There are a few acts down toward the bottom here that I’ve never heard before, and I like that a lot. Always up for a challenging round of googling, I looked up Monica and found who I’m assuming are the right band, from Belgrade, Serbia. The release I put below came out last Fall — it’s a three-songer and is raw as nails until it spaces way out before you realize it. Cool vibe. How on earth I might go about finding D. is a mystery, but this isn’t my first day on the internet so I’ll get there.

More to the point, Bear Stone Festival looks so god damned good. A Place to Bury Strangers are gonna wreck up the place, to be sure, and whatever’s left will be Monolord‘s to flatten. I am very, very much hoping to be in the crowd for this one — remember hat, remember water, remember… the alamo — and if you see me by that riverside, please be sure to say hey. I gotta get that flight confirmed. Too much daydreaming, but can you blame me?

From the PR wire:

Bear Stone Festival 2025: Second Lineup Announcement

The long awaited second lineup announcement for Bear Stone Festival 2025 is finally here!

Below you will find brand new 16 bands which brings the total number of bands that have been announced so far to 33. We still have 8 more surprises for you that we’ll announce as we get closer to the festival.

Tickets available at bearstonefestival.com or through our ticketing shop: https://eventix.shop/yr63t398

A PLACE TO BURY STRANGERS

A Place To Bury Strangers, led by Oliver Ackermann, has been pushing sonic boundaries for nearly two decades, fusing Post-Punk, Noise-Rock, Shoegaze, and Psychedelia into an electrifying and unpredictable experience.

With a refreshed lineup featuring John and Sandra Fedowitz and their own label, Dedstrange, the band continues to evolve, delivering their most dynamic and melodically daring work yet. With their latest album, “Synthesizer” (2024), the band continues to explore different fusions on a wide array of genres confirming once again their legendary status in the underground scene.

MONOLORD

Swedish trio Monolord have carved out a dominant place in the Doom Metal scene with their crushingly heavy riffs, hypnotic grooves, and haunting melodies. Since their 2014 debut “Empress Rising”, they have continued to push the boundaries of modern doom, blending psychedelic textures with bone-rattling low-end.

With a reputation for thunderous live performances and critically acclaimed releases like “No Comfort” (2019) and “Your Time to Shine” (2021), Monolord remains a powerhouse of immersive, slow-burning heaviness.

BRANT BJORK TRIO

Brant Bjork Trio is the latest project led by the legendary Brant Bjork, a pioneer of Desert Rock and a founding member of Kyuss and Fu Manchu. Joined by musicians Mario Lalli and Mike Amster, the trio delivers a raw, groove-heavy blend of Stoner Rock, Funk, and Psychedelic sounds. Known for their dynamic live performances and Brant’s signature laid-back vibe, the trio continues to push the boundaries of the Desert Rock genre.

MAIDAVALE

Swedish Psych Rock band MaidaVale captivates audiences for over a decade with their spirited energy and eclectic blend of Neo-Psychedelia, Krautrock, and influences from Post-Punk, Funkadelia, and North African Blues. Their acclaimed debut album “Tales of the Wicked West” (2016) established them on major European rock stages, while their sophomore release “Madness is Too Pure” (2018) solidified their place in the Psych Rock scene with its bold, experimental sound. MaidaVale continues to push boundaries with their latest album “Sun Dog” earning recognition as one of Europe’s most innovative Psych Rock acts.

CIŚNIENIE

Founded in 2017, Ciśnienie (Polish for “pressure”) combines Post-Rock, orchestral music, and Jazz to create intense, mind-bending musical climaxes. Drawing inspiration from Swans, Fire! Orchestra, Mogwai, Arvo Pärt, and H.M. Górecki, their sound blends baritone sax, violin, and piano with distorted bass and frantic drumming, producing dynamic soundscapes ranging from Ambient Psychedelia to rhythm-driven walls of sound. Having performed over 100 concerts across Europe, the band released their latest live-recorded album, “Zwierzakom” in late 2023.

WEDGE

Wedge, a Berlin-based trio, has been a driving force in the European underground Rock scene since 2014, blending Classic Rock, Kraut Rock, 60’s Garage, and Heavy Psychedelia into their high-energy “Fuzz ‘N’ Roll” sound. Known for their dynamic live performances, they’ve played over 350 shows across Europe, gaining a solid reputation and critical acclaim for albums like “Killing Tongue” (2018) and “Like No Tomorrow” (2021).

ACID ROW

Acid Row is a Prague-based Stoner Rock trio known for fusing Punk energy with elements of Doom Metal, Psychedelic Rock, Noise Rock, and ’90s Grunge. Since their formation in 2012, they have undergone several lineup changes but have stayed true to their rebellious spirit. Inspired by the haunting Blues roots of legends like Robert Johnson, Acid Row carries the torch of Rock and Heavy Metal legacies with raw intensity.

EARTH TONGUE

Earth Tongue is a New Zealand-based duo consisting of guitarist/vocalist Gussie Larkin and drummer/vocalist Ezra Simons, known for their raw, fuzz-drenched sound and unconventional song structures. Drawing inspiration from early Psychedelic Rock and Heavy Garage, their music blends heavy riffs, dual vocal harmonies, and a DIY aesthetic that captures the spirit of 70’s Sci-Fi. With captivating live performances and releases like their debut album “Floating Being” (2019), Earth Tongue has earned a reputation as one of the most exciting acts in the underground Psych scene.

SAUTRUS

Sautrus, formed in 2010 in northern Poland, is a Heavy Psychedelic Rock band known for their unique blend of Psychedelic, Stoner Rock, and ritualistic trance, evoking the sound of the 1970’s. With six releases to their name, including the upcoming album “Lazarus Dilemma” (2024), they have performed at numerous festivals and shared stages with iconic acts like Uriah Heep and Wishbone Ash.

WOLVES OF SATURN

Wolves Of Saturn from Dresden, Germany, are a Desert Rock band known for their immersive sound, featuring fuzz-laden guitars and an array of effects like Plasma Coil and Wahs. Their debut LP, “The Deserts Echo and the Peyote Delusion”, born during the pandemic in a WWII bunker, was released on April 01, 2023 and captures the essence of their unique creative process, blending themes of isolation and freedom into a mesmerising sonic journey.

IAH

IAH is an Instrumental Rock band formed in 2016 in Córdoba, Argentina, consisting of guitarist Mauricio Condon, bassist Juan Pablo Lucco Borlera, and drummer José Landín. Blending atmospheric Post-Rock with the heavy, hypnotic riffs of Post-Metal, their versatile sound defies genre categorization, and they have released five studio albums, including their latest, “V” (2023).

THE FLUKES OF SENDINGTON

All the way from Byron Bay, Australia, The Flukes of Sendington deliver a visceral and cathartic blend of Garage Rock, Funk, Psych, and Indie sounds. Formed in 2024, the band quickly gained momentum with a successful DIY European tour, captivating audiences at festivals like Vierdaagsefeesten Nijmegen and Munich Summer Sessions. With their debut album set for release in 2025 and another tour on the horizon, The Flukes of Sendington are a rising force of unforgettable energy.

FROM ANOTHER MOTHER

Blending Prog Rock, Punk Fusion, and Post-Hardcore, this energetic trio creates total madness at their gigs, blurring the line between audience and band in a whirlwind of controlled chaos. With over 200 live shows and a month-long Balkan tour in 2023, they’ve been spreading love and joy across Europe for more than a decade. Their discography includes two EPs and two albums: “Bratebra”, “Epileptir”, “ATATOA” (Kapitän Platte), and “Zest” (Jeboton).

UMOR

Umor emerges from the depths with low tunings, diminished keys, and a sound steeped in sonic doom, crafting a haunting blend of heavy, atmospheric music. Their music resonates like an apocalyptic hymn, weaving verses of despair, salvation, and inevitable darkness into crushing soundscapes. Umor invites listeners into their realm, where The Sound becomes a cleansing force, vibrating through the core and slowing the beat to an otherworldly stillness.

D.

D. is a three-piece band from Zagreb formed in 2022. Their music blends influences from various eras and genres, ranging from 1950’s Jazz to modern acts like King Gizzard & the Lizard Wizard. Their energetic live performances are characterized by spontaneous jam sessions, creating a vibrant and immersive atmosphere.

MONICA

Monica is a band that captures the raw, emotional essence of desert landscapes, blending the sound of a dying engine with moments of unexpected speed and steady rhythm. Their music evokes the melancholic beauty of a desert rainstorm, where moments of dryness are interrupted by a cloud that brings refreshing, lively change. With their unique blend of melancholic and energetic sounds, Monica creates an immersive experience that resonates with both the harshness and serenity of nature’s unpredictable rhythms.

https://www.instagram.com/bearstonefestival
https://www.facebook.com/bearstonefestival
http://www.bearstonefestival.com

Monica, Desert Daze (2024)

Bear Stone Festival 2024 aftermovie

See, you knew something was up a couple weeks ago when European booking concern and record label Sound of Liberation announced 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:

COLOUR HAZE
GREENLEAF
EARTH TONGUE
DAILY THOMPSON
KANT

It’s gonna be intimate but explosive – small venue, big vibes!🪩

🎫Grab your tickets at www.sol-tickets.com

Don’t sleep on it – grab yours before they’re gone!👀

Cheers,
Your Sound of Liberation Crew

https://www.facebook.com/Soundofliberation/
https://www.instagram.com/soundofliberation/
https://www.soundofliberation.com/
http://www.sol-tickets.com

Greenleaf, Live at Westill Fest 2024

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:

COLOUR HAZE • 1000MODS
SLOMOSA • MY SLEEPING KARMA
GREENLEAF • GNOME • EARTH TONGUE
DAEVAR • LUCID VOID • KANT

This all goes down across Carlswerk Victoria and Club Volta in Cologne.

Grab your tickets and come ride the sonic wave with us!

🗓️March 29, 2025
📍Carlswerk Victoria + Club Volta
Cologne, Germany

🎫Grab your tickets at www.sol-tickets.com (link in bio)

See you there!🖤

Cheers,
Your Sound of Liberation Crew

Artwork by @branca_studio

https://www.facebook.com/Soundofliberation/
https://www.instagram.com/soundofliberation/
https://www.soundofliberation.com/
http://www.sol-tickets.com

Colour Haze, Live at Duna Jam 2024

I’ll be honest, I don’t even want to talk about how well this Quarterly Review is going because I worry about screwing it up. It’s always a lot of work to round up 10 records per day, even if there’s a single or and EP snuck in there, but it’s been a long time now that I’ve been doing things this way — sometimes as a means of keeping up, sometimes to herald things to come, usually just a way to write about things I want to write about regardless of timeliness — and it’s always worth it. I’ve had a couple genuinely easy days here. Easier than expected. Obviously that’s a win.

So while I wait for the other shoe to drop, let’s keep the momentum going.

Quarterly Review #61-70:

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Massive Hassle, Unreal Damage

Brotherly two-piece Massive Hassle, comprised of brothers Bill Fisher and Marty Fisher — who played together in Mammothwing and now both feature in Church of the Cosmic Skull — get down with another incredibly complex set of harmonized ’70s-style soul-groovers, nailing it as regards tone and tempo from the big riff that eats “Lost in the Changes” to the strums and croons early in the penultimate “Tenspot,” hitting a high note together in that song that gives over to stark and wistful standalone guitar meander that with barely a minute ago gorgeously becomes a bittersweet triumph of nostalgic fuzz reminiscent of Colour Haze‘s “Fire” and having the sheer unmitigated gall to tell the world around them it’s no big deal by naming the band Massive Hassle and stating that as the thing they most want to avoid. When they did Number One (review here) in 2023, it felt like they were proving the concept. With Unreal Damage, they’re quietly pushing limits.

Massive Hassle on Facebook

Massive Hassle website

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Iress, Sleep Now, In Reverse

Iress are the Los Angeles-based four-piece of Michelle Malley (vocals), Michael Maldonado (bass), Glenn Chu (drums) and Graham Walker (guitar). Sleep Now, In Reverse is their fourth full-length in nearly 15 years of existence. As a record, it accomplishes a lot of things, but what you need to understand is that where it most succeeds and stands itself out is in bringing together a heavy post-rock sound — heavygaze, as the kids don’t say because they don’t know what it is — with emotive expression on vocals, a blending of ethereal and the most human and affecting, and when Malley lets loose in the payoff of “Mercy,” it’s an early highlight with plenty more to follow. It’s not that Iress are reinventing genre — evolving, maybe? — but what they’re doing with it is an ideal unto itself, taking those aspects from across an aesthetic range and incorporating them into a whole, at times defiantly cohesive sound, lush but clearheaded front to back.

Iress on Facebook

Dune Altar store

Church Road Records store

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Magmakammer, Before I Burn

When the band put the shimmying “Apocalypse Babes” up as a standalone single last year, it was some five years after their debut full-length, 2018’s Mindtripper (review here) — though there was a split between — so not an insignificant amount of time for Norway’s Magmakammer to expand on their methods and dig into the songs. To be sure, “Doom Jive” and “Zimbardo” still have that big-hook, Uncle Acid-style dirty garage buzz that lends itself so well to cultish themes but thankfully here is about more than murder. And indeed, the band seems to have branched out a bit, and the eight-song/43-minute Before I Burn is well served by divergences like the closing “I Will Guide Your Hand” or the way “Cult of Misanthropy” sounds like a studio outtake on a bootleg from 1969 until they kick it open around a build of marching guitar, even as it stays loyal to Magmakammer‘s core stylistic purposes. A welcome return.

Magmakammer on Facebook

Kozmik Artifactz store

Evil Noise Recordings store

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Evel, Omen EP

The kind of sludge rock Ohio’s Evel play, informed by Mondo Generator‘s druggy, volatile heavy punk and C.O.C.‘s Southern metal nod, maybe a bit of High on Fire in “Alaska,” with a particularly Midwestern disappointment-in-everything that would’ve gone over well at Emissions From the Monolith circa 2003, isn’t what’s trendy. It’s not the cool thing. It doesn’t care about that, or about this review, or about providing social media content to maximize its algorithmic exposure. I’m not knocking any of that — especially the review, which is going swimmingly; I promise a point is coming — but if Evel‘s six-songer debut EP, Omen, is a foretell of things to come, the intention behind it is more about the catharsis of the writing/performance than trying to play to ‘scene’-type expectations. It is a pissed-off fuckall around which the band — which features guitarist/vocalist Alex Perekrest, also of Red Giant — will continue to build as “Dust Angel” and the swinging “Dawn Patrol” already find them doing. The going will likely be noisy, and that’s just fine.

Evel on Facebook

Evel on Bandcamp

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Satan’s Satyrs, After Dark

Some six years and one reunion after their fourth album, 2018’s The Lucky Ones (review here), Virginia-born classic heavy barnburners Satan’s Satyrs are back with a fifth collection beating around riffs from Sabbath and the primordial ooze of heavy that birthed them, duly brash and infectious in their energy. Founding bassist/vocalist Clayton Burgess and guitarist Jarrett Nettnin are joined in the new incarnation of the band by guitarist Morgan McDaniel (also Mirror Queen) and drummer Russ Yusuf — though Sean Saley has been with them for recent live shows — and as they strut and swing through “Saltair Burns” like Pentagram if they’d known how to play jazz but were still doom, or the buzzy demo-style experimentation of “Genuine Turquoise,” which I’m just going to guess came together differently than was first expected. So much the better. They’ve never been hugely innovative, but Satan’s Satyrs have consistently delivered at this point across a span of more than a decade and they have their own spin on the style. They may always be a live band, but at least in my mind, there’s not much more one would ask that After Dark doesn’t deliver.

Satan’s Satyrs on Instagram

Tee Pee Records website

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Whoopie Cat, Weight in Gold

Delivered through Kozmik Artifactz, Weight in Gold is the second long-player from Melbourne, Australia’s Whoopie Cat, and it meets the listener at the intersection of classic, ’70s-style heavy blues rock and prog. Making dynamic use of a dual-vocal approach in “Pretty Baby” after establishing tone, presence and craft as assets with the seven-minute opening title-track, the band are unflinchingly modern in production even as they lean toward vintage-style song construction, and that meld of intention results in an organic sound that’s not restricted by the recording. Plus it’s louder, which doesn’t hurt most of the time. In any case, as Whoopie Cat follow-up their 2018 debut, Illusion of Choice, they do so with distinction and the ability to convey a firm grasp on their songwriting and convey a depth of intention from the what-if-Queen-but-blues “Icarus” or the consuming Hammondery of closer “Oh My Love.” Listening, I can’t help but wonder how far into prog they might ultimately go, but they’ve found a sweetspot in these songs that’s between styles, and they fit right in it.

Whoopie Cat on Facebook

Kozmik Artifactz store

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Earth Tongue, Great Haunting

Cheeky, heavy garage punk surely will not be enough to save the immortal souls of Earth Tongue from all their devil worship and intricate vocal patterning. And honestly the New Zealand two-piece — I could’ve sworn I saw something about them moving to Germany, but maybe they just had a really good Berlin show? — sound fine with that. Guitarist Gussie Larkin and drummer Ezra Simons benefit from the straightforward outward nature of their songs. That is, “Out of This Hell,” “The Mirror,” “Bodies Dissolve Tonight!” and any of the other nine inclusions on the record that either were or could’ve been singles, are catchy and tightly written. They’re not overplayed or underplayed, and they have enough tonal force in Larkin‘s guitar that the harder churn of closer “The Reluctant Host” can leave its own impression and still feel fluid alongside some of Great Haunting‘s sweeter psych-punk. Wherever they live, the two-piece make toys out of pop and praise music so that even “Miraculous Death” sounds like, and is, fun.

Earth Tongue on Facebook

In the Red Records website

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Las Historias, House of Pain (Demos)

The collection House of Pain (Demos) takes its title from the place where guitarist/vocalist Tomas Iramain recorded them alongside bassist Matias Maltratador and drummer Jorge Iramain, though whether it’s a studio, rehearsal space, or an actual house, I won’t profess to know. Tomas is the lone remaining member carried over from the band’s 2020 self-titled LP, and the other part of what you need to know about House of Pain (Demos) can also be found in the title: it’s demos. Do not expect a studio sound full of flourish and nuance. Reportedly most of the songs were tracked with two Shure SM57s (the standard vocal mic), save for “Nomad” and “The Way I Am,” I guess because one broke? The point is, as raw as they are — and they are raw — these demos want nothing for appeal. The bounce in the bonus-track-type “Mountain (Take 1)” feels like a Dead Meadowy saunter, and for all of its one-mic-ness, “Nomad” gives a twist on ’50s and early ’60s guitar instrumentals that’s only bolstered by the recording. I’m not saying Las Historias should press up 10,000 LPs immediately or anything, but if this was the record, or maybe an EP and positioned as more substantial than the demos, aside from a couple repeated tracks, you could do far worse. “Hell Bird” howls, man. Twice over.

Last Historias on Instagram

Electric Valley Records website

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Aquanaut, Aquanaut

Certainly “Come With Me” and others on Aquanaut‘s self-titled debut have their desert rocking aspects, but there’s at least as much The Sword as Kyuss in what the Trondheim, Norway, newcomers unfurl on their self-titled, self-released debut, and when you can careen like in “Gamma Rays,” maybe sometimes you don’t need anything else. The seven-track/35-minute outing gets off to a bluesy, boozy start with “Lenéa,” and from there, Aquanaut are able to hone an approach that has its sludgier side in some of the Eyehategod bark of “Morality” but that comes to push increasingly far out as it plays through, so that “Living Memories” soars as the finale after the mid-tempo fuzzmaking of “Ivory,” and so Aquanaut seem to have a nascent breadth working for them in addition to the vigor of a young band shaping a collective persona. The generational turnover in Norway is prevalent right now with a number of promising debuts and breakouts in the last couple years. Aquanaut have a traditionalism at their core but feel like they want to break it as much as celebrate it, and if you’re the type to look for ‘bands to watch,’ that’s a reason to watch. Or even listen, if you’re feeling especially risk-friendly.

Aquanaut on Facebook

Aquanaut on Bandcamp

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Ghost Frog, Galactic Mini Golf

While I would be glad to be writing about Ghost Frog‘s quirky heavy-Weezerism and psychedelic chicanery even if their third album, Galactic Mini Golf didn’t have a song called “Deep Space Nine Iron” on it, I can’t lie and say that doesn’t make the prospect a little sweeter. It’s an interlude and I don’t even care — they made it and it’s real. The Portland, Oregon, four-piece of guitarist/vocalist Quinn Schwartz, guitarist/synthesist Karl Beheim, bassist Archie Heald and drummer Vincent LiRocchi (the latter making his first appearance) keep somewhat to a golfy theme, find another layer’s worth of heavy on “Shadow Club,” declare themselves weird before you even press play and reinforce the claim in both righteous post-grunge roll of “Burden of Proof” and the new wave rock of “Bubble Guns” before the big ol’ stompy riff in “Black Hole in One’ leads to a purposeful whole-album finish. Some things don’t have to make the regular kind of sense, because they make their own kind. Absurd as the revelry gets, Ghost Frog make their own kind of sense. Maybe you’ll find it’s also your kind of sense and that’s how we learn things about ourselves from art. Have a great rest of your day.

Ghost Frog on Facebook

Ghost Frog on Bandcamp

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Once upon a Monday evening, and a boat, in Budapest.

The hajò in A38 Hajó translates to ‘ship’ in English, and indeed, it’s a big ol’ boat. Docked, so it’s not like we were listing one way or the other, though as Earth Tongue got started about 36 seconds after I walked in, I could swear I felt the floor move a bit.

The New Zealand duo have been in town — and by that I mean in Europe — for I don’t know how long already supporting their new album, Great Haunting, and the sun was still coming through the western side of the ship’s rooftop terrace as they played. Open walls, breeze, park across the street probably getting some wub of the pleasantly surprising tonal density on offer. To walk in a place you’ve never been and be rolled over by groove from Gussie Larkin’s guitar and Ezra Simons’ drums, the two sharing vocals throughout with a style that was punk and indie as much as stoner anything while also heavy as hell, a bit of playfully murderous Satanism to make it a good evil time, and almost folkish in some — just some — of the melodies coming through, but using the two-piece configuration not to highlight rawness, but versatility. It was quite a sight to see.

“Out of This Hell” was a highlight, with the wah doing some of the singing as well, and the stops and turns through cycles of riff underscored with, sparse in construction and arrangement but made full through tone, giving up nothing of instrumental tightness for the dual vocals. Nuance waiting to be heard. They made the darkness in their sound a part of the fun, a smiling threat no less sincere. People cheered when they came back out to break down their gear, which to me spoke of their winning folks over, but maybe that’s not necessarily a surprise. They made it easy to get on board, and considering the likelihood of my seeing New Zealand anything, ever, in any context, the radness perhaps came with a bit of extra novelty.

I’ve been in Hungary for a couple weeks now, but am still very much a tourist, however confident my ‘köszönöm szépen’ at the grocery store has gotten. I last saw Brant Bjork, in this very configuration — with Mario Lalli on bass and Ryan Güt on drums, playing as Brant Bjork Trio — at Desertfest New York (review here) this past September, and while the band and I are from nowhere near the same place, biome, whatever, I still had a bit of home-comfort at the thought of watching them play. Their forthcoming album, Once Upon a Time in the Desert, is a to-form, to-a-high-standard groover, and while I suppose that’s gonna be true anytime you put Lalli and Bjork on a record together, well, it’s true this time too.

I moved up front while Lalli did the line check after meeting a few new friends from Buda and/or Pest and telling them about my adventure driving the little electric cart around Margít Island earlier in the day and getting ab recommendation to bit Wave Music to go record shopping. I had to move back up — not trying to be rude to anyone; just don’t want to miss my chance and I’m not good looking enough for people to make way when I say excuse me and try to get past — and I was glad I did because it filled in quickly. The sun wasn’t yet all the way down, but the lights were on and they were playing blues over the P.A., which felt right on. Bit of sway for the boat. I wished I had brought water, but I always do when I don’t, so I just drank that tension and let it be for a couple minutes. Dudes were gonna roll. The volume was gonna hit — it certainly had in Earth Tongue, even if it started with a bit of surprise at 19.30 on the dot more or less. An hour later, just an hour after I awkwarded my way through the door, there they were.

They played a goodly portion of the album — heads up on “Coming Down the Mountain, y’all — along with selections out of Bjork’s catalog from “Mary You’re Such a Lady” to “Too Many Chiefs,” which had dudes bouncing up front, and I gotta be honest with you, as much as I do the critic thing and try to take people’s work seriously because I believe it deserves serious consideration, I really just needed to let it go for a few fucking minutes. When they hit into “Sunshine,” I was perfectly happy to loosen the plugs in my ears and pull my head out of my own ass and relax. Yeah, it’s cool to go to a club show in a foreign city. It’s cool to be on a boat without any real plan for how I’m gonna get back to the apartment after. Hell, my niece is here for the week and she even came out for it. I can close my eyes and enjoy a thing for a few, right? Just a few? I’ll go back to writing on my phone like a dick when this song is over, I swear.

I saw this every time — every time — but I’ll say it again: Ryan Güt, man. Dude swings with the swing, and when he hits the snare on “Let the Truth Be Known,” he’s not trying to be mean about it, but he’s making a point, god damn it, and it’s a point worth making. The place had gotten what I’d consider packed out for a Monday night, and as I will, I hung in the back for a while and enjoyed the breathing space without giving up the volume of the jam being cast into the streetlit Magyarorszag night. Hétfőn. School night for me. Not even shitting you. Language lesson at 8AM tomorrow. Real life. “Bread for Butter.”

By the time they got to “UR Free,” they were long since rolling, and following it up with “Trip on the Wine” brought a bit of mellow after the tense verses of the newer song, a complement that worked better on stage than I’d have expected, and while “Trip” didn’t have the keys like on the album, that gave the guitar solo a little more emphasis in the easy-rolling nodder, building in volume and daring some nasty in the fuzz; the pot, stirred. They jammed on it — legit — and brought it down smooth, not that there was ever a doubt. “Somewhere Some Woman” followed, for another rad turn.

Live LP? Well, Lalli just put one out with The Rubber Snake Charmers, and Bjork and Güt have one coming from Stöner, but if they managed to capture this lineup at work, it’d be with the price of admission for their take on “Automatic Fantastic” alone. They ended the set proper with that — as one would — and came back out for the new single “Backin’ the Daze” as the first of a two-part encore, following up with “Freaks of Nature” to finish the night. I bought my niece an Earth Tongue shirt and we split about a literal minute before it ended, which I’ll say I don’t regret because indeed it sounded fucking awesome echoing out into the night from the A38. Ditto the cheers after.

While I’d point out this Trio configuration as a standout in itself, you don’t need me to tell you to see Brant Bjork. He’s a captain of cool and the foremost ambassador of Californian desert rock, but I’ve done that shit before and if you didn’t get the message then, I doubt you’re (1:) still reading or (2:) inclined to now, so, fine. What I’ll say instead is that for me, this was a pretty special night, and when I think back on the four weeks I’ll have spent in Budapest this summer, I know damn well this is part of what I’ll remember most fondly. Also that I was able to catch the tram home without screwing it up. Not nothing considering a general weakness for navigation. Must’ve been a good one. Yeah, it was. I asked if I could do my morning lesson Wednesday instead. Fingers crossed.

More pics after the jump if you want to hit that up. Thanks for reading either way.

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With a quick round of lineup adds and the announcement of how the pre-show and three days of the festival-proper will play out, SonicBlast Fest 2024 continues to take shape, and golly it looks like fun. Germany’s Daily Thompson will make the trek westward to herald their new album, Chuparosa, and the everywhere-in-Europe-this-year-apparently duo Earth Tongue from New Zealand will appear in support of their upcoming sophomore LP, Great Haunting. Also new to the bill are Canadian psych-prog forebears Black Mountain and thrash outfit Fugitive, because sometimes you just need a punch in the face.

There are still some names to add, as you can see on the poster below. The day splits put Daily Thompson on the pre-show, and that will be a party. I’d expect at least one of the TBCs there, if not both, to be Iberian bands, as SonicBlast runs deep in support for its own regional underground, and given how packed the fest-Friday (Aug. 9) is, they could go just about anywhere in mixing it up, more thrash, hardcore, noise, psych, doom, stoner, whatever, and make it work. There’s a lot to like, even before you find yourself sitting on the beach in Âncora waiting for whoever to go on.

The below was culled from a couple different social posts, so if it reads weird, that’s why, but I expect you get the idea. Here you go:

Daily tickets are already on sale! Check the daily line-ups here 🔥 Looking forward for August!

*this is not in the order of performance

Psychedelic rockers @blackmountainarmy, thrashers supergroup @fugitive_tx (with members of Power Trip and Creeping Death), heavy psych rockers @earthtongue and sonic fuzzers @dailythompson_ will join us in this insane party, this August at Praia da Duna dos Caldeirões

🔥 Daily and full festival tickets are already on sale at BOL (Fnac, Worten, Ctt…), at https://garboyl.bol.pt/ and at https://www.masqueticket.com/entradas/sonicblast-fest-2024

Check all the news at www.sonicblastfestival.com
Artwork by @branca_studio

https://www.facebook.com/sonicblastmoledo/
https://www.instagram.com/sonicblast_fest
https://sonicblastfestival.com/

Daily Thompson, “I’m Free Tonight” official video

Earth Tongue, “Bodies Dissolve Tonight!” official video

Fresh off supporting Queens of the Stone Age in their native New Zealand, stopping by SXSW on a string of US shows to play a few unofficial showcases after ditching their official one for the age-old reason — the malignant corporate influence of weapons manufacturers — and looking forward to a Spring that will see them in Europe to feature at Desertfest in Oslo, Berlin and London, Poland’s Red Smoke Festival and others following the summer run they did last year, Earth Tongue have announced their second full-length, Great Haunting, will be released on In the Red Records this June 14. Got all that? Sweet.

They have a video up now for “Bodies Dissolve Tonight!” that leans more heavy than psych but still has plenty of both to offer along with krautrock-informed pop and hard-landing riffery in its under-three-and-a-half-minute span, and if you’d like to get acquainted, it’s at the bottom of this post. It’s got a flying truck, if that helps you get on board.

And maybe it will, but it’s the song itself that’s going to make the difference. Find it and the album announcement below, courtesy of the PR wire:

Announcing second full-length from fuzz-soaked psychedelic rock duo EARTH TONGUE

Drawing inspiration from eerie depths of ’70s and ’80s horror cinema, delivering a sonic concoction of dark and primitive songs with thick layers of fuzz and punchy, compressed drums.

Share new single/video ‘Bodies Dissolve Tonight!’

Earth Tongue, the brainchild of guitarist Gussie Larkin and drummer Ezra Simons, present their second full-length album Great Haunting. The duo, known for their heavy flavor of fuzz-soaked psychedelic rock, are also pleased to unveil their signing to In The Red Records.

Earth Tongue’s partnership with In The Red stems from a run of shows supporting the legendary Ty Segall throughout New Zealand. Larkin explains: “Ty’s band Fuzz was a significant influence for our sound early on. Ezra and I saw them play live in London about nine years ago, long before Earth Tongue existed. We absorbed a lot of music at that time, and in fact many of the bands we saw released records via In The Red.”

Great Haunting sees the duo draw inspiration from the eerie depths of ’70s and ’80s horror cinema, delivering a sonic concoction of dark and primitive songs with thick layers of fuzz and punchy, compressed drums. The album was engineered by Jonathan Pearce from The Beths at his studio on Karangahape road in Auckland.

The ascent of Earth Tongue is testament to their dedication and hard work. They’ve toured relentlessly across Europe and scored support slots for acts like IDLES and Queens Of The Stone Age. They’re consistently selling out headline shows and have featured on festival lineups throughout Aotearoa and Australia. Having just spent last week shredding SXSW, they tour America and then, in May, hit Europe/UK, playing DESERT FEST in London on 18th May!! Amongst a huge EU tour.

EARTH TONGUE
GREAT HAUNTING
In The Red Records
Release date: 14th June 2024

Tracklist:
1. Out Of This Hell
2. Bodies Dissolve Tonight!
3. Nightmare
4. The Mirror
5. Grave Pressure
6. Miraculous Death
7. Sit Next To Satan
8. Reaper Returns
9.The Reluctant Host

Earth Tongue:
Gussie Larkin – Guitar & Vocals
Ezra Simons – Drums & Vocals

https://www.facebook.com/earthtongueband
https://instagram.com/earthtongue
https://earthtongue.bandcamp.com/
https://linktr.ee/earthtongue

https://www.facebook.com/In-The-Red-Recordings-39064159876/
https://www.instagram.com/intheredrecords/
https://intheredrecords.bandcamp.com/
https://intheredrecords.com/

Earth Tongue, “Bodies Dissolve Tonight!” official video

Over the last several weeks, the inaugural Desertfest Oslo has piece-by-piece announced the remainder of the lineup for May 10 and 11, and the list is substantial. Wolves in the Throne Room, Weedpecker, Kadabra, Steak, Crippled Black Phoenix, Earth Tongue, Apostle of Solitude, Orsak:Oslo, Margarita Witch Cult, REZN, Bongzilla and Slomosa joined the bill one at a time, broadening the scope exponentially in terms of style from searing black metal thrust to sad post-goth to stoner rock of progressive and willfully unprogressive strains and outright ambience, older and newer bands, and geographical range. It’s kind of stunning how commonplace this standard has become for the Desertfest brand over the last decade-plus.

Tickets for each day are also on sale now — in case, what you want to see Acid King and not REZN? it’s okay, I’m not judging; I know people have lives and things to do — but it’s pretty clear looking at the full roster of who’ll play that Desertfest Oslo 2024 is all-in on the thing. And with Kadavar, Monolord, Crippled Black Phoenix and Eyehategod headlining, they’ll rely on a multifaceted draw from the top down through the entire lineup. This feels both like a festival brand reaching into new territory and new collaborations — which it is, absolutely — and a righteous start to what could become a staple of the Spring touring circuit. Do I really need to go on about Norway’s underground boom? Probably not when a hand-picked selection of those responsible are present below to remind you.

Bottom line here is I look forward to seeing how this unfolds even from a distance, but whatever Desertfest Oslo does in the longer term, this is a monster. Behold:

Finally the day splits are here!

As well as day splits we’ve also made single day tickets available from february 29th.

See you may!

Find single day tickets and festivaltickets here: https://www.ticketmaster.no/artist/desertfest-oslo-billetter/1277694

Full lineup:

Friday:
KADAVAR
Monolord
Wolves In The Throne Room
Acid King
Slomosa
Weedpecker
Håndgemeng
Orsak:Oslo
Kadabra
Earth Tongue
Bismarck
Karavan
Superlynx

Saturday:
CRIPPLED BLACK PHOENIX
Brant Bjork
EYEHATEGOD
REZN
The Devil And The Almighty Blues
Bongzilla
Full Earth
Margarita Witch Cult
Steak
Agabas
Saint Karloff
Apostle of Solitude
Suncraft

https://www.facebook.com/desertfestoslo
https://www.instagram.com/desertfest_oslo
https://www.desertfest.no/

Slomosa, “Rice”