Posted in Whathaveyou on December 3rd, 2025 by JJ Koczan
Branca, killing it again with the SonicBlast Fest poster art. Year after year, that partnership continues to flourish.
I was lucky enough to be invited to Portugal for SonicBlast Fest in 2023, and it was a great time from the pre-show through the end of the last night. I’m sick as a dog at the moment, so thinking of breathing the fresh air on the Atlantic Coast is perhaps a little more vivid in my mind, as much as I can smell anything right now or keep my head up while I’m typing or stay awake, etc. I took some DayQuil and I’ll go lie down in a bit.
The assemblage here is rad. You don’t need me to tell you having Turbonegro, High on Fire, Elder, Kylesa, Conan and Dead Meadow on the same bill is going to result in a good time. It’s something of a given. Cool to see Necrot included though. I like a bit of riffy death metal, and SonicBlast hasn’t been shy in years past about reaching outside the heavy rock umbrella for punk and hardcore — note The Casualties here — so an extension of that makes sense. Note also industrial punker N8noface and Early Moods. Both of those I believe are managed by Daniel from RidingEasy Records, so I can’t help but wonder if they might be touring together next summer. Guess we’ll find out eventually.
Also Jon Davis from Conan pulling double-duty with an Ungraven set, and more still to come. The following comes from social media:
Get ready for the 14th edition of SonicBlast Fest ⚡️
We’re thrilled to announce the first confirmed bands:
Turbonegro High On Fire Chat Pile Deafheaven Kylesa The Casualties Midnight Frankie And The Witch Fingers Snapped Ankles
Elder Levitation Room Dead Meadow Conan N8noface Adult. Necrot
Margarita Witch Cult Early Moods Primitive Ring Goya Hög Ungraven
Tickets are already on sale at Bol and Masqueticket
Posted in Whathaveyou on December 2nd, 2025 by JJ Koczan
Who’s up for a potentially-life-changing weekend in the desert? Well, me, for one. Barring a magic invite, I don’t imagine I’ll be there to see the inaugural Mojave Experience Festival when it takes place over two days next March, but looking at the lineup I fail to see how you wouldn’t want to. Look at that Friday bill. They call it a pre-party. Look at that Saturday bill! How many nights in your life are you going to be treated to a succession of acts like that?
It was pretty clear out of the gate — Dead Meadow and Earthless were the first two bands announced — that Mojave Experience meant business this first time out. I don’t know if this is a one-time thing or if there are intentions toward an annual happening, but either way, the assembled lineup crosses generations and stylistic borders, fostering an immediate sense of identity that’s tied to the history of the Californian desert underground with the likes of Mario Lalli, John Garcia, Gary Arce, Nick Oliveri and The Freeks involved, but that is already looking to reach beyond those geographic and aesthetic confines as well, whether that’s the doom of L.A.’s Early Moods or the acidblasting psych of Philly’s Ecstatic Vision. SoftSun and Borracho. Acid King and Hippie Death Cult. I could just go on saying names until I’ve said them all. None of them suck.
The dust has settled… and the full lineup is here. Two days !
FRIDAY • Mojave Gold (Pre-Party) Rubber Snake Charmers feat. Sean Wheeler The Freeks Arthur Seay & The RiffKillers Borracho Insomniac SoftSun
SATURDAY • Joshua Tree Lake (Main Event) Earthless Dead Meadow John Garcia Acid King Yawning Man Hippie Death Cult Nick Oliveri’s Death Acoustic Ecstatic Vision Howling Giant Early Moods
Single-day Riff Rider Passes drop Dec 5 — Friday or Saturday, your choice. Two-day bundles already gone.
Posted in Whathaveyou on December 2nd, 2025 by JJ Koczan
The fourth annual Blue Moon Festival will take place next July into August, and granted neither is an unknown quantity, but having the likes of Fu Manchu and 1000mods on a bill together feels like a boon to just about anybody’s evening who might be in attendance. Ditto that for Dead Meadow, Acidsitter, Skyjoggers and everybody else in the first lineup announcement, which was made toward the end of last week.
I would expect this means Sons of Arrakis will be back on tour in Europe next Summer, and that Fu Manchu will look to get out as well. No idea on Fu or 1000mods, or Dead Meadow for that matter, but it seems likely they’ll be on the road too, which means (1:) look out for where else they’ll be and (2:) be grateful the festival exists to sustain the band plus a whole lot of others coming through. You know how these things work. I’m excited to see summer take shape.
From the PR wire:
BLUE MOON FESTIVAL – FIRST BAND ANNOUNCEMENT
A new cycle begins. As the moon shifts and the air thickens with distortion, Blue Moon Festival 2026 unveils its first transformation. This year’s edition — Metamorphosis — brings together a powerful constellation of heavy, psychedelic and genre-defying artists from across the globe. A lineup shaped by riffs, ritual, noise, vision and pure underground spirit.
FU MANCHU
Stoner-rock legends known for desert-driven riffs and the fuzz-soaked sound that shaped an entire genre.
1000MODS
Greece’s modern stoner heavyweights, delivering massive grooves and hypnotic riff walls.
DEAD MEADOW
A psychedelic rock institution blending dreamy atmospheres with warm, vintage fuzz.
MEPHISTOFELES
Occult doom drenched in lo-fi grit.
SKY JOGGERS
Fuzzy heavy-psych powered by relentless motorik energy.
SONS OF ARRAKIS
Sci-fi-driven heavy desert psych straight from Canada.
ZERRE
New Wave of Würzburger Thrash Metal.
GREEN MILK FROM THE PLANET ORANGE
Avant-prog/psych explorers pushing boundaries.
CURSED TO OCCULT
Ritualistic doom invoking the underground spirits.
NARBODACAL
Progressive Doom Warriors from Poland.
ACID SITTER
High-energy psych rock maniacs.
July 31 – August 2 2026
Strombad Cottbus
We’re beyond proud to bring these legends to Cottbus and invite you all to be part of the next chapter of the Blue Moon.
Posted in Whathaveyou on November 24th, 2025 by JJ Koczan
The Marienthal, Germany-based Hoflärm festival has made its initial lineup announcement for August 2026, putting it ahead of some of the summer’s events in Europe while giving a sense of who’s going to be touring when. Dead Meadow, Kyesa and Caste Rat spending time on the road next year will be continuing on from active 2025s for each, ditto Conan on that. Add to that Kadavar at the top of the bill, who released two albums this year, and you can see the beginnings of another killer weekend even before you get to the thread of punk here or the prospect of more announcements to come.
I’m always interested to see who’s playing where, but if you’ve ever caught pictures or video from Hoflärm, it looks like a vibe’s vibe. The festival’s announcement from socials follows here, along with the ticket link and such:
Hoflärm 2026 – First Bands + Pre Sale Start – Habt ihr Bock oder was ?
We’ve been holding this back for a while, and now it’s finally time. The first wave of bands for the 2026 Hoflärm Festival is here. Tickets are live through:https://hoflaerm.ticket.io/yozKZeOt/?
Kadavar x Hoflärm – It’s one of those things that just has to happen in life, just like Fries and Mayonnaise. Berlin’s heavy rock powerhouse is going to come to Marienthal. Get ready to see Kadavar in a one-of-a-kind setting on our farm. You know this is going to have a truly special vibe. We’re really excited to welcome the four Berliners in 2026!
Kylesa A mix of sludge, psych, and raw energy. A band that always pushes their sound forward. We’re truly honored to welcome this iconic band to our place. True to their name, Midnight will unleash a special anniversary performance of Satanic Royalty at… you guessed it, midnight Blackened speed metal in its purest form. Fast, dirty, and unapologetically wild.
Dead Meadow Heavy, dreamy, and hypnotic. A blend of psych rock and hazy desert vibes.
Conan Crushing, slow, and loud. Doom metal distilled down to its heaviest essence. Bring your Axe for Caveman Battle Doom!
Meatbodies Garage rock twisted with psych and noise. Catchy, chaotic, and full of character.
Castle Rat Dark, theatrical, and riff-driven. You know what you get, this will be a true battle on the fields of marry valley.
Suck High-energy punk rock with no frills and no breaks. Sharp, fast, and fun. We cant wait for Gabba Gabba.
Cardiel A two-piece from Mexico that mixes punk, psych, and surf with serious intensity.
Mother Bear Dark, immersive, and just a little untamed. Mother Bear’s music drifts in like a storm you didn’t see coming. You have to check this band, its probably one of the most underrated german underground bands.
There’s plenty more on the way! We have additional headliners and co-headliners, plus some truly special up-and-coming bands. But this is just the start of 2026. Tickets are available now via the link in our bio.
As every year: Heinzelmännchen Hofcafe, Freida Bar and FatStreetBoyz will serve you cool drinks and delicious food 🖤
Posted in Whathaveyou on September 15th, 2025 by JJ Koczan
There are only two acts announced so far for the first-ever Mojave Experience Festival, set to take place next March in Joshua Tree, California, but a couple things about that. First, the two bands are Earthless and Dead Meadow. Second, Patrick Brink from Volume is curating. Third, if you go to the festival’s website, there’s a picture of Yawning Man, so maybe they’ll be there too. In any case, the fest notes intention toward a blending of acts old and new. Fair enough for the headliners, then, to probably be among the more familiar names included.
It’d also be something of a waste if Brink‘s own band didn’t play, but I guess you never know until it’s confirmed and it’s not that yet, so don’t go saying I said a thing because, no, I don’t have any idea what I’m talking about.
Whoever else takes up the however-many lineup slots available, no question Mojave Experience is off to a rousing start. I look forward to seeing how it shapes up, but here’s first word from the PR wire on it:
The Mojave Experience Festival announces first annual dates and early lineup
Desert music & culture festival revives the free spirited vibe of Desolation Center, High Desert generator parties and early days of Coachella
The Mojave Experience festival announces the dates of the first annual event taking place from March 20th-21st, 2026 in Joshua Tree, California. The festival is the brainchild of organizer and High Desert native Patrick Brink, frontman of VOLUME and former lead singer of desert rock legends Fu Manchu. Early tickets go on sale on October 3rd.
Co-headliners Earthless and Dead Meadow are the first artists to be announced in the lineup, with many more of the 16 bands confirmed to perform over two nights. The lineup includes legends in explorative and countercultural music, as well as future ones now making waves.
The Mojave Experience takes place in Joshua Tree, California at the Joshua Tree Lake & Campground. Attendees are encouraged to make use of the camping, hiking and rock climbing in the area while taking in the vast beauty and mystery of the region that birthed the Desert Rock movement.
The Mojave isn’t just a backdrop — it’s the raw, unfiltered stage where music, art, and chaos collide. Out here, under endless stars and brutal sun, the desert strips away the fake and leaves only what’s real.
The Mojave Experience was born from that spirit. It’s not another sanitized festival in a city park, it’s a gathering for the wild ones, the wanderers, the true believers who know the desert doesn’t hand out comfort, only freedom. This is where local desert legends share the stage with national heavyweights, weaving new stories into the myth of the Mojave. No velvet ropes. No corporate gloss.
Just artists, misfits, and seekers coming together for a weekend that won’t be forgotten. We bring the sound. You bring the fire. Together we’ll carve something into the desert that echoes long after the amps shut down. This is more than a festival — it’s a ritual. A pilgrimage into the heat, dust, and sound that will rattle your bones and rewire your soul.
Come ready. Come raw.
The Mojave Experience isn’t here to entertain you — it’s here to change you.
THE MOJAVE EXPERIENCE 2026: 03/20-21/2026 Joshua Tree, CA – Joshua Tree Lake & Campground
Slept as best I could and took a long shower, but stopped short of blowdrying my beard, which for some reason feels like apex self-indulgence. It was the last day of Freak Valley 2025, and that’s always bittersweet. This place and these people are so special, and I’ve made really good memories here the last four years that I’ve been lucky enough to take part in FVF. It is an honor, and I do not take it for granted.
Made it to the AWO grounds well in time for yoga. That was probably the most direct sunlight I was in on Friday (my days and dates are so screwed up), but the last day of Freak Valley was the solstice too, and for sure there would be sun. The kind of heat that kills old people. A father and his 12-year-old played frisbee on the grass. A small street sweeper went by on the back walking path. The drum riser came out on stage. Sitting in the no-smokers-yet smoking tent for the shade, it was idyllic.
The yoga session was once again fantastic — I even got to sneak in a little boat pose, and you know I’m on board for some shavasana — even without snaily taking part. It finished a couple minutes earlier than the day before, so I didn’t have to run over after hearing Volker Fröhmer’s standard band-intro beginning, a hearty and voluminous “liebe freunde” that is as much a staple of this festival as the word “freak.” I played for a minute in the sprinkler accordingly.
But soon enough, the concluding day of Freak Valley Festival was underway, and I seem to recall it went something like this:
Lurch
The straight-up riff rock aspect of Lurch’s sound took me back to turn-of-the-century European heavy rock, instrumental and otherwise. Thinking ’99-’03 or thereabouts, and all those bands who weren’t shy about having numbers in their monikers. Part of what they did was jam, or at least jam-based — at one point, the bassist threw in the theme from Super Mario Bros., which I’ve had steadily on repeat in my head for the last 40-ish years; if we’ve met and I’ve invariably forgotten your name, it’s because my brain is occupied with doo doo doo do-do doot on an endless loop; I’m not kidding, sometimes it’s torture, but it was cool in the mid-song context — but there was structure there even apart from the one or two songs that had vocals. From Austria, Lurch were unknown to me previously, but they’re playing Hoflärm as well in August and they’ve got a slew of releases that seem pretty dug in and exploratory — and by that I mean you might get a five-minute song or a 39-minute song, depending on the record. Some of that variety made its way into the set as well, and the lesson was quickly learned as they went, pushing into psych with grounded, terrestrial riffing at the forefront. Not the first time I’m writing a note to myself this weekend about a good band. I cannot begin to tell you the value that has for me, though I’ve been trying for a few years now, I guess.
Bushfire
Schedule change! Scott Hepple and the Sun Band were supposed to play second, and Bushfire were to do two mini-sets on the small stage later on, but there was van trouble, so the Darmstadters took the slot and, as frontman Bill Brown told the crowd, “once again Bushfire are the heroes of the universe.” They were playing their new album, Snakes Bites Tales, for its release, and the gritty riffing hit just right. I’m not going to feign impartiality on this one. I consider Bill not just a friend, but a good friend who I’ve known over a decade, and whenever in the day it was happening, I was excited to see his band for the first time. The burl of their records was in full effect, but came through with a fragility live, and as Bill told his tales from the stage between songs, whether it was about drinking and drugs, writing the lyrics on the backs of posters backstage 45 minutes earlier when they were informed of the switch, or it being the end of side A before they turned to “Die Trying” (they would do side B on the small stage later), the crowd filled in on the sun-beat grass and groove was had in abundance. No question dude is a presence on stage, but the two guitars stood up to the throaty vocals and the solos came through with due punch before the drums and bass turned out around back to the verse again. Bushfire have never been about reinventing the wheel of heavy rock, but they roll that wheel in a way that’s expressive and their own, and I didn’t even realize how much I needed that kick in the ass, so thanks. Don’t look for it tomorrow, but I’ll have a review of the album here sooner or later. Honestly, this was more about appreciating the chance to witness a friend kill it in the band’s native habitat, which I was fortunate to do.
Kombynat Robotron
I hit the spritzcannon hard before their set. Had to happen. You could see a rainbow in the spray. I wasn’t quite soaked, but it was worth putting my bag down and standing there for an earth-minute or two, though soon enough it was back at it for Kombynat Robotron. The ascendant heavy space/cosmic rockers are set to issue their new album, AANK, next month — more homework to put in my notes file; not complaining — and if they wanted to put this set out too, that’d be just fine by me. They got the combination of push and swing just right in terms of pace, where you could feel the physical urging of the music within the abiding nod, coming through in a wash of wah with miraculous clarity of intent for something that was so noisy and open-feeling. They had some bliss on offer as well, but once the forward momentum was locked in, so pretty much immediately, it held for the duration. I’d been too in my own head the day before. Getting lost in Kombynat Robotron for a while was refreshing in a different way than having droplets of water launched at my person, but refreshing just the same to stop measuring time in planetary terms. I’m not sure if I enjoyed more the raw moments in Kombynat Robotron — because for sure there are riffs in there — or the tonal wash into which they sometimes veered during the set, but fortunately, there’s zero need for me to choose between them. They were dead on, and I came away with a better understanding of how they work as a group. Total win of a bend for reality.
Highway Child
The heavy underground has a long memory, and though Denmark’s Highway Child broke up 14 years ago in 2011 after the release of their self-titled third album, the heavy underground also loves a redemption story, so Highway Child were here and are at a couple other spots this summer. It’s not the five-week comeback tour or anything, but though there’s been a generational turnover since, they would play to an audience who knew and appreciated their work. So far as I know, that’s is the ideal when you’re doing something like this. They put out two records on Elektrohasch, 2008’s On the Old Kings Road (review here, discussed here) and 2009’s Sanctuary Come (review here), right as the label was starting to hit its arguable peak, so yes, I remembered them too, though I’d never seen them before. Rooted in heavy blues, with a swagger that’s apparently been lying in wait for the better part of a decade and a half, they had folks dancing in the sun out front and were a party all on their own on stage as well. Not a band I ever thought I’d see, and not one I’d be likely to catch otherwise. Figures I’d get all emotional on the last day of the fest. Hard not to.
Travo
Let the party continue. From Portugal, Travo turned heads with late-2023’s Astromorph God (review here) and have been spreading the word live since. The KEXP session earlier this year probably helped in that regard too, feather in their collective cap as it was. Even the line check was brash, but that was nothing compared to once they got going. Leaning more into space rock — I’d say neospace, as I do sometimes, but it didn’t feel quite right, despite all the rampant modernity of the wash they set above the classic pulsations of the drums — they had a solid foundation of heavy tone on which to dance, and set themselves to doing exactly that. If you’ve been reading this site for a while, or even a day, you probably already know there’s little I enjoy more than agreeing with myself. Also disagreeing! But man, I was so right to be excited to see Travo. I may not have been able to hang in the sun, but I found a spot for the whole set after taking pictures and set up camp by which I mean put my bag down, for the duration and they hit hard, digging in with all-go energy and a succession of rad effects-topped builds, voice intermittently punching its way through all the shove surrounding. They made me want me coffee, dared to mellow a bit, and ended with the biggest big-rock-finish I’ve caught here so far.
Wucan
With a new album due in August titled Axioms — it’ll be the Dresden four-piece’s fifth LP — Wucan took the stage to herald the release with due veteranly confidence, and held off breaking out either the flute or the theremin (both firsts) until after the first song, which seems classy somehow. A strong thread of heavy ’10s boogie running through their songwriting, but like many who took that path, Wucan are less about vintageism than broadening a palette of classic, heavy and progressive rock. I’ll admit it’s been a while since I last heard them, but the vibe was sleek and the crowd ate it up as perhaps they inevitably would. The longest day of the year still had plenty of sunshine left in it, but the lawn was packed, somebody had an inflatable flying V, which was fun, and Wucan made sticking it out worthwhile, strut or shuffle or twist. The political complexities of stage outfits notwithstanding, Wucan were an unmitigated good time, with melodies and groove they reached out directly to the crowd and hooked people in. I was curious how much of what they played was new as they touched on space rock about halfway through the set, but this too was fair game for the expanded reach of their sound. I’ll be interested to hear where the album goes.
The Devil and the Almighty Blues
This was my third time seeing Norway’s The Devil and the Almighty Blues, after Høstsabbat in Oslo in 2019 (the before-time) and in 2017 at Roadburn in the Netherlands. In January, if all goes according to my evil plans, I’ll see them again at Planet Desert Rock Weekend in Las Vegas. Good thing they rule. The 2019 show was in support of what’s still their most recent record, Tre (review here), and to their credit, vocalist Arnt O. Andersen still came out fully robed like a misfit drunkard priest, even in the heat of the lingering day. Much respect for that, never mind that they opened with “Salt the Earth.” While I might’ve known what to expect going in, unlike with so many of the bands this weekend who’ve been new to me (life bonus to learn), that didn’t make the going any less satisfying. Their self-titled debut (review here) turns 10 this year, but they wear the years easily in the fluidity of their groove, the way they’re both reverent and transgressive of the (almighty) blues, as well as classic heavy rock and probably three or four other microgenres. I could go on about that characteristic nuance — might be fun — but was content to bask in the comedowns and the pickups and follow where they led. To bottom-line it for you, if you’re somewhere this band is, ever, you want to see them. It’s as simple as that, and I’m grateful for the chances I’ve had (and will have) to do so. They capped with a crescendo of dually shredding guitar solos from Peter Svee and Torgeir Waldemar Engen, then still turned it back to the verse to get a couple last lines in. See them.
Scott Hepple and the Sun Band
Their name started appearing in fest announcements last Fall, and not that I’ve heard of every band who plays a given festival — obviously; seeing new bands was the thing all weekend — but there was definitely a curiosity there. They put out two self-released LPs before getting picked up by Rise Above/Popclaw, and if there’s ever been an ear you could trust, it’s Lee Dorrian’s. They’re young, steeped in garage rock and some sweet proto-heavy shuffle. Thick enough in tone to call heavy, but fleet in being able to keep things moving. The fact that the van has broken down, delaying their arrival here and relocating their set from the main stage to the smaller one earned them some sympathy points, but the truth is they didn’t need them. They pulled the crowd over from the (other) lawn and packed the small stage area where I’ve been hiding in the shade the whole day. I’m sure they sold some records after the set, and hopefully they can keep momentum on their side.
Dead Meadow
When you absolutely need to mellow the vibe, accept no substitutes. Dead Meadow, also fresh off releasing Voyager to Voyager (review here) this Spring on Heavy Psych Sounds, lost bassist Steve Kille to cancer last year. With founding principle Jason Simon on guitar/vocals and I’m pretty sure Mark Laughlin on drums, they did indeed have bass, but I don’t know who was providing it. The sound was there though, that warmth of bottom end that puts your brain in a bathtub. And Simon’s strum, fuzz, quiet-voiced delivery were as immersive as one would hope, so although Kille contributed to the new record, and regularly recorded the band as well, they sound like they’ll continue, which I take as good news. There’s still more day to go, but the chill was infectious, even at their most active. They’re not the inventors of heavygaze, but they might as well be, and frankly, the world needs the kind of drift they bring. So much of this era is intensity, furious, raging. Algorithms. Fascism. Dead Meadow fit just right by going the other way completely, and with Lance Gordon of Mad Alchemy’s oil lightshow, the psychedelia in their sound came through as a multi-sensory experience. They’re still a thrill to watch live, but it’s a quiet thrill. I was quietly thrilled accordingly.
Bushfire
Look, I already reviewed Bushfire once, but having seen and heard half the new record earlier in the day, I wasn’t about to miss the other half, not the least as it includes “Valley of the Freak,” which is about this fest and the people here. Bushfire played the first however-many years of Freak Valley, were a staple of those lineups, but kind of stepped back. Having them present their new full-length, even in two halves, felt fitting. They had a screen in front of the stage before they went on with an animated ouroboros, but took the screen away before they actually started. The projection stayed on and the effect worked. I assume some of those standing by me over by the craftbierhaus and the stage had seen Bushfire before, but I hadn’t until today.
The Sword
I could not tell you when the last time I saw The Sword was, but the prevailing memory I have of them live is wandering into a Relapse Records showcase at SXSW in their hometown of Austin, Texas, and watching a demo riff band lay waste to a show that I’m pretty sure featured Cephalic Carnage later on, but don’t quote me on that, because I was drunk and the only thing I remember for sure was The Sword throwing down a gauntlet for what was then the next generation of heavy rock. The ensuing 21 years and a breakup later (hooray for me, being old), The Sword have returned and claimed their place once again among headlining acts. Their evolution can be charted across their records, but on stage it was more about them being back, good times, and so on. Again, I didn’t stick around (I fly out early tomorrow afternoon and it’s two hours to Frankfurt airport), but I got to hear “Freya,” and that’s always a blast, and I put on the Rockpalast stream when I got back to the room to watch the end, and zero regrets. They seemed to be picking up where they left off, maybe a little more into it for the time away — to wit, they didn’t sound like they were about to break up — and definitely appreciative of the crowd. The Sword are among the most revered US heavy rock bands of the last 25 years, easily, and it’s a boon to the genre that they’re back at it.
—
I can’t believe how fucking ridiculously fortunate I am. It is beyond silly. Like I said once already, or like 10 times, I don’t know, it was an early flight in the morning, so I crashed out as quick as I could in order to be up at seven to shower, finish packing, etc. I may or may not have time for a full wrap-up post, but if I end up saying thanks to Jens, Alex, Marcus, Jara, Basti, Volker, Pete, Bill, Judith, Ralf, and all in the backstage for making me feel so welcome.
It’s a long year till FVF 2026 and one never knows what the future will bring, but if you take anything away from the glut of words that have shown up in this space over the previous three days, take that Freak Valley is something very, very special, and it’s not at all a coincidence that it sells out every year as soon as tickets go on sale. And it’s the people that make it. I’m pretty sure Bill said that in “Valley of the Freak.”
So, if I do or don’t have time for a proper epilogue, we’ll see, but as always, thank you to my wife, The Patient Mrs., for making this and everything else possible for me. Thank you to my mother, and to my sister, as always, for their unending, unconditional support.
And thank you for reading. Won’t be the last time this week I say it.
Posted in Reviews on April 11th, 2025 by JJ Koczan
A friendly reminder that the end of the week is not, in fact, the end of the Quarterly Review, which will continue through Monday and Tuesday. That brings the number of releases covered to 70 total, which feels like plenty, and should hopefully carry us through a busy Spring release season. I’m thinking June for the next QR now but don’t be surprised if that turns into July as we get closer. All I know is I wanna do it before it’s two full weeks again.
As always, I hope you’ve found something that speaks to you in all this 10-per-day nonsense. If not, first, wow, really? Second, it ain’t over yet. Maybe today’s your day. One way to know.
Quarterly Review #41-50:
Dead Meadow, Voyager to Voyager
You may be mellow-vibes, but unless you’re “Not the Season,” Dead Meadow have one up on you forever. While Voyager to Voyager, which is the L.A. band’s eighth or ninth LP depending on what you count, comes with the tragic real-world context of bassist Steve Kille‘s 2024 passing, he does feature on the long-running trio’s first offering through Heavy Psych Sounds, and whether it’s “The Space Between” or the shuffle-stepping “The Unhounded Now” or the pastoral “A Question of Will” and the jangly strum of “Small Acts of Kindness” later on, guitarist/vocalist Jason Simon, Kille and drummer Mark Laughlin celebrate the ultra-languid take on heavy, psychedelic and shoegazing rock that’s made Dead Meadow a household name for weirdos. Not that they’re not prone to a certain wistfulness, but Voyager to Voyager is vibrant rather than mournful, and the title-track is an album flow unto itself in just eight minutes. If you can slow your manic-ass brain long enough to sit and hear it front-to-back, you’re in for a treat.
There is a sense of stepping out as Irish troubadour Seán Mulrooney makes his full-length solo debut with This is My Prayer on Ómós Records. Mulrooney is best known for residing at the core of Tau and the Drones of Praise, and for sure, pieces of This is My Prayer are coming from a similar place, but where there was psychedelic meander for the band, under his own moniker, Mulrooney brings a clarity of tone and presence to lyrics ranging from spiritual seeking to what seems to have been an unceremonious breakup. With character and emotion in his voice and range in his craft, Mulrooney sees a better world on “Ag Múscliaghacht” and posits a new masculinity — totally needed; trainwreck gender — in “Walking With the Wind,” meets indie simplicity with lap steel in “Jaguar Dreams” and, in closer “The Pufferfish,” pens a fun McCartney-style bouncer about tripping sea life. These are slivers of the adventures undertaken in singer-songwriter style as Mulrooney hones this solo identity. Very curious to see where the adventure might take him.
Issued in 2024, Sun Dog is the third MaidaVale long-player, and with it, the Swedish heavy psychedelic rockers showcase six years’ worth of growth from their second album. Melancholic of mood in “Fools” and “Control” and the folkish “Alla Dagar” and “Vultures,” Sun Dog starts uptempo with the Afrobeat-influenced “Faces,” drifts, shreds, then drifts again in “Give Me Your Attention,” dares toward pop in “Daybreak” and fosters a sense of the ironic in “Wide Smile is Fine” and “Pretty Places,” the latter of which, with a keyboardier arrangement, could’ve been the kind of New Wave hit that would still be in your head 40 years later. The nine-songer (10 if you get “Perplexity,” which was previously only on the vinyl) doesn’t dwell in any single space for too long — only “Wide Smile is Fine” and “Vultures” are over four minutes, though others are close — and that lets them balance the downer aspects with forward momentum. MaidaVale are no strangers to that kind of movement, of course, but Sun Dog‘s mature realization of their sound feels so much more vast in range.
Here come Causa Sui with another live album. And I’m not saying the only reason the thankfully-prolific Danish psychedelic treasures, heavyjazz innovators and El Paraiso label honchos are only releasing a complement to 2023’s Loppen 2021 (review here) to rub in the fact that I’ve never been lucky enough to catch them on a stage — any stage — but I am starting to take it personally. Call me sensitive. In any case, despite feeling existentially mocked by their chemistry and the fluidity of “Sorcerer’s Disciple” or the 22-minute “Visions of a New Horizon,” the hour-long set is glorious as one would expect, and though Loppen 2024 is a blip on the way to Causa Sui‘s forthcoming studio album, In Flux, especially when set alongside their previous outing from the same Christiania-based venue, it highlights the variable persona of the band and the reach of their material. Someday I’ll see this goddamn band.
Underlying the grit and stoner drawl of “El Rey del Mundo de los Muertos” is the lurching progression of Black Sabbath‘s “Sweet Leaf,” and that reinterprative ethic comes to the strutting Pentagrammery of “La Verdad es Tu Ataud” as well, but in the tonal density and the way their groove snails its way into your ear canal, the vibe Fulanno bring to Nosotros Somos el Fin del Mundo is in line with stoner doom traditionalism, and the revelry is palbale in the slow nod of the title-track or the horror samples sprinkled throughout or the earlier Electric Wizard-style languidity of “El Nacimiento de la Muerte.” They save an acoustic stretch in reserve to wrap “Desde las Tinieblas,” but if you think that’s going to clean your soul by that point then you haven’t been paying attention. Unrepentantly dark, stoned and laced with devil-, death-and riff-worship, Nosotros Somos el Fin del Mundo further distinguishes Fulanno in an always crowded Argentinian underground, and dooms like a bastard besides.
Because the age we live in permits such a thing and it tells you something about the music, I’m going to cut and paste the credits for Israeli duo Ze Stoner‘s debut EP/demo, Desert Buddhist. Dor Sarussi is credited with “bass guitar, spaceships, vocals,” while Alexander Krivinski handles “didgeridoo, spaceships, drums, and percussion.” How tripped out does a band need to be to have two members credited with “spaceships,” you ask? Quite tripped out indeed. Across the 12:09 “Part I – The Awakness” (sic) and the 11:41 “Part II – The Trip,” and the much-shorter 1:41 finale “Part III – The Enlightenment,” Ze Stoner take the meditative doom of Om or an outfit like Zaum and extrapolate from it a drone-based approach that retains a meditative character. It is extreme in its capacity to induce a trance, and as Desert Buddhist unfolds, it plays as longer movements tied together as a single work. There is massive potential here. One hopes Sarussi, Krivinski, their spaceships and didgeridoo are just beginning their adventures in the cosmos.
Oslo-based newcomers Arv aren’t shy about what their sound is trying to do. Their debut album, Curse & Courage, arrives via the wheelhouse of Vinter Records and brings together noise-laced and at-times-caustic hardcore with the atmospherics, echoing tremolo and churning intensity of post-metal. They lean to one side or the other throughout, and “Wrath” seems to get a bit of everything, but it’s a harder line to draw than one might think because hardcore as a style is all urgency and post-metal very often brings a more patient take. Being able to find a place in songwriting between the two, well, Arv aren’t the first to do it, but they are impressively cohesive for Curse & Courage being their first record, and the likes of “Victim,” the overwhelming rush of “Forsaken” earlier on and the more-ambient-but-still-vocally-harsh closing title-track set up multiple avenues for future evolution of the ideas they present here. Too aggressive to be universal in its appeal, but makes undeniable use of its scathe.
I’m not sure what’s going on in “Erotik Fvel P.I.M.P.,” but there’s chicanery a-plenty throughout Fvzz Popvli‘s fourth full-length, Melting Pop, which is released in renewed cooperation with Heavy Psych Sounds. Hooks, fuzz, and the notion that anything else would be superfluous pervade the Indiana Jones-referencing “Temple of Doom” and “Telephone” at the outset, the latter with some choice backing vocals, and they kick the fuzz into overdrive on “Salty Biscvits” with room besides for a jangly verse. Running an ultra-manageable 30 minutes, the album breaks in half with four songs on each side. “Kommando” leads off the second half with dirtier low end tone ahead of the slower-rolling “Ovija,” which shouts and howls and is all kinds of righteously unruly, where “Cop Sacher” punks at the start and has both gang vocals and a saxophone, which I can say with confidence nothing else among the 70 records in this Quarterly Review even tried let alone pulled off, and they close with due swagger and surprising class in “The Knight.” Part of Fvzz Popvli‘s persona to this point has been based in rawness, so it’s interesting to hear them fleshing out more complex arrangments, but at heart they remain very much stoner rock for the glory of stoner rock.
The tone worship is there, the working-class-dude stoner swing is there, and the humor that might result in a song like “Hypertension” — for which no less than Bob Balch of Fu Manchu sits in — so when I compare Rust Bucket to Maryland’s lost sons Earthride, please know that I’m not talking out of my ass. The Minnesota-based double-guitar five-piece revel in low end buzz-tone, and with no-pretense groove, throaty vocals and big personality, that spirit is there. Doesn’t account for the boogie of “Keep Us Down,” but everybody’s gotta throw down now and then. They shift into a sludgier mood by the time they get around to “The Darkness” and “Watch Your Back,” but the idea behind this first Rust Bucket feels much more like a bunch of guys getting together to hammer out some cool songs, maybe play some shows, do a record and see how it goes. On paper, that makes Rust Bucket an unassuming start, but its anti-bullshit stance, steady roll and addled swing make it a gem of the oldschool variety. Much to their credit, they call the style, “fuzzy caveman dad rock.” They forgot ‘bearded,’ but otherwise that about sums it up. Maybe the beard is implied?
It is appropriate that Mountain Dust named their third LP after themselves, since it finds them transcending their influences and honing a cross-genre approach that’s never sounded more their own than it does in these nine songs. From the densely-weighted misdirect of “Reap” with its Earth-sounding drone riff through the boogieing en route to the mellower and more open soul-showcase “Waiting for Days to End” — backing vocals included, see also “It’s Already Done” on side B — and the organ in “Vengeance,” the dynamic between the Graveyard-style ballad “This is It” and the keyboard/synth-fueled instrumental outro “All Eyes But Two,” Mountain Dust gracefullly subverts retroist expectations with individualized songwriting, performance and production, and this material solidifies the Montreal four-piece among the more flexible acts doing anything in the sphere of 1970s-style heavy rock. That’s still there, understand, but like the genre itself, Mountain Dust have very clearly grown outward from their foundations.
Posted in Whathaveyou on January 24th, 2025 by JJ Koczan
Last week, Esbjerg Fuzztival set forth on a series of weekly lineup additions by adding Danish heavy psych forerunners to the bill, and today they follow that rather substantial happening by announcing that Dead Meadow will headline. The Californian outfit will be on tour in Europe supporting their upcoming album, Voyager to Voyager, which is out March 28 through Heavy Psych Sounds. And as Dead Meadow have been previously confirmed for Freak Valley Festivalin Germany, which happens June 19-21, two weeks after Esbjerg Fuzztival, it seems likely they’ll spend at least a substantial part of June on the road. Fair enough. The new single “The Space Between” is below, and I hope to have more on the record — like a review, I mean — before it’s out.
Esbjerg Fuzztival 2025, meanwhile, I expect will be back next Friday with another name to drop for its bill, which in addition to Dead Meadow and Causa Sui includes Wyatt E., Daily Thompson, Karkara, Daevar, Dunes, Skyjoggers, Green Milk From the Planet Orange, Aptera, Djinn, the house band Vestjysk Ørken, and yes I did just cut and past that from the last post. It doesn’t make it less true, and among the crowded sphere of European festivals, you can see Esbjerg Fuzztival developing over the last several years its niche in heavy psychedelia and a range of jammy, heavy or trippy sounds. Dead Meadow can fit with any of it, so could hardly be more fitting to headline.
From social media:
ESBJERG FUZZTIVAL 2025 – Dead Meadow
Headlining Friday night at Fuzztival 25 we have Dead Meadow (Official) the American Heavy Psych pioneers! For nearly 30 years this is a band that have continued to push boundaries and set the gold standard for other bands to follow. We never thought the day would come where we would be able to present Dead Meadow – one of our all time favourite bands!
