more willing to dwell in parts, and they’re well aware of how catchy they can be, but also, they know the power of momentum and they’re fully in control of the narratives they’re telling. As Moth Eater readily demonstrates, it’s hard to know which of that it is that makes them most dangerous.

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7. Uncle Acid and the Deadbeats, Nell’ Ora Blu

Released by Rise Above. Reviewed May 16.

It’s hard to overstate the accomplishment of Nell’ Ora Blu, and I’m well aware that the critical sphere is full of plenty who’ve spent the better part of 2024 trying. Reasonable. The completeness of the world Uncle Acid and the Deadbeats built in the work based around the concept of soundtracking a giallo film that didn’t exist was singularly evocative. With original dialogue recorded (in Italian) specifically for ‘movie’ ambience, Uncle Acid took what had always been an influence on the band’s sound within genre-cinema and its methods of storytelling, and flipped the process on its head by creating its own story. Their influence is already well spread throughout the heavy underground, for sure, but in bringing a vision to life, this might be the album Uncle Acid have been working toward all along.

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6. Vokonis, Transitions

Released by Majestic Mountain Records. Reviewed Oct. 29.

A forward-thinking masterwork from even before “Deadname” sneaks a layer of acoustic guitar under the mountain of distortion in the verse lines and “Arrival” and “Transitions” give evocative chronicle to the album’s trans-experiential theme — it is the band’s first since guitarist/vocalist Simona Ohlsson transitioned, and admirable for both its projected triumph and vulnerability around that — the fifth full-length from Vokonis continues the progressive path they have walked for the last decade-plus. A lineup change has brought some shift in dynamic, but a new strength of voice behind the material that makes “Phantom Carriage,” “Chrysalis,” and, suitably enough, “Arrival,” feel like a declarative pinnacle, and having something to say makes the raw impact of its heaviest moments all the more powerful.

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5. Greenleaf, The Head and the Habit

Released by Magnetic Eye Records. Reviewed July 3.

There’s little funnier to me about heavy rock as it exists in 2024 than the idea that Greenleaf would be a band people take for granted. “Oh, Tommi Holappa and Company putting out another collection of classic-heavy and blues-rocking bangers? Business as usual, I guess.” Until you listen to the album, maybe. Then you get the tumble of “Avalanche,” the hooks in “Breathe, Breathe Out,” and “A Wolf in My Mind,” the subdued-bluesy pair “That Obsidian Grin” and “An Alabastrine Smile” to remind how you much this band has been able to grow since Arvid Hällagård made his first appearance with them a decade ago, the way they’re able to move through a jam and land in a groove as solid as “Oh Dandelion,” reminiscent of Clutch in its start-stop funk but defined by its own persona. Every Greenleaf record is a gift. If feeling that way means I’m not impartial, good. We understand each other.

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4. Rickshaw Billie’s Burger Patrol, Big Dumb Riffs

Released by Permanent Teeth Records. Reviewed March 19.

Promises made, promises kept. Austin-based crunch purveyors Rickshaw Billie’s Burger Patrol stripped any and all excess out of their approach on Big Dumb Riffs, resulting in a quick-feeling collection of memorable, heavy tracks that, whether fast like “1800EATSHIT” or slow like “In a Jar,” are united in the album’s central stated purpose. Already an established brand of heavy revelry, the three-piece didn’t change anything radically in aesthetic terms, but the songs found their target one after the other, front to back, and were clever and well composed, however willfully lunkheaded the central riffery might have been. They’re headed to Europe in Spring, and I’m already hearing rumors of a next record, so keep an eye out in 2025.

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3. Slomosa, Tundra Rock

Released by Stickman Records and MNRK Heavy. Reviewed Sept. 9.

Slomosa‘s released-in-2020 self-titled debut (review here) was a salve to many in troubled times, representing a next-generation hope for underground heavy in energetically-delivered, classic-feeling songs. Tundra Rock, which gives a name to the band’s style seemingly in direct answer to anyone who might class them as ‘desert,’ confirms the Norwegian four-piece at the forefront of an up and coming cohort of younger acts beginning to find their expressive modus and step beyond their root influences. Tundra Rock finds Slomosa doing this while giving their dual-vocal live dynamic vibrant studio representation and growing their material in character and melody alike. Heavy rock and roll is Slomosa‘s for the taking.

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2. Brume, Marten

Released by Magnetic Eye. Reviewed April 29.

A record that didn’t need to be loud to be heavy, Brume‘s Marten is without question my most-listened-to album of 2024. That needs no qualifying. I had high expectations going into it after seeing the San Francisco band at Desertfest New York 2022 (review here), and Marten surpassed every hope I might’ve been able to harness for it and then some. The collective voice of the band incorporating multiple viewpoints from bassist/vocalist/keyboardist Susie McMullan, guitarist/vocalist Jamie McCathie, drummer Jordan Perkins Lewis, and in her first appearance as a full-on member of the band, cellist/vocalist Jackie Perez Gratz (Grayceon, Amber Asylum, etc.), resulted in a fluid but deeply divergent collection, comprised of songs that went where they wanted to go — or didn’t, thank you very much — according to their own whims and purposes. It is a landmark for Brume and, if any number of subgenres are lucky, a blueprint from which others will hopefully learn.

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2024 Album of the Year

1. Elephant Tree & Lowrider, The Long Forever

Released by Blues Funeral Recordings. Reviewed Oct. 25.

I acknowledge breaking my own rules here — splits are always, until and including this year, categorized as short releases in these lists — but when it came to it, the thought of putting Elephant Tree and Lowrider‘s The Long Forever anywhere else, considering it as anything else, seemed ridiculous. Especially if you count writing the liner notes for it, I’ve gone on at length about the release as an intersection of crucial moments for the respective bands, with Lowrider following their first album in 20 years, Refractions (review here), and Elephant Tree answering the progressive statement of their own second LP, Habits (review here), both released in 2020. The storyline gets deeper as Elephant Tree also look to reestablish themselves following a near-fatal accident suffered by guitarist/vocalist Jack Townley, melding rawness of tone with lush vocal harmonies, and Lowrider drag fuzz-rock traditionalism kicking and screaming into a reality of being both fun and intelligent. There ultimately was nothing else to call The Long Forever than the album of the year. If that comes with an asterisk because it’s a split, it doesn’t lessen the effect of hearing it at all. So yeah, I’m breaking the rules of the game. I’m inconsistent. Unprofessional. Biased. I don’t know what to tell you except love makes you do crazy things. In these songs themselves — do I even need to talk about the collaboration — and in the drive behind them, that’s what most resonates here.

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The Top 60 Albums of 2024: Honorable Mention

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If the 60 above wasn’t enough, here are more leads to chase down, alphabetical but in kind of a hyper-specific, ass-backwards-seeming way:

Acid Rooster, Alber Jupiter, Altareth, Alunah, Astrometer, Bismarck, Black Capricorn, Blasting Rod, BleakHeart, Blue Heron, Bongripper, Boozewa, Caffeine, Carpet, Castle, Cleen, Clouds Taste Satanic, Codex Serafini, Cold in Berlin, Cortez, The Cosmic Dead, Crypt Sermon, Daily Thompson, Deadpeach, Deaf Wolf, Demon Head, Destroyer of Light, Dopethrone, Duel, Earth Ship, Elephant Tree, Emu, Familiars, Bill Fisher, 40 Watt Sun, Ghost Frog, Goat Major, Guenna, Heath, High Reeper, Hijss, Horseburner, Ian Blurton’s Future Now, Insect Ark, Inter Arma, Kelley Juett, Juke Cove, Kalgon, Kandodo, Kant, Kariti, Kungens Män (x2), Kurokuma, Leather Lung, Legions of Doom, Lord Buffalo, Magic Fig, Magick Brother & Mystic Sister, Magick Potion, Magmakammer, Mammoth Caravan, Massive Hassle, MC MYASNOI, Merlin, Methadone Skies, Monkey3, Morag Tong, The Mountain King, Mount Hush, MR.BISON, My Dying Bride, Myriad’s Veil, No Man’s Valley, Norna, The Obsessed, Oryx, Pallbearer, Patriarchs in Black, Pia Isa, Planet of Zeus, Red Mesa, Rezn, Rifflord, Sacri Monti, Sandveiss, Satan’s Satyrs, Saturnalia Temple, Scorched Oak, Sheepfucker & Kraut, Slift, Slower, Slow Green Thing, SoftSun, The Sonic Dawn, SONS OF ZÖKU, Spacedrifter, Spiral Grave, Spirit Mother, Stonebride, Sun Blood Stories, Sunface, Sun Moon Holy Cult, Swallow the Sun, The Swell Fellas, Swell O, Temple Fang, 10,000 Years, Thomas Greenwood and the Talismans, Thunderbird Divine, Tigers on Opium, Traum, 24/7 Diva Heaven, Valley of the Sun, Vlimmer, Void Commander, Weather Systems, The Whims of the Great Magnet, Whispering Void, White Hills, Per Wiberg, Esben Willems, Worshipper, WyndRider…

Notes:

With the eternal caveat that I’ll be adding to the honorable mentions for the next few days as people drop names they remembered and I forgot, I’ll say I can live with the list as it is now. I wouldn’t go so far as to say I’m happy with it, but I’ll live. I felt like there was just too much good stuff in the 60-30, stuff that deserved a better look, and god damn, look at the honorable mentions. You’re gonna tell me Rezn wasn’t top 30 material? Or Inter Arma, or 10,000 Years (who I still need to review), or Kandodo or Cortez, or Bongripper, Blue Heron, Merlin, Slower? Mount Hush, Vlimmer, Destroyer of Light — I could do this all day. That Carpet record. That MR.BISON record. Valley of the Sun. I see these names and want to punch myself. Then I see the names in the top 30 and I go, “Well…” and kind of have to hold off. I guess that means it turned out to be a pretty fantastic year.

I know for a fact I didn’t hear everything that came out, and I’m willing to bet that any number of people who see this will have their own opinions on the best albums of 2024 from top to bottom. I celebrate this difference and look forward to being exposed to new sounds because of it. Let comments fly, please. Once again, my only ask is that you keep it kind as relates to my own list(s) and any other picks someone might offer. If I’ve got facts wrong, something was a Dec. 2023 release instead of Jan. 2024, whatever, by all means, let me know. But we’re all friends here and being a jerk about it solves nothing.

And yes, I’ll admit to projecting some self-criticism in the Elephant Tree/Lowrider selection for album of the year. All I can tell you is I stand by that pick. It’s that because when I was putting together the list, it couldn’t have been anywhere else. I don’t love breaking my own arbitrary rules nearly as much as I love imposing those arbitrary rules in the first place, but sometimes apparently one is forced from one’s comfort zone to their own general betterment. Who knew?

Of course we’re not done yet.

—

Debut Album of the Year 2024

Guhts, Regeneration

Other notable debuts (alphabetical):

Azutmaga, Offering
Buzzard, Doom Folk
Castle Rat, Into the Realm
Cleen, Excursion
Coltaine, Forgotten Ways
Full Earth, Cloud Sculptors
Goat Generator, Goat Generator
Goat Major, Ritual
Grave Speaker, Grave Speaker
Guenna, Peak of Jin’Arrah
Hashtronaut, No Return
Heath, Isaak’s Marble
Hijss, Stuck on Common Ground
Kalgon, Kalgon
Kant, Paranoia Pilgrimage
Kitsa, Dead by Dawn
Leather Lung, Graveside Grin
Legions of Doom, The Skull 3
Magic Fig, Magic Fig
Magick Potion, Magick Potion
Morpholith, Dystopian Distributions of Mass Produced Narcotics
Myriad’s Veil, Pendant
Neon Nightmare, Faded Dream
Plant, Cosmic Phytophthora
Rabid Children, Does the Heartbeat
Saltpig, Saltpig
Semuta, Glacial Erratic
SoftSun, Daylight in the Dark
Spacedrifter, When the Colors Fade
Sun Moon Holy Cult, Sun Moon Holy Cult
Ten Ton Slug, Colossal Oppressor
Tet, Tet
Tigers on Opium, Psychodrama
Tommy and the Teleboys, Gods Used in Great Condition
Troy the Band, Cataclysm
Weather Systems, Ocean Without a Shore
Esben Willems, Glowing Darkness
Young Acid, Murder at Maple Mountain

Notes:

First about Guhts: From the Andy Patterson recording and parts of the songs themselves, Guhts weren’t hiding influence from the likes of SubRosa or Julie Christmas, Made Out of Babies, etc., but what Regeneration did so well — and what I was trying to convey above — was take those recognizable elements and redirect them toward an expressive individuality. That album could be punishingly heavy or sweet and soothing and the fact that you never quite knew which was coming next was a major asset working in the band’s favor. There are a lot of killer debuts on this list, and plenty I’m sure that I’ve left off because, well, I’m inept, but Regeneration was so sure of what it was about and so crisp in making that real through sound that it’s still stunning.

A lot to celebrate on this list. Full Earth at the outset of a hopefully long-term progression. Tigers on Opium with attitude and craft. Castle Rat giving stage drama studio life. Weather Systems picking up where Anathema left off. Promising starts for Pontiac, Hashtronaut, Neon Nightmare, Cleen, Coltaine, Troy the Band, Buzzard, Magic Fig, Legions of Doom, and Heath, among others. If you’re worried about the state of underground heavy music, you don’t need to be. Granted the future of anything is unknowable even before you apply “uncertain times” caveats and all the rest, but bands are stepping up to carry the torch of established sounds and pushing themselves to realize new ideas — whether that’s Guhts and Magic Fig or Tigers on Opium, or Legions of Doom, Ten Ton Slug, Weather Systems and Monolord’s Esben Willems, new players or ones who’ve been around for decades.

If you want a top ten — and who doesn’t? — in addition to Guhts, make your way through Full Earth, Sun Moon Holy Cult, Morpholith, Guenna, Coltaine, Troy the Band, Young Acid, Emu, Buzzard and Kant to start, and you can dig deeper from there. That’s actually 11, but I don’t care. More new music won’t hurt you.

We press on.

—

Short Release of the Year 2024

Moura, Fume Santo de Loureiro

Other notable EPs, Splits, Demos, Singles, etc.

Aktopasa, Ultrawest
Alreckque, 6PM
Bog Wizard, Journey Through the Dying Lands
Conan, DIY Series Issue 1
Cortége, Under the Endless Sky
Cult of Dom Keller, Extinction EP
Michael Rudolph Cummings, Money EP
Deer Lord, Dark Matter Pt. 2
Eagle Twin & The Otolith, Legends of the Desert Vol. 4
Fuzznaut, Wind Doula
Fuzzter, Pandemonium EP
Geezer & Isaak, Interstellar Cosmic Blues and the Riffalicious Stoner Dudes
Harvestman, Triptych EP(s)
Hermano, When the Moon Was High
Hollow Leg, Dust & Echoes
Holy Fingers, Endless Light Infinite Presence
King Buffalo, Balrog
Lurcher, Breathe EP
Okkoto, All is Light
Ord Cannon, Foreshots EP
Orme, No Serpents No Saviours
Pelican, Adrift/Tending the Embers
Pontiac, Hard Knox EP
Rope Trick, Red Tide EP
Sacred Buzz, Radio Radiation
Smoke & Doomsday Profit, Split
Spiral Guru, Silenced Voices EP
Toad Venom, Jag har inga problen osv​.​.​.
Trigona & IO Audio Recordings, Split
Various Artists, International Space Station Vol. 2

Notes:

This category includes so much and can range so vastly between an EP that’s about 30 seconds short of being a full album to a standalone single released just for the hell of it to a band’s first rehearsal room demo. “Short releases” encompasses a lot, and as noted above, I’ve already broken my rules about where splits go. What about The Otolith and Eagle Twin? Geezer and Isaak? Smoke and Doomsday Profit? Trigona and IO Audio Recordings? The International Space Station four-wayer? If I’m crossing lines, don’t these also need to be considered as full-lengths?

You know what really sucks about it? This is an argument I’m going to have with myself for probably the next year. An existential crisis playing out in the back of my mind. More important? The Moura EP. The soundtracky textures the Spanish folk-informed progressive psychedelic rockers brought to the follow-up for their second album were both otherworldly and ground-born, and the material put emphasis on how much care and craft goes into their work while retaining the organic core against the threat of pretense. It was my most listened to short release of 2024, followed by Pelican, Holy Fingers, Pontiac, Toad Venom, Hollow Leg (x2), and Sacred Buzz. A new King Buffalo single was a late-year boon, that Hermano was worth it for the previously-unreleased studio track alone, and strong showings from Michael Rudolph Cummings, Deer Lord, Conan and Cortége, along with the aforementioned splits, assured that through the entire year, attention spans would receive consistent challenge in the movement from one thing to the next.

By way of a familiar confession, my list of short releases is nowhere near complete. It never is, and it never really could be. I’m sure there will be some I left out that I’ll add in for honorable mentions, etc., but I stand by the Moura pick for best short outing. They brought a soul to it that put the lie to the notion of EPs as between-album gap-fillers, and in a year that didn’t lack substance among its brevity-focused options, Fume Santo de Loureiro stood out in character, aesthetic and songwriting. Nobody else is making music quite like Moura.

If you have more to add here, by all means, please and thank you. Comments are below.

—

Live Albums

Live Album of the Year 2024

Temple Fang, Live at Krach Am Bach

Castle, One Knight Stands: Live in NY
Danava, Live
Elder, Live at Maida Vale
Snail, Thou Art There
Stöner, Hittin’ the Bitchin’ Switch
Sula Bassana & Skyjoggers, Split
The Whims of the Great Magnet, Live at Bankastudios Maastricht 22​-​12​-​2023

Notes:

Fewer releases listed here than last year, but some killer ones for that. I put Temple Fang out there as live album of the year, and since we’re late in the post I’ll tell you honestly that it probably could be any of these on a given day. Danava’s live record crossed decades in badassery, the Sula/Skyjoggers split captured the vibe of a club night in Germany, the Whims of the Great Magnet’s live release made an excellent predecessor to their out-this-month studio album, Snail recorded theirs at a show I put on, Stöner capture the end of their two-album cycle with an awesome set, and Elder are Elder. The Maida Vale recording is short, and their songs are long, or you probably would’ve heard a lot more about that this year. If/when they do a proper live album, it will be a no-brainer.

But the Temple Fang has it all in molten progressivism, heavy tones, immersive psychedelia and outright soul, and of the bands I’ve managed to list here — if you want to add to the list, please do — there’s nobody who so much defines what they do by its live incarnation. Temple Fang’s music changes every night. They follow where it leads in a different way, and the ritualization of their performance comes through in Live at Krach Am Bach resoundingly. I’m not saying a bad word about their studio work to this point, but their heart manifests in a different way and at a different level onstage. They’re a great band and this shows a big part of why.

—

Looking Ahead to 2025

Names, right? This one’s all about the names? Get to the names, jack? Okay, calm down.

With eternal appreciation to the folks of fine, upstanding moral character in the ‘The Obelisk Collective’ group on Facebook for the assistance, here’s a smattering of what one might look forward to in 2025:

Aawks, After Nations, All Them Witches, Amber Asylum, Author & Punisher, Bandshee, Black Spirit Crown, Bog Wizard, Bone Church, Borracho, Bronco, Buzzard, Dee Calhoun, Causa Sui, The Cimmerian, Clutch, Conan, Corrosion of Conformity, Daevar, Dead Meadow, Dead Shrine, Demons My Friends, Dream Unending, DUNDDW, Dunes, Flummox, Fuzz Sagrado, FVZZ POPVLI, Gaytheist, Gin Lady, Gnarled, Gnod & White Hills, Gods and Punks, Godzillionaire, Haze Mage, Kaiser, Kal-El, King Buffalo, Lamassu, Lo-Pan, Madmess, Mantar, Masters of Reality, Messa, Seán Mulrooney, Mouth., New Dawn Fades, Nightstalker, Øresund Space Collective, Pentagram, Pesta, Pothamus, Dax Riggs, Seedy Jeezus, Slomatics, Slow Wake, Stoned Jesus, Stone Machine Electric, Temple Fang, 3rd Ear Experience, Triptykon, Trouble, Turtle Skull, Warlung, Weedpecker, Yawning Balch, Year of the Cobra, YOB… and because it still hasn’t happened and someone invariably calls me out if they’re not listed: Om.

If you have names to add, “smash that comment button,” in the parlance of our times. Only don’t really smash it because you might hurt your hand or break your phone with your awesome strength.

—

THANK YOU

It was among my primary goals for this post that it should be shorter than last year’s, and it looks like I’ll achieve that with room to spare, so I’m glad. Sometimes I get carried away, I think I probably don’t need to tell you.

Before I let go of 2024 — actually I still want to review that The Whims of the Great Magnet studio release and I’ve got a Darsombra video premiere set before the end of the year, news to catch up on from like the last two weeks and a whole lot more to cover — I’d like to take a moment to thank you one more time for reading and for being part of this project this year and each year it’s been ongoing. Your support is absolutely what keeps this site going and it means more to me than I can ever hope to comprehend.

Thank you to The Patient Mrs., who in the course of a given week let alone year puts up with more of my bullshit than any human being should ever have to. “Yes, love, the world’s ending and we have no money and the house is falling down around us and the dog needs to pee, but I just need two or three hours to go sit and write about riffs — is that cool?” Or better, when I’m pissy about it. The “my wife is a saint” routine is pretty played out as far as dudely excuses for being selfish, lazy and/or dumb go, but well, I am all of those things on the extreme regular and she hasn’t booted my ass to the curb yet. I find this to be a reason to celebrate and a thing to appreciate. I am loved and cared for in ways I could never hope to earn.

Thank you to my family for their support, year in and year out. They’ve all got Obelisk shirts and they all wear them, and while I’m not sure they understand the true depths of egoistic depravity involved in this project, they’ve been on board with it since the start, and this includes my wife’s side of the family as well. I am incredibly lucky to have the life I have.

I’m going to keep listening to music, keep writing about it as much as I can. I’m not quite as generally panicked about it as I used to be — older, busier in different ways, over the FOMO, maybe a little more discerning in terms of taste? — and I’m significantly less likely to break my brain answering email, but I’m doing my best.

The Obelisk presses on into what will be a busy 2025. I’ve got trips slated to Planet Desert Rock Weekend in Las Vegas this January, Desertfest Oslo in May, Freak Valley in Germany in June, Bear Stone in Croatia in July, and Desertfest New York in September, with more hopefully to come. I look forward to these adventures and to doing the writing that will happen as part of them, and one more time, I thank you for your time and attention in reading, in the past, now, and in the future. I’m taking tomorrow off. All the way off. Back on Monday for more.

Much appreciated,
JJ Koczan

With their Fall tour — as opposed to the summer one; yeah, it goes like that — currently ongoing, Greek heavy rockers 1000mods have announced more European undertakings set for early next year. The run begins March 5 at A38 Hajó in Budapest, which I’m excited to see on a list of dates because I went there one time, and carries the band into April as they continue to support their new album, Cheat Death (review here). Note that the new tour has them out with Frenzee, whose Apollonia “Api” Xylouris contributes guest vocals on the record. Some potential for onstage collaboration then, certainly, as the two bands run through a succession of shows in Germany, Switzerland, the Netherlands, France, Spain and Portugal.

Lest we forget, 1000mods were in the US in Fall 2023. I haven’t heard anything about a return trip for the new record, but with a North American release through Ripple — the band’s imprint, Ouga Booga and the Mighty Oug (also a booking company), has it for the rest of the world — it’s by no means outside the realm of possibility. Whatever you can do though to see them, they are second to none at what they do.

Sound of Liberation, which is co-presenting the tour, posted the following. Remaining Fall shows are included, new dates underneath. You’ll figure it out:

1000MODS – NEW ALBUM & TOUR DATES

Their brand new album “Cheat Death” just dropped, and they’re bringing it live across Europe! Don’t miss out on these epic shows – check the dates below and catch them in a city near you. Plus, we’re thrilled to have them on stage at SOL SONIC RIDE COLOGNE on 29.03.2025 at Carlswerk Victoria + Club Volta, Cologne (tickets via link in bio). 🔥

Looking for 1000Mods merch and vinyl? Head over to our shop: www.sol-records.com. 🛒

Fall 2024 Tour Dates:

20.11.2024 (FI) Helsinki, Ääniwalli
22.11.2024 (SE) Stockholm, Fuzz Festival
23.11.2024 (SE) Borlänge, Broken Dreams
24.11.2024 (SE) Gothenburg, Hemligheten
25.11.2024 (NO) Oslo, Goldie
26.11.2024 (SE) Malmö, Plan B

Spring 2025 “Cheat Death” Album Release Tour:
05.03.2025 (HU) Budapest, A38
06.03.2025 (AT) Vienna, Arena
07.03.2025 (DE) Lindau, Club Vaudeville
08.03.2025 (CH) Pratteln, Z7
09.03.2025 (CH) Geneva, PTR L’Usine
10.03.2025 (FR) Lyon, Transbordeur Club
12.03.2025 (FR) Toulouse, Metronum
13.03.2025 (FR) Montpellier, Victoire 2
14.03.2025 (ES) Barcelona, Apolo 2
16.03.2025 (ES) Madrid, Nazca
17.03.2025 (PT) Lisbon, RCA Club
18.03.2025 (PT) Porto, Mouco
20.03.2025 (ES) Bilbao, Stage Live
21.03.2025 (FR) Alençon, La Luciole
23.03.2025 (FR) Paris, La Maroquinerie
24.03.2025 (FR) Wasquehal, Black Lab
25.03.2025 (BE) Brussels, La Botanique
26.03.2025 (NL) Amsterdam, Melkweg
27.03.2025 (NL) Nijmegen, Doornroosje
28.03.2025 (NL) Groningen, Vera
30.03.2025 (DE) Cologne, Carlswerk Victoria (SOL Sonic Ride Cologne)
31.03.2025 (DE) Aschaffenburg, Colos Saal
01.04.2025 (DE) Erlangen, E-Werk
02.04.2025 (DE) Munich, Backstage
03.04.2025 (DE) Regensburg, Alte Mälzerei
04.04.2025 (DE) Leipzig, Werk 2
05.04.2025 (DE) Hamburg, Knust
06.04.2025 (DE) Berlin, Columbia Theater

All tickets and info available on the official 1000Mods website: www.1000mods.com/tour. 🎫

https://www.instagram.com/1000mods/
https://www.facebook.com/1000mods/
https://1000mods.bandcamp.com/
https://soundcloud.com/1000mods
http://www.1000mods.com/

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

https://www.facebook.com/Ougaboogarecs
https://www.instagram.com/ougabooga_recordings/
https://ougaboogaandthemightyoug.bandcamp.com/

1000mods, Cheat Death (2024)

Greece’s foremost heavy rock export, 1000mods return to work with producer Matt Bayles (Mastodon, Isis, tons more) after collaborating on their 2020 LP, Youth of Dissent (review here, discussed here), for their fifth album, Cheat Death, which collects 10 new tracks across an hour of music issued through the band’s own Ouga Booga and the Mighty Oug Recordings and Ripple Music (in the US). And like Youth of Dissent, the album feels somewhat defiant in its vision of what heavy rock is and can do.

That is to say, where those familiar with 1000mods‘ earlier work might have an expectation of desert style party-isms of the kind that were offered on 2011’s full-length debut, Super Van Vacation (review here; discussed here, also here), with the choice sandy grooves that helped ignite/expose a generational shift in the Greek underground the ramifications of which are still panning out 13 years later, the truth of 1000mods‘ catalog when you listen to it front to back is that they’ve always been a more complex band. Even as they bring Bayles back on board to produce/engineer and mix Cheat Death (Brad Boatright mastered), the band have continued to evolve as they’ve done all along, refusing to stagnate and so — although the title-track lyrically is about love — part of the death being cheated across the album’s not-insignificant timespan is creative stagnation.

1000mods — now the core trio of vocalist/bassist Dani G., guitarist/vocalist George T. and drummer Labros G.; that’s down from the four-piece they were with Giannis S. on guitar; they still have two guitars live — have never put out the same album twice, and as they have all along, the band have not neglected to learn what worked for them and what didn’t on Youth of Dissent, and as Cheat Death moves forward, from the stark colors of its Eva Mourtzi cover compared to the muted tones of the album prior — both covers have a message to send; I’m not belittling either approach — to the rhythmic drive behind “Götzen Hammer” or the get-what-you-see galloping frenzy of “Speedhead,” it both works from its own foundations and remains aware of what 1000mods have done before.

The hooky and somewhat melancholic “Overthrown” and the dreamier build of golly-I-hope-I-get-to-see-them-play-it-live-at-some-point-ever 10-minute finale “Grey, Green Blues” each showcase a mature songwriting process, and special attention seems to have been given to conveying a sense of energy in the material; in both the speedier shuffle of “The One Who Keeps Me Down” and the Hammond-tinged alt-rock verses of “Love,” even in the cello’ed and finger-plucked (plus piano) instrumental “Bluebird” later on, the band are able to direct their songs to different ends that feed into the overarching flow and depth of Cheat Death as a whole. Classic stuff, but there seems to be more consciousness in Cheat Death in terms of the band wanting to shake up the proceedings between the songs. Sometimes that’s a change in mood, as when the mostly-swaying (until the solo, which shreds) “Misery” and “Bluebird” offer a somber stretch before the title-track twists and careens like modern progressive metal playing back to ’80s riffing as the lyrics present a more hopeful take.

Arrangements are part of it too. As noted, “Bluebird” brings in cello (by Nikos Veliotis), while that same song, “Love,” and “Grey, Green Blues” boast keys/organ from Jiomy Amaranth. The feeling of expansion around the core of what 1000mods do musically is almost immediate on Cheat Death as Godsleep‘s Amie Makris joins Dani on vocals, and while also giving the album a singular heavy blowout, “Götzen Hammer” incorporates the voice of Apollonia “Api” Xylouris from Frenzee, semantron by Panos Z. and guitar by John S. That both of these songs appear early on doesn’t feel like a coincidence, as the procession of cuts across Cheat Death bears out an intentional push-pull dynamic, for example, as “Astral Odor” opens up some of the relative intensity of crush, which is something that “Cheat Death” answers back to later on side B. Most of the lyrical framework is brooding, emotive, longing and questioning, but the album is by no means all-downer in terms of point of view.

“Speedhead” might be almost afraid of its own manic shove, but “Love,” “Cheat Death” and “Grey, Green Blues” remind that it’s not all self-doubt and recriminations, and the music behind, in front of and generally all around the words follows suit. In this way, 1000mods create a diverse impression without ranging so far as to lose the plot or cohesion of the material itself, and their songs, which even in mid-album pieces like “Astral Odor” and “Love” are capable of reaching toward seven minutes long, have a quality underlying construction that not only justifies the breadth, but makes it an important part of the point. Shifts in perspective, subject, riff, whatever it might be become part of the album’s persona, and the included guest appearances do much to showcase 1000mods‘ big-picture considerations in terms of how the songs interact, what each one brings to the album, and why and what that adds to the course of its entirety.

To call the skill with which 1000mods execute Cheat Death anything less than masterful is probably underselling how much actual work the band have put into their growth over the last 15-plus years between the studio and touring, and where from 2014’s Vultures (review here, discussed here) onward, they could have been issuing clones of Super Van Vacation and still be one of the biggest names Greece has ever produced in heavy rock, the fact that they’re so uncompromising in their direction, that they don’t write any songs other than the ones they want to write, that somehow-daring chase toward authenticity, makes them all the more respectable.

They could take a probably an easier path but don’t because it wouldn’t be as fulfilling, and accordingly, their albums play out in succession to tell the story of their evolution in installments. Cheat Death is the latest of these, and that it’s their fifth record and the listener still comes out of it wondering where on earth they might go next should be taken as a sign of how special a band they are in the first place. Their commitment to exploring new ideas in their work is unflinching, paramount, and Cheat Death does this with correspondingly punkish grace and heart.

1000mods, Cheat Death (2024)

1000mods on Facebook

1000mods on Instagram

1000mods on Bandcamp

1000mods on Soundcloud

Ouga Booga and the Mighty Oug on Facebook

Ouga Booga and the Mighty Oug on Instagram

Ouga Booga and the Mighty Oug on Bandcamp

Ripple Music on Facebook

Ripple Music on Instagram

Ripple Music on Bandcamp

Ripple Music website

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:

Truckfighters Fuzz Festival #5

Ticket link: https://www.truckfighters.com/festival/#pricing-screen

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

Schedule can be found at: https://www.truckfighters.com/festival !!!

http://www.truckfighters.com
https://www.facebook.com/truckfighters
https://www.instagram.com/truckfighters/
https://www.youtube.com/user/TruckfightersTV

https://www.fuzzoramarecords.com/
https://www.facebook.com/Fuzzorama/
https://www.instagram.com/fuzzoramarecords/
https://fuzzoramarecords1.bandcamp.com/

Truckfighters, Live at Desertfest NYC, Sept. 14, 2024

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

Visit: https://ougabooga.com

Tracklist:

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”

You can presave it here: https://orcd.co/overthrown

https://www.instagram.com/1000mods/
https://www.facebook.com/1000mods/
https://1000mods.bandcamp.com/
https://soundcloud.com/1000mods

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

https://www.facebook.com/Ougaboogarecs
https://www.instagram.com/ougabooga_recordings/
https://ougaboogaandthemightyoug.bandcamp.com/

1000mods, Youth of Dissent (2020)

One understood Ripple Music has been on something of a kick signing new bands, between Gin Lady, 10,000 Years, Godzillionaire and SoftSun, setting the stage for a busy rest of 2024 and, assumably, an early 2025 that follows suit. Bringing Greek heavy rock forerunners 1000mods, who over a decade ago emerged from their home country with a powerful fanbase and essentially forced the rest of Europe to take the Greek underground seriously, only to set about a regular course of touring and quality, progressive album releases that have continued to deepen the story of who they are as a band, puts that “kick” on a different level. Ripple will handle US label-stuff, while the band’s own imprint, Ouga Booga and the Mighty Oug Recordings holds down European/rest of world operations.

I’m not going to tell you I’ve heard the next 1000mods album. I’m not saying I’ve heard it. What I am saying is that if you caught wind of 2020’s Youth of Dissent (review here), expect a shift in vibe. The upcoming release — which I’m not saying I’ve heard — follows its own intentions as regards atmosphere, mood, heft and songwriting, and it’s definitively 1000mods in its refusal to hinder the progression on display. It’s not Youth of Dissent, and it’s not Super Van Vacation, either. Set apparently for release in November, it brings new elements and new depths to the band’s style, exploring different influences and showcasing a growth that, at least in terms of listening — not that I’ve done that — seems born organically from how the members have grown as people.

Note the trio configuration here. I’m pretty sure the record was still done as a two-guitar four-piece, but my understanding is the band will press on as three at least for the time being. I don’t know if they’re looking to get someone else in or not. Basically I just saw Todd Severin from Ripple posted the below on social media and got excited. I assume there’s more to come in terms of album details and all that, either in the next five minutes or the next two months.

For now:

This one has been kept under lock and key for a long while, now it’s time to open the box. Please welcome 1000mods to the Ripple Family! New album coming this November. Will be joint release with the band’s own Ouga Bouga and the Mighty Oug Recordings Gonna be massive.

https://www.instagram.com/1000mods/
https://www.facebook.com/1000mods/
https://1000mods.bandcamp.com/
https://soundcloud.com/1000mods

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

1000mods, Youth of Dissent (2020)

Before Show; In the food tent, then Jam Stage

Me and my silly ADHD brain left my bucket hat back at Rooms Daniela. Big mistake. Also no sunblock anywhere in my luggage, which I feel like is even dumber now that I’m here. There’s no definition of “adult” that doesn’t apply to me. I should be better at this stuff by now.

That will make finding and staying in shade all the more urgent, and my pale form will burn as though torched like the cosmos by Pigs Pigs Pigs Pigs Pigs Pigs Pigs themselves, but cancer is later-me’s problem, and he’ll deal with burns, tumors and such as need be. But yeah, might spend more time in the press area today, which is covered. There are also a couple clouds here and there to provide periodic relief. I’ll do my best, but it is sweat-while-stationary hot. More water. It will be okay. The music will start. Night will come.

Took a ride back into town with friends during Mother Vulture yesterday, as I mentioned near the end of that post, but I didn’t actually get to sleep until around 5AM. I was caught up sorting photos, which on my not-that-new-anymore laptop is less efficient than it used to be, and then just couldn’t quite key down. I guess the adrenaline that carried me through had a half-life. So it goes. I got up at 10AM, so not entirely sleepless, but yeah. The second long festival day here is going to be a trip, I think.

You could see the Milky Way banded across the sky as I made my way out last night, which was perhaps all the more valued as I missed out on stargazing during my recent Southwest US jaunt. A stirring reminder that we are all gas and dust revolving at however many hundreds of thousands of miles of hour around a supermassive black hole, which I feel like is worth keeping in mind anytime you might be tempted to think a thing matters or has any kind of permanence as humanity sits one EM pulse away from the Stone Ages. I could go on here, but it doesn’t seem in the spirit of things to be comforted by hopelessness. If nothing matters, you understand, it’s okay that I forgot my hat.

It is impossible to ignore the idyllic nature of this space; a forested canyon carved out by the Mrežnica, if I have it right, and the swimmers, canoers, kayakers, campers, and lawn-layers are correct to take advantage of the river, the trees, the grass, all of it. I’m a little too in my own head for that kind of whatnot, but that doesn’t stop me from seeing the pricelessness of the physical location and layout both for the attendees now and as Bear Stone continues to build on its to-date accomplishments, as one hopes it will.

However cool it will look in the aftermovie and all the posts people will put on Instagram once they’re back where there’s cell signal, the character of this spot is more perfect than a single sensory media can capture. I could do with fewer dudes urinating in random corners — I get it, bro, you’re drunk and you love nature, but the portajohn is two meters that way and the composting toilet is another five beyond that; you don’t need to pee in the river either — but you take the bad with the good, and as regards this place and this fest, it’s an easy trade to make.

Time to start this thing. Here we go.

—

Azutmaga

I’ve false-started on writing about Azutmaga three times now, which I guess means I’ve had enough coffee. The Hungarian instrumental two-piece — I’m pretty sure the guitarist said they were from Hungary; magyarok vannak, szerintem — got started quietly and kept a subdued, meditative vibe throughout, despite getting fairly heavy at times. They have a new album, which I will want to chase down hearing after seeing them play. Put it in my notes to remember. Just guitar and drums, though there were more effects pedals on the floor than some entire bands had, so perhaps an expansive sound isn’t a shock, but the languid groove hit me with the right kind of soothe, and in my shady stairs spot, maybe 10 steps up of the total a-whole-bunch, I watched as the pavilion likewise casually packed out, the comings and goings. A sprig from one of the trees above me fell into my lap and I stuck it behind my ear. It didn’t last, but I mention it because it seemed like a fitting thing to do as Azutmaga played, delving into some slower nod as they emerged from a wandering drift, apparently playing their new record — I’m sorry, I didn’t catch the name and can’t look it up; I assure you I mean no disrespect — and exploring through one fluid jam into the next, no pretense about it but ready to build it into a fuller nod, patiently. The guitar player spent most of the set facing the drummer head on, turned away from the crowd — one imagines them on a differently arranged stage set up next to each other, though I have no idea if they actually do that — but it didn’t matter. The focus was on trance, immersion, and I was grateful for the chance to let go of some of the anxious buzz for a bit.

Rifftree

As pure riff and volume worship as I’ve yet seen at Bear Stone from the weekend’s second duo — and right in a row; a duology of duos –Rifftree had guitar and bass tones dialed in through separate amps to maximize volume and depth, and it worked well. They were more about rolling largesse than Azutmaga initially, and both the bass player and the drummer offered rough-edged vocal shouts, but it was the way the low and high ends of the riffs were arranged that made it work so well for me. One or the other would click off, guitar or bass sound, then snap back in a manner no less satisfying for being so clearly telegraphed. They sped up and slowed down, more High on Fire here, more Sleep there, as will happen, but the dirty tone was vivid and central, with some raw feedback for extra scathe on the sludge and pummel. It was a threat that lingered when they drew back the onslaught for a nod-out, and the set was more effective for that. Not the first time I’ve said this this weekend, I know, but I swear I heard a Kyuss riff in there somewhere. Fair use in the building of such stonerly shrines. They capped with a welcome insistence of chug and shove brought to a sudden halt, and I have to think that if they were called Bong-anything, you’d already have heard of them.

I walked back over to the Sviraj!Jam and caught a few seconds of Colour Haze soundchecking. They weren’t even playing songs yet, though that would come after Rifftree finished and could be heard over by the pavilion for the Mill Stage, but I could still sit for hours and just listen to that band meander. Gladly.

Acidsitter

Throbbing heavy psych rockers Acidsitter, whose slogan “make acid great again” — it’s also the name of their record — just kind of feels tragic coming from the States, where this notion of greatness apparently translates to christofascism, were a good time. The performative elements of their two guitarists’ stage costumes were contrasted by the bassist who mostly sat on an amp case, but the vibe was potent either way. They wove between drift and thrust, synthy flourish for a touch of prog but not much more than that as their priorities were clear from the outset. They would enact a full-tone nod topped with a duly classic-style solo, but they didn’t dwell in any one place for so long as to sacrifice volatility, and wherever they went, they continued to serve the song or the moment they were in, whether that was vocal effects, a guitar played with a wisk, or a sudden turn to garage-ier push. More bass on the synth was the request, which brought about a worthy rumble to match the bass on — wait for it — the bass, and in true acid rock fashion, they felt punk-born even in the calmest parts. I’m not sure which side of their approach was druggier, but after a while it all kind of forms a haze anyway. People caught on as the set played out, and though there was a near-heroic dose of chicanery, Acidsitter held together around the rhythm section and the close-your-eyes-and-go groove thereof. Another record in the notes.

Kayleth

Kayleth on the Mill Stage. I know their stuff, had an idea what was coming, so wasn’t caught off guard when they space-blasted desert riffing with synth and theremin during “We Are Aliens.” Headlining the Mill Stage puts the five-piece in a tight space, but there’s something cool about that too, right? I don’t get to European club shows every decade, so the chance to experience a band in a smaller setting works for me. I’ve heard a few complaints about how the Mill Stage and the Jam Stage should switch, and maybe that would work, but at least with the bands who’ve played it this far, I don’t think it’s held anyone back. Just the opposite, and that goes for Kayleth as well. I can’t always hang in a crowd press — okay, I never can — but I know that’s not the case for everyone or nobody would ever go to gigs, which I’m told people still do sometimes. Kayleth were easily worth showing up for, and I don’t honestly know if they usually do bigger or smaller shows, but they owned that space easily, like veterans, and put on a show that was fueled as much by heart as by the tone of the guitar. Of course the synthesizer expanded their dynamic, but it wasn’t by any means alone in that between the backing vocals, loud/quiet and tempo trades. A lot to dig, so I dug.

Nemeček

A deeply pleasant surprise were Nemeček, whose style brought together pieces of soulful Eastern European folk, progressive rock and post-metal, space rock, electronic noise and probably six or seven other styles I’m not cool enough to know about. They had given a few short teases during soundcheck, playing half of this or that song, and even from that it was clear something equal parts divergent and special was about to take place. I knew nothing about them prior other than they’d be here, but consider myself fortunate to have seen them. All three members sat, though the keyboardist did get up regularly as well, and the acoustic guitar (or something to it; pardon my ignorance if I’m wrong) still tapped deep into a sense of heavy that was about more than sound in terms of atmosphere, though when they hit a pulse coming out of a melodic contemplation, they had power behind it. That made their set that much richer, but again, that wasn’t something they were leaning on, just part of a more encompassing whole. I wonder how it comes across on record — like a lot of things, the production would matter — but even from the photo pit, the textures they unfurled were unlike anything I’ve seen in the last three days, and they spoke to traditionalism in a way that only enhanced their individual impression. I hear they’re local. In any case, Nemeček is a band I am glad to have seen. Now I know.

Blitzpop

Aptly named, if you take the blitz as signaling the energy with which Blitzpop took and commanded the stage and ‘pop’ to mean hooks, of which the four-piece brought plenty enough for everyone and generously offered them in with boogie as a bonus. Classic in a ’70s via ’90s way, they were for sure a turn from the more severe persona cast by Nemeček — perhaps that doesn’t apply to the catchy chorus that went “Kill that motherfucker” — but even that they made fun, though I wouldn’t want to be the motherfucker in question, as their argument was pretty convincing if you count the tempo kick later in the song. A quick plug for merch, then back to the hook. They were another one about whom I knew squat, but they did a bit of “woo! woo! woo!” and ululating to bring the crowd with them and locked soon enough into a groove that at least to my ears sounded like Rage Against the Machine, not that they were at risk at that point in the set — a little more than halfway through, probably — of only doing one thing. They toyed with funk, but never lost track of where a song was headed, and as the direct sun beat down on the Main Stage, they kept the momentum up. In the back, in the shade, where I was, people ate and drank and chatted and dogs played chasing each other around as Blitzpop closed out with a Blur-style “woo hoo” that I have no doubt I’ll still be hearing on repeat in my head when I’m trying to sleep tonight. Hazards of the trade.

I ate. This part is mostly for my wife, to whom I’ve not spoken in an actual day — not unheard of if I’m off somewhere, but rare even so — but it was such a joy that I don’t mind sharing. It was a local cheese that tasted to me like sheep’s milk and was divine, and tomato stuffed with cheese, garlic and truffle flanked with greens — greens! — that was whatever the next step up from divine is. Transcendent? Probably. Not my first experience with the sustaining nature of sustenance, but after nothing but nuts for the last three days, it was a pretty amazing moment in my life that I’d like to remember. It was so good. I finished those, but have more for later. Still a lot of day left, but the sun has started to recede, which is something else I’m thankful for.

Them Moose Rush

Weren’t the band I thought they were, but were way funkier than that band, so I’ll take it. Distinguished by a tendency toward unexpected pivots, you could probably hear as much noise as punk or heavy rock in what they were doing, but it seemed clear in the intention to get bodies moving in the crowd, which it did through the course of their hour-long set, and with a notable range from their guitarist’s vocals, they immediately felt like a standout. Again, not what I had been expecting, but better. I’ll admit I’m having trouble getting over how good the bass sounds here, echoing around as it does, but Them Moose Rush were as much about the subtly mathy twists as the heavier stretches to which they alternately did and didn’t lead, and that coupled with the rampant falsetto and vocal reach, the badass bass, the ready-when-you-are drumming made for another shift on the Main Stage, but a natural one coming off of Blitzpop, who also used heavy rock as a starting point for their own purposes in craft. They went hard a couple times, and had now-we-riff-big there when they needed it, but they were just as likely to find themselves in head-down push or someplace else entirely. I’ve heard a lot of rock and roll this weekend, so if I’m repeating myself, I’m sorry, but the bottom line is they made their own kind of sense stylistically and seemed to work from the ethic of conforming genre to them rather than the other way around.

1000mods

I don’t know how much I have to say about 1000mods that I didn’t say when I saw them like a month ago, but hell, Greece’s foremost heavy rockers once more justified that title, taking the Bear Stone crowd on a ride that barely let up even when a guitar gave out and they had to fill the time with a sampled loop and cymbal wash. I had 1000mods tunes stuck in my head for weeks after Freak Valley, and if the same happens when I leave here, I won’t complain. They moved the festival into the portion of the night that’s basically three headliners back to back (to back), between themselves, Colour Haze and Kadavar, and I don’t know how you don’t get into them if you have any place in your heart for heavy rock. They’re pros; they take the stage and do their show. And if you’ve ever seen them, you know that means something. “Their show.” They got rolling again after the technical interruption like nothing had ever happened. It’s never a good time for that kind of thing, but if you have to deal with it, before “Vidage” is when you want to. The audience, clapping along to the drums — and with good fucking reason — sang along, put hands in the air and gave the band back the energy that burst from the stage, and whether I said it last time or not, it remains true: 1000mods are one of the best bands of their generation. And they’ve never done the same record twice, or given in to hackneyed songwriting or made any music other than that which they needed to make. Anytime you can see them, yes, do that.

Colour Haze

Speaking of generational bands, Colour Haze were soon to follow. I don’t like picking favorites, but I can’t think of anyone I’d rather see take a stage on a given night. They’re always finding a route, some new nuance, some turn or small improvisation or just some moment, to make it special. They made an hour and 15 minutes feel short, but it’s a festival set, so I’ll take what I can get. “Skydancer,” always a highlight. Jan Faszbender’s keys taking the spot where the horns go in “Transformation,” which closed. Mario Oberpucher playing the melody while Stefan Koglek takes a solo. And what on earth can you say about Manfred Merwald’s drumming. It had character, it’s intricate, tight on the guitar, but free-flowing, impactful when it needs to be. I don’t know how many times I’ve seen them, but I’m not exaggerating when I tell you that they’re part of the reason I do this in the first place. They’re inspiring, and only more so as they grow more progressive in sound and build on their foundation of heavy psychedelia, which itself set a path of influence so, so many bands have followed. Bands who at this point don’t even realize they’re influenced by Colour Haze because the bands they were trying to sound like were trying to sound like Colour Haze. That they were themselves is the highest compliment I can give them. They are my favorite band in the world.

Kadavar

Again, I caught them pretty recently, but I had cheesed out early on Kadavar’s set and lived to regret it last time, so I knew I wanted to make up for that to myself at Bear Stone. I know they’re long past the vintage thing, and I love those records too, but they have so much more room to grow now, and they have grown, and when they get on stage, the new and the old come together and it’s all united by the passion in the performance, the strut, the swing, vibrant. I love that they’re such a known quantity — they’re the last band tonight, third of the three headliners; people are familiar — but I have no idea what their next record will sound like beyond “it’ll probably have songs.” That’s the safer bet, anyhow. But whatever shape that takes, the fact of their delivery is that it’s encompassing of decades of heavy rock while remaining entirely their own. Onstage, they’re part glam, part hard-hitting, brazen rockers, never willing to settle artistically or stop pushing the parameters of their sound, but somehow so sure of what they do regardless of outside expectation or pressure. Of course the set was awesome. Kadavar were on a stage and the power didn’t go out. That’s a recipe for a winning way to close ab evening right there. I don’t know the status of the album they had been working on in the last however long, but it’s a no-brainer must-hear in my mind when the time comes. The same “duh, yes” principle applies to whenever the next opportunity to see them live might be.

—

Back at the room now, falling asleep at the keyboard a little bit. Long day, not enough sleep, blah blah you’ve heard it all before. I got a ride back from Nelly and Elias again this evening, and Nelly was the one who brought me food. She also gave me what she called “mishmash,” which was egg, roasted bell peppers, cheese and I think some tomato in there as well. I ate the last of it like five minutes ago and now I am ready for sleep.

Bear Stone’s second and final long day — tomorrow is back to just the Mill Stage — was a banger. You can see the potential all over this festival, and I’m too goddamned tired to see anything clearly right now. Thank you for reading, goodnight, and there are more photos after the read more thing. You know what I mean.

Read more »

I got to the AWO grounds where Freak Valley is held in time to pound a cup of coffee, fill my water bottle and head to the small stage where The Mad Hatter played yesterday evening to do some Doom Yoga. If I was a completely different kind of person, I would study and teach heavy yoga classes tied in with sonic-led meditation. There’s so much room in so much of this music that you could close your eyes and shavasana yourself into oblivion. The stretch and a few quiet minutes were appreciated in the moment, and I suspect that as the day wears on, they will only be more so.

There was a mulch delivery overnight that should cut down on some of the mud factor today, at least at the start, but the weather this far is also better; warmer, some sun but not too much. This makes my intended Saturn-logo hoodie purchase less mandatory, but I’ll get one anyway. Speaking of money, I texted that cab driver who drove me from the train station yesterday and asked if I could PayPal him or something since even after I found a cash machine — not at a gas station, as they commonly are where I come from — I couldn’t take out any money, I assume because I already spent it all existing in 2024, for which there are uncounted ‘premium’-style charges.

But Doom Yoga — which also happens tomorrow; I will hope to be there again — ruled, and finished just as Volker was doing the introduction for Dead Air; his baritone “liebe freunde” was an answer to the gong that finished the yoga session, in its way. Okay, time for the next thing. I didn’t even have the batteries in my camera yet. Welcome to day two.

—

Dead Air

I had listened and written a bit about Dead Air ahead of coming here, and they were both younger and less punk — new song “Three Quarters” notwithstanding– in their presentation than I’d been expecting, so clearly my research skills need some work. Today is kind of all over the place sound-wise — not a complaint — but clearly the intention was to kick it off with, well, a kick, and Dead Air provided that without question. They’re a new-ish band, not too much out, etc., and you could get a sense of onstage as well, but that’s also a specific kind of electricity that a more established act can’t really offer, because even when they’re new to you, they’re not new to themselves, and that was part of enjoying their set too. You can’t fake that, and it is a moment that doesn’t come again in the life of any band. Given the potential in their sound, it will be interesting to hear what the next few years bring from them and how the punk (which is there, just not the sum-total of what they have to offer) and the heavy balance each other out as they take on tasks like a debut full-length and go on from there. But that they were a pleasant surprise despite the fact that I’d heard them before I take as a deeply positive sign of things to come.

Demonauta

Demonauta’s first time in Europe, apparently? I would have thought they’d made the trip sometime in the last 16 years, but I guess not. Either way, the Chilean three-piece were greeted warmly and by that I mean both people and the sun came out to celebrate the start of their set. I had been sitting for a few minutes in a little grove backstage with benches and a table where I’ve done a good bit of this writing that I’ll call Lulu’s Garden, because when I went there yesterday and asked if she minded my presence since it was just the two of us — private moments are rare at these things; sometimes you need or even just want one — herbanswe was a joking claim on it, “come, sit in my garden,” but the desert-style tone of Demonauta’s soundcheck was fuzzy and full enough to serve as clarion, and I wasn’t going to miss a chance that might not come again to catch them live. They manifest a bit of psychedelia along with all the groove-of-riff, which I took as a reminder to chill the fuck out. That was welcome and well-timed, as I had found myself restless in the shade of the smoking tent — too early in the day to smell that terrible; had to go — and needing a spot to breathe. I ended up watching the end of their set as Demonauta told the crowd they loved them before digging into mellow bassy fluidity and finding Kyussian push in an instrumental capper with bonus-extra proggy soloing, from a bench in the back, where it would have been easy to pass the rest of the day since I could see, hear and write all at once. Can’t do that on the swing set, you know. Genuine appreciation from the audience and band alike when they were done. It seemed to be, and I hope it was, worth the trip. For me, the takeaway is I have homework to do in getting to know 2022’s Low Melodies About Chaos better.

Stinking Lizaveta

They moved Cheshire Augusta’s drum riser — and at least while Stinking Lizaveta played, it was most definitely hers, despite Yanni Papadopoulos making an appearance up there once or twice, once with a flying leap off — to the front of the stage, and it was but the first of many “shit yeah” moments while they played. There’s no wrong answer for where to stand during a Stinking Lizaveta set except “anywhere else” but I was up front on the rail at stage left and Alexei Papadopoulos’ bass came through gorgeously. The likewise stalwart, brilliant and weird instrumental trio have been on tour over here for a bit, did the UK with Darsombra and I think are playing with Acid Mothers Temple next or in a couple days, but god damn, what a joy they are to watch and to hear. The sincerity of what they do, how much it’s theirs and how much they own it and embrace it and offer the crowd the chance to share in it — offer accepted, as regards the freaks in the valley — from the dizzying virtuoso twists to the punker spirit underlying it, they’re among the most positive extant outcomes of radical individualism I can’t think of in my mind, and creative with character and breadth that not only doesn’t let you down when they play, but that actively feels uplifting whether a given moment is loud, quiet, fast, slow, whatever. Alexei’s bass solo alone, never mind Yanni hopping off the stage to run his strings over the monitor and the guard rail. I’ve probably said this before and I can only hope to have the chance to say it again, but every festival needs Stinking Lizaveta, and before you start with, “really? even such-and-such?” the answer is still yes. You want to believe in the power of art to enrich your life? Listen to this fucking band.

Fuzzy Grass

All-smiles French heavy stoner blues seemed to hit just right with the crowd and the sunshine, and the first theremin of the festival felt like a thanks-for-showing-up bonus to give the boogie a bit of edge. Their 2023 album, The Revenge of the Blue Nut (review here) stood out, but the vibrancy that came from the stage was a different level entirely, and infectious, whether you were dancing or not. I bought some maybe-vegan sans-rice goulash and hung back for a while — I had scrambled eggs and some cheese with at the hotel, but it’s a long day and protein-plus-peppers didn’t seem like a terrible idea; served me well last year, and so on — as Fuzzy Grass headed toward wrapping up, and sat at one of the shared picnic tables over by the food truck area for a few restorative-despite-the-sauce-in-my-beard (also my shirt; someday I’ll learn how to be a person) moments, but I guess not much more than that in real-time since I made it back up before Fuzzy Grass were actually done. I feel like “spirited” isn’t a word often associated with any kind of heavy music or culture, but Fuzzy Grass’ take was at least that, with soulful vocals, metered groove and a friendly vibe that came across as organic I think mostly because it was.

Tō Yō

A deep dive into languid classic prog and psych, Tō Yō were among my most anticipated bands of the festival, and they did not disappoint. More subdued than not on average, they found a bit of push at the end of the set — briefly, right at the finish — but it was the exploration getting there that was the real highlight. Their debut album, Stray Birds From the Far East (review here), came out last year on King Volume Records, which is ears you can trust even if you don’t know what you’re getting, and was a soothing next-generation extrapolation on Japanese heavy psychedelia, patient and encompassing without overwhelming with their wash or getting lost in the purposeful meander. They drew — I don’t know if there are actually more people here today or if it’s just that the weather is nicer so there are more around — and rightfully so, not only because they trekked from Tokyo to play, but because of the places they went in terms of sound, whether it was that (still relative) blowout or the atmospheric breadth of the material from the album. They sounded like they could’ve played for four more hours and been fine. Might be fun sometime.

Dÿse

Specifically German thrills a-plenty from Berlin two-piece Dÿse, who had the biggest audience since Slomosa last night and treated said assembled masses to a noise rock so laden with quirk and intensity of thrust that you can only really call it progressive. They’ve been at it 20 years or so, and were obviously a known commodity to the singing-along throngs, but it was my first time seeing them and even not speaking the language I could tell they were a blast, if maybe not my thing. They reminded of the Melvins — who played here last year and also tore the place to shreds — in terms of the energy level, which yes, I think of as a compliment, and though I’m thoroughly ignorant of their work, there’s no stopping fun once it starts. It seemed likely that the intention behind putting them after Tō Yō was to lean into the contrast, if not outright shove it over — at one point I’m pretty sure I heard meowing? — and it worked because Dÿse owned the stage while they stood on it, had the crowd with them the whole time. Literal bouncing, like a video from Lollapalooza ’92 or something. It was a thing to see. And between you and me, I’m not gonna go chase down the entire Dÿse catalog and new Mr. Superfan from here on out, but I’m glad to have seen them. At least now I feel like I have some sense of what I’ve missed. Seriously. People went fucking nuts.

Daily Thompson

Snuck in a short changeover set on the small stage, which would’ve been awesome even if their new record, Chuparosa (review here), wasn’t so fresh in mind. I had seen the band show up a couple hours before, and I guess since they weren’t on the bill I assumed they were just here hanging out, but you’ve got 1000mods on the big stage line-checking, Dÿse just finished and here comes Daily Thompson to play “I’m Free Tonight” at the same spot where Doom Yoga when the doors opened. It was of course packed by the time I walked over, so I contented myself to listen to most of it from Lulu’s Garden, where the ladybug larvae have hatched, and to catch my breath before the final three acts of the night. Still, a happy surprise they’re here at all.

1000mods

A week and a half from now, when I still have 1000mods songs stuck in my head, you won’t hear me complain about it. They’re kind of an odd one for me to be sentimental about — they’re from Greece and I’m from New Jersey; it’s not like we hang out — but, well, I’ve been listening to them for about 14 years, and the way they’ve become such a landmark act, whether it’s here or when I saw them at Desertfest NYC last year (review here) or when I’ll see them again this summer at Bear Stone Festival in Croatia, they deliver, and I’ve yet to encounter them in a live setting where it was anything other than a pleasure to do so. As their last record hit during the pandemic, I’m dying to know what they’ll do next and where their ongoing progression will take them — because they’ve never put out the same record twice and never seemed like they wanted to — but for today it was just great to stand and watch them run through the set, to see people get into it, hands in the air, crowdsurfing, all that stuff. They’re one of very few acts I’d play for somebody who knows nothing about heavy rock and roll, and not just because the songs are catchy, but because they’re driven by and delivered with a passion that is unmistakable, as they were at Freak Valley. Sure bet and in a league of their own for what they do.

Alex Henry Foster

Including Foster himself, Alex Henry Foster played as a full six-piece band, The Long Shadows, featuring one drummer and a second kit, a keyboardist/saxophonist/laptopist/vocalist, two guitars in addition to Foster’s own, and a lone bassist. Clearly the former Your Favorite Enemies frontman puts texture into consideration in his work. After the first song, which featured the first bowed guitar of the weekend, Foster explained that he was supposed to play last year but had a medical crisis, then talked about being nervous and the community of the festival making him feel at home, and so on, and was very much the bandleader with a music stand, a shaker and other elements coming and going, keyed for resonance. A depth of arrangement was fair enough for material with such breadth, and the heavy-adjacent-but-not-beholden-to-genre post-emo progressivism was fluid in its reach and various builds, had a density of vibe, was expressive, but in the interest of honesty, something about it rubbed me the wrong way, whether it was too much or I was just tired. So I didn’t stick around long. Dude’s got a career, and I won’t talk shit (not that doing so would affect that career in any way) or belittle the complicated path that brought him to the Freak Valley stage, but I guess I wasn’t looking to be convinced. I went in back and sat for a bit, watched the campers coming and going, and that was fine. Fine. I went back out toward the end of the set and it had picked up, and Foster seemed like he meant every thank you he said, but I was still hearing 1000mods songs, so maybe I’m just too much the stoner rock blogger. Story of my life, to some degree.

Osees

It had been a long day well before Osees went on, but no denying the heavy psych rager that got underway as soon as they got started. I couldn’t hope to keep up with that kind of energy, but it was fun to watch. As will happen, the crowd thinned out some between front and back, but the John Dwyer-led, doubly-drummed troupe supernovaed through the set regardless, bombast and sharp turns and a feel that might’ve been madcap were it not so intentional. It was easier to find a place to sit, but I’ll really admit to being done before they were. I huddled in a corner and closed my eyes for a bit. I won’t call it sleep, but my phone was low in battery and I was more than spent in my limited social engagement resources — I was right to eat those eggs this morning — so with nothing but time until my ride back to the hotel in Siegen, I listened as Osees wove through effects-laced sprawl and intermittent out-the-airlock shove, ebbs, flows, ups, downs, more than a few sideways pivots. To my detriment I’m sure, I’ve never dug into their catalog and with 20-someodd LPs, I recognize I’d be about 18 records late in so doing, but I did my best to hang in as much as I could in the way I could when what I really needed was to be in bed. I’m not gonna complain. I’m here. I’m doing my best. I’m trying. Osees were fucking cool regardless, and Castle Face Records puts out awesome shit. There. I said a thing.

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Gonna leave it there, but I promise you I’m having a good time, even if I’m feeling somewhat obliterated by it all. I’ll hope to put up a wrap when it’s all over. I’m just trying to live it while I’m here as best I can. More pics after the jump. Thanks for reading.

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