Posted in Whathaveyou on October 12th, 2026 by JJ Koczan
Not much room to argue here, and I’m not sure why you would anyhow as Denver’s HUFR Fest II brings in heavy rock stalwarts Fireball Ministry to headline its bill for next May 13-16. The lineup has come together to pull bands from all over the country and with a classic sound, memorable songs and always-killer performances, it’d be hard to say Fireball Ministry won’t fit well to top it off. The power four-piece join the bill alongside Solace, Luna Sol, Demons My Friends and a swath of others from Italy to Illinois, and earlier this year reissued 2003’s The Second Great Awakening through Ripple Music.
At least from what I can see on socials, this is the only Fireball Ministry gig on the books for right now, so heads up to make travel plans. From the internet:
FIREBALL MINISTRY JOINS THE HUFR FEST LINEUP!
HUFR FEST MILE HIGH RIFFS II — THE SECOND HUFF MAY 13–16, 2027 • DENVER, COLORADO • BAR 404
The lineup is getting HEAVY. Here’s who is currently bringing the riffs to The Second HUFF:
FIREBALL MINISTRY – Los Angeles, CA SOLACE – Asbury Park, NJ LUNA SOL – Denver, CO DEMONS MY FRIENDS — Mexico GODZILLA WAS TOO DRUNK TO DESTROY TOKYO — Italy FORMULA 400 — San Diego, CA FLORIST — Tampa, FL HOLYROLLER — Winston-Salem, NC LUNGBURNER — Atlanta, GA CROP — Lexington, KY PHANTOM HOUND — Oakland, CA DEER CREEK – Denver, CO GYPSY WIZARD QUEEN — North Dakota THEY WATCH US FROM THE MOON — Kansas City, MO VALIOMIERDA — Denver, CO MOTHERTOMB — Michigan EROSIONS — Illinois SEA OF FLAME — Denver, CO
And we’re NOWHERE NEAR DONE. More bands and announcements are coming.
Four days of stoner rock, doom, heavy psych, sludge, desert rock, fuzz and straight-up underground riff worship. MAY 13–16, 2027 BAR 404 — DENVER, COLORADO
—
THE DENVER SHOWCASE — MAY 13, 2027
We’re kicking off The Second HUFF with a special Denver Showcase at Bar 404 on Thursday, May 13.
Four killer bands. One night. One stage. No warm-up necessary.
COBRANOID MESSIAHVORE LOST RELICS BOOZIFER
The Denver Showcase is the official opening night of HUFR FEST Mile High Riffs II, bringing four heavy Denver-area acts together for one massive night of riffs before the full four-day festival kicks into high gear.
And yes — the Denver Showcase is included with the $99 Full Weekend Pass.
Posted in Whathaveyou on August 18th, 2026 by JJ Koczan
So, in addition to the addition of the four-band lineup for the pre-party on May 13 — ‘The Denver Showcase,’ as it’s labeled below — and the badass bill for the rest of the days as has been so far revealed, HUFR Fest II announced this past week that it’s running a poster contest for artists/everybody-not-using-AI as part of the festival this year, and I think that’s killer too, but honestly there’s only so much room and I didn’t want to confuse the news post, so I didn’t include the info here. Go to the fest’s website for more on that, especially if you can draw.
For the rest of us — my mother taught art for 35 years at the high- and grade-school levels; I’ve never been able to make a thing look like a thing — the lineup remains rad even without entering the contest. I’m pretty sure the latest adds to the bill-proper are still Solace and Deer Creek, but the Denver showcase brings Cobranoid, Messiahvore, Lost Relics and Boozifer and that’s bound to be a party. Looking at the rest of the days, I’m not sure how much more there is to round out the bills, but they say they’re “nowhere near done,” so I guess a lot and we’ll find out when we get there?
Yeah. Here you go:
HUFR FEST MILE HIGH RIFFS II – THE SECOND HUFF
MAY 13–16, 2027
BAR 404, DENVER, COLORADO
The lineup is getting HEAVY. Here’s who is currently bringing the riffs to The Second HUFF:
SOLACE – Asbury Park, NJ LUNA SOL – Denver, CO DEMONS MY FRIENDS — Mexico GODZILLA WAS TOO DRUNK TO DESTROY TOKYO — Italy FORMULA 400 — San Diego, CA FLORIST — Tampa, FL HOLYROLLER — Winston-Salem, NC LUNGBURNER — Atlanta, GA CROP — Lexington, KY PHANTOM HOUND — Oakland, CA DEER CREEK – Denver, CO GYPSY WIZARD QUEEN — North Dakota THEY WATCH US FROM THE MOON — Kansas City, MO VALIOMIERDA — Denver, CO MOTHERTOMB — Michigan EROSIONS — Illinois SEA OF FLAME — Denver, CO
And we’re NOWHERE NEAR DONE. More bands and announcements are coming.
Four days of stoner rock, doom, heavy psych, sludge, desert rock, fuzz and straight-up underground riff worship.
MAY 13–16, 2027 BAR 404 — DENVER, COLORADO
THE DENVER SHOWCASE — MAY 13, 2027
We’re kicking off The Second HUFF with a special Denver Showcase at Bar 404 on Thursday, May 13.
Four killer bands. One night. One stage. No warm-up necessary.
COBRANOID MESSIAHVORE LOST RELICS BOOZIFER
The Denver Showcase is the official opening night of HUFR FEST Mile High Riffs II, bringing four heavy Denver-area acts together for one massive night of riffs before the full four-day festival kicks into high gear.
And yes — the Denver Showcase is included with the $99 Full Weekend Pass.
—
TICKETS
$99 — FULL WEEKEND PASS Includes the Denver Showcase on Thursday, May 13, PLUS all HUFR FEST events Friday through Sunday.
$85 — WEEKEND PASS Includes all HUFR FEST events Friday, May 14 through Sunday, May 16. *Does not include the Denver Showcase.
HUFR FEST is built for the bands, the fans, and the people who keep the heavy underground alive. No corporate festival machine. Just great bands, loud amps, heavy riffs, and four days of getting your face melted in Denver. Poster by Steven Yoyada.
Posted in Reviews on August 10th, 2026 by JJ Koczan
Hi and welcome to the Summer 2026 Quarterly Review. Every day this week I’ll be posting a round of 10 reviews to total 50 by Friday, rounding up recent releases, stuff I’ve missed, etc. There are a few things in the mix that aren’t out yet that I’m going to sneak in (shh…), but it’s entirely possible I’ll be doing this again next month or in October, so, you know, sit tight. My hope is that you find something to hear you haven’t heard before, or at very least have your opinions validated on whatever it might be.
Without further ado, we roll.
Quarterly Review #1-10:
Goddess, Ritual of the Cloven Hoof
Based in Sweden and signed to Majestic Mountain Records, Goddess are an offshoot of 2010s-era doomers Goatess and feature guitarist/vocalist Karl-Martin Buhre and drummer Kenta Karlbom from that band alongside guitarist Anders Martinsgård (Black Solstice) and bassist John Jansson in the revamped, renamed four-piece on their six-track/37-minute doom-chugging debut album, Ritual of the Cloven Hoof. Sort-of-debut album? I don’t know how you want to classify it, but either way the point is doom, and Goddess inherit a penchant for massive riffs and forlorn spaces as songs like “To Be King” and the eight-and-a-half-minute “Born Again Heathen” begin to define a character that is their own within the genre, the latter leaning a bit into doomedelic jamming ahead of the closer “Devil’s Reef,” which returns to ground in reliable fashion with deceptive vitality in its push. It’s no coincidence they sound like they know what they’re doing, because they do, but their Ritual is also the beginning of a new exploration, and holds all the more potential for that.
A new Irata album isn’t something that happens all the time, and fair enough. Some bands need to live before they write songs about it, and that’s not sarcasm or criticism for how much heart the North Carolinian trio put into their music. Human, while only their fourth LP since 2007, comes seven years after 2019’s Tower (review here) and starts out duly moody to suit the times in “Altar” and the bassy “Confessions,” but the swaying highlight “Seeds” finds a way to inject more energy into the delivery without sacrificing atmosphere, and though they hit into speedier fare in “Mirrors” or the penultimate “Goodside,” they do so while maintaining a patient progressivism, which leads to the masterful unfolding of capper “Daystar” across two linear builds, the latter of which ends the Human on a fading rumble. While maintaining a current of raw expression, Irata are able to conjure expanses in their sound. A J. Robbins mix doesn’t hurt in that effort, but it wouldn’t work if the songs didn’t run as deep as they do.
Oh hell yes. Indonesian stoner doomers Gutward bring about a lumber that’s a sure reminder of what dragged me onto this wretched lifepath to start with. Huge, immersive grooves, airy but discernible vocals — that actually have something to say about the world around them; bonus — and a sense of space and outreach that is at once free and encompassing. I is their first release following the 2024 single “Mauna Vedanā,” and its five-track/35-minute course is less about innovation than celebration, reveling in the largesse of march at the end of “What’s With the Rush?” or the addled vastness in “Mass Delusion” and hopefully-foretelling-of-things-to-come melodic showcase “Rot Alone” ahead of 12-minute capper “The Messages,” which is heavy enough for whatever you need flattened but holds firm to its tempo gruel and the melody established by the song prior. My only problem with the record is I can’t figure out which label I want them to sign to most, but either way, I is easily among the best debut albums I’ve heard this year. I look forward to hearing where they go from here.
A six-years-later follow-up for the potential wrought in their 2020 self-titled debut (review here), Smokemaster‘s In the Temple is in coversation with the breadth of modern psychedelia and the friendly melodies of ’60s pop-psych alike, and the Cologne outfit manage to make even a mover like “Do it Again” feel like a quiet, intimate moment, while pieces like the title-track and “Electromagnetic” feel less concerned with heft than float, and “Down in the Salt Mines” hones a wash that turns the extended solo in its back half to an utter triumph brought to heel in favor of a quiet last verse. Acoustic guitar, organ, effects, breathy vocals, clever layering — all of these elements serve the needs of the songs, and the songs have more range for them, but the underlying structures are a strength as the harmonies in “Citrus Leaves” demonstrate before they bring the album to an effectively stirring resolution. It’s the kind of record that might make your day better.
At the core of Bantoriak is Izio Orsini from Rancho Bizzarro, who in 2015 debuted the project with Weedoism (review here) and all its attendant weirdness. Vol. II follows suit 11 years later — what is time? — but finds Orsini working with a range of guests, from Sergio Chotsourian (ex-Los Natas, etc.) on the lumbering post-intro plunge “Blu Bus,” to members of Vesta, Supernaughty and Zen Circus, resulting in a could-go-anywhere vision of meditative heavy psychedelia. There’s throat singing on “La Muerte del Sitar,” while “Ritualism” finds the sitar very much alive and droning, “Kairot” lets the guitar scorch a bit, and “Liquid Brain” feels like a lost jam from The Heads. The last four minutes are dedicated to the ethereal noise of “Karpura,” with the later reaches lost to distant shouts and a consuming sound that might be running water. A lesson in how to be in-genre and still totally on your own wavelength.
While I don’t envy any band the task of distinguishing themselves in London’s underground scene, which is arguably the most packed-with-riffs of anywhere the world over and has been at this point for some time, the manner in which Troy the Band meet the challenge head on with their second album (Des), following on from 2024’s debut, Cataclysm (review here), with a collection that finds the trio of guitarist Sean Burn, bassist Sean Durbin and drummer Jack Revans answering the departure of vocalist Craig Newman by including a breadth of guest appearances. The penultimate “Adoration of Ill Luck” features Ana-Maria Terr Bordei, whom they’ve since welcomed as their new permanent singer, and her command over the massive groove there honed is enough reason why, but only one among a slew of highlights that include the immediately preceding “Memory Glowing,” with Peter Holland (Elephant Tree, etc.) and Kay Elizabeth (Black Orchids), and the screaming volatility of “Nothing” or “Choke.” There’s a lot happening in any individual cut, but the root instrumentals tie it all together and make (Des) an engrossing journey of a listen.
I know the focus on the new Burning Sister two-songer, Plunge b/w Fadeout (Live), is supposed to be the A-side, the new studio track and the ‘gaze vibes therefrom, the steady roll brought to bear for just under six minutes, hypnotic and full in its unrolling, hinting toward psych but staying true to the band’s stated intention of being ‘Mile High Downer Rock,’ bassist/vocalist Steve Miller and drummer Alison Salutz exploring and finding a plane between atmosphere and impact, but don’t sleep on the B-side either. This live interpretation of “Fadeout,” which opened the band’s 2023 Get Your Head Right EP (review here) when they were a trio but here becomes a showcase of fuzz density, nod and ’90s druggery. I suppose there’s no wrong answer between the two cuts, but “Fadeout (Live)” makes an easy comparison point for the Denver two-piece’s continuing excursion into the outer bounds of heavy weirdness, and even better, I suspect that’s why it’s included in the first place. For more, see their 2025 LP Ghosts (review here), and yeah, I really mean that you should.
Focus is an aptly-titled six-years-later return and fifth album overall from Memphis heavy rockers The Heavy Eyes. Issued through Magnetic Eye and Kozmik Artifactz — the latter of long association — the 11-song collection swings and reaches out and puts its focus on the songs themselves, which are taut, well composed, and able to make a four-minute slab like “It’s All Simone” feel like an epic reach even as it takes its place in the overarching flow of the material. That might be experience or maturity coming through — they hit 15 years since their debut in 2026 — but with shades of All Them Witches in the vocals, a gleeful tonal swamp in “Corporal Upham” ahead of the fuzz-bluesy “That Cold Goliath (Might Return),” and hooks to spare throughout, The Heavy Eyes remind that so much of the appeal in the first place was their ability to cohesively take on a range of elements and fuse them into a single stylistic statement. The self-awareness with which Focus would seem to have been made hinders this not in the slightest. Heads up, rockers.
Atmospheric heavy psychedelia presented across five duly broad tracks comprises this impressive debut full-length from Vienna-based trio For Eons, and Collide both has intricacy in the now and speaks promises of things to come in its sprawling sound, patient in centerpiece “Depths of Time,” excitingly prog-fuzzed in opener “Old Friend,” and righteous in the payoff of the eight-and-half-minute “Echoes of the Past,” the vocal melody in the latter putting the band in league with the likes of The Machine or the still-missed Sungrazer while the clearheaded tones in the start-stops of “Million Voices” and the will to drift in closer “From the Jungles to the Cities” (which has its own start-stops toward the finish) harness a sense of progressivism without feeling overly indulgent so much as engaging the listener on more than one level. The title speaks of smashing things together, and maybe that’s how the band experiences their music, I don’t know, but from the listener’s standpoint their songs are more fluid than they might at first seem.
Classic Swedish hard/heavy rock from the second Rödtjut full-length, Framtiden var bättre förr, with a songwriting that pushes toward the proto-metallic in “Rödögd blåtira” (and elsewhere) but balances that out with, say, the flute in “Vår tid” or the organ-inclusive mellowprog fluidity of eight-minute instrumental closer “Efter stormen.” It’s in Swedish, obviously, and I’m ignorant of the language, but the chug of “VMA” transcends gerunds, and as they demonstrate with the leadoff title-track, a hook is a hook regardless of what the syllables actually mean. The lead guitar in “En plats som vi inte förstår” has a bit of fuzzy stank on it, but by and large the intention is toward straight-up hard rock of the later-’70s variety, though somebody in this band likes Judas Priest, and that’s reasonable. This is my first exposure to Rödtjut, who have apparently been through some lineup changes since their debut in 2023, but the straightforward approach suits them and the songs hit a stylistic sweetspot, so you won’t hear me complain.
Posted in Whathaveyou on August 3rd, 2026 by JJ Koczan
If you take a look at the cover art below for Astral Construct‘s upcoming third album, The Exoplanetary Diversions, and the scroll a little further down to the bottom of this post, you’ll see that the cover for the Colorado-based heavy space rock solo-project’s 2024 single “Three Moons” is a portion of the left side of the painting that will adorn the LP. Of course, we live in a universe of infinite possibility and I could always always alwaysbe wrong, but that would seem to be a sign that band-denizen Drew Patricks will be including the song on the album as well.
The prog-leaning outfit has signed with esteemed purveyor Echodelick Records to release The Exoplanetary Diversions this Fall, complete with a sans-vocals take on Nirvana‘s “Heart Shaped Box,” which is sure to be a good time given the likely reinterpretation taking place. The band’s Traveling to a Higher Consciousness (review here) came out in 2023, followed by the standalone release for “Three Moons,” so it would seem the new record has been in the works for a while.
Exact release date is still TBA, but the signing announcement below came through the PR wire for the interim:
Instrumental, Progressive Space Rocker, Astral Construct, has signed with Echodelick Records in preparation for the release of the third studio album, The Exoplanetary Diversions. The Colorado Springs solo project and Echodelick Records have slated late Fall of 2026 to unleash the newest chapter in the cosmic voyages of The Traveler.
Astral Construct conjures aural journeys that carry the listener to distant places of their own imagination. Albums are meant to be consumed whole like the golden days of records when people were free of the distractions of technology and the skip button. The first album, Tales of Cosmic Journeys, introduced the listener to the solitary traveler through songs such as “Dust of a Thousand Cosmic Clouds” and “Hand Against the Solar Winds”.
Astral Construct’s second album, Traveling a Higher Consciousness, continued the explorations with transportive devices such as “Heart of the Nebula” and “Interstellar”. With each release, Astral Construct further expands the sonic palette, much like widening the lens to see more of the galaxy. This experience is the creation of multi-instrumentalist (guitar, bass, keys), Drew Patricks who found his inspiration in space travel and the psychology of solitude which is distinctly different from loneliness.
With The Exoplanetary Diversions, Astral Construct delves deeper into these themes with ferocity while simultaneously providing melodic passages that evoke a variety of emotional responses. The album continues to examine instrumental storytelling as well as drawing deeply upon the heavy influences that brought this music forward.
The album also includes a first for Astral Construct, an instrumental cover of the classic ’90s song, Heart Shaped Box, delivered from distant galaxies. This decidedly Astral Construct spin on the Nirvana classic, transports the listener to celestial spaces, transcending the confines of this world.
Posted in Whathaveyou on July 30th, 2026 by JJ Koczan
On the heels of their appearance this past weekend at Fire in the Mountains — where all the cool kids were — and the posting last week of a video for their new single “The Archive,” Denver folk-informed progressive black metallers Dreadnought have announced the Sept. 11 release of their sixth full-length, Wars of Spirit // Wards of Light. Their last two LPs were released through Profound Lore, but this one will be out on Vesperian, which is also home to Wayfarer, Polymoon and others. I haven’t heard it or surely I’d have something more to say.
The single is expansive despite only running a little over four and a half minutes, but that should be no surprise to those familiar with the band. As Kelly Schilling and Ryan Sims share vocals, the dynamic is keyed for breadth as ever while also being metal as fuck. One to note if you like things that don’t sound like other things:
DREADNOUGHT have always defied category. On their new album, they refine the defiance. Wars Of Spirit // Wards Of Light fuses progressive metal, folk, and atmosphere into something leaner and more direct than anything in their catalogue — without losing an ounce of depth. Artwork by Eisner Award-winner Christian Ward. Mixed by Julius Mauranen (Oranssi Pazuzu). Cosmic in scale. Deeply human at its core.
Releases September 11, 2026
1. Tiamat’s Gate 2. The Archive 04:35 3. Colors Of Our Broken Hearts 4. Serpents Of The Moon 5. Aeonwar 6. The Twilight Protectorate
Video Credits: Kelly Schilling – Director of Photography / Editor / MUA Alex Pace – Assistant Director/ Assistant Camera Jordan Clancy – SFX / Assistant Lighting / Assistant Camera Kevin Handlon – Production Assistant Ryan Sims – Production Assistant Caiti Olson – Production Assistant Emily Rhodes – Assistant MUA Eri Norwood – Wardrobe Kiki GaNun – The Ward of Light
Special thank you to Amusia for providing studio space!
Produced by DREADNOUGHT Recorded by Andy Patterson Mixed by Julius Mauranen Mastered by Jaakko Viitalähd
line-up: Jordan Clancy – Drums, Percussion Kevin Handlon – Bass Guitar Kelly Schilling – Vocals, Guitars, Keys, Synth Ryan Sims – Vocals, Guitars
Posted in Whathaveyou on July 21st, 2026 by JJ Koczan
Each of the three latest additions to the lineup for HUFR Fest II in Denver — set for May 14-16, 2027 — brings something different to the proceedings. Deer Creek are speakers to the downtrodden, and their heavy roll and cynicism have extended far beyond the reaches of the Mile High City since the turn of the century. Luna Sol are an unstoppable force of heavy blues onstage, with Dave Angstrom (Hermano, Supafuzz) bringing the kind of good time that simply can’t be faked.
Both of those are West Coast bands, though, and the fact that Solace are traveling from New Jersey to play HUFR Fest II makes it special even before you get to their onstage legacy or latest album, Fading Failing Ruin (review here). Though they went to Europe this Spring, they generally aren’t a tour-far-and-wide outfit at this point, so if you can see them, do. They’re the first name on the thus-far HUFR Fest II poster for a reason.
Pieced together from multiple sources:
HUFR FEST Mile High Riffs II – The Second Huff announces more rock and roll. Solace Luna Sol Official and Deer Creek 303 Doom
Our two featured bands share a history that stretches back decades. They’ve toured **Europe together**, helped shape the heavy underground, and have earned the respect of riff lovers around the world through years of crushing albums, unforgettable live shows, and unwavering dedication to heavy music. Their stories are intertwined, and now they’ll reunite on the stage at **HUFR FEST Mile High Riffs II**.
Founded by Sean Brooks, Andrea Thomas-Brooks, and Zeth Pedulla, HUFR FEST Mile High Riffs celebrates the best in doom, stoner rock, sludge, heavy psych, and underground heavy music. Presented in partnership with The Heavy Underground Farm Report, the festival brings together artists and fans from across the globe for a weekend dedicated to community, discovery, and massive riffs.
HUFR FEST Mile High Riffs II: The Second Huff May 14–16, 2027 Bar 404 Denver, Colorado
For festival updates, artist announcements, and future ticket information, visithufrfest.com.
Posted in Whathaveyou on July 16th, 2026 by JJ Koczan
New single with a live B-side. If you’ve kept up with Denver now-duo Burning Sister and their post-grunge heavy downerism, “Plunge” should fit in just fine with its spacious, six-minute roll living up to the title. You might have trouble believing there’s no guitar on it, but it’s 2026 and nothing make any sense anyway, so whatever. The new song comes accompanied by a live take on “Fadeout,” from their 2023 EP, Get Your Head Right (review here), and though obviously the studio track is the focus, it’s cool to hear them reinterpret an older song with their new configuration as well.
Bassist/vocalist Steve Miller sent some background on the single along via the PR wire. Have at it:
Denver bass and drum duo, Burning Sister, do their best to make the racket of a four-piece band with an array of amps, ABY boxes, and fx pedals. On their latest single, “Plunge,” the band stays true to their weighty doom roots while following their gear into heavy shoegaze realms occupied by the likes of MBV, Swirlies, Swervedriver and noisegaze greats, Medicine. Combine this lush, atmospheric haze with the weight of bands such as Torche, Slomatics, and Big Business and you get an idea of where Burning Sister is sonically. “Plunge” is backed with a live version of “Fadeout” which originally appears on the band’s ‘Get Your Head Right’ EP in studio form. Live, as a two-piece, “Fadeout” is perhaps even heavier than the initial recordings and just as spacey.
“Plunge” is really the result of experimentation, following the gear, and not letting go of a bass riff that I’ve been playing for years, but couldn’t develop into a song. How can I make our two-piece sound like we have a couple of guitarists on stage with us without relying on backing tracks? How do we create more movement and separation between bass guitar signals? We found that the answer invariably relies on more pedals and modulation haha. But the real breakthrough was finding a way to mimic “glide” strumming and, hopefully, making it sound sonically not too artificial. With the pieces in place, we just kept jamming until we hammered it into a hazy form. – Steve Miller
Burning Sister is: Steve Miller – bass, vox, synth Alison Salutz – drums
Posted in Whathaveyou on June 24th, 2026 by JJ Koczan
Second lineup announcement from ‘The Second Huff,’ as HUFR Fest II is being called, brings seven new names, including what I believe are the first import acts to feature at the event, which held its inaugural edition this past Spring in Denver. Austin/Mexico’s Demons My Friends won’t have to cross an ocean to get to Colorado, but Italy’s Godzilla Was Too Drunk to Destroy Tokyo sure will, with a flight about as long as their moniker to make it happen. I’m not taking away from Mothertomb or Gypsy Wizard Queen or even Sea of Flame, who are from Denver, but it’s cool to see HUFR Fest‘s geographic reach expanding as word of the fest continues to spread.
The full so-far billing follow here for the three-dayer next May. There’s a lot to like in terms of variety while being keyed in on the stonerly underground in a way that the Steven Yoyada poster captures quite nicely. I’m looking forward to seeing how the rest of the lineup shakes out, but here’s this for now:
We announced the next 7 bands for HUFR FEST Mile High Riffs II – The Second Huff
Demons My Friends (Mexico) Godzilla Was Too Drunk To Destroy Tokyo (Italy) They Watch Us From the Moon (Kansas) Gypsy.Wizard.Queen (North Dakota) Mothertomb (Michigan) Sea of Flame (Denver) Erosions (Illinois)
Thank you to Bar404 for hosting our event again this year. We are grateful for everything you do for us and the scene! Thank you!
—
Founded by Sean Brooks, Andrea Thomas-Brooks, and Zeth Pedulla, HUFR FEST Mile High Riffs celebrates the best in doom, stoner rock, sludge, heavy psych, and underground heavy music. Presented in partnership with The Heavy Underground Farm Report, the festival brings together artists and fans from across the globe for a weekend dedicated to community, discovery, and massive riffs.
HUFR FEST Mile High Riffs II: The Second Huff May 14–16, 2027 Bar 404 Denver, Colorado
For festival updates, artist announcements, and future ticket information, visithufrfest.com.
