https://www.high-endrolex.com/18

Notes From Freak Valley 2022 – Day 1

Posted in Features, Reviews on June 16th, 2022 by JJ Koczan

Freak Valley Festival stage

Freak Valley Festival 2022 – Day 1

Wed. – 2:59PM – Front of house aka on the lawn

There is a wonderfulness to being in a place where you don’t speak the language. People around you conversing, sorting things out, all this and that, where stuff needs to go and so on. I’m sitting in a smoker’s tent off to the side of the grass in front of the stage, Purple Dawn or somebody doing a soundcheck. It’s probably techs for Baroness, now that I think of it. But around me, between the riffs, I can hear the conversations, laughter floating in the air, peole who haven’t seen each other in a year or two and a half years. It’s beautiful.

And the setting is beautiful. It really is a valley. The little industrial-ish-feeling area where the fest takes place is surrounded on all sides by wooded hills, some of the trees eaten by a bug that apparently likes that kind of tree — I heard about it on the way in — and the warm air, blue sky dotted with some passing clouds, and green vegetation add to the idyllic feel. I got to go back to my hotel a bit ago, find out I didn’t then did have a room — magic! — change my clothes, do a quick cold water hobo bath, eat a thankfully not melted protein bar and abandon my adiletten in favor of actual socks and shoes, such as those shoes are at this point.

Doors are open. People are taking their picture with the Welcome to Freak Valley sign — I hope to do the same; a ritual with preserving — and I think the first band is on at 5PM. That works for me. At some point I’m going to crash from the travel, adrenaline, etc., but maybe I can find some coffee around here and stave that off for a while.

Lo-Fi Merchandise is here selling stuff and I want to buy all of it just to save on shipping to the US. Ditto the hippie pants place next door. The actual band area isn’t up yet. I’ve been back and forth, in and out of shade, finding a spot to be, etc. Saw the Duel guys when I got here, and Geezer have shown up at this point as well. The lineup for today has changed with Witchcraft dropping off. K bye. Purple Dawn will open and everybody else is pushed later accordingly from where they were. I’m bummed I won’t see My Sleeping Karma like I thought I might when I got here, but I’ll be alright.

First band in about 40 minutes. I’m here. It’s real. I made it. And I have a place to crash when the night is over. Mark that a win.

Here’s notes on the day:

Purple Dawn

Purple Dawn (Photo by JJ Koczan)

A significant rumble from Cologne’s Purple Dawn, who did precisely what you’re supposed to do when you’re opening a festival and you bust a bass head on the first song. They covered it with a jam. That is how to do it, and they were back up and running soon enough. Their stuff was pretty fresh in my head from writing about the Peace & Doom Session Vol. II (review here) and the highlight “Old Fashioned Black Madness” seemed to be the moment where the crowd woke up. The quiet start of “The Moon Song” after led to some post-High on Fire gallip mixed in with the nod that would seem to be the trio’s stock and trade. I got my photos and went out front to watch them on the grass. I’m also falling asleep sitting up. I need to find some coffee like now.

Duel

Duel (Photo by JJ Koczan)

Duel play like headliners. They’re in their songs, moving, professional, playing dynamic, heavy material that has yet to really get its due. They’re a band win people over, though as they hit into “Children of the Fire” after “Strike and Disappear,” it seemed like the crowd was well enough familiar with their wares. Either way, they destroy. This is my first time seeing them with this drummer and even the Rockpalast film crew had their work cut out for them in keeping up. But the thing is, they’re not sloppy at all. Even the three-part-vocal hook of “Children of the Fire,” they absolutely nailed it every time and didn’t look back. I’m very, very curious to hear the kind of band they are like seven or eight years from now, what their next few records might bring. A 50-minute set gave them some time to dig into their songs and get a flow going, and fucking a, of course that’s what they did. This cements them as reliable in my mind. I also downed three cups of coffee between the bands and that helped too. Fears of the fucking dead. Children of the fucking fire.

Geezer

Geezer (Photo by JJ Koczan)

I’ve got sentimental attachment here, but so good to see this band own such a large stage in front of this crowd. The NY-based three-piece did well by their new album, Stoned Blues Machine (review here), with the title-track, “Cold Black Heart,” and if I’m not mistaken the rest of side A represented. They’ve been over here for a couple weeks at this point, this is near the end of their tour, and sure enough they sounded like a band who’ve been playing every night for the last 14 — whether or not they have is beside the point and you’ll pardon me if I spare myself looking up the amount of days off they have or haven’t had — but they’re an absolute joy and I know from looking around that I was by no means the only one with a big smile on my face as they hit it. The lawn was grooving on “Atomic Moronic.” Pat introduced a mini-set of songs from 2020’s Groovy (review here) — he also introduced Steve and Richie — then hit inti the title-track with a finger plucked solo. “Dig” followed and shifted into a finale of “Awake,” ending on a hopeful note every bit worthy of the occasion, and Geezer got the biggest response of the day so far.

Villagers of Ioannina City

Villagers of Ioannina City (Photo by JJ Koczan)

A whole bunch of people just showed up and I can’t say I blame them. I’ve never seen Greece’s Villagers of Ioannina City, but many of Freak Valley denizens plainly have — they were here six years ago — but between the meditative heavy psych vibe and the folk touch brought by their use of tsabouna and what might just be a clarinet alongside keys and the weighted roll of their riffs. They’re pushing atmosphere to the forefront in a way that no one has yet — you could probably call it post-something-or-other if you worked hard at it — but then they break out a bluesy organ solo and you realize Age of Aquarius is a story they’re telling in chapters, and its complexity goes beyond trading between loud and quiet parts. Their songs and style are thoughtful, melodic, rich in tone and purposeful in their delivery. I don’t know how it would go over in the States — they’d have to be supporting someone on tour their first time out and a lot would depend on who — but there’s a full on audience engagement happening here, and they have the audience to show for it. And I suspect once they make up the two years of road time they lost supporting that album, that audience will only continue to grow.

Black Mountain

Black Mountain (Photo by JJ Koczan)

Vibe in a can. Or at least a deep-running blend of classic, psychedelic, progressive and space rocks. It’s all the same when Black Mountain take the stage. I’ll admit to being more than a little distracted during their set as one of my camera lenses broke, leaving me with the wide angle option that will probably do really well for me all day tomorrow taking pictures of the stage monitors, but one way or the other, Black Mountain’s synthy brew will lift the spirit and soothe the soul if apparently not the contact sensor on that lens. Even before I inevitably have to shell out some stupid amount of cash to have that fixed, I’m going to be bummed out if I can’t get that thing to work. Black Mountain’s mellower vibe, despite being heavy and loud and the many, many other things they are as a band, seemed to be expanding on the more immersive end of Villagers of Ioannina City’s set, but this band is their own thing. The assembled heads are ready for it. The Freaks. As for me, I’m distracted by even in such a tizzy I’ve still got room in my heart for Mellotron. Nothing else sounds like that. And I guess that’s true of Black Mountain too, but individual as they are, but their sound still has an immediate familiarity to it, whether you know the songs or they know you. Also it’s nighttime now. Apparently that happened recently.

Baroness

Baroness (Photo by JJ Koczan)

Seems to me that if I really was dead set on becoming a real Baroness fan, the thing to do would be to see them play live every couple of weeks between now and whenever I eventually get on board. They deliver live. The set was similar to when I saw them a few weeks ago at Desertfest New York (review here), but there wasn’t even a question as to whether or not they were going to nail it, because yes, they were. And so it went. It had been a long day, and it was only with the help of respected-photog Falk-Hagen Bernshausen that I managed to make that seemingly-busted lens work for long enough to shoot a couple songs of the Baroness set, but the band’s energy was infectious, their rhythm a physical urging, like they’re trying to tell you it’s time to go for a run, except I guess without the running on the audience’s part. I honestly don’t know Baroness’ songs well enough to say whether the performance was flawless, and if it was, I suppose that’s nice in the way of such things, but from my silly little spot in the grass I was just happy to appreciate the headliner headlining (again) and a performance by a band who have so clearly mastered their craft.

06.16.22 – Thursday – 10:56AM – Hotel

A little after I get back last night someone knocks on my door. I open it and a dude is there, absolutely smashed, wearing some death metal shirt. I don’t remember who it was now, but it was someone decent. He starts talking and even though I don’t speak German I could tell his words were slurred. I slowed him down, apologized for not speaking his beautiful language in his beautiful country, and eventually he seemed to recall that he spoke perfect English.

He needed stairs, which seemed like a terrible idea to me given his state. Dude could hardly stand. I showed him where the stairs were but then he said he wanted his room and kept walking. It was the one with the stuff on the floor outside in the hallway. Room 29. Fair enough. Turned out he’d lost his room key. He told me to find it. In his pockets. No dice, bro, sorry. He empties his own pockets and discovers various stuff but no key. He is grumbling, agitated. For one brief second, he looks like he’s about to give up. He’s speaking syllables, in and out of German and English — the human brain is amazing, even addled — and kind of says “bwuh?” and shrugs his shoulders.

I ask if he has back pockets, and a few seconds later, tucked into a respectable wad of Euros emerges his room key. His eyes light up. I open his door for him and usher him inside. His relief is palpable. I tell him to sleep and he nods. Freak Valley is small enough that I could probably run into Mr. Roomtwentynine 100 times today. I don’t think I’d recognize him if I did. Festival life.

More pics after the jump.

Read more »

Tags: , , , , , , , , ,

Notes From Desertfest New York 2022: Night 2 at the Knockdown Center

Posted in Reviews on May 15th, 2022 by JJ Koczan

desertfest new york 2022 saturday

When it comes to festival survival, the value of being able to take a shower in your own shower is not to be understated. I wanted to scrub myself with dish detergent just to cut through all that rock and roll greasiness. Alas, resisted the impulse. Still, your own water, soap, toothpaste, towel? These are luxuries not everyone gets to enjoy at an event like this, and which, most of the time, I don’t either.

The tradeoff is commuting to NYC four days in a row, but whatever. The ride today was easy enough, and the ride home last night was bearable even with traffic because the lower level of the GW was closed. There need to be at least three more Hudson River crossings from the Jersey side, though I think you’d have to level Weehawken to make that happen. Eminent domain.

Second day of the fest proper. I’m hanging in. Ground myself macadamia nut butter for the car ride, had a protein bar this morning. Saw a wonderful bunch of people yesterday and expect the same tonight; such are the comings and goings. A boost of energy from that. I was beat to crap by the time C.O.C. went on though, and managed about five decent hours of sleep once I got home, a little after 1AM. You get what you can get when you can get it. Showing up early today, I got to watch WarHorse soundcheck, and that was a win, as I expect much of the day will be. Doors are in an hour.

Green Druid

Green Druid 1 (Photo by JJ Koczan)

A fresh take on atmospheric sludge that, when they decide it’s time to slow it down, is god damned brutal. It’s easier to get a handle on where they’re coming from live than on record, big crash, big lurch, plenty of creeper vibes, but delivered with an element of rawest-style post-metal. Low end is ferocious with bass and two guitars and the vocals swapping between cleaner singing and harsher screams is arranged more creatively to suit the mood. Quick set, but they made a positive impression on an already-warm room and for a day that’s more about weight and extremity at least in parts than was yesterday, they seemed to be just right in terms of bridging worlds. If you need me I’ll be at the merch stand. So long as there’s no cartoon boobs, I’m all over it. [Actually, turned out I barely looked at the shirt before I bought it. It’s got a big ol’ bong on it. Probably won’t wear it much, but screw it, gave the band some money. Gas ain’t cheap.]

 

WarHorse

WarHorse 1 (Photo by JJ Koczan)

I like to think of WarHorse playing 20 years ago and clearing out rooms of people who just don’t get it. As they are now, they manage to be both devastatingly heavy and a good time. You can tell watching them that they’re having fun playing the songs, and while their sound remains utterly miserable and Jerry Orne’s gurgle is as guttural as ever, he and Terry Savastano are into it immediately while Mike Hubbard lays suitable waste behind them. For a reunion that started kind of casually, not a ton of hype around it, WarHorse have become a force. They were one before, obviously, but the appetite for such things has clearly changed in the last two-plus decades. I don’t know what label I’d put them on — Profound Lore? Season of Mist? — but they sound like a band too dead on in their game not to put out new material. I love watching wretched sounding metal played with a smile. Also with a grimace.

 

Somnuri

Somnuri 1 (Photo by JJ Koczan)

Nothing follows slow-brutal-fun like periodically-thrashz-fast-brutal-fun, and I’ll tell you, that thrash with a ‘z’ was a typo but I’m leaving it because fuck it, it works. Like Green Druid, they change it up arrangement-wise, but their take is more directly lethal, and they manage the balance between heavy tones and rip-face thrust well on stage. Justin Sherrell is stupid talented. They got a new bassist since the last time I saw them, but so it goes. Last summer’s Nefarious Wave full-length has held up, and frankly it deserves every airing it gets. I seem to recall they did a tour for it earlier this year, and they opened one of the YOB shows at the Saint Vitus Bar — not the one I saw, but still — their stuff is a rager unto itself and the latest incarnation of the regional penchant for creative confrontationalism that once birthed Hull. That’s good company to keep as far as I’m concerned. The fog machine was rolling and the riffs were bludgeoning breakdown-style and offset by ambient stretches like a seething just waiting to explode. Like me on the George Washington Bridge last night at 12:30. Their version of that feeling is better.

 

Cloakroom

Cloakroom 1 (Photo by JJ Koczan)

Not a band I knew a ton about prior to their taking the stage, but they were a big swap-out in mood from Somnuri and the fact that they carried their shoegaze-informed take on heavy across so well and so immediately transformed the spirit of the big room after WarHorse is much to their credit. I’ll admit that I didn’t stay probably as long as I should have because I knew I wanted to be up front for Brume, but their roll was like a deep, fresh, cool breath and watching them I got shades of early Jesu and newer Elephant Tree both — neither of whom I imagine they sound like on record, but that’s where my brain went; I heard tell later that the guitarist is a big Weezer fan, which makes as much sense as anything — and there’s nothing but to dig about that. True to their style, they were pretty subdued on stage for the most part, but their combination of depth of tone, volume and melody made them immersive in a way that no one else up to this point has been. Five years from now, when I’m probably sweating everything they do like the Johnny Comelately poseur I am, I’ll probably brag about having seen them at Desertfest.

 

Brume

Brume 1 (Photo by JJ Koczan)

There have been and still are a lot of bands I want to see this weekend, but Brume were my most eagerly anticipated. They offer something that nobody else on this bill does in the same way, and the spaces they create with their material are incredible. I was right to look forward to it. I ended up taking pictures blah blah and then just stayed up front for all but about the last two minutes of the set, and goodness gracious I’m glad I did. The addition of Jackie Perez-Gratz on cello and a couple backing vocal spots puts them in another echelon. Put out another record already. [Edit: I talked to them later in the night and told them I wanted to hear it finished by Tuesday; they said they needed a deadline.] The stage energy was surreal and I did, I just planted myself up front and that was it. Every bit what I hoped their set would be and when I went over to the main room for the start of Inter Arma, I was annoyed with myself for not seeing the last 30 seconds or whatever it was of Brume. Yeah, I know how the song ends, but still. At least I can take comfort in knowing what’s in store for next time. Back to Rabbits I go until then.

 

Inter Arma

Inter Arma 1 (Photo by JJ Koczan)

Like, six dudes? Yeah, I think six. Could’ve been 40, they were so intense. Fucking death metal. Inter Arma’s Sulphur English was so widely hailed it actually got annoying, but they brought that chug and death stomp to the stage with all due brutality and then just a little extra on top. First theremin of the weekend, which is always a good sighting, but the core of the band is the fact that they’re punishingly extreme and still manage to evoke some presence beyond that in their sound. I was more into it than I expected to be, especially coming off Brume, but there was no real question about their intention from the start, and it was a reminder that I actually enjoy death metal even if it’s not what I always write about. But even in that sphere they’re a legit creative band with less genre-strictness than many, and that’s a thing to be respected. I don’t reach for their stuff all the time, and I don’t think I’ve seen them since their first record, but they were killer.

 

Yatra

Yatra 1 (Photo by JJ Koczan)

Yatra are a death metal band. They started out as kind of a deathly sludge act and have leaned decidedly into the more teeth-gnashing side of their approach. Their new album is their first for Prosthetic, which is a good fit for them label-wise since that’s where metal bands go who do more than one thing, and they played the title-track “Born Into Chaos.” I’ll confess I haven’t really dug into the record yet — I think the promo came in my email on Thursday? — but their last one wasn’t exactly subtle about the course they were setting and that’s just fine. They can play here, they can play Maryland Deathfest, they can play a kid’s backyard birthday party and get arrested, whatever. Let them be the death metal band who heavy rockers are into, or at least one of a very select few. It’s gotta be somebody, and the more direct route to aural decapitation suits them. Only surprised there was no mosh, even when the blastbeats started.

 

King Buffalo

King Buffalo 1 (Photo by JJ Koczan)

What catharsis. I feel like I’ve been waiting the whole pandemic to see King Buffalo again. Admittedly, there have been opportunities in the last year as they’ve gotten back out, so it’s me, but to finally be in the same space as these songs. They opened with “Silverfish.” That’s the whole story. What more do you need than that? This trilogy of albums, The Burden of Restlessness, Acheron, and the third to come, are a fucking document of this era and if you don’t realize how fortunate you are that this band is doing this work right now, you’re missing it. You’re fucking up. It’s not too late. I was all set to go watch Silvertomb, who I hear do Type O Negative songs too and that’s great, but King Buffalo started to play “Orion” and I knew that if I moved I’d regret it no matter what. Then they break out “Loam?” Come on. Where in earth could you possibly need to be more than you need to be here? Huh? King Buffalo stand among the best and most forward thinking heavy psych bands of their generation and there’s nothing to make me think their best work isn’t ahead of them. Bands like this don’t happen all the time. This. Is. A. Special. Band. Tell your friends. Shit, tell your mom. She’ll be into it. You know how good it was? It was so good that I just stood there and enjoyed it.

 

Silvertomb

Silvertomb 1 (Photo by JJ Koczan)

Somebody’s going home with covid tonight. Kenny Hickey. He called it a rite of passage. Maybe it is. He also called the crowd a bunch of potheads, which is fair considering the smell in the room right now. I was late to the start of the set, but managed to finagle my way around the side to catch what remained. Of course the relation to Type O Negative gives a nostalgic feel. Hearing Kenny Hickey sing brings back fond memories, but also in reminded of a time when no less than 80 percent of the metal bands in Brooklyn sounded like this, about 20 years ago. Getting to see a guy who was in no small part responsible for that — especially on the last two Type O records, both of which I continue to love — is probably enough of an appeal to earn Silvertomb the spot on the bill, honestly, but they also rocked. I whiffed completely on their last album, but had checked out the one before. Kenny teased an “Oh Darling” cover on acoustic guitar, which might’ve been fun, but no dice.

 

Torche

Torche 1 (Photo by JJ Koczan)

Impossible to watch them play and remove it from the context of Steve Brooks announcing on Thursday that he’s done in the band after their Fall tour with Meshuggah. Still don’t know if that means the band are done, but they played as trio, owing to Jon Nunez getting covid. So it goes. They did “Mentor,” and they did Floor’s “Iron Girl,” and they closed with “Tarpit Carnivore,” is if this is the last time I ever see them play, I can’t possibly feel like Torche owe me anything. For them, there was a pit. And yeah, that makes sense. I put myself in the crowd to watch, and there were some laughs, some fuckups, and so on. It was not the tightest Torche set I’ve ever witnessed — have I ever told you about the time I saw Torche and Black Cobra circa ’06 in a shoe museum in Los Angeles? yes? well anyway they rocked the shit out of that footwear and the lucky several individuals who happened to be in attendance — but it’s hard not to be in a good mood when they play regardless of the circumstance. Bomb string, man. Maybe they’ll get back together at some point in some incarnation. Isn’t that what bands do at this point? A six-week hiatus? That’d be fine. Not that they owe it or anything.

 

Baroness

Baroness 1 (Photo by JJ Koczan)

I’ve never successfully managed to get on board with Baroness. I’ve tried — I promise, I have — but it just hasn’t happened. Even knowing this, and knowing there’s a good lot of modern heavy that has operated and continues to operate under their direct influence, I did my best to keep an open mind and try to catch the vibe. And I think I succeeded in that at least to some extent. They’re like Rush. You listen to Rush, and a whole lot of other bands across a bunch of different styles start to make sense. Baroness engage with a lot of different forms of rock and heavy music, metal, punk, prog and so on, and they’ve turned it into their own thing. I might not dig it, but I’m not going to rag on them either because what they’ve accomplished is significant even before you get to what they sound like, their massive, won-the-hard-way chemistry as players, their attention to presentation (a setlist with lighting instructions being just one example), or their stage presence. In many respects, they are the quintessential headliner. So, they headlined.

Other Random Observations:

– I don’t think I’d be a very good bartender, and for someone who’s spent so much of his life daydreaming about opening a venue, I’ve considered it a fair amount.

– On the other hand, someone drove through with a forklift before doors and that looked like good fun.

– Tried not to be starstruck when Jackie Perez-Gratz walked past me wheeling her cello in its case. Did it work? Maybe. Still gonna put on Grayceon’s All We Destroy on the way home.

– Can hear the Morbid Angel influence both in Yatra and Inter Arma. Ties them together in a way I wouldn’t have expected.

– Wow.

– Slower start to the day in terms of crowd, but it filled up. The party must’ve gone late last night.

– Again, folks be inebriated. Guess it’s Saturday. Get home safe.

– That macadamia nut butter may have saved my life.

More pics after the jump.

Read more »

Tags: , , , , , , , , , , , , , ,

Freak Valley 2022: Baroness & Planet of Zeus Added; Monster Magnet Cancel

Posted in Whathaveyou on March 29th, 2022 by JJ Koczan

Freak Valley Festival 2022 has announced that Baroness and Planet of Zeus will play on the added-this-year Wednesday night of the fest, taking the place of Monster Magnet, whose European tour plans have been canceled owing to a back injury. Obviously that’s a bummer for Monster Magnet fans, and I am one, but you can hardly argue with the bands taking their place. Baroness are huge, and Planet of Zeus are killer, so yeah, I expect this news will go over with a “ah hell,” and then a distinct sound of life moving on. Obviously, back injuries or whathaveyou, there’s a lot of leeway for canceling shows at this point in human existence.

Normally I would’ve written this announcement, but I dropped the ball on this one. Sorry to the fest, but they seem to have done just fine without me, not at all to my surprise. I still need to book my flights and figure out where I’m staying, but yes, I’m planning on being at Freak Valley this June.

From socials:

freak valley 2022 baroness

FREAKS!

We are overjoyed to present you another highlight for our Freak Valley Festival. Please welcome the mighty and Grammy-nominated Baroness!

They will join us with their most ambitious work to date, fifth album Gold & Grey. Set for release on the band’s own Abraxan Hymns, Gold & Grey spills triumphantly past genre barriers, their anthemic alt-metal hooks ricocheting between the circuitous twists of prog and jazz, the moody swirls of space-rock and noise, and the hypnotic pulses of trip-hop and 20th Century minimalism. “This is the most clear representation of the artistic vision I have for the band that we’ve ever done,” says Baroness vocalist, guitarist and founder John Baizley. “I’m surprised that we got as far with it as we did.”

Another addition to our Wednesday-Lineup are the greek Heavy rockers Planet of Zeus who will grace us for an alive and kicking party full of heavy riffs, gritty melodies and foot stomping grooves. “How was the heavy rock scene in Greece” you ask, before Planet of Zeus made their debut at the dawn of the third millennium? A band that needs no introduction, for its enviable success and indisputable chemistry on stage are nothing short of becoming part of Greek Mythology.

Freak Valley Festival // No Fillers – Just Killers

Freak Valley Festival 2022 IS SOLD OUT.

June 15-18 2022

https://www.facebook.com/events/2434350453469407
https://www.facebook.com/freakvalley
https://www.instagram.com/freakvalleyfestival/
https://twitter.com/FreakValley
http://www.rockfreaks.de/
http://www.freakvalley.de/

Planet of Zeus, Faith in Physics (2019)

Tags: , , , , ,

Desertfest Berlin 2022: Baroness to Headline; Rotor, Black Rainbows, SÂVER & More Added

Posted in Whathaveyou on December 8th, 2021 by JJ Koczan

The lineup for Desertfest Berlin 2022 is serious gosh darn business, and no less so with Baroness newly announced as the final night’s headliner. That puts them in the company of Orange Goblin, Kadavar and Electric Wizard, though frankly if you look further down the bill for each of the four days, it’s not like the headliners are the whole story. From Samavayo and Polymoon and YOB and Temple Fang, Lowrider and Black Rainbows to Rotor and Slomosa, it’s a packed roster that by the time it happens (thinking positively now) will have been more than two years in the making. Not, not, not to be trifled with.

Some personal favorites added today, among them SÂVER, Rotor and the aforementioned Temple Fang, but I’m pretty sure I said last time that if the lineup for Desertfest Berlin 2022 was done, they’d be good to go. That opinion hasn’t changed as the festival has gotten more badass.

From the PR wire:

desertfest berlin 2022 day splits

BARONESS HEADLINES DESERTFEST SUNDAY – 10 NEW BANDS, DAY SPLITS & SINGLE DAY TICKETS ON SALE

Friends, we’re proud to present you 10 new names for our Desertfest Berlin 2022, including the last headlining act: the one and only BARONESS (USA)

Please welcome to the bill:

Baroness – BLACK RAINBOWS – DVNE – Rotor – SÂVER – Spirit Adrift – Steak – Temple Fang – Velvet Two Stripes – VUG

Additionally, you can check out the first day splits of our line-up and purchase single day tickets from now on.

TICKETS:
4 day passes + single day tickets are available via www.desertfest.de

INFO:
– 4 day passes are running really low! Be fast before they are gone
– remember that weekend passes from 2020 stay valid automatically but single day tickets from 2020 do NOT! Please check our website for further info

We’re looking forward to Desertfest Berlin A LOT and we hope so are you. Can’t wait to see you all again on May 26th – 29th 2022.

Love,
Your Desertfest Crew

https://www.facebook.com/events/520164272080736
www.desertfest.de
www.facebook.com/DesertfestBerlin
www.instagram.com/desertfest_berlin

Black Rainbows, “Evil Snake” Live at Desertfest Antwerp 2021

Tags: , , , , , , , , , , , , ,

Desertfest NYC 2022 Announces Lineup; Tickets on Sale Today

Posted in Whathaveyou on November 12th, 2021 by JJ Koczan

desertfest nyc 2022 lineup square

God damn, Desertfest.

Importing Stoned JesusGreen LungPlanet of Zeus and Orange Goblin (as much as the latter count as an import; they’ve certainly been here before) to play alongside BaronessHigh on Fire and Monster MagnetRed FangC.O.C. and Torche?

That’s a big frickin’ deal.

If Desertfest NYC 2019 was a testing of waters to see if such a think could succeed and be feasible over a longer term, Desertfest NYC 2022 is an immediate play to become the preeminent heavy festival on the Eastern Seaboard of the US. To be a genuine Desertfest, in other words, of no less scale than Berlin, London, or Belgium. I’m glad to see Sasquatch and Fatso Jetson will be coming from the West Coast — I’d expect Fatso Jetson will be touring with Planet of Zeus, as that was supposed to happen in the long-long ago — and Somnuri are sure to represent NYC well and Stinking Lizaveta and High Reeper likewise for Philly, while The Atomic Bitchwax headlining the Vitus Bar pre-show warms my Garden Stater heart no end.

There are more to be announced (I have a couple picks of my own, not that anyone asked), but already this is the best heavy fest lineup for New York City in recent memory. It will be something special to behold. I hope there’s a photo pit at the Knockdown Center.

Behold Arik Roper‘s gorgeous poster art below, followed by the announcement:

desertfest nyc 2022 arik roper art

Desertfest New York announces Baroness, High on Fire, Monster Magnet, Red Fang + more for second edition in 2022

TICKETS ON SALE NOW VIA WWW.DESERTFESTNEWYORK.COM

Europe’s leading stoner rock collective Desertfest returns to New York in 2022.

Taking place in the unique arts space of the Knockdown Center from May 13th – May 15th, with an exclusive pre-party at Saint Vitus Bar on May 12th. Desertfest are firmly planting their feet back into New York’s underbelly with a mammoth line-up celebrating the very best of heavy music.

Welcoming home-grown talent such as BARONESS, MONSTER MAGNET, CORROSION OF CONFORMITY & TORCHE alongside acts from across the pond like Ukraine’s STONED JESUS, Greek groovers PLANET OF ZEUS & a debut US performance for English doom maestros GREEN LUNG, Desertfest NYC are pushing their second edition to new levels.

Saint Vitus kicks off proceedings as THE ATOMIC BITCHWAX, PLANET OF ZEUS, FATSO JETSON & DRUID warm up the engine for the weekend ahead. Followed by 3 monumental days as Knockdown Center hosts the likes of Grammy-award winning trio HIGH ON FIRE, British heavy metal icons ORANGE GOBLIN, a rock’n’roll bacchanal from RED FANG, insanity from INTER ARMA and much, much more.

4-day passes (includes access to Saint Vitus pre-party on Thursday 12th May) & 3-day passes (Knockdown Center only) are on sale now via the following link – https://desertfest.eventbrite.com

With more to be announced, including day splits, Desertfest are most certainly back with a bang. We highly recommend getting your tickets ASAP, don’t say we didn’t warn you…

Full Line-Up
Knockdown Center May 13th – May 15th 2022
Baroness | High on Fire | Monster Magnet | Red Fang | Corrosion of Conformity | Torche | Orange Goblin | Dead Meadow | Inter Arma | Big Business | Green Lung | Stoned Jesus | Left Lane Cruiser | Sasquatch | Silvertomb | Telekentic Yeti | Stinking Lizaveta | High Reeper | Holy Death Trio | Yatra | Somnuri | Leather Lung

Saint Vitus Bar May 12th 2022
The Atomic Bitchwax | Planet of Zeus | Fatso Jetson | Druids

Ticket link – https://desertfest.eventbrite.com

https://facebook.com/Desertfestnyc/
https://www.instagram.com/desertfest_nyc/
http://www.desertfestnewyork.com

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Roadburn 2017 First Announcements: Coven to Headline; John Dyer Baizley to Curate; Many More Added

Posted in Whathaveyou on October 5th, 2016 by JJ Koczan

roadburn 2017

So, uh, 2017 over. Roadburn wins.

The Netherlands-based festival comes out of the gate with its first announcements for Roadburn 2017 and immediately proves why it’s like nothing else happening on this poor pitiful planet we happen to occupy. To bring Coven back to the stage for the first time in untold decades and for their first European show ever? Come on. I don’t care where you live, that’s worth getting on a plane for.

But of course, this is just the start of announcement season for Roadburn 2017. Over the next several months, in addition to these revelations that John Dyer Baizley of Baroness will curate and Baroness will perform as a part of that, that Warning will show up to play Watching from a Distance in full, that Gnod will be artists-in-residence and that Oranssi Pazuzu, Les Discrets, Pillorian, Perturbator, Schammasch and Zeal & Ardor will also play, Roadburn 2017 will spend the next several months unfolding its unparalleled creative progression as an event. Expect once-in-a-lifetime sets — see the ultra-pivotal cult rock progenitors named above — and an amazing and diverse roster of acts such that, by the time they’re done, the biggest complaint people will have is that there are too many incredible things to see that it’s impossible to do it all in the five days between the Hard Rock Hideout on Wednesday and the Afterburner on Sunday. Tough times, to be sure.

Enter Roadburn 2017. Mind already blown:

roadburn-festival-2017_first-announcment-700

Roadburn 2017: A Coven, a comeback, a curator and more

COVEN will play their first show in decades, and for the first time ever on European soil.

Jinx Dawson quote: “Roadburn Festival’s intrepid ring master, Walter, hath stirred us from our Coven lair. We shall be performing a musickal ritual for the first time in many ages. We are wickedly delighted to travel to the Netherlands for this very special festival concert, and to bring our musickal form of Witchcraft once again to the live stage.”

Coven play 013 venue on Thursday, 20 April 2017
http://wp.me/p1m0FP-aJW

JOHN DYER BAIZLEY will curate Roadburn 2017 – the main stage on Friday 21 April, and Het Patronaat on Saturday 22 April. BARONESS will perform on the Friday night as part of his curated event.

John said: “It is such a high honor to have even been considered for the role; I feel genuinely privileged to have fostered so many wonderful relationships within the microcosmic-world that surrounds this incredibly unique festival. Without revealing anything too specific concerning the lineup, I can confidently say that the groundwork that Walter and I have laid in the preceding months is staggering, both in it’s scope and it’s diversity. I could never have dreamed that I’d get to communicate with, let alone invite and present so many incredible bands during this one consolidated musical event. I am proud to have the opportunity to showcase so many of those artists, who have had an indelible impact on my own work, so many esteemed friends and tour-mates, and people/ bands with whom so many in our community share fundamental creative ideals.”
http://wp.me/p1m0FP-aKb

WARNING will perform Watching from a Distance in its entirety at Roadburn 2017. Please write the album title as here!

Quote from Patrick Walker: “I am humbled that there is still an interest in Watching from a Distance all these years on, and I’m going to be very moved to be able to play it for an audience at Roadburn 2017.”

Warning play at the 013 venue on Saturday 22 April
http://wp.me/p1m0FP-aJM

GNOD will be Roadburn 2017’s artist in residence, which means they will perform four times throughout the festival. This will mark their tenth anniversary as a band.
http://wp.me/p1m0FP-aJH

ZEAL & ARDOR will perform on Friday, April 21 at Het Patronaat – http://wp.me/p1m0FP-aJQ
PERTURBATOR will perform Friday, April 21 at Het Patronaat – http://wp. me/p1m0FP-aK8
SCHAMMASCH will perform on Friday, April 21 at Het Patronaat – http://wp.me/p1m0FP-aJT
PILLORIAN will perform on Sunday, April 23 at the 013 venue – http://wp.me/p1m0FP-aK2
LES DISCRETS will perform on Sunday, April 23 at the 013 venue – http://wp.me/p1m0FP-aK4
ORANSSI PAZUZU will perform on Saturday, April 22 at the 013 venue – http://wp.me/p1m0FP-aK6 – OP played Roadburn 2016 but a lot of people missed out on them as they played at Het Patonaat and we were overwhelmed by the number of people who wanted to see them. So this time around they will play the MainStage so everybody gets to see them!

http://www.roadburn.com/
https://www.facebook.com/roadburnfestival
https://twitter.com/roadburnfest

Coven, Witchcraft Destroys Minds and Reaps Souls (1969)

Tags: , , , , , , , , , , , , ,

Nate Hall and John Baizley Join Roadburn 2013 Lineup with Acoustic Performance, Art Exhibition

Posted in Whathaveyou on February 25th, 2013 by JJ Koczan

Something Roadburn continues to deliver year after year is a variety of performances you can’t find anywhere else. Whether it’s a curated set, or an exclusive full-album reunion — hello, Godflesh doing all of Pure — each year at Roadburn, chances are you’re going to find something in the lineup that you’ll probably never see again. A once-in-a-lifetime show, or at very least, something at its genesis point, just happening for the first time in Tilburg.

News came down a bit ago that John Baizley of Baroness and Nate Hall of U.S. Christmas were teaming up for a set of their bands’ material plus Townes Van Zandt covers, and it’s the kind of thing that, who knows what it might lead to, maybe nothing, but whatever comes of it, the beginnings will have been something that only Roadburn managed to make come together.

Dig the word:

ROADBURN FESTIVAL 2013 PRESENTS JOHN BAIZLEY (BARONESS), NATE HALL (U.S. CHRISTMAS) + SPECIAL GUEST FOR EXCLUSIVE PERFORMANCE

We are elated to announce the exclusive performance of John Baizley (Baroness) and Nate Hall (U.S. Christmas) for coming Roadburn Festival 2013. Both will play songs of Townes Van Zandt as well as Baroness and other material from Nate Hall’s highly acclaimed solo record “A Great River”. John Baizley recorded his songs of Towns Van Zandt together with Katie Jones who will be performing with him and brings in some Violin, Cello, and other instruments as well.

John Baizley: “I am thrilled to be coming back to Roadburn to perform this year, it has been one of the supreme highlights of European tours in the past years. Roadburn is a refreshing change of pace amongst the turgid waters of European heavy-music festivals, many of which have gone the way of rampant commercialism. Roadburn remains one of the good-guys, a volunteer driven effort purely for the love and devotion to music. Earlier this year, My Proud Mountain label approached me about contributing some tracks to the second “Songs of Townes Van Zandt” covers collection. I will be sharing the stage at Roadburn this year with some of the other contributors from that upcoming release. While Baroness is preparing to resume touring, I am excited to come to Tilburg and play music that our audience may be unfamiliar with me performing. I have always been an admirer and devotee of Townes, and I hope I can come and do some of his songs justice. This will be a unique opportunity for me, as I will be holding an exhibition at Gust van Dijk Gallery in Tilburg as well.”

Nate Hall: “I have known John for years now, and we are both excited about this show. I love playing solo, and I love collaborating with my friends. I’m sure this show will be special, and will bring out the best in both of us.”

The performance is scheduled for Thursday April 18 at The Patronaat during Roadburn Festival.

JOHN BAIZLEY ART EXHIBITION ANNOUNCED

SEA Foundation in cooperation with Roadburn Festival are proud to announce: “The Virgin Spring: the Process and Work of John Dyer Baizley”. An exclusive John Baizley exhibition at gallery Gust van Dijk in Tilburg.

This will be Baizley’s first ever exhibition in Europe which will be dedicated to his process as an artist as well as a presentation of images and printed work from the past and present.

John Baizley says: “I am excited to have been given an offer to exhibit my work for the first time in Europe at Gust van Dijk Gallery in Tilburg, Netherlands this April in conjunction with Roadburn Festival. It will be the first time many of these works have been shown in public, and the show will offer a brief glimpse into my process as an artist. I’ll be giving a small presentation on the images as well, and showing a few examples of my printed work. Furthermore, this will be the first time many of these images have been seen outside their commercial context (without logos, text, or barcodes) as I’ve always believed they were meant to be seen. This is a very unique opportunity for me, as I will be showcasing a set of music at Het Patronaat stage at Roadburn Festival 2013 as well.”

The exhibition will be held from April 18 – June 1
(opening Thursday April 18 from 16-17hrs/ 4-5pm CET)
At
Gallery Gust van Dijk, Home to Contemporary Art,
Tivolistraat 22, 5017 HP Tilburg, The Netherlands
www.seafoundation.eu/Programme.html

Background info John Baizley:

Known by most as the singer and guitarist for the acclaimed band Baroness, John Dyer Baizley is also an accomplished fine artist. Responsible for nearly all the artwork and graphic design surrounding Baroness, John has also created memorable album art for bands such as Kvelertak, Kylesa, Gillian Welch, Torche and many others. Combining Art Nouveau influences like Alphonse Mucha and Aubrey Beardsley along with an encyclopedic knowledge of primitive mysticism, Pagan rites and Jungian archetypes, John arrives at a very different place with his album design than has been typically expected from the world of extreme music like Heavy Metal and Punk rock. While still embracing the seminal teenage icons like Pushead and Raymond Pettibon, John has created an alternative dialect of imagery with his work, taking us the viewer on a new path.

Roadburn Festival 2013 will run for four days from Thursday, April 18th to Sunday, April 21st, 2013 (the traditional Afterburner event) at the 013 venue and Het Patronaat in Tilburg, Holland.

Tickets for the Roadburn 2013 Afterburner are still available: http://www.roadburn.com/roadburn-2013/tickets

Please visit www.roadburn.com for more info.

Tags: , , , , , ,

Extolling Ignorance: The Top Five Albums I Didn’t Hear in 2012

Posted in Features on January 10th, 2013 by JJ Koczan

Just yesterday I was reading a news story about how scientists are regrowing hair cells (pictured above) in mice to restore hearing damage caused by loud noises. Nifty stuff and certainly something that would come in handy if and when they can actually make it work for people, but it still wouldn’t do me any good, because I’m not just talking about records I didn’t hear because I saw SunnO))) that one time without earplugs — I’m talking about albums that I didn’t hear because, for one reason or another, our paths didn’t cross at all. If you want to talk about the other kind of not hearing, ask The Patient Mrs. how loud I keep the tv at night.

But as regards those reasons: In the past when I’ve done this list, it’s usually been with some measure of shame. Last year, I had to admit I hadn’t heard Argus‘ album because I knew I’d like it and wind up buying a copy (which I finally did), and had to admit that I slept on Uncle Acid and the Deadbeats. This year it’s a little different. Most of the records on this list I could’ve easily heard — if I’d wanted to hear them. In 2012, it wasn’t just that I missed stuff (though I did, I’m quite sure), but also that some stuff I just couldn’t be bothered to download the promo mp3s. You’d be amazed how often that happens.

So with that in mind, I humbly and ignorantly present my Top Five Albums I Didn’t Hear in 2012. I hope if I missed anything essential, you’ll let me know.

1. Soundgarden, King Animal

It’s a pretty rare thing for me to get a request for a review from someone neither in nor representing a band (i.e. PR or a label, etc.), and I got more than one for Soundgarden‘s reunion full-length, King Animal. I heard the record was great, but seriously, whatever. I was never a huge Soundgarden fan, and the whole tone of their getting back together left me cold — people calling them brave for putting out a rock album that everyone knows is gonna sell like mad and talking about playing arena shows in front of thousands of fans like it’s a bold decision. Sorry, but the bold decision would be for Soundgarden to have stayed broken up and for Chris Cornell to work with Timbaland again. King Animal could’ve been the best rock record of 2012 for all I know, but I’m pretty sure all I’d hear would be tuned vocals and sampled drums. Pass.

2. Baroness, Yellow and Green

I give Georgia natives Baroness the utmost respect for the heap of shit they ate as regards their luck last year, but even their tenacity in recovering from a bus accident — along with the vehement recommendations of, well, the universe — wasn’t enough to get me on board for their third album, Yellow and Green. Here’s a fun fact: Up to this point in the band’s career, I’ve owned just about everything they’ve put out, because I figured that sooner or later, I’d come around. I saw them at Emissions from the Monolith years back and picked up the First and Second EPs because I was like, “Yeah, I’ll probably start digging this band and when I do, I’ll be glad to have these.” I keep waiting for that switch to flip and it just hasn’t yet. Loves me some Valkyrie though, for what that’s worth.

3. The Sword, Apocryphon

While I’m talking about old shows, I caught Austin’s The Sword opening a Relapse Records showcase at SXSW when all they had out was a demo and thought they were bloody brilliant. I even dug Age of Winters when it came out, but my interest level diminished on the quick. I didn’t bother with 2010’s Warp Riders either, and as they made their Razor and Tie Records debut with Apocryphon in October, I barely blinked. These guys get consistent support, and I’ll give it to them that they put in their work on the road supporting what they do and always have, but in terms of what I’m going to listen to for a week straight before I review it, there’s gonna be no shortage of other Sword reviews out there and I doubt very much mine’s going to have anything revolutionary to say, so yeah, there are better ways to spend my time.

4. Rival Sons, Head Down

Maybe I could’ve climbed on board for what SoCal-based Rival Sons had to offer, but frankly the whole thing seemed a little too reality show. Like the headline says, I didn’t hear the record, but with their major label hair, purported classic rock sound and press hype, it just seemed like they were a band I was supposed to like, as if you took what makes kickass heavy rock and broke it down to Lego parts, adding a standalone moustache. I’ve heard from some reliable sources that they are indeed the shit, but the contrarian in me just wasn’t having any of Head Down. Maybe I’m wrong and next time they put out an album I’ll take a listen and have to eat my words. Wouldn’t be the first time.

5. Mark Lanegan Band, Blues Funeral

This one I legitimately regret not hearing. Former Screaming Trees vocalist and frequent Queens of the Stone Age collaborateur, Mark Lanegan has one of those voices that he probably won’t have grown into until he’s 65 years old. You know how Johnny Cash was finally old enough for his voice when he started putting out the American series, or how Tom Waits hit that line in 2011 and everyone was like “holy crap Tom Waits is the best thing ever?” I’m pretty well convinced Mark Lanegan will get there sooner or later. I got a promo of Blues Funeral, but it was a download so I didn’t bother. Too late to review it now, but maybe I’ll pick it up somewhere along the line. Maybe not. Doesn’t seem like Mr. Lanegan‘s hurting either way, unless, you know, you count the existential agonies present in his vocal delivery.

Okay, that’s it. Everything else I heard in 2012 so there you go. No, of course that’s not true. As always, there were tons of albums I missed out on — one of these days I’m gonna sit with Heavy Eyes and give them a real chance — because I’m only one man, I only have two ears, and those ears are only so willing to listen to stuff that’s not Neurosis.

Anything essential you think I missed, or anything essential that you missed that you want to add? Leave a comment below.

Tags: , , , , , , , , , ,