Posted in Whathaveyou on August 24th, 2026 by JJ Koczan
In addition to the nine new names added to the bill — those being Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Lili Refrain, Wolvennest, Kaleidobolt, Håndgemeng, 30,000 Monkies, Spirit Mother, Law of All and Apex Ten — below, you’ll find the day splits for Desertfest Belgium 2026 as they stand now, and holy moly that looks like a good time. The venerable, now-Liège-based Fall-flagship edition of the Desertfest brand has only grown stronger and more expansive throughout the decade-thus far (once, you know, that was possible), and from the international reach of its headliners, Sólstafir from Iceland, Uncle Acid from the UK, Monolord from Sweden and Boris from Japan, to regional and familiar domestic Belgian highlights like Wolvennest and Apex Ten, to Hippie Death Cult and Yawning Man and Mondo Drag and Spirit Mother and Early Moods (did I miss anybody?) from the US West Coast, Duel from Texas and Khan from Australia, the point is how much the scope of the three-day event has grown.
I’d go to this in a minute if I could. I don’t know if I say that every year — probably — but I certainly think it.
From social media:
Hi Desertheads
Here are the last additions to our fabulous Desertfest Belgium bill!
The new bands ready to rock out are:
The powerful sty of Pigs Pigs Pigs Pigs Pigs Pigs Pigs • the visceral catharsis of Lili Refrain • the divine lupine Wolvennest • the striking power trio KALEIDOBOLT • the undisputed heavy rock champions of Håndgemeng • the “painbow” champagnemetal of 30,000 Monkies • the mustang wrangling Spirit Mother • the criminally inclusive Law of All • and the A-class riffs of Apex Ten!
Oh boy, we’re really looking forward to this one!
An overview of the day splits can be found over here on our website.
Day and weekend tickets are still waiting for you on our ticket page.
Posted in Whathaveyou on February 19th, 2026 by JJ Koczan
Ignoring decades of warnings from geological experts about the earth-rending that would happen if cosmic doom titans Ufomammut and YOB were ever to share a bill, Belgium’s Obsidian Dust — which, I guess, is also a description that applies to said scenario — have confirmed YOB for their lineup for just one of the two Euro shows the Oregonian trio will play this year. The other is Desertfest Berlin, so I guess if you’re in Europe and you wanna see YOB, there you go.
YOB aren’t the only add here, though. There’s Piss (not to be confused with Mrs. Piss, mind you), countrymen instrumentalists Apex Ten, Swedish melodic psych rockers Gaupa, Lili Refrain, Earthbong, Meatdripper (who I don’t know but am ready to learn based on their name), the esteemed Fuzz Sagrado and Satanic Witch. It’s a diverse bunch, to say the least of it, and with King Buffalo, Acid King, Blackwater Holylight, Earthless, Hermano and Gnod elsewhere on the bill, there’s a lot a lot a lot to like.
The fest is a two-dayer set for May 16 and 17 in Brussels, and the info for the new adds came through social media, which is how these things happen nowadays. I believe them when they say it’s going to be awesome.
Dig it:
Yob will headline Saturday at Obsidian Dust 2026!
They’re flying in for an exclusive show, one of just two European dates in 2026.
And the dust keeps rising with a wild mix of sounds: from the hardcore punch of PISS, the psychedelic waves of GAUPA, and Lili Refrain’s hypnotic ritual, to the crushing riffs of Meatdripper and Earthbong, the stoner grooves of Fuzz Sagrado & Surya Kris Peters, Apex Ten heavy drive, and the black metal-laden mystique of Satanic Witch.
Posted in Reviews on February 11th, 2026 by JJ Koczan
Generally speaking, reviewing compilations is kind of pointless. I recognize that’s no way to start a compilation review — at least not the most encouraging way — but I’ve found over the years that by the time you get done saying who’s involved, maybe why if there is a reason as there is here, and what they’re doing, you’re done. There’s no real chance to dig in, and I’ll admit that with a digital comp of the sort that boasts 21 bands and runs 111 minutes long, that’s no less the case. But The Mindful Collective was put together at the behest of OHMs Peak, which does these things, to benefit Music and Memory, which uses playlists (né mixtapes) to trigger recognition from dementia and Alzheimer’s patients. Thus the full title: The Mindful Collective: A Charity Compilation Supporting Music & Memory. The idea is that music can “restore a sense of self.” Fair enough. It’s been giving me a sense of self since I was like eight.
I could sit here and list out the 21 acts taking part, but cut and paste is more efficent, so here it is from the Bandcamp page:
Tracklisting:
1. Lower Slaughter – Take A Seat 04:02
2. Torpedo Torpedo – Fade 05:22
3. Domkraft – Spiral Noises 05:16
4. KNUB – Wet Lung 05:34
5. Spiralpark – Slumber 04:47
6. Kal-El – Cloud Walker 06:55
7. Beneath a Steel Sky – Everyone you’ve ever known 04:35
8. Fomies – Neon Gloom 03:35
9. Blessings – No Good Things 03:44
10. CHEEKS – hi list 2 die list 03:21
11. Pothamus – Zhikarta 07:26
12. Cosmic Reaper – Bloodfeather 06:03
13. Apex Ten – Ruthless 06:26
14. Froglord – Follow the Star 04:00
15. All is Violent – Born Of Kalahari 04:47
16. Sheev – Tüdelüt 05:01
17. coastlands – hollowing 05:51
18. Bask – In the Heat of the Dying Sun 04:57
19. Sunbreather – WINE 06:07
20. Doble Sesión Nocturna – Acto III: Que No Quede Ninguno 05:44
21. K L P S – TRIBULATION 08:06
Now you see why we’re really here. From the big tones of Froglord to the big melodies of Fomies to the big tones and melodies of Kal-El, the listener taking on The Mindful Collective will definitely get a sense of the taste behind the curation, and that gives a progression to the tracks as each plays out. Torpedo Torpedo are thicker sounding than Lower Slaughter, who give a rocking start, and Domkraft make density groove. They, Kal-El, Bask, Pothamus and KLPS brooding and lumbering at the end might be the heaviest of what’s included, but All is Violent — who are new to me, thanks OHMs Peak — the blackened post-rock of lowercase-‘C’ coastlands remind that there’s more than one definition of heavy. So it is that KNUB‘s noisy crunch speaks to the punk underlying the rush of Spiralpark‘s “Slumber,” or the cultish riffing of Cosmic Reaper acts as a go-between for the crush of Pothamus and instrumentalists Apex Ten, whose melodic flourish is recognizable in “Ruthless.”
Understand, I’m not saying that what I generally think of reviewing comps doesn’t apply here, just that it doesn’t actually stop the compilation from either (1:) being good, or (2:) attracting attention and some amount of money for a worthy cause. The Mindful Collective does both these things, while remaining stylistically cohesive despite showcasing variety. Sheev later on hint toward the hardcore aspects of Cheeks earlier, whereas the bombastic breakout later in Cheeks‘ “Hi List 2 Die List” locks in a nod that would have to make Domkraft smile. One foot seems to be kept in the post-metallic, or at very least atmospheric heavy — to be less genre-specific; because it isn’t about genre so much as the music itself — but the fuzz-laden roll of Sunbreather‘s “Wine” makes a welcome touch-ground after the progressive churn of Bask‘s “In the Heat of the Dying Sun,” and Doble Sesión Nocturna drench their doom in reverb and space it out, adding both a meditative aspect and echoing reach in the penultimate spot before KLPS bring it back around to the onslaught.
The primary power of compilations comes in exposure. A comp can let a band give a listener a sampling and entice them to dig further. Maybe that’s an oldschool way of thinking — or just old — but if you replace ‘comp’ with ‘algorithm-dictated playlist’ the same applies. I said above that All is Violent were new to me, and they’re not alone here. Blessings, Coastlands, Spiralpark, Doble Sesión Nocturna, Cheeks and the airy post-sludge of Beneath a Steel Sky are less familiar than the likes of Kal-El or Domkraft or even the mighty Froglord for me, and of course no experience is universal, so a given listener will be intrigued by different stretches of the 21-track outing, and it feels like The Mindful Collective is aware of this (that’s not to say ‘mindful,’ because if I did I’d have to punch myself in the face) and accounts for it in the curation. You might think of a compilation modeled on style, where it’s less about what a given act is saying than how they ‘fit’ in terms of genre. As noted, this isn’t that. There’s cohesion in sound as it all works under the umbrella of ‘heavy,’ but even among groups who share arrangement elements or have some likeness of mood, each is differentiated by its place in the overarching flow, and so each gets its moment of genuine showcase. I could see wanting to chase down more from any number of these acts, from Lower Slaughter to KLPS, in no small part because I have.
And then you get to the practical reality that when you shell out eight dollars or however much of your hard-earned, you’re supporting the same people who someday are going to come to you in the rest home and play you this mix so you can remember who you are, and that adds another layer of meaning. So often a compilation’s true impact isn’t until years and years afterward, and I don’t think there’s anything so ambitious happening here — the songs donated by bands aren’t exclusive so far as I’ve checked, for example — but the fact of the matter is whether you’re a longtime convert or making your first forays into heavier styles, there is a ton on The Mindful Collective to dig into, and the worthiness of the cause speaks further to the value of the art. At the very least, it’s the kind of thing one might want to support, regardless of how a given individual feels about reviewing compilations.
Posted in Whathaveyou on January 3rd, 2025 by JJ Koczan
There are some powerful performers here between the likes of Croatian progonauts Seven That Spells, the fury-prone heavy rock/metal wrought by Godsleep and the classic classy class class class (plus charm) of watching The Bevis Frond on stage, but both that and the aural variety are to be expected from Down the Hill, which with this announcement reveals the first of its 2025 lineup. Set to take place over two days in Belgium this August, the festival has yet to give any word on who’ll be headlining this year’s edition, but with Swiss psych-prog instrumentalist mainstays Monkey3 and the aforementioned The Bevis Frond at the top of the poster-thus-far, you couldn’t really call the initial reveal lacking. Good on Travo getting out, too.
Early-bird tickets — as opposed to the super-early-birds, which, yes, were a thing, and I believe are sold out — go on sale as of today. The Frédéric Genêt poster (with more names to come) and announcement text follow here, as per the ol’ social medias:
A New Year and the First Wave of Bands!
The wait is over! We’re thrilled to unveil the first 10 bands that will electrify our stages. From psychedelic legends to rising stars, this year’s lineup promises an unforgettable mix of powerful performances, mind-blowing riffs, and immersive soundscapes. Whether you’re here for the heavy grooves or dreamy melodies, there’s something for everyone. Let’s dive into the first wave of confirmed acts:
monkey3
Prepare to be mesmerized by the Swiss masters of instrumental psychedelia. Monkey3 delivers immersive, cosmic journeys that blend stoner rock with progressive elements. A guaranteed mind-expanding experience you don’t want to miss!
The Bevis Frond
With over three decades of psychedelic rock brilliance, The Bevis Frond remains a cult favorite. Nick Saloman’s timeless melodies and fiery guitar work will transport you to another dimension. A must-see for fans of classic psych-rock.
Hemelbestormer
Belgium’s own post-metal titans, Hemelbestormer, craft massive, cinematic soundscapes that are equal parts heavy and atmospheric. Their live shows are an intense, hypnotic experience. Prepare to be overwhelmed in the best way possible.
Seven That Spells
Croatia’s psychedelic warriors, Seven That Spells, are known for their explosive and experimental live performances. With a fusion of krautrock, prog, and heavy psych, they deliver music that defies boundaries. Expect chaos, energy, and pure sonic magic.
Godsleep
Hailing from Greece, Godsleep brings thunderous stoner rock grooves infused with bluesy riffs and soulful vocals. Their high-energy performance will have the crowd moving from the first note to the last. Get ready to rock out!
Apex Ten
This up-and-coming band is a force to be reckoned with in the alternative rock scene. Apex Ten combines intricate melodies and dynamic arrangements for a fresh, modern sound. Don’t sleep on this rising star!
Wheel of Smoke
A hidden gem from Belgium’s underground rock scene, Wheel Of Smoke delivers a unique blend of space rock and psychedelia. Their atmospheric jams and groovy rhythms will take you on a sonic journey. Let them light your fire!
Travo
Travo’s gritty, blues-infused rock ‘n’ roll is raw, intense, and utterly captivating. Their sound pays homage to classic rock while carving out its own rebellious identity. A perfect addition to this year’s lineup.
MOTOR!K
Dive into the hypnotic world of Motor!k, a Belgian band that channels the spirit of krautrock legends. Pulsating rhythms, repetitive grooves, and a touch of modern flair create an entrancing live experience. Perfect for fans of Neu! and Can.
Capitan
This promising new act is making waves with their fresh take on alternative rock. Capitan blends catchy hooks, introspective lyrics, and powerful instrumentation to create a sound that sticks. A band to watch as they rise to the top!
Stay tuned for more lineup announcements, and grab your tickets tomorrow at 5PM!
We’re thrilled to unveil our 2025 artwork, crafted by the incredibly talented Frédéric Genêt! 🎨✨ His unique style and impeccable attention to detail bring our vision to life in the most stunning way.
Posted in Whathaveyou on June 15th, 2023 by JJ Koczan
Quickie lineup update from Desertfest Belgium 2023 for Antwerp. Having previously confirmed the likes of Yawning Man, Shellac, The Ocean, Monkey3 — whose 39 Laps is about to be reissued on Sound of Liberation Records — Dopelord and King Buffalo, Ruff Majik, Siena Root, on and on, the venerable Belgian installation of the Desertfest brand has put forth word that North Carolinian original-era sludge chaosbringers Sourvein won’t be making the trip after all, but that New Orleans mainstays Eyehategod will, alongside The Obsessed, The Great Machine, ultra-crushers LLNN, as well as Moonstone and Apex Ten, the latter of whom are Belgian natives. Their Aashray (review here) album was released last month.
A little context here offers potentially crucial information. What the below announcement doesn’t say is how on-fire The Obsessed are right now or that they’re headed into a new album release this Fall — release date still forthcoming, but I’m pretty sure Wino said on stage at Freak Valley that the album is called It’s Not Okay — or the extent to which Israeli trio The Great Machine tear it up on (or potentially off) stage, which is something else I was lucky enough to find out for myself in Netphen. Knowing that, they become more than just another name on a bill or another act who put out a cool record this year, and if you haven’t seen them and are headed to Desertfest, they are indeed a sight to see. All the more because the tones and sings are so right on.
Here’s what the fest had to say:
We’re thrilled to add a couple of new names to our Desertfest congregation. Joining our bill for the best fest of the year are:
EYEHATEGOD – The Obsessed – The Great Machine – LLNN – Moonstone – Apex Ten
Unfortunately SOURVEIN won’t make it to the fest this year due to a contingency.
Get your pass to Desert Heaven with a Reduced Three Days Combi Ticket or a Day Ticket at our Ticket Page!
[Click play above to stream ‘Awakening’ by Apex Ten. Their new album, Aashray, is out Friday and available to order from Bandcamp.]
The higher-pitched-but-not-abrasive feedback/effects noise lures the listener into the beginning of “Awakening,” departing when the guitar, bass and drums enter. A sense of space and a ‘setting-out’ vibe are almost immediate on Aashray, Apex Ten‘s debut album — that’s counting 2021’s First Session as a full-length demo; stay with me I’ll get there — as the Liège, Belgium, trio of bassist/vocalist Brad Masaya (also synth, theremin, guitar, tambourine), guitarist Benoît Velez (also theremin, lap steel, chime, tambourine) and drummer/percussionist Alexis Radelet (also güiro, tambourine) begin to dig into the seven-track/41-minute procession. An intention toward audience hypnosis is made clear by the bassline and the contemplative, earlier My Sleeping Karma-style rolling exploration that surrounds it, though the additional crunch in the fuzz that emerges late is harder-landing.
Quick in contrast, the subsequent “Unlock” feels based around the movement of the drums, a steady kick pushing the four-minute track through its winding cosmic course, the bass doing well to keep up with tonal warmth beneath the airier guitar. Vocals arrive after three minutes in, not like an afterthought, but obviously not the priority either, and the effect would be jarring had the band not been so outright immersive already in their heavy psych meditation. But the vocal melody — echoing, not so unlike Elder, but not just that either — is a distinguishing feature and one almost expects a verse to turnaround quickly in “Dazed,” which it doesn’t, as Apex Ten show both patience and a willingness to dive into texture and atmosphere more than separate jams and more structured ‘songs.’ It’s to be vibe, then. Fortunately, they make it thick, rounding their way into a low-end fuzz wash in the second half of “Dazed,” not losing themselves in it even as they seem to completely submerge as Masaya and Radelet hold to the core progression under the canopy of effects.
That march cuts and gives over to the drone and Tibetan bowl (contributed by Thomas Mouton) at the outset of “Naga,” the centerpiece of the tracklisting and a presumed side A closer on some future vinyl edition. If the percussion, bowl, synth, guitar and bass jam isn’t improvised, it sounds it, with the drums on the room mics deeper in the mix a solidifying presence as the inward delve continues. At about four minutes into the 6:50, the drums begin to lead more of a march with the hi-hat and toms keeping pace as the guitar noodles out over the established drone, a kind of ethereal blues taking hold that departs with a decisive strike of the crash and leaves one more swell of the bowl behind before ending. Low fuzz begins “Deaf Snake” with a more straightforward nod punctuated by the drums as side B unfolds, the core of the piece dirtier, riffier, trading back and forth in volume and impact, raucous, then receding.
But even “Deaf Snake” argues in favor of Aashray as being Apex Ten‘s first album, with a fullness of sound in its heavier parts that First Session was too raw to dig into. Wouldn’t be the first time in history a band figured out something about their sound between their debut and sophomore LPs — that’s an expected part of the process for most acts — but a ‘session’ is something different than making an album even if Aashray was recorded in a single day on Dec. 30, 2021, with production by Simon Lambert (who also adds Moog, chime and effects along with mixing and mastering) and Laurent Eyen at Koko Studio. “Deaf Snake,” which is as riff-led as Apex Ten get here, is more engrossing as it pushes into its final payoff, and that’s a distinguishing factor to coincide with all the atmospheric jamming and apparent improvisation or at least semi-planned parts.
The penultimate “Brahma” is the shortest of the cuts at 3:27 and finds the vocals returning — the lyrics: something about monsters waiting outside switching faces, something about drowning in space — after a pointed solo and headed into a heavy psych roll that reminds of Sungrazer playing off Colour Haze influence, but it comes apart quickly and gives over to silence ahead of 10-minute closer “Godavari.” The finale takes its name from a river in India, and while I don’t know if Apex Ten are travelers or just daydreaming, the first two minutes echo “Awakening” in their drone, but the spirit is warmer and more subdued as the guitar enters sweet and with still-developing patience the song begins to unfold, drums feeling their way in along with the rhythm in the initial buildup. They get where they’re going before four minutes in, moving perhaps a little faster than the song wants to go, but not egregiously so as they weave through a kind of riff-henge, working around heavy riffing with wah laced after a quick inhale circa six minutes, the bassline at the core of the piece almost in its own world, righteously.
“Godavari” emphasizes and finds its crux in the jam, but there’s linearity as well as they rear back before pushing into the harder fuzz that is the last crescendo, the guitar departing for a solo as the drums and bass keep the plot moving forward. If they were all playing at the same time in the studio, I don’t know who was giving the head signal — maybe Masaya — to bring it down, but they meet back up at the end and draw Aashray‘s last stretch to a relatively quick stop; a cymbal wash and some residual amplifier hum, a swell of synth the last element to go. There’s symmetry of purpose to the finish as well as to the start — Apex Ten sound aware of the genre in which they reside, and that’s to their benefit here — but the personality of the band is found more in the journey than either endpoint, whether that’s the limited use of vocals that seems to be reserving that spot for later development or the extrapolation from a classic power trio dynamic that allows the guitar to meander while the rhythm section moves forward and awaits its eventual return.
None of this will be strange to those with experience in mellow, meditative or progressive-tinged heavy psych, but Apex Ten demonstrate fluidity throughout Aashray — the word translated from Hindi as ‘shelter’ or ‘refuge’ — and the album lives up to the name it’s been given in creating a three-dimensional aural sphere to inhabit, like a biodome of fuzz, world-building. As to what or whom the band will become over time, given the jump in complexity between First Session and Aashray, it seems silly to speculate, but there’s room for them to continue to explore their meld of structure and spontaneous seeking, and in listening, one hopes the next time they decide to spend a day in the studio the results are as rich and engaging as they are here. And if you want to call it their second record, fine. It still feels like they’re just getting started.
Posted in Whathaveyou on March 14th, 2023 by JJ Koczan
First of all, you should note that this is not an album called ‘Ashtray’ by Aphex Twin. The Hindi word ‘aashray’ translates (according to major tech company’s linguistic matrix) as ‘shelter’ or ‘refuge’; Aashray is also the name of an NGO in India that helps homeless kids, if you’re looking for someone else to give money to besides this band. And the band, by the way, are called Apex Ten and they come from Liège, Belgium. Not exactly downtown Mumbai, but fair enough use for the organic vibe they’re capturing in their instrumental sound, improv at the foundation of what they do — even if the end result on the seven songs of the record can be more aligned to structure and more actively shoving than one might think looking at the cover or digging into the info below.
The text emphasizes the jams, which is fine. There’s plenty of that, as one might hear in the 10-minute closer “Godvari” or the earlier “Naga,” but you also get the heavy post-rocker “Unlock” or the build-and-release of tension in the penultimate “Brahama,” as the band take it upon themselves to — wait for it — actually do more than one thing in terms of their approach. I know. It’s scary stuff. There’s no audio yet from Aashray, but it’s a fascinating blend of spaciousness and songcraft. I’m looking forward to getting to know it better, but an ability and will to change it up is almost never a detriment more generally. Plus they’ve got theremin, so that’s a win.
Note Aashray was tracked in 2021. I wonder when or if we’ll get all the way back to relative record-then-release concurrency. Or maybe time just melted this decade and that’s what happened.
Either way, one proceeds:
Belgium’s Instrumental Psych and Stoner rock trio APEX TEN release their album Aashray May 5th, 2023
APEX TEN is a Psych/Space/Stoner Rock Instrumental power trio formed in 2021 in Liège by Alexis Radelet (Drums), Brad Masaya (Bass) and Benoît Velez (Guitar). The group also uses instruments such as a Lapsteel, a Synth, a Theremin,… Their productions and performances are centered on improvisation, offering an ephemeral and unique side. Their style is recognizable by the hovering, psychedelic side and is reinforced by layers of synth and/or theremin. The powerful and hypnotic strike of the drummer is accentuated by the bass playing and the well-marked “fuzz” spirit of the guitarist. Everything gradually accompanies us in a “sound trip” specific to the group.
This album was recorded in Sprimont (Belgium) at the Koko studio in December 2021 by Simon Lambert and Laurent Eyen. It was again mixed and mastered by Simon Lambert who had also mixed First session and Fourth Passenger.
Aashray is essentially composed of jams/improvisations. You will also be able to hear Hindu sounds, hence its name. With this album, Apex Ten offers a more space rock, psychedelic style than their first album: “First Session”. There are also more accomplished jams and the cohesion between the three musicians is greatly strengthened.
Since October 2021, the band has been recording and releasing a DIY-recorded debut album “1st Session” with the help of their sound engineer and producer Simon Lambert. These songs have been well received. “1st session” has quickly reached 10,000 plays on Youtube. In February 2022, the group released a first single titled “The Fourth Passenger” in February, receiving a warm welcome from Belgian radio. A live album, “Chaim Trails Live”, recorded at the MPC Apache in Fontaine l’Evêque, was released on April 20, 2022.
Here are the last additions to our fabulous Desertfest Belgium bill!
