Posted in Whathaveyou on August 18th, 2026 by JJ Koczan
It’s kind of astonishing how identifiable Domkraft‘s sound has become over the last decade. There’s no doubt who you’re listening to in the new single “Void Runner,” even as the Swedish trio lean into atmospherics, adjusting the balance of impact and ambience that has made their records to-date so spaciously crushing while furthering the songwriting that has made their records so memorable. Last year when the band canceled their West Coast US tour on account of health issues, it didn’t seem reasonable to worry if they were done. They answer that question with their fifth album, Night Songs, which is out Nov. 20 with preorders up now from Magnetic Eye.
And if you need a spoiler, that means very much ‘not done.’ If you heard 2023’s Sonic Moons (review here), you already know Night Songs is a thing to very much look forward to, and “Void Runner” only ups that level of anticipation. With that unspecified medical trauma apparently feeding into the experience of writing the album, the inherent uncertainty of the process of healing, I’m curious how it will manifest in the songs, but one way or the other, you know you’re hearing Domkraft. “Void Runner” is a welcome refresher ahead of the album.
Fresh off the PR wire:
DOMKRAFT reveal music video ‘Void Runner’ & details of forthcoming new album “Night Songs”!
DOMKRAFT present the first advance single, ‘Void Runner’, taken from their forthcoming new full-length “Night Songs”. The fifth album from the heavy psychedelic rockers from Sweden is slated for release on November 20, 2026, via Magnetic Eye Records. The album is available for pre-order at THIS LOCATION:https://spkr.store/collections/domkraft
DOMKRAFT comment: “You know the feeling when you think that from here on things can only get better?”, vocalist and bass player Martin Wegeland asks rhetorically. “The idea that you’ve finally reached rock bottom? Well, the state of the world always proves you wrong. This song is basically saying: ‘give us your best shot, fuckers!’ At this stage, we are prepared for almost everything. We are done believing and have fully switched to brace yourself mode. Yet, this song is definitely not about resigning or giving up. In fact, it rather deals with amassing enough power to cope without cracking, and possibly even dance while doing so.”
Tracklist 1. Unnamed 2. Lights On 3. Aurora 4. Void Runner 5. Eclipse (Outlast the Night) 6. Dead Rocket 7. Tunnels
Personal experience of any kind has always inspired artists. It is therefore hardly surprising that the traumatic medical crisis which DOMKRAFT guitarist Martin Widholm faced in 2025 has found an echo on the Swedes’ fifth album “Night Songs”. Although his band mates didn’t have to undergo several complicated surgeries as he did, they were of course also affected as bystanders in less threatening but nonetheless meaningful ways.
Their collective outlook on life and what is truly important shifted during this period of terror. When the band started working on new songs during Widholm’s long phase of recovery, many contradictory feelings surfaced in both the music and the lyrics. From fear bordering on panic, the pendulum swung to cautious relief. And through sadness and joy, hope and despair, they went all the way to finally arrive at the humbling realisation that they were still able to do what they dearly love: creating music.
The album title, “Night Songs”, partly stems from the Swedes’ experiences during the past year, but also crosses into the broad idea of darkness versus light. This can mean personal hardships, the present state of the world, or the concept of actual night itself. The night may turn into a time of regret, solitude and insomnia but also into the opposite, as a calm phase of relief, relaxation, and even debauchery. All of this happens at night. And just maybe, these “Night Songs” could foremost deal with resilience.
“Night Songs” was recorded at the renowned Studio Gröndahl in Stockholm by David Castillo (OPETH, CANDLEMASS, KATATONIA et al.). Karl Daniel Lidén (GREENLEAF, LOWRIDER, BREACH) was asked to maintain DOMKRAFT’s sonic identity by again mixing and mastering the album.
“Night Songs” should be enjoyed like a feverish, dream-like cocktail that is expertly mixed from equal parts deafening quiet and soothing loud noises, then sprinkled with insomnia, relief, contemplation, and a dash of red-hot anger for raw spice.
Live: 23/24 OCT 2026 Oslo (NO) Kulturkirken Jakob, Høstsabbat 8-10 JUL 2027 Erfurt (DE) Stoned from the Underground Fest
Recording by David Castillo at Studio Gröndahl, Stockholm (SE) Mix & mastering by Karl Daniel Lidén Artwork & layout by Björn Atldax
Line-up: Martin Wegeland – vocals, bass Martin Widholm – guitars Anders Dahlgren – drums
Posted in Whathaveyou on May 12th, 2026 by JJ Koczan
Two days ago, bright and early as the time approached 7AM in Oslo, I was in a cab headed to the city’s central train station. I’d hop on the Flytoget Express and go to the airport momentarily to go home, but on the way I looked out the left window and saw as we passed by the Kulturkirken Jakob, where in October, the annual Høstsabbat is held. I’ve had the pleasure several times over of hearing bands fill the massive space in that converted church while playing on the altar stage, or crushing with outright glee in its crypt basement, and, well, it was nice to see the place again after a few years, even in passing.
The first announcement came out this past weekend while I was at Desertfest Oslo. There were posters up and I wound up chatting with some of my fellow attendees about the badassery of Domkraft, Earthbong, Old Horn Tooth and so on, the appeal of both the circumstance of the setting and of the initial lineup itself. There’s a lot to like, and a couple bands I don’t know toward the bottom of the list, but that’s just a little homework to do and I’m apparently into that as well. There’s a tertiary venue change, but Høstsabbat will be incredible either way for those who are there to see it — I’d have said the same before a lineup announcement; they’ve more than earned that trust to deliver — and if that’s you, consider yourself lucky.
Ticket link and such hoisted from socials:
Høstsabbat once again returns to the Church of Riffs the 23rd and 24th of October!
The Oslo boutique festival which mixes the best of every crushing genre.
This year we’ve changed our smallest venue to Kafé Hærverk, located 2 minutes from the church. The Church of Riffs and the Crypt is of course back this year.
Kicking of with the first band announcement, with this killer mix:
DOMKRAFT DEATHCHANT CULT OF OCCULT OLD HORN TOOTH EARTHBONG HENCHLOCK VOIDSPIRE THE APE GLOOMBOUND
Posted in Reviews on February 11th, 2026 by JJ Koczan
Generally speaking, reviewing compilations is kind of pointless. I recognize that’s no way to start a compilation review — at least not the most encouraging way — but I’ve found over the years that by the time you get done saying who’s involved, maybe why if there is a reason as there is here, and what they’re doing, you’re done. There’s no real chance to dig in, and I’ll admit that with a digital comp of the sort that boasts 21 bands and runs 111 minutes long, that’s no less the case. But The Mindful Collective was put together at the behest of OHMs Peak, which does these things, to benefit Music and Memory, which uses playlists (né mixtapes) to trigger recognition from dementia and Alzheimer’s patients. Thus the full title: The Mindful Collective: A Charity Compilation Supporting Music & Memory. The idea is that music can “restore a sense of self.” Fair enough. It’s been giving me a sense of self since I was like eight.
I could sit here and list out the 21 acts taking part, but cut and paste is more efficent, so here it is from the Bandcamp page:
Tracklisting:
1. Lower Slaughter – Take A Seat 04:02
2. Torpedo Torpedo – Fade 05:22
3. Domkraft – Spiral Noises 05:16
4. KNUB – Wet Lung 05:34
5. Spiralpark – Slumber 04:47
6. Kal-El – Cloud Walker 06:55
7. Beneath a Steel Sky – Everyone you’ve ever known 04:35
8. Fomies – Neon Gloom 03:35
9. Blessings – No Good Things 03:44
10. CHEEKS – hi list 2 die list 03:21
11. Pothamus – Zhikarta 07:26
12. Cosmic Reaper – Bloodfeather 06:03
13. Apex Ten – Ruthless 06:26
14. Froglord – Follow the Star 04:00
15. All is Violent – Born Of Kalahari 04:47
16. Sheev – Tüdelüt 05:01
17. coastlands – hollowing 05:51
18. Bask – In the Heat of the Dying Sun 04:57
19. Sunbreather – WINE 06:07
20. Doble Sesión Nocturna – Acto III: Que No Quede Ninguno 05:44
21. K L P S – TRIBULATION 08:06
Now you see why we’re really here. From the big tones of Froglord to the big melodies of Fomies to the big tones and melodies of Kal-El, the listener taking on The Mindful Collective will definitely get a sense of the taste behind the curation, and that gives a progression to the tracks as each plays out. Torpedo Torpedo are thicker sounding than Lower Slaughter, who give a rocking start, and Domkraft make density groove. They, Kal-El, Bask, Pothamus and KLPS brooding and lumbering at the end might be the heaviest of what’s included, but All is Violent — who are new to me, thanks OHMs Peak — the blackened post-rock of lowercase-‘C’ coastlands remind that there’s more than one definition of heavy. So it is that KNUB‘s noisy crunch speaks to the punk underlying the rush of Spiralpark‘s “Slumber,” or the cultish riffing of Cosmic Reaper acts as a go-between for the crush of Pothamus and instrumentalists Apex Ten, whose melodic flourish is recognizable in “Ruthless.”
Understand, I’m not saying that what I generally think of reviewing comps doesn’t apply here, just that it doesn’t actually stop the compilation from either (1:) being good, or (2:) attracting attention and some amount of money for a worthy cause. The Mindful Collective does both these things, while remaining stylistically cohesive despite showcasing variety. Sheev later on hint toward the hardcore aspects of Cheeks earlier, whereas the bombastic breakout later in Cheeks‘ “Hi List 2 Die List” locks in a nod that would have to make Domkraft smile. One foot seems to be kept in the post-metallic, or at very least atmospheric heavy — to be less genre-specific; because it isn’t about genre so much as the music itself — but the fuzz-laden roll of Sunbreather‘s “Wine” makes a welcome touch-ground after the progressive churn of Bask‘s “In the Heat of the Dying Sun,” and Doble Sesión Nocturna drench their doom in reverb and space it out, adding both a meditative aspect and echoing reach in the penultimate spot before KLPS bring it back around to the onslaught.
The primary power of compilations comes in exposure. A comp can let a band give a listener a sampling and entice them to dig further. Maybe that’s an oldschool way of thinking — or just old — but if you replace ‘comp’ with ‘algorithm-dictated playlist’ the same applies. I said above that All is Violent were new to me, and they’re not alone here. Blessings, Coastlands, Spiralpark, Doble Sesión Nocturna, Cheeks and the airy post-sludge of Beneath a Steel Sky are less familiar than the likes of Kal-El or Domkraft or even the mighty Froglord for me, and of course no experience is universal, so a given listener will be intrigued by different stretches of the 21-track outing, and it feels like The Mindful Collective is aware of this (that’s not to say ‘mindful,’ because if I did I’d have to punch myself in the face) and accounts for it in the curation. You might think of a compilation modeled on style, where it’s less about what a given act is saying than how they ‘fit’ in terms of genre. As noted, this isn’t that. There’s cohesion in sound as it all works under the umbrella of ‘heavy,’ but even among groups who share arrangement elements or have some likeness of mood, each is differentiated by its place in the overarching flow, and so each gets its moment of genuine showcase. I could see wanting to chase down more from any number of these acts, from Lower Slaughter to KLPS, in no small part because I have.
And then you get to the practical reality that when you shell out eight dollars or however much of your hard-earned, you’re supporting the same people who someday are going to come to you in the rest home and play you this mix so you can remember who you are, and that adds another layer of meaning. So often a compilation’s true impact isn’t until years and years afterward, and I don’t think there’s anything so ambitious happening here — the songs donated by bands aren’t exclusive so far as I’ve checked, for example — but the fact of the matter is whether you’re a longtime convert or making your first forays into heavier styles, there is a ton on The Mindful Collective to dig into, and the worthiness of the cause speaks further to the value of the art. At the very least, it’s the kind of thing one might want to support, regardless of how a given individual feels about reviewing compilations.
Posted in Whathaveyou on June 25th, 2025 by JJ Koczan
The lineup for next year’s Masters of the Riff V is out, as the event from the London Doom Collective is set to return Feb. 27-March 1, as you can see on the battlevest-poster below. That’s a cute idea. I haven’t seen it before.
I was at Freak Valley last week in Germany, and while there, ran into Jan and Sabine from Grin. I had about 30 seconds to talk, which is how it goes sometimes, but I made sure not to miss the chance at nerding out for their latest offering, Acid Gods (review here), in-person, which I try to not make embarrassing for myself. So anyway, as they’re here, obviously I’m going to say hell yes, go see Grin. I’ve been fortunate enough to do that as well in the past and it’s a stage you want to be in front of when they’re on it.
Of course, in light of Domkraft canceling what had been their soon-to-start West Coast US tour due to an unspecified health issue in the band, I’m glad to see them topping the thus-far bill for Masters of the Riff V, as their making plans for the future speaks well of a timeline to return. On the off-chance someone from the band sees this, I continue to wish them all the best. Not that, you know, the rest of the bands playing can screw off or anything like that, just that I’m happy to see the name here.
Got that Bear Bones tape, for example, and that’s a good time too.
From socials:
“Beginth thine riff already, won’t you,” said Tony, sipping from a freshly brewed ale. To his surprise, the riffith commenced almost immediately. Quite, thought Tony.
We’re exceptionally excited to announce the first wave of bands for next year’s Masters of the Riff Festival at @oslohackney
So have a butchers and behold this fine bunch of gorgeous legends from the underground scene, joining us for the fifth (damn) iteration of the festival!
Please feel free to raise one’s drink of choice accordingly. 🍻
PRAISE THE RIFF!!!
It means ever so much to us that the bands, breweries, amp wizards, fans, and all those in between trust us to curate this festival each year.
We’re honoured to be a small part of the great doom machine in the Sky, and we’re definitely looking forward to this epicus metallicus weekend (our livers, perhaps, less so).
There’s loads more incoming over the next few weeks and months, so keep your 👀 peeled.
Head over to @dicefm to grab your early bird tickets init!
Posted in Whathaveyou on April 16th, 2025 by JJ Koczan
Is it Høstsabbat announcement season already? Awesome. The rightly-lauded Oslo festival takes place every October, and I’ve been lucky enough to go a handful or so of times. This year, like last, they’ve nestled themselves into the weekend of Oct. 25, which is my daughter’s birthday, so that pretty much settles the issue for me.
That said, it’s still fun to keep up with who will be able to make the trip to Norway this Fall, and Høstsabbat is opening strong. The yet-unannouced YOB European tour that I’m hoping against hope coincides with a new album release either this summer or September (mind you, I know nothing) will make a stop through, and Swedish psych-noise riff masters Domkraft, as well as the nautically-themed death-doom extremists Ahab and, in keeping with the festival’s continued affinity, some hardcore-tinged whathaveyou from Denmark’s New Money.
That’s the first four and you get a decent sense of variety, which will of course increase as more acts are added. It’s been a few years since I’ve seen YOB, and it’s been seven years since they put out a record, so with the increase in fest activity for the Fall, it makes me think maybe they’re doing it up for an occasion. They don’t need the excuse, and if they did, it’s 25 years since the demo — they have a tape of it out for that — but still, playing a bunch of Eurofests seems like a long way to go for a tape reissue of your demo. Fingers crossed.
Hopefully by the time Høstsabbat takes place, we’ll know more about that, and obviously the rest of the lineup. You keep an eye and I’ll do the same. Here’s how it starts:
Sabbathians! ⛪️🔥
Easter is upon us, and we have a special easter egg to share with you all.
We are beyond excited to share the first four bands for Høstsabbat 2025!
Please welcome the doom-legends from Eugene, Oregon, the magic powertrio that is Yob!
Also, the hard hitting, whale-hunting trailblazers from the coral tombs, AHAB comes to rattle the Church!
Danish dynamite from the underground Copenhagen scene, mixing Hardcore and Noise Rock, 𝐍𝐄𝐖 𝐌𝐎𝐍𝐄𝐘!
And lastly, the hashtronauts from outer space, the sonic jackhammer that is Domkraft!
Posted in Whathaveyou on April 16th, 2025 by JJ Koczan
Yes, I know this was announced last week. I don’t care if it was announced last year — it’s friggin’ Domkraft and friggin’ Howling Giant touring together. Can you imagine the banger show that must be? Howling Giant, who I think will be playing as a four-piece again, hitting the road after recording their next full-length (oh I’m so nervous for it), and Domkraft making the most of the US visa that brought them Stateside this past Fall to be at Desertfest New York (review here), which they just about rolled into a little ball and tucked into their pocket to save for later. They were incredible.
Getting this post ready yesterday, I put on 2023’s Sonic Moons (review here) again and at the risk of spoiling your own revisit for you, yup, it still destroys. Their massive lurch and Howling Giant‘s careening, hooky uptempo shove should mesh well, and one hopes a second tour puts Domkraft somewhere in the realm of breaking even as regards the cost of artist visas. If you go, buy a shirt. Buy 10.
And I’d be remiss if I didn’t mention that Howling Giant are in my neighborhood (literally) this week for a show. I can’t attend as I’m traveling, but I’m sending The Patient Mrs. for a rare guest review. I’ll post it next week probably. Will be fun. There’s precedent, but I’ll have more on that later.
Here are Domkraft and Howling Giant dates, as per the announcement on socials:
[UPDATE JUNE 20: This tour has been postponed owing to an unspecified health issue in the Domkraft camp. Best wishes to them and here’s hoping they can make it back over soon.]
Here we go! The second and final leg of our US tour starts in June and we will be joined by none other than our ace label mates @howlinggiant. See you in the audiodomes!
Domkraft & Howling Giant West Coast USA tour: 6/26 San Diego, CA – Brick by Brick 6/27 Las Vegas, NV – The Griffin 6/28 Garden Grove, CA – The Locker Room 6/29 Palmdale, CA – Transplants Brewing 6/30 San Luis Obispo, CA – Dark Nectar 7/1 San Francisco, CA – Bottom of the Hill 7/2 Eureka, CA – Savage Henry Comedy Club 7/3 Eugene, OR – John Henry’s 7/4 Portland, OR – The High Water Mark 7/5 Vancouver, BC – Lanalou’s 7/6 Seattle, WA – The Funhouse
Line-up Martin Wegeland – vocals, bass Martin Widholm – guitars Anders Dahlgren – drums
Posted in Whathaveyou on September 17th, 2024 by JJ Koczan
Granted, Truckfighters are pretty fresh in the ol’ brain after seeing them this past weekend, but while ‘always deliver live’ is an essential part of their ethic as a band, the Swedish troupe behind this fifth edition of the aptly-named Truckfighters Fuzz Festival are hardly the only appeal here. 1000mods will have just released their new album a couple weeks before Fuzz Festival #5 gets underway, and Slomosa and Bottenhavet, Daevar, High Desert Queen and 10,000 Years have or will have 2024 releases under their belt as well. Not to harp on it, but I also saw Domkraft this past weekend, and they don’t have a 2024 record but would nonetheless be a significant draw in this two-nighter’s favor if I happened to live in Stockholm.
Grand Atomic, Steak, Witchrider, Goddess (who I don’t know at all, but am inclined to check out based solely on their inclusion here), Siena Root, Håndgemeng and the ever-fluid Besvärjelsen complete a strong bill for the Debaser and adjacent Bar Brooklyn, and you’ll find the full lineup and ticket link, courtesy of the band’s socials and website:
The Truckfighters Fuzz Festival is back! For the 5th time, there will be riffing in the name of fuzz at Debaser Strand and Bar Brooklyn, this year on the weekend of November 22-23! One could say that the festival has become Sweden’s answer to a company party but here it’s all about fuzz, swing, and a damn good mood. All spread across 2 stages as we combine Debaser and Bar Brooklyn into a single festival frenzy over 2 days. You will be treated to great music from 6:15 pm to midnight on 2 stages, and the evening is not over there as DJs extend the nights with cool music and we hope for a great hangout.
The Venue is located on the island of Södermalm, in Stockholm. This is a very nice area in the central parts of town. Get there with subway or bus to “Hornstull” station.
The bands on the bill are hand picked by us to ensure a great evening! All bands are good! All bands play some kind of heavy groovy rock music with a fuzzy sound! We hope to see you. Keep the fuzz burning! / Truckfighters
Stockholm! Debases & Bar Brooklyn = Fuzz Festival #5 November 22nd & 23rd! 🔥🔥🔥
The lineup is nailed, one day tickets are released now so now we go!
Lineup: Truckfighters 1000mods Siena Root Slomosa Domkraft Witchrider Steak 10,000 Years Besvärjelsen Håndgemeng High Desert Queen Grand Atomic Bottenhavet Daevar Goddess
Posted in Reviews on September 14th, 2024 by JJ Koczan
Before Show
Doors aren’t for a while yet, and I’m sitting out the back of the Knockdown Center as far out of the way as I can put myself and still be here. It’s good to be here. I crashed hard after the pre-show last night, and it wasn’t painful when the alarm went off at 8AM, unless of course you count the various old-rocker ailments that hit me alongside consciousness. There’s a reason I bring ibuprofen to these things.
I’m staying with Tim Bugbee — a photographer and one of those people who proves you can be both insanely talented and kind — in an AirBNB down the way, and it was about five minutes by car from a to b. Coming into town, I did not travel light. Big suitcase, laptop bag, camera bag; I felt as though all my belongings were compressed to a maximum extent coming back from Budapest last month. This is hardly the same kind of trip, but I wanted to spread out a little. I brought a pack of seltzer, some leftover chicken. I can be comfortable while doing a thing. It’s allowed. I stopped short of bringing a coffee pot, but should have. I’m not usually much for Keurigs, but it was functional. My grinds can come home with me.
This was basically the mellow morning before two days of go. Fine. I sat in my car for an hour and a half from 11:30AM-1:00PM so it didn’t get ticketed or towed because alternate side parking — it didn’t — and hung around in air conditioning because it’s hot in the sun. The whole weekend is supposed to be gorgeous weather, warm and sunny, but the light is Fall. Can’t climate change the Earth’s orbit, I guess. Angles of the light and all that.
Seemingly random, but sitting off to the side in the main venue space, I just saw Amy Tung Barrysmith from Year of the Cobra checking bass and vocals with Amenra. It was a surprise; wouldn’t have been if I kept up with the band’s social media. No drama. Their bassist couldn’t make the trip, so she’s filling in. They announced it a few days ago. I wonder what the connection is there, but I’ll take it either way. I’ve never been huge on Amenra on a personal-listening level, but I’ve yet to hear Amy Tung Barrysmith play on a thing and not like it more for her involvement. Should be an interesting set. Cool. It will be the eighth one of the total 10 sets played today. I hope to see at least part of everybody. Will keep you posted how it goes.
To that end:
Guhts
My first time seeing Guhts, which is a thing worth remembering. Their first album, Regeneration (review here), is my one to beat for best debut of 2024, if that matters. More to the point, they were fucking great. Obviously I dig the record too, but at full volume and assault, it was just the right combination of expansive and oppressive. They had the laptop going the whole time with keyboard parts and various electronic atmospherics, and with the four of them up there, it was pretty clear ever were giving 100 percent of everything to the performance. The passion came through raw, and actually, having the backdrop and transitional drones happening apart from the band, emphasizing the ferocity of the delivery when they let loose. As they did. Righteously. If that had been the end of the night, the day would be a win.
Blackwater Holylight
It had been a couple years and, admittedly, there was the contextual weirdness of it being Psycho Las Vegas — that’s not a dig; their whole thing was absurdity — last time I saw Blackwater Holylight, but the sinister sound of 2021’s Silence/Motion (review here) came to life as part of an ambient pastiche. It was more immersive than a lot of heavy bands are willing to be, and I guess you could call that ‘gaze of some variety or other, but that almost implied a kind of laziness and Blackwater Holylight were as much fuzzy progressive grunge metal as they were languid nod, with keyboards adding to the texture of the melodies, some toward psychedelic but clearly mindful of place and time. And maybe they riff out for a while too. How is that anything but awesome?
Abrams
Among the bands I haven’t seen before, I was most curious and what Abrams would bring. The Denver heavy rockers are ultra-reliable somgwriters, and they’ve always had a clarity of purpose in their arrangements and structures that is underrated by exponents, but in the Texas room it was more about hitting hard and representing the scope of their craft. Some emo in there, or at least the punk of the aughts. In any case, they were dynamic and leaned into the impact of their heavier stretches. At the same time, they weren’t void of mood at all, and guitarist/vocalist Zach Amster is the charismatic frontman he has always seemed to be. Dude can sing. I stood in the back for most of the set, and I could feel my earplugs shaking in my ears. People had their fists up. I’m not shitting you. And seeing them live, maybe part of why they’re undervalued is they’re a bit between styles. They’re a heavy rock band, but that’s not it. They’re metal, prog, punk and a few besides. Practiced but not at all dry in their delivery, I have to wonder if Abrams ever plays a show without making a new fan.
Primitive Man
Brutal turn of vibe. You know on paper what you’re getting with also-Danver’s Primitive Man — punishment; sounds no less likely to consume you having just bludgeoned you into oblivion — but the reality of the thing is even more destructive. Caustic doom as a genre? Crushing doom? Those sound like words that could be things. Doesn’t matter. Also from Denver, the trio were a vision of aural misanthropy, extremist in purpose and volume. There have only been like three bands today, so it doesn’t mean a ton to call them the heaviest as even their quiet parts had a rumble beneath that you could feel in your chest, but they were the heaviest of the fest so far and it would take a lot of noise to beat. Frequencies as weapons. Malevolence and probably a truckload of dry ice. I wouldn’t call myself well adjusted by any measure — if I was, I’d have stopped doing this years ago — but even on a level of catharsis, Primitive Man are a lot to take. Which, wait for it, is the point of the thing. If dystopia’s coming, they’re ready. And brutally sad. I didn’t know any of the songs. Mostly they were terrifying. And it was astonishing that it could still be daylight while they played. If Khanate are hacking you to pieces, Primitive Man are pulling concrete blocks on your chest until you can’t breathe anymore.
Spirit Mother
About as fresh in my mind as they possibly could be since the album they put out today was streamed here yesterday. They played a good deal of Trails, and brought a heap of noise to the prior single “Locust,” and were thick in vibe while still keeping the songs moving. A fill-in violinist/vocalist held down that role without question, and Armand Lance pushed his vocals into screams and was still able to carry the melody alongside said violinist when the guitar and bass dropped out and it was vocals and ride cymbal only for a few measures in “Wolves.” Some aspects of Young Hunter, All Them Witches, but Spirit Mother are very much their own thing on the balance, and their songs are getting darker, more expansive, and better. My second time seeing them, and I’m extra glad to have seen them play the Trails material. I’ll look forward to the next one.
Belzebong
Riff-forward instrumental stoner sludge metallers Belzebong came all the way from Poland to elicit crusty vibes in fog that I couldn’t tell if it was theirs or leftover from Primitive Man. Surely they’re used to haze, one way or the other. Big nod, ‘Bong Fire Death’ — because Bathory, god damnit! — in the backs of the bass and guitars, amd an absolute lock on tone, there was precious little to not like. You would not call them subtle and neither are they trying to be. Doom. Fucking. Riffs. Black. Fucking. Sabbath. You get the idea. Like their countrymen worshipers in Dopelord, they wear their love of weed on their collective sleeve, and I get it. And “it” in this circumstance means stoned. But the reason it works is because the music and their performance of it is as much a celebration as anything else, and they’re not trying to convince anyone they invented Sleep riffs. They’re the kind of band that, if you’re in this thing, make complete sense, and would confuse the shit out of normal people. It’s a very specific idea of fun. Always a pleasure to see them.
Deathchant
I crossed paths with Deathchant in June at Freak Valley (review here), so not quite topping Spirit Mother for being in my head, but not terribly far off either. They were going to be a ripper on stage and they were. Thin Lizzy and Motörhead and Sabbath and DRI or whoever; they own records. But volume and energy and shove were the order of things, however much the two guitars might veer into NWOBHM-type harmony on the way. I was late getting in to take pictures, but that’s okay. I don’t really like taking pictures most of the time, and I do like talking to friends, so if I’m not in front of the stage for everything, fine. I was on the side. Still enough perspective to know Deathchant were the start of the party for a lot of the heads in the room, which was later-in-evening crowded, and fair enough. The West Coast skate thing doesn’t always translate in New York, but some things hit just right. I’d never seen them before last August at SonicBlast (review here) — to which they returned this year — now it’s three times in 13 months. Maybe I’m a fan.
Amenra
Sure enough, Amy Tung Barrysmith on bass. They’re not a casual band, Amenra. They’re not the kind of thing one might put on in the background of an otherwise quiet afternoon. And it’s all so very important-feeling, very solemn, whether a given part is loud and screamy or subdued and melodic. It’s a genre trope — partly in Amenra’s wake, I think — for pprt-metal to take itself seriously. So they do the thing where Colin H. Van Eeckhout bangs the sticks together while kneeling at the start, and there’s the strobe matching the heft of tone and emotional immediacy with its own kind of sensory overload. They have a lurch and an undulating waves of distortion that’s their own, and it’s not a hot take they’re incredible at what they do, but I’ve never managed to get fully on board. My loss. It was a blast to watch Amy from Year of the Cobra playing with them, though, and just because they may not be a band I put on all the time doesn’t mean I can’t appreciate what they do and the influence they’ve had. It just means I’m probably going to be early for Domkraft.
Domkraft
And so I was. A band worth being early for. I spent most of the set right in the front, obnoxiously so, I’m sure, and kind of let go and nodded out for a bit. I didn’t fall asleep while Domkraft were playing or anything close to it. But it’s not a conscious thing when that riff hits you just right anyhow. I have to think the moshers know what I’m talking about. Starting out on a nine-day US run, the Swedish three-piece indeed were a culminating force from the Texas Stage, riffs bouncing off concrete walls and back again, creating that much more presence in the sound. There was a technical issue with the guitar, but it wasn’t actually that long in fixing, and they were right to restart “Whispers.” They’re are a lesson in the difference a great drummer can make, but they’re also a lesson in the difference a great everything can make. The lesson I learned was that I don’t appreciate their guitar solos enough, and the way I learned it was by being fortunate enough to be on the planet at the same time as the band.
High on Fire
The band who taught the world to shred riffs. Last met at the beginning of July in Croatia for Bear Stone (review here), though certainly they’ve been elsewhere since then, and they continue to hold their own standard. There was some not-fun-kind feedback intermittent early on, but it was a High on Fire set, like they wouldn’t deliver? They’re returning headliners at Desertfest New York, having played in 2022 (review here), and I don’t have a ton to say about them that didn’t apply two months ago, but to sum up they’re one of the best heavy-anything bands of their generation. I continue to dig the way they’re able to vary tempo in the live show while keeping the balance toward intensity on an LP. Of course they’re headlining. Hopefully it won’t be the last time they do. This forever will be the time that somebody was blowing bubbles during “Rumors of War,” however.
Unless they want to make it tradition or something. Which would be okay too, for sure. Hashtag Bubbles of War.
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On that happy note, good night. I’ve been writing all day at the fest, and I’m ready to call it an evening. Tomorrow brings Dozer, Spaceslug and sundry other delights. There are more pics after the jump, and as always, thank you for reading.
