Posted in Whathaveyou on January 25th, 2022 by JJ Koczan
This is a good show. It’s telling that Ripple Music can pick out a spot in a country like France, Germany or Sweden — not to mention any number of US locales — and say, yeah, let’s do a festival there, and have enough bands in the area to fill out a lineup. And I guess what it tells you is the label has a lot of bands associated with it, but also that Cali-based Ripple‘s international reach has continued to grow, and as much as it seems like they got a package deal at Costco on bands from Texas, they can still piece together a two-dayer like this and have it be a killer and diverse-sounding group of acts playing.
Incidentally, the Costco Texas-band unit pricing is sick. Just kidding, Texas. But they do breed ’em riffy down there.
Also in France, it seems. Also pretty much everywhere. Whatever else you might say about this time — plenty — never doubt you’re living in a golden age of heavy rock. Ripple Music has become a big part of why.
From the PR wire:
First edition of stoner and doom festival RIPPLEFEST FRANCE announced on March 18-19th in Nantes; tickets available now!
Ripple Music presents the first edition of RippleFest France, the stoner and doom festival to take place on March 18-19th at Le Michelet in Nantes, with Los Disidentes Del Sucio Motel, The Necromancers, Stonebirds, Kabbalah, Appalooza, Tremor Ama, Fire Down Below, Electric Jaguar Baby and Birds Of Nazca.
After California, England, Germany and Sweden, US stoner and doom powerhouse Ripple Music is treating French heavy rock aficionados with the first edition of RippleFest France. This celebration of the genre will feature bands from the Ripple roster, as well as a fine selection of French and European acts. On site, festival-goers will be able to enjoy local artists, homemade catering as well as merchandising throughout the weekend. The stunning artwork designed by Wild Horse Artwork will also be available for purchase!
RippleFest France 18-19th March 2022 at Le Michelet 1 boulevard Henry Orrion, Nantes (FR) Day pass: 15€ // Weekend pass: 28€
FRIDAY 18th MARCH Los Disidentes Del Sucio Motel – (post-rock/prog rock – Strasbourg) Appalooza (heavy rock – Brest) Tremor Ama (stoner rock – Paris) Electric Jaguar Baby (fuzz duo – Paris)
SATURDAY 19th MARCH The Necromancers (heavy rock – Poitiers) Fire Down Below (stoner rock – Ghent) Kabbalah (doom rock – Pampelune) Stonebirds (sludge/post-metal – Brest) Birds Of Nazca (heavy psych rock – Nantes)
Posted in Whathaveyou on October 27th, 2021 by JJ Koczan
As you can below the inaugural lineup for Desertfest Belgium’s Ghent edition is solid. They’ve gone so far as to reinforce it by importing King Buffalo across the Atlantic, resulting in a ‘Desert Stage’ schedule that about as far removed from fuckwithable as one could reasonably ask. Then you fill it out with, you know, the rest of the festival, and you’ve really got something going.
Well, you have a festival I guess. That’s definitely not nothing, especially these days.
Good show if you’re in the neighborhood. I’m not, but still good show.
Last word from the PR wire:
DFBE21 Ghent: Last Names & Countdown to Zero!
Can we all agree that Desertfest Antwerp was a resounding success, and dare we say: a return to form? Great! Now get in line because the party’s not over: the first edition of DF Ghent is nearly upon us! We have added a last handful of local talent to round out the line-up that already includes Motorpsycho, 1000Mods, Stoned Jesus aaaaand KING BUFFALO!
The Antwerpian psych slackers Fake Indians made a great impressions opening the Canyon stage at DF Antwerp, with a mindblending show of heavy drones and visual pyrotechnics. That was fun, so let’s do it again! They’ll make their welcome return at DF Ghent.
Fire Down Below is a Ghent-based stoner band with a great connection to our scene’s homebase with a signing on SoCal’s Ripple Music imprint. They guarantee an amp-ripping fuzz-hugging good time, and we’re stoked to have them playing their hometown for us.
And finally, Beaten By Hippies will bring you a solid reminder of everything that is good about straight-up no-frills stoner, with a stonking live act that has already earned them plenty of accolades on our local stages.
And there we have it – that will be the first chapter of our story in Ghent. Come and witness the birth of a new legend, and get your tickets! TICKETS FOR DF GHENT ARE AVAILABLE HERE:https://www.desertfest.be/ghent/information/ticketing/
Posted in Whathaveyou on October 19th, 2021 by JJ Koczan
Just now, putting this post together, I read that Stonebirds are back in the studio working on their next album for a presumed 2022 release through Ripple Music. That they’ll be at the upcoming Ripplefest Cologne 2021 alongside Plainride — who as I recall have a hand in organizing the festival — Savanah, Fire Down Below, (that) Vug (under the rug), Aptera and Astral Kompakt is all the more appropriate, then, as they’ll have new material to showcase. Somehow I doubt they’ll be the only ones. As the pandemic-era dust begins to settle across the European touring circuit, governments ease lockdowns with a seemingly permanent “for now” attitude, it’s worth emphasizing how special something like this really is for the bands playing it and the people fortunate enough to be there.
That is, there’s a part of me for which an event like this — little more than a poster and a list of cool bands as far as I’m concerned; it’s not how I’m spending my Thanksgiving weekend — feels mundane. Then there’s the part of me that’s lived through the last 20 months or however long kicking myself in the brain with the reminder that, no, this is something to be treasured.
So take a breath, I guess is where I’m at. If it doesn’t hurt to do so, be glad.
From the PR wire:
German stoner and doom festival RIPPLEFEST COLOGNE reveals final names for 2021 edition, to take place on November 27th at Club Volta!
Ripple Music announce the final batch of names for the 2021 edition of RippleFest Cologne, taking place at Club Volta on November 27th. Tickets are on sale now!
RIPPLEFEST returns! After almost two years of pandemic break and three postponements, the Ripple Music-curated event finally returns to the city of Cologne. On November 27th, Club Volta will get suddenly filled with the finest retro rock, heavy rock, psych metal, and doom riffage, provided live by European up-and-coming acts Savanah, Aptera, Fire Down Below, Astral Kompakt, Stonebirds, and Vug.
During the day, festival-goers will be able to enjoy the fine delicacies of the Ripplefest food truck, some great art with local and international poster artists showcases, and the expertise of Diana Matthess and her Guitar Tech Truck — a special workshop offering guitar setups and repairs to musicians. Tickets are on sale now, so don’t wait any longer to treat yourselves to this one-off rock event in the beautiful city of Cologne!
RIPPLEFEST COLOGNE 2021 November 27th, 2021 at Club Volta (Cologne, Germany) Info & Tickets (14,90€/19,90€) atripplefest.de
❱ PLAINRIDE Beer-fueled heavy rock (Germany – Ripple Music) ❱ ASTRAL KOMPAKT Light-bending instrumental doom (Germany) ❱ FIRE DOWN BELOW Interstellar psych metal (Belgium – Ripple Music) ❱ STONEBIRDS Soul-crushing existential doom (France – Ripple Music) ❱ APTERA Titan-slaying doom metal (Germany) ❱ VUG Time-traveling 70’s hard rock (Germany) ❱ SAVANAH Planet-devouring Psychedelic Stoner Doom (Austria)
Posted in Whathaveyou on April 30th, 2021 by JJ Koczan
It’s good to see you again, Desertfest London. The 2022 lineup of the esteemed British edition of Desertfest brings some returning presences who were to have been at the 2020 edition, then the 2021 — both of course gone the way of corona. But we see Electric Wizard, Shellac and Witchcraft in headlining spots, while Corrosion of Conformity will bring their delayed 25th anniversary of Deliverance to Camden Town, and returning kingpins Orange Goblin will play, along with YOB, Truckfighters, Earthless, My Sleeping Karma, Mos Generator, Conan, The Obsessed, the reunited Josiah, Lowrider come for a Refractions victory lap well earned, along with Elephant Tree, Elder, Steak, Deathrite and a ton from the UK’s own ever-blossoming underground scene — Blind Monarch, The Brothers Keg, King Witch, the more established Alunah and Trippy Wicked, and so on and so many.
Note Slomosa. Note Wolftooth. I would expect both to be touring Europe around this time. Green Lung too, for that matter.
There’s no way this isn’t going to be one to remember and it is my sincere hope to be there for it. Maybe I’ll see you there. Maybe we can hug.
Kudos and thanks to the Desertscene crew — Sarika, Jake and Reece — on and for a job well done.
Here’s looking forward:
DESERTFEST LONDON ANNOUNCE FULL LINE-UP FOR 2022 ·
A DECADE IN THE DESERT CELEBRATING TEN YEARS WITH THE BIGGEST & MOST DIVERSE LINEUP YET
EXCLUSIVE UK PERFORMANCES FROM WITCHCRAFT (FIRST UK SHOW IN OVER A DECADE) and SHELLAC
As the home for all the things truly heavy, leading independent UK festival Desertfest have announced their full line up for 2022, which will take place in Camden, London from Friday 29th April – Sunday 1st May.
Celebrating their tenth year, next year’s festival promises to be their biggest and most diverse yet. Covering six venues across the heart of Camden and now including a full line up at The Roundhouse on both Saturday 30thApril and Sunday 1st May.
Founding owner of Desertfest Reece Tee comments, “Desertfest is 10 years old! I’m so proud that our independent festival has stood the test of time. What we have created is special, a decade of great bands, great friends and amazing memories. This year’s line up is a true reflection of how diverse Desertfest has become and with such a loyal audience, Desertfest can champion the underground for decades more to come.”
Headlining the Friday will be Swedish heavy rock masters Witchcraft, with a UK exclusive performance and their first UK show in over a decade. Saturday’s headliners are none other than Chicago’s Shellac, who in another UK exclusive will be bringing their experimental post-hardcore sound to the Roundhouse. Fronted by the iconic Steve Albini, Shellac are one of those bands we all need to experience live, at least once. Whilst closing the festival on Sunday will be UK doom legends Electric Wizard, whose heavy sound encompasses the spirit of Desertfest.
Other acts confirmed include the likes of Corrosion Of Conformity, Orange Goblin and Truckfighters who all played the festival in its debut year in 2012 and there are further UK exclusive performances from hardcore-punks Integrity and the Ukrainian psych space rock trio Somali Yacht Club.
The festival will also see desert legends Brant Bjork and Nick Oliveri’s new band Stoner, who will be playing the Electric Ballroom and doomed heavy metallers Khemmis making their UK debut at The Underworld.
Please see below for the full Desertfest 2022 line up / stage splits. Tickets are on sale now and are available at www.desertfest.co.uk
NEW TICKETS FOR 2022 Weekend Ticket (all venues) – £132 +fees Friday Day Ticket (all venues) – £45 +fees Saturday Day Ticket (all venues) – £50 +fees Sunday Day Ticket (all venues) – £50 +fees Saturday Roundhouse only – £35 +fees Existing ticket holders from 2020’s postponed event have a number of options as the festival is now larger, with an added Roundhouse line-up on Saturday 30th April & Sunday 1st May.
EXISTING WEEKEND + DAY TICKET HOLDERS OPTIONS Full refund Weekend roll-over to 2022 without Roundhouse upgrade (access only to Electric Ballroom, Underworld, Black Heart & The Dev) Weekend roll-over to 2022 with Roundhouse upgrade – £15 +fees Day ticket holders can upgrade to a full weekend ticket – £92 + fees – or will be issued a refund. Upgrade options only available until May 7th ’21. For any ticketing enquiries please contact sarika@desertscene.co.uk
Desertfest 2022’s artwork is hand drawn by legendary artist Arik Roper who has created illustrations for the likes of Sleep, Earth, Sunn O))), High on Fire, Kvelertak, Windhand and many more. As always, posters and other merch will be available to buy at the festival.
Posted in Whathaveyou on November 11th, 2019 by JJ Koczan
Going head-to-head, toe-to-toe, back-to-back, belly-to-belly with Desertfest Berlin 2020’s second lineup announcement, that of Desertfest London 2020 brings a whopping 13 bands. Witchcraft join Corrosion of Conformity and Masters of Reality among the headliners, and Naxatras, Conan — playing Monnos in full, no less — Pissed Jeans, Raging Speedhorn, Sacri Monti, Huntsmen, Monarch, Spirit Adrift, Fire Down Below, Grotto, Desert Storm, and Morag Tong have signed on for the fray in what’s becoming a quickly-packed bill. Nothing to complain about there, I guess. As noted in the Berlin post, some of these groups are shared between the two fests, but there’s a lot here that’s set for London alone, and I suspect in terms of the UK acts like Raging Speedhorn, Desert Storm and Morag Tong, it’s likely to stay that way. It’s been so fascinating to watch these festivals grow since their inception into incubators for UK/European heavy. Desertfest London has become an epicenter for one of the most packed scenes on the planet.
That’s a big deal. And you can hear in the work of bands coming out of the UK the effect it’s having aesthetically as well. It’s awesome. Keep up the good work.
From the social medias:
DESERTFEST LONDON ANNOUNCES WITCHCRAFT AS HEADLINER FOR 2020 EDITION PLUS 12 MORE ACTS ADDED!
Desertfest is honoured to be welcoming Swedish doom icons Witchcraft to London, for the first time in a decade, as 2020 headliners. Their exceptional blend of psychedelic-folk melodies and distinctly doom-laden riffs swiftly elevated Magnus’ musical coven to legendary status. The pace picks up with the bludgeoning sludge-punk sounds of Pissed Jeans, whose narrative continues to be as societally insightful as it is tongue-in-cheek. We welcome back the unholy trio Conan for a very special performance as they play ‘Monnos’ in full. Following last years unforeseen travel issues, we are thrilled to have Naxatras on the bill ready to bathe listeners in their psychedelic groove. British sludge pioneers Raging Speedhorn will provide a lesson in brutality for all who cross their path.
Celestial tones awaken as SACRI MONTI make their debut with a spectrum of far-out jams expertly pieced together for an otherworldly trip. Huntsmen will bring their diversely progressive concoction of doom metal and melancholic Americana storytelling for its first UK outing. Elsewhere we welcome experimental psych-rock champions Monarch -band, Arizona’s Spirit Adrift who effortlessly carry the torch for traditional doom with lashings of classic 80’s heavy metal. Belgium offers up an excellent fusion of fuzz from Fire Down Below, alongside space-psych drifters Grotto. Oxfordshire riff hounds Desert Storm will deliver a shock-wave of groovy stoner-metal and locals Morag Tong will showcase their dynamic take on psychedelic doom.
For more info and weekend tickets for Desertfest London 2020 hit up www.desertfest.co.uk
Posted in Bootleg Theater on September 11th, 2019 by JJ Koczan
Why, it was only one month ago today that Belgian heavy rock four-piece Fire Down Below took the stage in West Flanders at the Alcatraz Festival, and I know we live in an age of insta-nt bootleggery and all that, but to have a pro-shot and edited live video done in a couple weeks and ready to post is pretty killer. “Saviour of Man” comes from the Ghent-based outfit’s 2018 sophomore album, Hymn of the Cosmic Man (review here), which came out on Ripple Music, and for those of us who don’t get the chance to pop over the Belgium for shows, the clip provides a cool opportunity to see what Fire Down Below are all about when it comes to what they do on stage. In the case of drummer Sam Nuytens particularly, they’re about having a badass Monster Magnet t-shirt (Euro merch, man), but as regards his work and that of the band surrounding, think the uptempo kick of earlier Red Fang with Kyuss-style brashness and you won’t be far off.
While a host of big names took stage at Alcatraz this year — suspects like Opeth, Meshuggah, Voivod, Amenra, etc. — Fire Down Below shared a space in ‘La Morgue’ with compatriot outfits in The Spirit, Glowsun, Wolvennest and Cowboys & Aliens, keeping killer company as they brought an energetic burst to the proceedings. Like much of the album from which it comes, “Saviour of Man” is a pretty straightforward affair, but its hook and drive demand little by way of flourish, standing their ground instead based on their sheer quality of craft. That is to say, you’re not gonna hear it and think something’s missing, and especially in the live setting as they are here, it’s clear to see that engaging an audience from the stage is where Fire Down Below‘s heart lies. How could it not? What’s better than that?
Speaking of, Fire Down Below have a few killer gigs booked for this Fall, including dates with Valley of the Sun and Gozu and a stop at Desertfest Belgium, where they’ll also join a selection of some of the country’s finest underground acts. Those dates are listed on the banner which you’ll find under the video itself, which of course follows here. I’m sure you’ve already clicked play, and rightly so.
Either way, please enjoy:
Fire Down Below, “Saviour of Man” live at Alcatraz Festival
Fire Down Below on “Saviour of Man”:
We had the opportunity to play this gig at Alcatraz Hard Rock and Metal festival, one of Belgium’s biggest festivals for headbangers and devil worshippers. This year they installed a new stage, called La Morgue, reserved for some of the best underground bands in the country. We were extremely happy to be part of this great initiative and we had a blast on stage, as we hope you can tell from this video.
Fire Down Below live at Alcatraz festival in Kortrijk, 11 August 2019, playing Saviour Of Man from the album Hymn Of The Cosmic Man. Recorded and edited by Lars Grote Audio.
Fire Down Below is: Jeroen Van Troyen – guitar and vocals Kevin Gernaey – guitar Sam Nuytens – drums Bert Wynsberghe – bass
Posted in Whathaveyou on July 15th, 2019 by JJ Koczan
Desertfest Belgium 2019, as noted just the other day, is getting pretty close to its final lineup, and as they do, they’re making sure they support the native Belgian scene with a number of acts being highlighted for the broader audience they’ll draw. Both Fire Down Below and The Progerians might be familiar to some who’ll hit up Antwerp this October, and 30,000 Monkies have been making the rounds of festivals, but Vonnis, Grotto and Crayon Sun are probably going to be new to most people who show up, and so all the better they’re getting a showcase at an event like Desertfest. Of course, the broader lineup isn’t short on big names, with Sleep and Pelican, Bongripper and Zeal & Ardor, etc., so there should be plenty of draw to get heads in front of the stage for these bands, and it’s among the most admirable things an international fest can do to shine a light on the local types. You know this already, but it’s worth saying.
The PR wire has it like this:
BELGIAN BANDS AT DESERTFEST BELGIUM 2019!
Each year at DF Antwerp, we present you with a number of upcoming local acts that deserve to shine in front of our esteemed international crowd. Absolute bosses, each and every one of them!
Fire Down Below have been making waves in the worldwide stoner community from day one, drawing comparisons to anything from Kyuss to Red Fang to Soundgarden. Likewise, The Progerians from Brussels have built a steady reputation for their uncompromising yet fiercely exciting mix of punk anthems and sludge stomp.
Some leftfield choices that are bound to raise heads: VONNIS – sheer brutality poured into a Molotov cocktail of hardcore, grind and noise. On the flipside we have Crayon Sun, the new project of Aldo Struyf (Millionnaire, Mark Lanegan Band) and the Antwerp blues singer Big Dave.
We already announced the merry noise pranksters of 30,000 Monkies earlier this year, and we close off this chauvinist list with a fine slab of supreme instrumental spacerock, courtesy of Grotto.
Well, we made it to the end of another Quarterly Review. One more batch and then it’s off to planning the next one for late September/early October. I hope you have found something this week that you’ve really dug. I have. A few, to be honest. Not everything is going to stick with every listener, of course, and that includes me, but for as much as putting this one together has been, there’s been some really good, year-end-list-type stuff included. At least as far as my own list goes. I sincerely hope you agree.
So let’s do this last one, then go sleep for a couple hours. Alright? Here we go:
Quarterly Review #41-50:
Worshipper, Mirage Daze
I don’t know if Worshipper knew they’d be embarking on their first West Coast tour in Summer 2018 when they hit Mad Oak Studios in Oct. 2016 to record the four cover tracks for their Mirage Daze EP on Tee Pee Records, but it certainly worked out in the Boston four-piece’s favor. Following-up their 2016 debut, Shadow Hymns (review here), Worshipper present four cover tracks in Uriah Heep’s “Easy Livin’,” The Oath’s “Night Child,” Pink Floyd’s “Julia Dream” and The Who’s “Heaven and Hell,” and while I’m a little sad that “Heaven and Hell” isn’t the Black Sabbath song, which I think they’d nail if they tried it, and I’m glad to have a studio version of their take on Floyd’s “Julia Dream,” which from the first time I saw them live was always a pleasure to watch live, I think the highlight of Mirage Daze might be “Night Child.” I never bought that The Oath record, and Worshipper’s take on its lead single is about the best argument I’ve seen for doing so. It may or may not be a stopgap issued to coincide with the tour, but Mirage Daze is a welcome arrival anyway. It’s a fan piece? Well, I’m a fan, so right on.
Montreal scumsludgers Dopethrone return with Transcanadian Anger, an eight-track blister-fest of crunch riffing and misanthropic vibes. Delivered through Totem Cat Records, the 36-minute Weedeater-gone-bad-drugs sludge assault seems to invite superlatives front to back, even in the slamming instrumental “Killdozer” – a tribute to the band? – and the swinging penultimate cut “Kingbilly Kush.” Elsewhere, opener “Planet Meth,” “Snort Dagger,” “Tweak Jabber” and “Scuzzgasm” celebrate addiction and violence unto oneself and others, making a spectacle of decay set to voluminous sludge riffs and abrasive vocals. This is Dopethrone’s aesthetic territory, and they’ve done well over the last decade to make it their own. As they answer 2015’s full-length, Hochelaga (review here), and the next year’s 1312 EP with yet another filth-caked collection, they seem all the more in their own league of aural and narcotic self-punishment. They could be straightedge vegans for all I know, but they sure sound high as fuck, and I guess that’s the point. So, well done.
Lisa Gerrard of Dead Can Dance would seem to be trying to solve The Mystery of the Bulgarian Voices, a choral group from Bulgaria who, seemingly until teaming with Gerrard for the Prophecy Productions release BooCheeMish was known by the French name Le Mystère des Voix Bulgares. Whatever you call them, their history dates back nearly seven decades and their harmonies are utterly timeless. BooCheeMish is comprised of gorgeous folk renditions for 45 minutes of world-building perfection. Percussion of various sorts provides backing and on pieces like “Rano Ranila” they speed through at a pace and arrangement that’s head-spinning, while the later “Zableyalo Agne” finds them joined by flute for a nigh-religious experience and the subsequent “Tropanitsa” has a bounce worthy of any good times one might to envision from its evocative pulse. One can’t help but feel a bit of the cultural voyeur in taking it on – as well as feeling totally outclassed in reviewing it – but these songs were clearly meant to be enjoyed, and as their ambassadors, The Mystery of the Bulgarian Voices genuinely serve a public best interest.
Virginia duo Omen Stones have no online presence as yet. No songs streaming. No cheeky logos-on-photos social media posts that new bands do when they’re sitting on their hands waiting to get material out there. What they – and by “they,” I mean guitarist/vocalist Tommy Hamilton of Druglord and drummer Erik Larson of Backwoods Payback, The Might Could, Alabama Thunderpussy, etc. – have is a four-song self-titled EP collecting about 13 minutes of material in demo fashion, bringing forth the Southern-shuffle-gets-weird-then-explodes opener “Secrete” as a first impression of a deceptive approach. You think it’s all good and then you get punched. Go figure. “Secrete” is also the longest track (immediate points) at 4:06, and the forward charge and harsher vocal of “Fertile Blight” follows, catchy as it is mean, and more indicative of what’s to follow in the maddening tension of “Sympathy Scars” and the fuckall sludgepunk of “Purity Tones.” Immediately against-trend, Omen Stones’ Omen Stones is a bird of prey unto itself. Hopefully at some point soon they make it publicly available.
Taking influence from hardcore punk, post-hardcore and sludge, Lafayette, Louisiana’s Capra seem to fit in a Midwestern style of semi-metallic aggression that has flourished in the wake of the likes of The National Acrobat and Coliseum. The foursome’s Unholy Gallows single follows their also-two-song self-titled 2016 EP, and finds Tyler Harper (also of the recently-defunct The Midnight Ghost Train), Jeremy Randazzo, Ben Paramore and Lee Hooper aligned in their purposes of riff-led bludgeoning. Unholy Gallows is two songs/six minutes long – not by any means an afternoon commitment in terms of listening – but its furies are unveiled in far less time than that, and both “Red Guillotine” and “Hot Lips” waste no time in doling out their beatings. A sense of heft stems from tonal thickness, but they make it move to a propulsive degree, and aside from a quick feedback intro to “Red Guillotine,” there’s no letup; even as “Hot Lips” slows the pace some initially, it maintains geared toward foreshadowing the next fist to fly.
Sprawl, sprawl, sprawl. Into space. Universo Rojo’s excellent four-track debut album, Impermanencia, makes you want to speak slowly enough to feel the words vibrate out of your mouth. The Chilean four-piece offer lengthy, jam-based excursions that echo out their feel across vast reaches of effects, progressive rhythm and melody-making unfurling all the while beneath an overarching swirl of effects, guitars and synth running atop the mix like competing currents of water. Opener “¿A Dónde Ir?” (8:13) gives way to the flute-laden krautrockism of “Visión Planetaria de los Tiempos” (8:40) as vocalist/guitarist/clarinetist Ferro Vargas-Larraguibel, drummer Naim Chamás, bassist Cristóbal Montenegro and synthesis Francisco Arellano conjure such molten possibilities. Though it’s just 34 minutes, Impermanencia is nonetheless expansive, with the 9:36 “Cinco (La Quinta Dimensión)” finding a place between drift and psych-jazz undulations while closer “Inmaterialización del Sentimiento Cósmico” (7:32) lets out a full-impulse burst of energy that’s blinding if you know just where to look. Not to be missed.
Kudos to Bath, UK, four-piece Sergeant Thunderhoof on starting off their sophomore long-player, Terra Solus, with the album’s longest track in “Another Plane.” And likewise for the blend of psychedelia and burl that unfolds. In taking on the follow-up to their 2015 debut, Ride of the Hoof, they offer eight cuts and 51 minutes of spacious riffing charged with just an undercurrent of English boozer burl, Elephant Tree and Steak meeting head on for a raucous session of who knows what. “B Oscillation” taps nod and particularly satisfying fuzzy warmth in its lead section, while even a would-be bruiser like the subsequent “Diesel Breath” has a trip-out included. There is time for such things as every track but the penultimate and relatively minimalist soundscaper “Half a Man” tops six minutes, but Sergeant Thunderhoof make a much richer impression overall than their moniker might lead one to believe, and close out in particularly resonant fashion with “Om Shaantih,” emphasizing the breadth and post-rock elements that help make Terra Solus so engaging from the outset.
The adaptation of Kyuss’ “Thumb” riff for Fire Down Below’s “Ignition/Space Cruiser” after the “Red Giant” intro on their second album, Hymn of the Cosmic Man (on Ripple), is nothing short of a clarion to the converted. The Belgian unit’s mission would seem to be to find that place on the horizon where the desert ground and space itself seem to meet and become one, and as side A closer “The Cosmic Pilgrim” turns from its initial crunch into more patient and drifting psych, they’d seem to get there. Atsmophere is certainly central to the record, as the aforementioned “Red Giant” and its side B counterpart “Nebula” demonstrate, never mind the other five tracks, and even as “Saviour of Man” runs through its janga-janga stoner-riffed hook there’s a flourish of effects to create a balance between the earthbound and the interstellar. Side B’s “Ascension” and especially 11-minute album-closer/highlight “Adrift in a Sea of Stars” seem to find the balance the four-piece is shooting for all along, and just before the nine-minute mark when the thick, fuzzed-out riff emerges from the jammy lead, the entire impetus for their journey seems to be laid bare. Well done.
Denver, Colorado’s Stone Deaf present a sans-frills desert rock vibe across the eight tightly structured tracks of their sophomore album, Royal Burnout (on Black Bow Records). Specifically, the compressed crunch in the guitar tone and some of the start-stop bounce riffing in cuts like “Room #240” and “Monochrome” seem to be drawn from the Songs for the Deaf methodology, and some of the vocals on opener “Spitshine” (video premiere here) remind of Queens of the Stone Age as well, but Stone Deaf – whose moniker, then, would be well sourced – have a deeper root in punk rock that underscores the “Go with the Flow” thrust of “Deathwish 62” as well as the chugging verses of “Boozy Spool” immediately preceding. It’s a sound that benefits greatly from the sharpness of its delivery and the craft Stone Deaf bring to it, and even when they seem to loosen up a bit on the midpaced pre-finale “That Lefty Request,” there’s a fervent sense of a plan unfolding. That plan would seem to be a success.
Originally released last year, Cracked Machine’s debut, I, Cosmonaut, finds vinyl issue through PsyKA Records and earns it well with six tracks/45 minutes of mostly-instrumentalist and progressive space-psych. One assumes there’s a narrative thread at work across the span, as guitarist Bill Denton, bassist Chris Sutton, keyboardist/vocalist Clive Noyes and drummer Blazej Gradziel weave their way through “Twin Sons Rising” and “New Vostok” at the outset into the easy flow of “Baikonur Cosmodrome,” the harder-hitting title-track, the fuzzy declaration of “Svetlana” and the patiently executed 10-minute closer “Transorbital,” Denton’s guitar singing all the while. These places and, maybe, characters would seem to weave together to tell the story in impressions largely open to interpretation and correspondingly open in terms of their creativity, sounding spontaneous and maybe live-recorded if not entirely improvised, instead working to a plan for where each inclusion should go or end up. As Cracked Machine’s first album, it’s an ambitious work that does far more than get the band’s feet wet. It takes them out of the atmosphere and embarks on a journey beyond that one hopes is just beginning.
