Posted in Whathaveyou on March 18th, 2025 by JJ Koczan
Five more names for the 11th edition of Munich’s Keep it Low Festival, set for this Oct. 10-11 as part of an always-busy Fall fest season in Europe. You can see the full lineup as it stands on the poster below — pretty gosh-darn sweet; good to see Colour Haze making their regularly scheduled hometown appearance at the fest; they’re kind of the unofficial house band, which is a major part of the reason I’ve always sweated attending this one — and the latest to be added to the mix are Lowrider, Bongripper, High Desert Queen, Blue Heron and Kanaan.
It’s ultimately a small contingent of the larger lineup, but a lot of fun to consider on its own, from a veteran act like Lowrider who don’t really tour at this point to the delightful contrast between Bongripper‘s malevolent crush and High Desert Queen‘s posi-outreach vibes, the jazzy instrumental prog of Kanaan and Blue Heron‘s imported-from-New-Mexico heavy desert vibes. Again, it’s part of the greater story of the diverse sounds Keep it Low has on offer for 2025, between Graveyard and The Obsessed and Siena Root and Conan, on and on, but emblematic of the whole just the same.
Confirmation came via the PR wire:
KEEP IT LOW FESTIVAL announces HIGH DESERT QUEEN, LOWRIDER, BONGRIPPER & more new band names for 2025!
Keep It Low – THE annual stoner, psych, rock, doom and sludge metal event in the heart of Munich, Germany, has announced new band names for its exciting, 10th anniversary edition in 2025!
High Desert Queen, Lowrider, Bongripper, Blue Heron and Kanaan will be joining previously-announced acts such as Graveyard, Masters Of Reality, Conan, Colour Haze, The Obsessed, Siena Root, Vintage Caravan and many more!
Hosted by Sound Of Liberation (Desertfest Berlin, Up In Smoke, Lazy Bones Fest a.o.), Keep It Low will be taking place between 10. – 11. October 2025 at Backstage.
Posted in Whathaveyou on March 11th, 2025 by JJ Koczan
Perhaps some extra interest in seeing how the lineup for Desertfest Belgium 2025 takes shape over the next few months considering how heartwrenching the bill for 2024 was. They have not gone small to answer that question in this first reveal — you can see the names for yourself on the poster below — which covers a range of styles and has an according geographic reach. Note New Mexico’s Blue Heron taking part, supporting their rightfully-well-received 2024 LP, Everything Fades (review here), and note Lowrider because it’s notable anytime they play anywhere. Go them both, along with the rest, if you can.
As regards “the rest,” the names are their own best argument, I guess. Desertfest Belgium has become an integral part of the Fall underground touring circuit, a nexus point where various individual tours converge and split off again, so I’ll be interested to see, say, who The Obsessed will be out with, or how many times in your life you might be able to say you saw Colour Haze and Lowrider on a bill together in 2025. Just for examples.
So yeah, good start. Take their word for it in the “much more to be announced” part too. From socials:
FIRST NAMES! GRAVEYARD, BONGRIPPER, MASTERS OF REALITY & MORE!
Hi Desertfans,
Are you ready to rip it up? Here are the first names for Desertfest Antwerp 2025!
We’re very excited to welcome this divine & dangerous bunch to our stages:
Graveyard 🌑 BONGRIPPER 🌑 Masters Of Reality 🌑 Oranssi Pazuzu 🌑 The Obsessed 🌑 Bongzilla 🌑 monkey3 🌑 Lowrider 🌑 Colour Haze 🌑 Mars Red Sky 🌑 Psychlona 🌑 NEGATIVE BLAST 🌑 Alber Jupiter 🌑 Hedonist 🌑 Blue Heron
If you are as delighted as we are then head over to our ticket page below and grab a weekend pass for a guaranteed three days of sonic delirium 🪐
[Click play above to stream Blue Heron’s Everything Fades in full. The album is out Sept. 27 on Blues Funeral Recordings. The band play Ripplefest Texas on Sept. 20.]
The second full-length from Albuquerque’s Blue Heron begins, of course, with a science lecture. Okay not quite. Lead cut “Null Geodesic” unfolds with a snippet about or responding to or by theoretical physicist Richard Feynman, and before it evaporates into echoing trails a few seconds later, it reminds the listener that science is based on observation. Fair enough. One might observe a similarity in concept behind the title of Everything Fades — the four-piece’s second album — and their first, 2022’s Ephemeral (review here). Accordingly, since when in side A’s “Swansong” frontman Jadd Shickler declares, “I’m running out of legends and I’m sick of saying goodbye,” the hardest thing to know is which legend he’s talking about (I’d guess Mark Lanegan, but feel free to make your own pick), it feels safe on a scientific level to note the continued relevance of the theme.
Joined in the band by guitarist Mike Chavez, bassist Steve Schmidlapp and drummer Ricardo Sanchez, Shickler is a significant presence in the material as he is in the broader heavy underground. Like Chavez, he formerly featured in Spiritu, and in addition to founding Blues Funeral Recordings and serving as label boss for Magnetic Eye Records, he’s one of the two founders of the defunct imprint MeteorCity, and arguably somebody who has been part of shaping heavy rock as it is today on a level few others could claim as their own.
He’s not writing songs about it, so it’s not all directly relevant to Everything Fades, but he’s someone I’ve known for 20 years, give or take, and one can hear in the included nine-tracks/38-minutes a conversation happening with the modern sphere — you’ll recall the band took part in RippleMusic‘s split series with last year’s Turned to Stone Ch. 8 (review here), sharing a platter with now-on-Magnetic–Eye Texas rockers High Desert Queen; the coursing, grunge-nodding progression of “Clearmountain” on Everything Fades would seem to show some effect of that — as Blue Heron build on the accomplishments of their debut.
And Everything Fades very much does that. “Null Geodesic” serves double-duty as a proper opener and an album-intro, and its sub-three-minute run recalls the interludes from the prior long-player but is more of a song despite a simpler structure where the heavy middle establishes the desert-hued tonal heft to come, brings the first gritty vocal echoes and balances impact and atmosphere. Much of Everything Fades feels tighter-wrought than Ephemeral, and part of that may just be that “Null Geodesic” is backed by the four-and-a-half-minute title-track instead of a 13-minute jam-out, but there’s no lack of expanse carried in the sound either way.
Tonally rich, Chavez‘s guitar and Schmidlapp‘s bass intertwine fluidly over the emphatic march of Sanchez‘s drumming as “Everything Fades” moves toward its pedal-click volume burst, and Shickler‘s guttural take recalls some of Neil Fallon‘s throatier moments but proves malleable in the more melodically-focused “Swansong,” which includes backing harmonies, and side B’s aforementioned “Clearmountain” as well as the penultimate “Bellwether,” which ties it all together with a particularly heavy push near the finish, ready to give over to 1:17 instrumental capper/outro “Flight of the Heron.”
This evolved approach corresponds with an instrumentalist breadth that manifests a crushing lumber on centerpiece “Dinosaur” at the start of side B, an immersive roll through “Swansong” and others, and a bluesy psychedelic turn in the sans-vocal “Trepidation,” which scorches in spacious lead guitar over Sanchez‘s steady thud until it fades out. As a whole, then, Blue Heron present a more dynamic take across Everything Fades, and do not draw needlessly stark lines between elements in their blend of microgenres. When “Flight of the Heron” kicks in with a riff that feels as purely Kyussian as desert rock could to be — Sanchez‘s soon-arriving drums give a more urgent edge to that — that point of arrival is earned all the more by the swath of ground the band have covered in getting there.
Be it in the tense thud and crawl of the first half of “We Breathe Darkness” that resolves in a consuming, fluid sprawl of distortion, or in the stomp of “Dinosaur,” which revels in its stomp and is one several showpieces for Sanchez besides, or Shickler‘s higher-register reach in the apex of “Bellwether,” Blue Heron find ways to underscore their development as a band over the last several years, without either making Everything Fades about that more than its own songs or letting the material stray too far from where they want it to go. This self-awareness is a strength in terms of their craft and aesthetic purposes, and the album is able to cast itself as a front-to-back journey in part because of it. There may be a lot going on at any given point, and variety is given to structure as well as volume throughout — and not just with what’s a ‘song’ and what’s an interlude — but Everything Fades is cohesive and directed, and boasts a depth of mix that affects the listening experience, whether they’re going all-out and not.
Spiritu never got to put out a follow-up to their 2002 self-titled, and some of what Blue Heron do is directly inherited from Chavez and Shickler‘s work in that outfit, but not all of it. Certainly a powerhouse rhythm section, modern production, and greater stylistic range make a difference, and these are aspects of Blue Heron that come to light throughout Everything Fades in relation to its own predecessor. As the band dig further into their songwriting modus, they seem to find more that works, and even if the pieces included are shorter on average, they’re allowed more impact for that individually while feeding into the overarching flow that, like the movement in “Bellwether” from mellow, tom-backed sandy brooding into a vibrant, hard-hitting course, comes across as organic. At no point does Everything Fades feel forced to go somewhere it doesn’t want to, and much to Blue Heron‘s credit, “Flight of the Heron” resists the temptation to undo its impact with cleverness and ends cold.
To bottom line it, while Ephemeral saw Blue Heron setting forth with an idea of who they were and the kind of music they wanted to make, Everything Fades magnifies that exponentially and is therefore an greater showing of potential for continued growth. Without pretense, they align to an expanded definition of what desert rock is, and in fostering a more varied persona across these songs, they sound ready to add to it. Speaking scientifically, the record kicks ass.
Posted in Whathaveyou on July 16th, 2024 by JJ Koczan
Set to appear among the hordes in the enviable lineup for this year’s Ripplefest Texas, the Jadd Shickler-fronted — formerly of Spiritu, best known for his work with Blues Funeral Recordings, Magnetic Eye, ex-Meteorcity, and so on — heavy rockers from Albuquerque will issue their second full-length, Everything Fades. The band are rolling out the title-track — and I do mean rolling — to coincide with the album’s announcement, and the song’s gritty hook should pique the interest of anyone who caught onto the band’s 2022 debut, Ephemeral (review here) or the 2023 split they issued with High Desert Queen, Turned to Stone Ch. 8: The Wake (review here) last year.
I guess the theme of ephemerality is still represented in the new record’s title and lead single, and fair enough. The fleeting nature of reality as we experience it hasn’t dulled any in the last two years, and from where I sit, a sludge-blues-desert-rocking nod such as that on offer here is worth embracing while you can. I haven’t heard the record yet, so can’t comment on other shenanigans, but if you can dig it, by all means, dig it.
This info is from Bandcamp. I expect a proper press release in the inbox about 30 seconds after it gets posted [actually, I waited for it — ed.]. So it goes. If you have the art and song and release date and you can get to Bandcamp for preorders, you probably have what you need anyway, and I say that as a dude who writes band bios on the (too) regular:
New Mexico heavy rockers BLUE HERON announce new album “Everything Fades” on Blues Funeral Recordings; stream title track now!
Albuquerque, New Mexico’s desert rock torchbearers BLUE HERON have announced the release of their new studio album “Everything Fades” on September 27th through Blues Funeral Recordings. Listen to the debut single and title track on all streaming services today!
BLUE HERON expand on their unyielding desert sound with a new slab of propulsive, sun-scorched riff-heaviness. “Everything Fades” finds the band reveling in low-tuned roil and amplifier hum, churning out swerving grooves as if the primordial spirit of the desert itself compels them.
Balanced between laid-back, meditative atmospherics and heavier, more aggressive lunges, BLUE HERON’s cruising jams and gritty stoner romps call to mind echoes of Kyuss, Clutch and Monster Magnet, as well as modern contemporaries Valley of the Sun and Greenleaf. Full of rhythmic intensity, sledgehammer riffing, and vocals ranging from clean and moody to howling and raw, “Everything Fades” covers a wide expanse of musical ground that shows how familiar influences can always be molded into inventive, exciting new forms.
The album will be issued on vinyl, CD digipack and digital formats on September 27th, with preorders available now via Blues Funeral Recordings.
Tracklisting: 1. Null Geodesic 2. Everything Fades 3. Swansong 4. We Breathe Darkness 5. Dinosaur 6. Trepidation 7. Clearmountain 8. Bellwether 9. Flight of the Heron
Blue Heron coalesced in 2018 around a compulsion to fill the wide New Mexico skies with massive volume, and saturate their piece of desert with thunderous riffs, drums that pummel and swing, deep, thrumming tones and vocals that rip and roar. Based in Albuquerque, New Mexico, their firsthand relationship with the desert is inextricable from who they are and how they sound.
BLUE HERON is Mike Chavez – Guitars Ricardo Sanchez – Drums Steve Schmidlapp – Bass Jadd Shickler – Vocals
Posted in Whathaveyou on April 8th, 2024 by JJ Koczan
This is one of the best lineups I’ve seen for a US-based heavy fest in the 15-plus years I’ve been running this site. I don’t know what else to say about it, honestly. For the fact that Ripplefest Texas is bringing Dozer over alone, let alone any of the other Euro acts involved who have, say, been to North America in the last 20-plus years, it’s astonishing. And not just bigger bands like Dozer and Truckfighters or Mars Red Sky and Belzebong, but Domkraft and Kal-El, bands you know if you’re into this thing but that haven’t been around as long and aren’t as ‘huge’ in the whatever sense that applies in underground music.
And it’s not like they’re skimping on within-US geography either. Of course the desert is well represented, and Texas has a significant presence as it invariably would, but with Gozu and Leather Lung headed out from Boston, Borracho traveling from D.C., Temple of the Fuzz Witch from Michigan, Robots of the Ancient World from Portland, Oregon, and so on, they’ve got all the corners and between pretty well covered. La Chinga coming from Canada. Demons My Friends giving Mexico a nod. It is extensive.
And quality. I don’t know that I’ll be there to see it, but I’d imagine that for most who get to be, it’ll be the stuff of legend. Congrats to Ryan Garney and Lick of My Spoon for bringing it into the world, and safe travels to all involved:
Here it is! The lineup for RippleFest Texas and the amazing art by Simon Berndt @1horsetown 🤘🔥❤️
We still have a few surprises left but this roster is stacked! Don’t miss your chance to see the world’s best heavy music at the largest family reunion of the year. Plus this is the ONLY premier festival that has absolutely ZERO OVERLAPPING so you can see every second of every band! Get your tickets now and we will see you in September!
Tier 2 tickets are almost sold out and the price increases on Monday so get your tickets now:
DOZER TRUCKFIGHTERS BONGZILLA MARS RED SKY BELZEBONG DOMKRAFT LEGIONS OF DOOM FATSO JETSON GOZU HOWLING GIANT THE HEAVY EYES HIGH DESERT QUEEN KAL-EL 20 WATT TOMBSTONE THE OTOLITH TEMPLE OF THE FUZZ WITCH LEATHER LUNG THUNDER HORSE HASHTRONAUT BONE CHURCH BORRACHO SUN CROW CRYSTAL SPIDERS TIA CARRERA ROBOTS OF THE ANCIENT WORLD MR. PLOW LA CHINGA FOSTERMOTHER BLUE HERON TEMPTRESS FORMULA 400 DEMONS MY FRIENDS VERMILION WHISKEY VIOLET RISING HUDU AKIL BUZZ ELECTRO SHADOW OF JUPITER
GRAND FINALE w/ MARIO LALLI & THE RUBBER SNAKE CHARMERS “Desert Jam Session”
Plus the best light show in the business by @themadalchemistliquidliteshow
Posted in Whathaveyou on September 25th, 2023 by JJ Koczan
This past weekend was Ripplefest Texas, and I gotta say, even having gone to a fest last friggin’ week, I was looking hard at that lineup and thinking to myself it’d be awfully nice to see a whole bunch of West Coast acts I don’t normally see. Maybe next year.
Wait, who’s thinking about next year when the festival is barely done? They are. Ripplefest Texas 2024 is bringing over Dozer and Mars Red Sky — oh I hope they tour together — and will have The Skull-offshoot Legions of Doom, Boston’s Gozu, The Heavy Eyes, High Desert Queen, Bone Church, Blue Heron, Demons My Friends and, as you might guess looking at the packed lineup that was assembled for this year’s event, many more to come.
Honestly, you had me at eitherDozer or Mars Red Sky, but the appeal here goes well beyond those, and in a US festival sphere reeling without a major summer event or two this year it’s gotten pretty used to having around, Ripplefest seems to be stepping in at least to give the heavy rock end of the underground somewhere to flourish. I’ll be interested to see in the next two or three years how it will continue to grow, but also just for next year. I’d imagine there’s a whole bunch of people who’ve already made their travel plans to get to Austin. Can’t say I really blame you.
More to come as we get closer to a year from now, obviously, but they’re throwing down. Pretty sure those earlybird tickets are gone:
DATES AND FIRST BANDS ANNOUNCED FOR NEXT YEAR!
DOZER LEGIONS OF DOOM MARS RED SKY GOZU THE HEAVY EYES HIGH DESERT QUEEN BONE CHURCH BLUE HERON DEMONS MY FRIENDS
[Click play above to stream High Desert Queen and Blue Heron’s Turned to Stone Ch. 8: The Wake split LP in full. Album is out Friday on Ripple Music and available to preorder here for the US, here for Europe, and here on Bandcamp.]
It’s a quick listen to be sure at just 28 minutes, but Turned to Stone Chapter 8: The Wake, which follows a lineage of Ripple Music splits that goes back eight years to the beginning of a series called The Second Coming of Heavy that focused on then-up-and-coming acts like Geezer and Borracho, Red Mesa, Kingnomad, and so on. That series boasted 10 releases and Turned to Stone began in earliest 2020 with Mr. Bison and Spacetrucker (review here) and has continued to roll out two or three split LPs per year since, the latest bringing together Albuquerque desert grunge sludgers Blue Heron and Austin, Texas, purveyors of plus-sized riffs and melody High Desert Queen.
The reason the lineage is relevant — yea, one split begat another split and that split begat another split, on into biblical perpetuity — is that Turned to Stone Chapter 8: The Wake reminds distinctly of the prior series’ specific intent to bolster newer bands; a mission that it directly inherited. Both High Desert Queen (side A) and Blue Heron (side B) present three songs that arrive subsequent to their debut full-lengths, Blue Heron having released Ephemeral (review here) a year ago this week through Seeing Red Records and Kozmik Artifactz and High Desert Queen having made a justified splash on Ripple (pun absolutely intended) with late 2021’s Secrets of the Black Moon (review here), the recording sessions of which birthed the three songs included here.
Cohesion between the two bands in terms of sound isn’t hard to come by. Both are straightforward in their arrangements, putting weighted fuzz out front in their mix and backing it with mostly mid-tempo grooves, more nod than shove, and both have frontmen involved behind-the-scenes in the heavy underground, whether it’s Blue Heron‘s Jadd Shickler serving as a label manager for Ripple as well as Magnetic Eye Records (also under the SPKR Media umbrella, along with labels like Prophecy Productions, Testimony Records and others) and Blues Funeral Recordings (responsible for the PostWax series and releases this year alone from Dozer and Acid King, among others) or High Desert Queen‘s Ryan Garney heading the booking concern Lick of My Spoon Productions, putting on RippleFest Texas and slating shows and tours for his own band and others.
The fourth-wall-breaking, multi-tiered ‘scene’ contributions of Shickler and Garney give another dimension to Turned to Stone Chapter 8: The Wake — emblematic of the DIY manner in which heavy rock and roll has become what it is today; a worldwide subcultural phenomenon most people know nothing about — but none of it would matter as regards this split LP if the songs weren’t there. I’ll confess there was part of me hoping the High Desert Queen tracks — the mega-hooky “Black Moon,” the shorter, floating-but-not-an-interlude “Drift Into the Sun” and the telltale stoner boogie “Roll the Dice” — would be newer recordings, but one takes what one can get, and having “Black Moon” as a late-arriving semi-title-track from that album is welcome, the song fading in on feedback before its forward roll begins in earnest, a somewhat foreboding groove that turns out to be thick enough for everyone to ride opening up in the verse before the layered melody of the chorus.
Like the album from which they (didn’t) come, “Black Moon” and “Roll the Dice” — the lyrics in the latter seem to be the band asking themselves ‘should we go for it?,’ which is laughable with the hindsight of the two years they’ve spent mostly on tour in the US and Europe, where they’re touring even as this split is released — aren’t trying to play coy in their appeal. They make a space and fill it. “Roll the Dice” has an edge of metal in its post-solo finish, but never crosses over to outright aggression, and is much more a standout single in its impression than a leftover. “Black Moon,” with an even stronger hook at the outset, functions similarly, while “Drift Into the Sun” connects the two to create a sense of fluidity between them, strengthening and broadening the whole as a mini-EP on one side. Don’t be surprised when they show up as bonus tracks on the 10th anniversary reissue of Secrets of the Black Moon eight years from now.
Answering back with “Able Baker” (a Richard Scarry reference?), “Day of the Comet” and “Superposition,” Blue Heron run a thread between first-record-era Queens of the Stone Age in tone and oldschool sludge rock burl as guitarist Mike Chavez (who, like Shickler, was also in Spiritu), bassist Steve Schmidlapp and drummer Ricardo Sanchez smoothly establish themselves on side B. Immersion and atmosphere are prevalent as “Able Baker” runs through its five minutes, with a tonal-highlight of a solo in its second half answering the leads in its first, and melody met with due rhythmic force. “Day of the Comet” is deceptive in feeling looser but maintaining the strong grip on structure, and like High Desert Queen before them, Blue Heron cap with the speedier nod of “Superposition,” a righteous showcase that transposes Facelift-era Alice in Chains onto a foundation of modern heavy.
High Desert Queen and Blue Heron offer further complement to each other in the depth and apparent reach of their mix. Both bands sound big without being overblown or sacrificing craft to studio-born largesse. For committed heavy rockers or those who’ve followed along with the series, Turned to Stone Chapter 8: The Wake is a no-brainer. The kind of release you can pick up and see where it takes you. To those who are unfamiliar or have seen the names around but have yet to check out the songs, the sampler-style encapsulation of what they do is likewise convenient and actually-good. While they’re coming off their respective debuts, as noted, Blue Heron and High Desert Queen share a knowledge of what they want to accomplish in songwriting and performance, and that sense of control makes it that much easier as a listener to roll along to where the riffs are leading.
That destination might be the desert, if we want to talk about aesthetic, but the direction is forward, as both clearly have more to say than has been said here or on their respective first LPs. Ultimately stronger for its relative brevity, Turned to Stone Chapter 8: The Wake leaves the audience wanting more from one band and then the other, engaging with new takes on classic methods with a realized intent toward quality and fullness of sound. The only way to lose is by missing it.
Quotes from the bands, PR wire info, preorder and social links, etc., follow in blue:
—
Ryan Garney on Turned to Stone Ch. 8: The Wake:
“It’s an honor to share a split with Blue Heron. From the first time we saw this band play live we were immediately happy to do anything with these musical juggernauts. Incredible musicians and even better people. It’s also great to be able resurrect three songs from the dead. These 3 tracks didn’t make our debut record and we are happy they get to see the light of day in conjunction with three powerful songs from Blue Heron.”
Jadd Shickler on Turned to Stone Ch. 8: The Wake:
“Split releases work best when there’s a reason for them to exist. It’s easy to slap two bands on a record to fill up the album sides, but when there’s something to connect them, that’s when a split makes sense. Blue Heron and High Desert Queen are both from the Southwest, we’ve both got a shared love of massive desert rock and, whether we intend it or not, a lot of grunge influences. We also dig them as people and as musicians. We welcomed them for their first out-of-state show at our 7-inch release gig in 2021, and they hosted us at Ripplefest Texas last year. We respect the hell out of their ambition, their musicality, and their dedication to huge riffs, so it’s a real pleasure to share this record with them. As for the songs, we put a bit of pressure on ourselves. Our debut album came out just a year ago, and we wanted to follow that with a batch of new tunes that are compact and fairly straightforward, but still show our love for starting a song in one place and ending up somewhere radically different.”
Pairing up two highly esteemed bands of the Southwest underground scene, “Turned To Stone Chapter 8” is a gigantic masterclass of heavy rock, with six tracks that will take you on a riff-fueled journey with no further ado! Between HIGH DESERT QUEEN’s versatile and massive-sounding heavy and BLUE HERON’s raucous and desert-shaped songcraft, it is no understatement to say that we are in presence of true forces of nature, an alliance between two up-and-coming greats of the US stoner and desert rock scene.
“Turned To Stone Chapter 8” will be available on May 26th in various vinyl formats as well as digitally, with preorders available now on Ripple Music. The artwork was created by award-winning comic and poster artist Johnny Dombrowski.
TRACKLIST: 1. High Desert Queen – Black Moon 2. High Desert Queen – Drift Into The Sun 3. High Desert Queen – Roll The Dice 4. Blue Heron – Able Baker 5. Blue Heron – Day Of The Comet 6. Blue Heron – Superposition
High Desert Queen: Morgan Miller – Bass Phil Hook – Drums Ryan Garney – Vocals Rusty Miller – Guitar
Blue Heron: Mike Chavez – Guitar Ricardo Sanchez – Drums Steve Schmidlapp – Bass Jadd Shickler – Vocals
Posted in Whathaveyou on March 21st, 2023 by JJ Koczan
If you’re unfamiliar — and if you are, that’s fine; I’m not trying to be out here keeping a gate or some bullshit — Ripple Music‘s Turned to Stone split series began after the success of the Cali label’s The Second Coming of Heavy 10-parter and has featured more than a few killers in its time, usually working on a loose theme either curated by Ripple itself or some underground denizen close to their heart. This time around, the two bands are Austin rockers High Desert Queen — about whom I’ve ended up writing pretty much daily for one reason or another the last couple weeks — and Albuquerque’s Blue Heron, who are fronted by Jadd Shickler of Magnetic Eye Records and Blues Funeral Recordings (he also co-founded MeteorCity and the All That is Heavy store before the century turned).
Both bands are awesome, so you’ll pardon if I treat this one as a total no-brainer. May 26 release. Preorders up. Fine. Blue Heron get first-single honors, and you can hear their “Able Baker” (is that you, Richard Scarry?) at the bottom of this post as a herald of more to come. I’ve done a few premieres for the last editions of Turned to Stone, and this press release just came in, so I haven’t made a request yet, but I think that might be where I head after I finish up here, which as it turns out, I just did.
From the PR wire:
US stoner rock units HIGH DESERT QUEEN and BLUE HERON to release ‘Turned To Stone Chapter 8’ split album on Ripple Music this May!
Ripple Music announces the release of “Turned To Stone Chapter 8: The Wake”, the new split record featuring Southwestern heavy and stoner rock merchants HIGH DESERT QUEEN and BLUE HERON, to be issued on May 26th, 2023. Listen to Blue Heron’s debut single “Able Baker” now!
About joining forces with High Desert Queen, Blue Heron frontman Jadd Shickler says: “We dig High Desert Queen as musicians and as people. We invited them to Albuquerque to play the release party for our first single, which I think was their first-ever out-of-town gig. They returned the favor by having us play with them at Ripplefest Texas last summer, and I think all of us in Blue Heron are pretty impressed by their go-getter attitude. Along with all that, several of us are actual friends outside of band stuff, so it just felt like a natural pairing that Todd at Ripple was on board with. We’re stoked that it worked out, and with luck, we’ll be playing some shows with them to promote the record later this year!”
Pairing up two highly esteemed bands of the Southwest underground scene, “Turned To Stone Chapter 8” is a gigantic masterclass of heavy rock, with six tracks that will take you on a riff-fueled journey with no further ado! Between HIGH DESERT QUEEN’s versatile and massive-sounding heavy and BLUE HERON’s raucous and desert-shaped songcraft, it is no understatement to say that we are in presence of true forces of nature, an alliance between two up-and-coming greats of the US stoner and desert rock scene.
“Turned To Stone Chapter 8” will be available on May 26th in various vinyl formats as well as digitally, with preorders available now on Ripple Music. The artwork was created by award-winning comic and poster artist Johnny Dombrowski.
TRACKLIST: 1. High Desert Queen – Black Moon 2. High Desert Queen – Drift Into The Sun 3. High Desert Queen – Roll The Dice 4. Blue Heron – Able Baker 5. Blue Heron – Day Of The Comet 6. Blue Heron – Superposition
