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 🪐
Posted in Whathaveyou on February 10th, 2025 by JJ Koczan
Colour Haze first released To the Highest Gods We Know (review here) just as 2014 was rolling over to 2015 — I remember because I couldn’t tell which year to count it as during list time; ultimately I went with 2015, which I think was wrong; not an isolated incident — and while one doesn’t generally think of a band’s 11th full-length as an especially pivotal moment, from the moment it arrived, the five-song outing had a daunting task: following-up 2012’s She Said (review here), which is inarguably the most expansive album of the band’s genre-setting career.
To the Highest Gods We Knowwas purposeful in the direction it took, stripping back what had become a borderline-orchestral sound on the record prior to a band-in-room kind of feel with guitarist/vocalist Stefan Koglek, then-bassist Philipp Rasthofer and drummer Manfred Merwald still looking beyond themselves in terms of arrangements, but basing the songs much more on the root performances of the core trio, though if you read that to mean their dynamic was absent from She Said, that’s not the case. Either way, it is the Colour Haze record that perhaps has the most room to expand.
And it has expanded. As Koglek has done with 2008’s All (discussed here, also here), 2017’s In Her Garden (discussed here, review here), a 2021 revisit to 2003’s Los Sounds de Krauts (reissue review here) and various other remasters, the new take on To the Highest Gods We Know is more than a volume raise and an artwork refresh. There are counterpoints added, arrangements fleshed out, and the songs progressed in a way that highlights the original character of the performances while giving new impressions therefrom. It’s a fan-piece, for sure, but Colour Haze have always encouraged deep listening one way or the other. Basically they’re giving their listenership a chance to get to know their catalog all over again. It’s a terrible time to be a human being, but a good time to be a Colour Haze fan.
Their latest newsletter, complete with order link and the 30th anniversary touring the band will start this week with Mario Lalli and Mathew Bethancourt supporting. That in itself is good news. The album’s also streaming on Bandcamp, so that’s below as well:
30 Years of Colour Haze Tour Dates, To The Highest Gods We Know, T-Shirts, Patches, Pins
Dear friends,
30 Years Tour
After the recent shows have all been such a great pleasure – especially thanks to all who made our 30 Jahre Colour Haze Fest end of December this great party! – we are looking forward to our European tour starting next friday in Vienna! We are in company of our dear friends of Josiah (and for the second half Mathews Hidden Museum playing a best of Josiah, Kings Of Frog Island and Cherry Choke) and the Rubber Snake Charmers with desertrock-pioneer Mario Lalli. Don’t miss us, we don’t come too often! : )
The next in the line of our reworked albums. And this one turned out especially well in my opinion.
After the exhausting production of She Said in 2014 we just intended to make a nice little record in between. Unfortunately it suffered from the hassles around the loss of our studio-place in the end. Completely remixed, in parts with new vocals und little extras here and there To The Highest Gods We Know now became a real highlight in our discography.
The artwork is new as well. The wolf howling to the moon of our intersubjective realities moved on the backside while on the front a beautiful explosion-mandala by Alix Bischoff shows what happens every time when men wants to shape reality by his beliefs, imaginations, concepts and ideas – instead of trying it the other way round once….
Have a listen!
Downloads (equivalent to the vinyl master) are already on. CD and LP are on preorder. The LP has been cut and I’m waiting for the testpressing – it won’t take too long this time….
T-Shirts, Patches, Pins
We finally have patches and pins for your jacket – soon in the shop and at the shows. Shirts are available in new colors. Due to many requests I also reprinted the Elektrohasch shirt – in a nice green!
Liebe Grüße & Best Wishes Stefan Koglek
Tourdates: 14.02. A – Wien – Arena 15.02. PL – Kraków – Hype Park 16.02. PL – Warszawa – Proxima 17.02. D – Leipzig – Werk 2 18.02. D – Hamburg – Knust 19.02. D – Hannover – Faust 20.02. NL – Groningen – Vera 21.02. NL – Nijmegen – Doornroosje 22.02. LU – Esch-sur-Alzette – Kulturfabrik 23.02. F – Paris – Petit Bain 24.02. CH – Genf – L’Usine 25.02. IT – Milano – Legend Club 26.02. CH – Düdingen – Bad Bonn 27.02. CH – Aarau – Kiff 28.02. D – Freiburg – Jazzhaus 01.03. D – Tübingen – Sudhaus
Posted in Whathaveyou on November 26th, 2024 by JJ Koczan
See, you knew something was up a couple weeks ago when European booking concern and record label Sound of Liberationannounced their first 20th anniversary party and included the name of the host city. SOL Sonic Ride Cologne will take place in Cologne, Germany, on March 29. The newly unveiled SOL Psych Out Karlsruhe is set for the night before, obviously in Karlsruhe. I don’t know that it will or won’t be the last celebration Sound of Liberation will host for their 20th anniversary, but if they’re already doing two, they’ve opened a door to more, either concurrent to Cologne and Karlsruhe or at some other point in the year.
There’s a little lineup overlap between the evenings’ lineups, but if you’re planning on hitting both, I somehow suspect that seeing Colour Haze and Earth Tongue two nights in a row won’t be an issue for you. With Greenleaf, Daily Thompson and Kant featuring on the Karlsruhe bill, you would not call it lacking, in any case. I don’t generally think of those bands as particularly psychedelic, Colour Haze notwithstanding, but it’s their party and they can call it what they want to. A badass assemblage by any other name remains badass.
Of course, Sound of Liberation is well versed in festival-making across a swath of locales. The company in closely involved in a number of fests throughout Europe all year long, and have been essential in shaping the live circuit across the continent. 20 years later, heavy rock and roll on planet earth is better for the work they’ve done. There are very, very few who can make such a claim.
From socials:
SOL PSYCH OUT FESTIVAL
Hey friends,
are you ready to celebrate two decades of heavy riffs?🔥
Mark your calendars for March 28, 2025, and join us at the Jubez Karlsruhe for the first-ever SOL PSYCH OUT festival!
This one-night-only event is all about stoner and psychedelic rock, featuring a killer lineup straight out of the Sound of Liberation universe:
Posted in Whathaveyou on November 14th, 2024 by JJ Koczan
Holy smokes, check out that lineup. 10 bands and not a clunker or a filler in the bunch. Each offers something different, each occupies a different place in sound and has a different history. From heavy psych progenitors Colour Haze through up and comers like Lucid Void and Kant — both of whom have releases out through Sound of Liberation‘s label wing in addition to working with the booking agency — and being My Sleeping Karma‘s first-revealed date for 2025 (come on, Freak Valley; they’re a bucket-list band for me), it’s a stunner even before you tap 1000mods supporting their new record, Slomosa on the heels of their second, Greenleaf being Greenleaf, Gnome and Earth Tongue and Daevar all continuing to kill it. Damn. As all-dayers go, the SOL Sonic Ride — the 20th anniversary celebration of the aforementioned Sound of Liberation, ser for March 29 and happening across two venues in Cologne, Germany — looks positively epic.
You might recall what happened with Sound of Liberation‘s 15th anniversary shindig, which was to have been held in 2020 and became a 17th anniversary shindig in 2022. On more than a few levels, I wish SOL Sonic Ride a less fraught realization. And happy 20 years to Sound of Liberation, while we’re here.
From socials:
20 YEARS OF SOUND OF LIBERATION
Hey friends,
we’re celebrating two decades of heavy riffs!🪩
Join us on March 29, 2025 in Cologne for a one-day-only festival: SOL SONIC RIDE COLOGNE!🚀
Expect explosive performances from some of the heaviest and trippiest bands on the SOL roster, including:
Posted in Whathaveyou on October 2nd, 2024 by JJ Koczan
A short time after I took the above photo at Bear Stone Festival this past July in Croatia, I stood by the side of the stage with an assemblage from among the media-types brought in to cover the fest. I had been singing Colour Haze‘s praises before the set, as one will, and as a few turned to me with now-knowing smiles, I said flat out they’re my favorite band in the world to watch on a stage.
What’s worse, I think I meant it.
Wildly influential yet singular in their character, the (mostly) German four-piece comprised of guitarist/vocalist Stefan Koglek, bassist Mario Oberpucher, drummer Manfred Merwald and keyboardist/synthesist Jan Faszbender will continue to tour celebrating the band’s 30th anniversary early next year, following up on 2024 dates heralding the same cause. Whatever the reason, get to a Colour Haze gig if you can. There were rumors around of North American touring next year too. I haven’t heard anything solid in that regard as yet, but, well, a boy can hope. Any year you get to see them play is a good one.
Note that El Padre El Don is a new father-son duo from Mario Lalli and Dino Von Lalli, who feature together otherwise in Fatso Jetson. They’ll have desert-mainstay Sean Wheeler (see also Mario Lalli and the Rubber Snake Charmers) with them for a few dates as well, while no less than UK expectation-destroyers Josiah will provide direct support for the bulk of the dates. You can’t go wrong here.
Dates were posted on socials as follows:
Tour in February 2025:
Colour Haze + Josiah + El Padre El Don (Mario & Dino Lalli): 14.02.25 (AT) Vienna, Arena 15.02.25 (PL) Kraków, Hype Park 16.02.25 (PL) Warszawa, Proxima 17.02.25 (DE) Leipzig, Werk 2 18.02.25 (DE) Hamburg, Knust 19.02.25 (DE) Hannover, Faust 20.02.25 (NL) Groningen, Vera 21.02.25 (NL) Nijmegen, Doornroosje 22.02.25 (LU) Esch-sur-Alzette, Kulturfabrik
Colour Haze + Josiah + El Padre El Don (Mario & Dino Lalli) featuring Sean Wheeler: 23.02.25 (FR) Paris, Petit Bain
Colour Haze + El Padre El Don (Mario & Dino Lalli) featuring Sean Wheeler: 24.02.25 (CH) Genf, L’Usine 25.02.25 (IT) Milano, Legend Club 26.02.25 (CH) Düdingen, Bad Bonn 27.02.25 (CH) Aarau, Kiff 28.02.25 (DE) Freiburg, Jazzhaus 01.03.25 (DE) Tübingen, Sudhaus
Posted in Whathaveyou on July 31st, 2024 by JJ Koczan
That Colour Haze are writing a new album makes me pretty happy, but honestly, I kind of expect at this point that the Munich progenitors of heavy psychedelic rock are always writing at one level or another, moving forward as they go from fest to fest or show to show or the stretches between, just as a part of life. That the plan is to take their time with it, that they’ve “taken on quite something” for it and are letting it unfold as they need to is even more encouraging.
I’m curious as to the particulars of that, of course, whether it’s something about the recording circumstance, or maybe they’re going full-orchestral, whatever it might be, but we’ll find out in due course and they have plenty going on in the meantime, between more festivals upcoming — Palp Festival in Switzerland and SonicBlast in Portugal ahead of Heavy Psych Sounds Fest in Germany and more this Fall, a presumed stop at Keep it Low for the Oct. 11 TBA below, and a 30th anniversary party at the end of December that, well, if someone wanted to fly my ass to Germany for it is a celebration I’d very much enjoy attending — and guitarist/vocalist Stefan Koglek‘s ongoing catalog revisits.
Details came in the band’s latest newsletter, which you’ll find in blue text below:
Dear Friends,
This year we celebrate 30 years Colour Haze!
As a first anniversary special, selected CDs are available in our webshop for a special price of 6.- Euro (5,04 outside EU).
After 30 years you have something to tell. We want to give you some more information and pictures on our webpage. Apart from more detailed information to our records we are busy writing some articles and stories – about music, instruments, recordings, touring etc. – which we will published one by one at www.colourhaze.de
The new In Her Garden DLP will arrive from factory on August 15th. The downloads at www.colourhaze.de are already the new version. You can listen to the new mixes at our youtube channel.
At the moment I’m reworking our 2014 album „To The Highest Gods We Know“. Besides a more powerful and transparent mix I take the opportunity to improve also the musical side. E.g. I took the slow original album version of „Überall“ in C and speeded it up on the tapemachine so it matches todays much faster live-version in D – some Hammond and the guitar-solo have been added by Jan and me as well. We think this way the album version of Überall is much better now : ) As a little preview you can hear an unmastered mix of Überall on https://www.youtube.com/@colourhaze6383.
Mix of side A is done and side B won’t take too long.
Next will be Live Vol. 4 from the recordings of our recent liveshows and a rework of We Are. And of course we are working on new music. We have taken on quite something for the new album and will take the time it needs. : )
But foremost we’ll play a lot of shows in the next months! After we already had a great time at Desertfest London, Duna Jam, Fusion Festival, Bearstone & Stonerkras (thanks to everybody!) we are looking forward to the upcoming shows – a.o. a first tour to the Balkans with support Smokemaster.
Liebe Grüße & Best Wishes Stefan Koglek
Tourdates:
07.08. – CH – Rocklette / Palp Festival 08.08. – IT – Brescia, Festival 09.08. – POR – Sonic Blast Festival 28.09. – Lohr – Praise The Fuzz Festival 03.10. SLO – Ljubljana – Gala Hala 04.10. SRB – Novi Sad – SKCNS Fabrika 05.10. GR – Thessaloniki – Mylos Club 06.10. GR – Athen – Gargarin 205 08.10. BU – Sofia – Club Mixtape 5 09.10. RO – Bucharest 10.10. RO – Cluj-Napoca – Flying Circus 11.10. tba 12.10. A – Graz – Dom Im Berg – Strom Im Berg 26.10. Dresden – Heavy Psych Sounds Fest 22.11. Regensburg – Alte Mälzerei 29.11. Darmstadt – Centralstation – Psychedelic Night 07.12. Zwickau – Alter Gasometer 28.12. München – Feierwerk – 30-Jahre Colour Haze Fest 2025 03.01. Erlangen – E-Werk 04.01. Duisburg – Bora
Me and my silly ADHD brain left my bucket hat back at Rooms Daniela. Big mistake. Also no sunblock anywhere in my luggage, which I feel like is even dumber now that I’m here. There’s no definition of “adult” that doesn’t apply to me. I should be better at this stuff by now.
That will make finding and staying in shade all the more urgent, and my pale form will burn as though torched like the cosmos by Pigs Pigs Pigs Pigs Pigs Pigs Pigs themselves, but cancer is later-me’s problem, and he’ll deal with burns, tumors and such as need be. But yeah, might spend more time in the press area today, which is covered. There are also a couple clouds here and there to provide periodic relief. I’ll do my best, but it is sweat-while-stationary hot. More water. It will be okay. The music will start. Night will come.
Took a ride back into town with friends during Mother Vulture yesterday, as I mentioned near the end of that post, but I didn’t actually get to sleep until around 5AM. I was caught up sorting photos, which on my not-that-new-anymore laptop is less efficient than it used to be, and then just couldn’t quite key down. I guess the adrenaline that carried me through had a half-life. So it goes. I got up at 10AM, so not entirely sleepless, but yeah. The second long festival day here is going to be a trip, I think.
You could see the Milky Way banded across the sky as I made my way out last night, which was perhaps all the more valued as I missed out on stargazing during my recent Southwest US jaunt. A stirring reminder that we are all gas and dust revolving at however many hundreds of thousands of miles of hour around a supermassive black hole, which I feel like is worth keeping in mind anytime you might be tempted to think a thing matters or has any kind of permanence as humanity sits one EM pulse away from the Stone Ages. I could go on here, but it doesn’t seem in the spirit of things to be comforted by hopelessness. If nothing matters, you understand, it’s okay that I forgot my hat.
It is impossible to ignore the idyllic nature of this space; a forested canyon carved out by the Mrežnica, if I have it right, and the swimmers, canoers, kayakers, campers, and lawn-layers are correct to take advantage of the river, the trees, the grass, all of it. I’m a little too in my own head for that kind of whatnot, but that doesn’t stop me from seeing the pricelessness of the physical location and layout both for the attendees now and as Bear Stone continues to build on its to-date accomplishments, as one hopes it will.
However cool it will look in the aftermovie and all the posts people will put on Instagram once they’re back where there’s cell signal, the character of this spot is more perfect than a single sensory media can capture. I could do with fewer dudes urinating in random corners — I get it, bro, you’re drunk and you love nature, but the portajohn is two meters that way and the composting toilet is another five beyond that; you don’t need to pee in the river either — but you take the bad with the good, and as regards this place and this fest, it’s an easy trade to make.
Time to start this thing. Here we go.
—
Azutmaga
I’ve false-started on writing about Azutmaga three times now, which I guess means I’ve had enough coffee. The Hungarian instrumental two-piece — I’m pretty sure the guitarist said they were from Hungary; magyarok vannak, szerintem — got started quietly and kept a subdued, meditative vibe throughout, despite getting fairly heavy at times. They have a new album, which I will want to chase down hearing after seeing them play. Put it in my notes to remember. Just guitar and drums, though there were more effects pedals on the floor than some entire bands had, so perhaps an expansive sound isn’t a shock, but the languid groove hit me with the right kind of soothe, and in my shady stairs spot, maybe 10 steps up of the total a-whole-bunch, I watched as the pavilion likewise casually packed out, the comings and goings. A sprig from one of the trees above me fell into my lap and I stuck it behind my ear. It didn’t last, but I mention it because it seemed like a fitting thing to do as Azutmaga played, delving into some slower nod as they emerged from a wandering drift, apparently playing their new record — I’m sorry, I didn’t catch the name and can’t look it up; I assure you I mean no disrespect — and exploring through one fluid jam into the next, no pretense about it but ready to build it into a fuller nod, patiently. The guitar player spent most of the set facing the drummer head on, turned away from the crowd — one imagines them on a differently arranged stage set up next to each other, though I have no idea if they actually do that — but it didn’t matter. The focus was on trance, immersion, and I was grateful for the chance to let go of some of the anxious buzz for a bit.
Rifftree
As pure riff and volume worship as I’ve yet seen at Bear Stone from the weekend’s second duo — and right in a row; a duology of duos –Rifftree had guitar and bass tones dialed in through separate amps to maximize volume and depth, and it worked well. They were more about rolling largesse than Azutmaga initially, and both the bass player and the drummer offered rough-edged vocal shouts, but it was the way the low and high ends of the riffs were arranged that made it work so well for me. One or the other would click off, guitar or bass sound, then snap back in a manner no less satisfying for being so clearly telegraphed. They sped up and slowed down, more High on Fire here, more Sleep there, as will happen, but the dirty tone was vivid and central, with some raw feedback for extra scathe on the sludge and pummel. It was a threat that lingered when they drew back the onslaught for a nod-out, and the set was more effective for that. Not the first time I’ve said this this weekend, I know, but I swear I heard a Kyuss riff in there somewhere. Fair use in the building of such stonerly shrines. They capped with a welcome insistence of chug and shove brought to a sudden halt, and I have to think that if they were called Bong-anything, you’d already have heard of them.
I walked back over to the Sviraj!Jam and caught a few seconds of Colour Haze soundchecking. They weren’t even playing songs yet, though that would come after Rifftree finished and could be heard over by the pavilion for the Mill Stage, but I could still sit for hours and just listen to that band meander. Gladly.
Acidsitter
Throbbing heavy psych rockers Acidsitter, whose slogan “make acid great again” — it’s also the name of their record — just kind of feels tragic coming from the States, where this notion of greatness apparently translates to christofascism, were a good time. The performative elements of their two guitarists’ stage costumes were contrasted by the bassist who mostly sat on an amp case, but the vibe was potent either way. They wove between drift and thrust, synthy flourish for a touch of prog but not much more than that as their priorities were clear from the outset. They would enact a full-tone nod topped with a duly classic-style solo, but they didn’t dwell in any one place for so long as to sacrifice volatility, and wherever they went, they continued to serve the song or the moment they were in, whether that was vocal effects, a guitar played with a wisk, or a sudden turn to garage-ier push. More bass on the synth was the request, which brought about a worthy rumble to match the bass on — wait for it — the bass, and in true acid rock fashion, they felt punk-born even in the calmest parts. I’m not sure which side of their approach was druggier, but after a while it all kind of forms a haze anyway. People caught on as the set played out, and though there was a near-heroic dose of chicanery, Acidsitter held together around the rhythm section and the close-your-eyes-and-go groove thereof. Another record in the notes.
Kayleth
Kayleth on the Mill Stage. I know their stuff, had an idea what was coming, so wasn’t caught off guard when they space-blasted desert riffing with synth and theremin during “We Are Aliens.” Headlining the Mill Stage puts the five-piece in a tight space, but there’s something cool about that too, right? I don’t get to European club shows every decade, so the chance to experience a band in a smaller setting works for me. I’ve heard a few complaints about how the Mill Stage and the Jam Stage should switch, and maybe that would work, but at least with the bands who’ve played it this far, I don’t think it’s held anyone back. Just the opposite, and that goes for Kayleth as well. I can’t always hang in a crowd press — okay, I never can — but I know that’s not the case for everyone or nobody would ever go to gigs, which I’m told people still do sometimes. Kayleth were easily worth showing up for, and I don’t honestly know if they usually do bigger or smaller shows, but they owned that space easily, like veterans, and put on a show that was fueled as much by heart as by the tone of the guitar. Of course the synthesizer expanded their dynamic, but it wasn’t by any means alone in that between the backing vocals, loud/quiet and tempo trades. A lot to dig, so I dug.
Nemeček
A deeply pleasant surprise were Nemeček, whose style brought together pieces of soulful Eastern European folk, progressive rock and post-metal, space rock, electronic noise and probably six or seven other styles I’m not cool enough to know about. They had given a few short teases during soundcheck, playing half of this or that song, and even from that it was clear something equal parts divergent and special was about to take place. I knew nothing about them prior other than they’d be here, but consider myself fortunate to have seen them. All three members sat, though the keyboardist did get up regularly as well, and the acoustic guitar (or something to it; pardon my ignorance if I’m wrong) still tapped deep into a sense of heavy that was about more than sound in terms of atmosphere, though when they hit a pulse coming out of a melodic contemplation, they had power behind it. That made their set that much richer, but again, that wasn’t something they were leaning on, just part of a more encompassing whole. I wonder how it comes across on record — like a lot of things, the production would matter — but even from the photo pit, the textures they unfurled were unlike anything I’ve seen in the last three days, and they spoke to traditionalism in a way that only enhanced their individual impression. I hear they’re local. In any case, Nemeček is a band I am glad to have seen. Now I know.
Blitzpop
Aptly named, if you take the blitz as signaling the energy with which Blitzpop took and commanded the stage and ‘pop’ to mean hooks, of which the four-piece brought plenty enough for everyone and generously offered them in with boogie as a bonus. Classic in a ’70s via ’90s way, they were for sure a turn from the more severe persona cast by Nemeček — perhaps that doesn’t apply to the catchy chorus that went “Kill that motherfucker” — but even that they made fun, though I wouldn’t want to be the motherfucker in question, as their argument was pretty convincing if you count the tempo kick later in the song. A quick plug for merch, then back to the hook. They were another one about whom I knew squat, but they did a bit of “woo! woo! woo!” and ululating to bring the crowd with them and locked soon enough into a groove that at least to my ears sounded like Rage Against the Machine, not that they were at risk at that point in the set — a little more than halfway through, probably — of only doing one thing. They toyed with funk, but never lost track of where a song was headed, and as the direct sun beat down on the Main Stage, they kept the momentum up. In the back, in the shade, where I was, people ate and drank and chatted and dogs played chasing each other around as Blitzpop closed out with a Blur-style “woo hoo” that I have no doubt I’ll still be hearing on repeat in my head when I’m trying to sleep tonight. Hazards of the trade.
I ate. This part is mostly for my wife, to whom I’ve not spoken in an actual day — not unheard of if I’m off somewhere, but rare even so — but it was such a joy that I don’t mind sharing. It was a local cheese that tasted to me like sheep’s milk and was divine, and tomato stuffed with cheese, garlic and truffle flanked with greens — greens! — that was whatever the next step up from divine is. Transcendent? Probably. Not my first experience with the sustaining nature of sustenance, but after nothing but nuts for the last three days, it was a pretty amazing moment in my life that I’d like to remember. It was so good. I finished those, but have more for later. Still a lot of day left, but the sun has started to recede, which is something else I’m thankful for.
Them Moose Rush
Weren’t the band I thought they were, but were way funkier than that band, so I’ll take it. Distinguished by a tendency toward unexpected pivots, you could probably hear as much noise as punk or heavy rock in what they were doing, but it seemed clear in the intention to get bodies moving in the crowd, which it did through the course of their hour-long set, and with a notable range from their guitarist’s vocals, they immediately felt like a standout. Again, not what I had been expecting, but better. I’ll admit I’m having trouble getting over how good the bass sounds here, echoing around as it does, but Them Moose Rush were as much about the subtly mathy twists as the heavier stretches to which they alternately did and didn’t lead, and that coupled with the rampant falsetto and vocal reach, the badass bass, the ready-when-you-are drumming made for another shift on the Main Stage, but a natural one coming off of Blitzpop, who also used heavy rock as a starting point for their own purposes in craft. They went hard a couple times, and had now-we-riff-big there when they needed it, but they were just as likely to find themselves in head-down push or someplace else entirely. I’ve heard a lot of rock and roll this weekend, so if I’m repeating myself, I’m sorry, but the bottom line is they made their own kind of sense stylistically and seemed to work from the ethic of conforming genre to them rather than the other way around.
1000mods
I don’t know how much I have to say about 1000mods that I didn’t say when I saw them like a month ago, but hell, Greece’s foremost heavy rockers once more justified that title, taking the Bear Stone crowd on a ride that barely let up even when a guitar gave out and they had to fill the time with a sampled loop and cymbal wash. I had 1000mods tunes stuck in my head for weeks after Freak Valley, and if the same happens when I leave here, I won’t complain. They moved the festival into the portion of the night that’s basically three headliners back to back (to back), between themselves, Colour Haze and Kadavar, and I don’t know how you don’t get into them if you have any place in your heart for heavy rock. They’re pros; they take the stage and do their show. And if you’ve ever seen them, you know that means something. “Their show.” They got rolling again after the technical interruption like nothing had ever happened. It’s never a good time for that kind of thing, but if you have to deal with it, before “Vidage” is when you want to. The audience, clapping along to the drums — and with good fucking reason — sang along, put hands in the air and gave the band back the energy that burst from the stage, and whether I said it last time or not, it remains true: 1000mods are one of the best bands of their generation. And they’ve never done the same record twice, or given in to hackneyed songwriting or made any music other than that which they needed to make. Anytime you can see them, yes, do that.
Colour Haze
Speaking of generational bands, Colour Haze were soon to follow. I don’t like picking favorites, but I can’t think of anyone I’d rather see take a stage on a given night. They’re always finding a route, some new nuance, some turn or small improvisation or just some moment, to make it special. They made an hour and 15 minutes feel short, but it’s a festival set, so I’ll take what I can get. “Skydancer,” always a highlight. Jan Faszbender’s keys taking the spot where the horns go in “Transformation,” which closed. Mario Oberpucher playing the melody while Stefan Koglek takes a solo. And what on earth can you say about Manfred Merwald’s drumming. It had character, it’s intricate, tight on the guitar, but free-flowing, impactful when it needs to be. I don’t know how many times I’ve seen them, but I’m not exaggerating when I tell you that they’re part of the reason I do this in the first place. They’re inspiring, and only more so as they grow more progressive in sound and build on their foundation of heavy psychedelia, which itself set a path of influence so, so many bands have followed. Bands who at this point don’t even realize they’re influenced by Colour Haze because the bands they were trying to sound like were trying to sound like Colour Haze. That they were themselves is the highest compliment I can give them. They are my favorite band in the world.
Kadavar
Again, I caught them pretty recently, but I had cheesed out early on Kadavar’s set and lived to regret it last time, so I knew I wanted to make up for that to myself at Bear Stone. I know they’re long past the vintage thing, and I love those records too, but they have so much more room to grow now, and they have grown, and when they get on stage, the new and the old come together and it’s all united by the passion in the performance, the strut, the swing, vibrant. I love that they’re such a known quantity — they’re the last band tonight, third of the three headliners; people are familiar — but I have no idea what their next record will sound like beyond “it’ll probably have songs.” That’s the safer bet, anyhow. But whatever shape that takes, the fact of their delivery is that it’s encompassing of decades of heavy rock while remaining entirely their own. Onstage, they’re part glam, part hard-hitting, brazen rockers, never willing to settle artistically or stop pushing the parameters of their sound, but somehow so sure of what they do regardless of outside expectation or pressure. Of course the set was awesome. Kadavar were on a stage and the power didn’t go out. That’s a recipe for a winning way to close ab evening right there. I don’t know the status of the album they had been working on in the last however long, but it’s a no-brainer must-hear in my mind when the time comes. The same “duh, yes” principle applies to whenever the next opportunity to see them live might be.
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Back at the room now, falling asleep at the keyboard a little bit. Long day, not enough sleep, blah blah you’ve heard it all before. I got a ride back from Nelly and Elias again this evening, and Nelly was the one who brought me food. She also gave me what she called “mishmash,” which was egg, roasted bell peppers, cheese and I think some tomato in there as well. I ate the last of it like five minutes ago and now I am ready for sleep.
Bear Stone’s second and final long day — tomorrow is back to just the Mill Stage — was a banger. You can see the potential all over this festival, and I’m too goddamned tired to see anything clearly right now. Thank you for reading, goodnight, and there are more photos after the read more thing. You know what I mean.
Posted in Whathaveyou on April 30th, 2024 by JJ Koczan
I’m never going to claim to be an expert on the visual arts, whether it’s a question of aesthetic or technique. But I know when I see something awesome, and the three-eyed ribbitdragon adorning the poster below for Trieste, Italy’s StonerKras Fest 2024 this July for sure qualifies. The art is by Mirkow Gastow, who’s done other posters and graphics in and around the operating sphere of Heavy Psych Sounds, whose flagship outfit Black Rainbows feature in the third edition of StonerKras‘ lineup, assuring the all-dayer’s cosmic-party quotient will be met before German heavy psychedelic forebears Colour Haze headline as part of their ongoing 30th anniversary celebration in 2024.
Last July’s StonerKras had seven bands on the bill — among them 1000mods and Nick Oliveri‘s Mondo Generator — and Black Mamba Rock Explosion, Savanah and Britof round out the stated-as-full lineup of five for this year, but I wouldn’t be surprised if maybe part of that is to allow for longer set times or changeovers, or just to let the crowd take in some of the merch stands or, you know, get a massage. I can’t remember ever seeing a massage therapist on-grounds at a festival before, but speaking as a human living in a body that’s not getting any younger, I get it. Not all considerations are as timeless or ethereally rad as a three-eyed ribbitdragon. Sometimes your back hurts.
Cool to see this one growing and finding its niche over the last few years. Here’s the announcement:
STONERKRAS FEST 2024 – III edition
– 13.07.2024 – Prosek-Prosecco (Trieste, ITA) –
FULL LINEUP + TICKETS PRESALE ANNOUNCEMENT
StonerKras is a psychedelic music gathering based on stoner, doom and heavy psych music. The festival has an international footprint but with the aim of enhancing the local heavy scene (both Slovenian and Italian) while attracting spectators from the region but also from neighboring countries. Youth aggregation and cultural exchange accompanied by good music.
The festival will be taking place on Saturday, July 13th in the gorgeous village Prosek-Prosecco near Trieste (Italy).
Today Rocket Panda Management in collaboration with Never In has announced the FULL LINEUP and TICKETS PRESALE for the StonerKras Fest III edition !!!
COLOUR HAZE (psychedelic heavy rock, DE) BLACK RAINBOWS (heavy psych/fuzz rock, ITA – exclusive show for north Italy/Slovenia/Croatia in 2024) BLACK MAMBA ROCK EXPLOSION (hard rock’n’roll, ITA) SAVANAH (progressive stoner, AT) BRITOF (doom/sludge, SLO) + AFTERPARTY DJ SET
** FOOD & DRINKS ** ** MARKET STANDS ** ** RELAX/MASSAGE AREA ** ** PSYCHEDELIC LIGHT SHOW ** ** FREE AFTERPARTY DJ-SET *** *** CHILDREN FRIENDLY ***
