This session was originally supposed to happen two weeks ago, but Geezer’s recording plans were derailed by drummer Steve Markota contracting what was apparently a mild case of Covid-19. It turned him into a newt, but he got better. In any case, I was invited to come hang out — because it’s not weird unless I’m there to make it that way — and I wasn’t about to say no to watching the Kingston heavy jam/psych/blues trio lay down even just the basic tracks for their next full-length after mid-2020’s it’s-okay-that-it’s-a-miserable-year-we-can-still-dance-a-little-bit Groovy (review here) as their debut on Heavy Psych Sounds who, one assumes, will also be releasing this one sometime in 2022.

Fostering that supposition is the fact that Geezer are already booked to return to Europe — a second appearance at Freak Valley has been confirmed and I’ve heard murmurings of more shows besides — so I don’t know if there’s a hard deadline for the new record, since it’s not like they got to tour the last one, but in talking to Geezer guitarist/vocalist Pat Harrington over the summer, he expressed some urgency to get it out. Can’t blame him or them. Gotta do something.

A rainy day did little to lessen my appreciation for the scenery on the way up here. Drive was about 90 minutes, a 60-mile shot up the NY Thruway to Exit 19, and by then the sleepy Catskills were lording over the sides of the road like forgotten gods, and the landscape was pockmarked alternately by lived-in-the-woods-forever, stare-long houses, escape-from-the-city money, ski facilities and, because it’s how it goes up here, plenty of artist studios and places like Applehead Recording, which is a beautiful, pro-shop with a 32-foot ceiling in the live room. Apparently Markota was the one who argued to record here, which, given the drum sound in that room, is easily understandable.

I’m here for two days. Here are some notes from the first.

12.18.21 – 12:39PM – Applehead Recording – Woodstock, NY

“Mercury Rising”

Got here maybe an hour ago, had some coffee, settled in, took a couple pictures, gonna take some more. Bassist Richie Touseull was getting sounds when I came in, Harrington was next. It’s almost 1PM and engineer Chris Bittner — who co-owns Applehead with Michael “Mike Boom” Birnbaum and opened here in 2013 — has them sounding tight, full and killer through the board mix. Listening in the room now to a jam they did maybe 10 minutes ago, just shaking off the dust, and… well, it’s not a room sound I’d fuck with.

It is apparently the biggest, most studio-ish of the studios Geezer has recorded in, and I’ll agree: this couch I’m on is like a Neve console for my ass right now. I’ll be perfectly happy if I can stay here for the duration, and if the rest of my afternoon is hearing Touseull’s bass tones and the band jamming — if that’s what the process of “basic tracks” is — I’ll be perfectly happy to have spent the time. Shit sounds tight. Of course, nothing ever sounds so good as in the studio monitors, but still.

Best case is Geezer come out of the next two days with 10 songs done. “Mercury Rising” to loosen up, then I guess hit it for real.

A couple songs in, Bittner suggests Marokta lose the click in the midsection of whatever song this is. It is the right suggestion. Continuing through “Mercury Rising” with a couple quick punch-ins on drums and bass, then a doubled guitar solo. Also the right choice. Bassline is killer. Mellow opening, more driving verse, some killer drum jabs as moves between parts, a couple starts and stops.

Printing the song after it’s done, bouncing it down, makes it feel complete.

12.18.21 – 2:39PM – Applehead Recording – Woodstock, NY

“Logan’s Run”

I think the cab in the isolation room next to the control room is humming. It’s a kind of relaxing backing drone. With “Mercury Rising,” the band are moving on to “Logan’s Run,” trying it first with the click track, then probably without again as they get together a take. Vibe in the studio is pretty chill. Sometimes you get into a place like this — especially a nice studio — with a band and it’s a gotta-go-gotta-go-time-is-money kind of thing. Sometimes you get in and everybody’s stoned and/or not there.

This is in between. The band loaded their gear in last night and clearly some sounds were gotten last night as well ahead of starting work properly this morning. Smart not to waste that time this morning. It’s real easy to lose four hours on some minor thing, and better that happens when you’re not trying to also make an album before the day is over.

But Appelhead is gorgeous. There’s a stream in back. I pulled in the wrong driveway the first time, but once I made it here, following the little ‘Studio’ signs on the trees of the long pull-in, it’s clearly designed as a getaway kind of spot. Stream in back, woods out front. Bittner’s house is next door.

Before they start playing, there’s some adjustment with the rack tom. It’s all good though. I’m so into this vibe. Everyone’s tone sounds right on. I hear Touseull with some fuzz on in there and Harrington noodling around while Markota’s drums are adjusted. It all sounds warm and killer and these guys know what they’re doing and they know the songs and they’re here to hit it and have a good time. They’ve got some Sabbath swing going now that I can only hope is actually part of this song and not just something they’re playing to get sounds.

2:48PM, rolling. Bittner takes notes while the band plays, Markota decides quick not to use the metronome. Indeed the swing is the core riff of “Logan’s Run.” Classic stoner janga-janga shuffle. Can’t argue. Evens out to a smooth hook and builds weight as it goes. Harrington crushed vocals for “Mercury Rising” on the quick. I wonder what he’ll do with the pulled-note sections here ahead of the solo, if anything. Song is somewhere in the neighborhood of five minutes long. Another banger.

They do another take the dampener off the snare. Kill it. Listen back to confirm. Yup, it’s dead. Or not. One more take to get the second verse, and then another to punch it in. A few more punch-ins. Pat wants to double the solo again — one doubts it’ll be the wrong choice this time either — and there was a wah-bass part, which, well, yes obviously that’s going to work. Riff is pure stoner rock in how it builds to a finish. “Hole in the Sky,” or Blues-era Kyuss even. Thicker though.

Some more dug-in work on this one, but everybody’s still pretty relaxed.

12.18.21 – 4:47PM – Applehead Recording – Woodstock, NY

“Atomic Moronic”

Talk of dinner leads to pizza. I’ll get a salad and because I’m embarrassed at my own dietary preferences — low carb, no sugar, no pork, etc. — I offer to place the order. Seems the least I can do.

Another speedier boogie, “Atomic Moronic” comes together pretty easily, or at least seems to. Lead lines peppered in, a bit of sass toward the end. Scorched. Could hear on “Mercury Rising” Pat’s pushing himself vocally.

Steve nailed drum punch-ins while I was on the phone with the pizza place. Richie next with one or two bass fills. Pat next with a fix on the solo, then guide vocals I guess for later. Very much a pre-dinner affair, but a fun one. There was some discussion as to whether or not to do a more complicated song before eating. Arguments in favor of “pizza power” won out against implied hangry. I’m glad I could contribute there and bring my homemaker skills to bear in another context. The answer is eat first and do the hard thing after.

Lines “Ignorance is sacred/Crucify the truth/Gotta let it burn/Burn baby burn/Put your faith in stupid/Self-inflicted wound.” Clearly Geezer aren’t going into their first true release of the pandemic era with blinders on to the world around them, and fair enough. Most of these riffs apparently come from lockdown time, so maybe it makes some kind of sense that the three songs I’ve heard so far are all movers in terms of tempo. I’m not sure that makes more sense as a channel for energy than anything else — that is, if they were diving headfirst into jams, it would be easy enough to frame the narrative of pandemic-effected creativity the same way — but when Geezer write songs, they make it count.

This one apparently might start the record. There is some talk of adding a gong, but I don’t think it’s serious. You never know.

The gauntlet is thrown down at two more songs tonight. If they all go as smoothly as “Atomic Moronic,” or even “Logan’s Run,” that’s probably possible, unless the next one is a real burnout deal, I don’t know. I don’t get told these things.

Ate dinner to the soundtrack of a Metallica/Huey Lewis mashup. “It’s Hip to be the Sandman” or some such. When civilization collapses, I hope the mashups are the only piece of modern culture that survives so that future archeologists can be like, “Wow, these people sure liked screwing around with shit. Also they killed the planet.” Guess that’ll be a double-edged sword. Also the archeologists are hypersentient dolphins, or octopuses, or pigoons or some such. Definitely not people. Gotta figure by then humanity will have long since “burned it down.”

12.18.21 – ~7:05PM – Applehead Recording – Woodstock, NY

“Eleven”

Everybody’s cruising post-dinner. Harrington warns that “Eleven” has a part where they might, probably will get hung up. So be it. I drink a bottle of water. Brought a whole gallon with me but it’s in the car. Saving for tomorrow. I’m a firm believer in hydration.

“Eleven” feels shorter, but I’m not sure that was the full song. Going through again. Boogie riff, still uptempo, but feels a little brighter in its turns, if that makes any sense and I’m not sure it does. Steve, Pat and Richie seem pretty locked in, and the bass in this room sounds amazing as Harrington takes a quick solo.

I know from experience that nothing that’s ever come out of a studio has ever sounded as good as on the studio monitors, but the work they apparently did put in last night (I asked) getting sounds and preparing for today is paying off in the fact that they’ll be able to do five tracks before everyone’s too tired.

They break for a solo section, then turn it back around to what I think will be the chorus. It’s got some strut to it with Steve on the ride cymbal but still rolls over fluidly. They run through it again. And again. Change something with a drum fill in the back half. The song is now a beast.

As a producer, Bittner’s very diplomatic in his suggestions — “tell me to go fuck myself, but…” — but I’ve yet to hear him put something out there that didn’t make a song better. Which is the ideal. They’re riding that last verse groove now. I assume the track is named for how loud they’ll be playing it in a live setting.

Listening back, the pace is relaxed in picking out parts to punch in or redo altogether. It’s easy-peasy. Feel like I’m stepping into a situation where the band has done their homework and the studio has been prepped for them. Unless a ceiling caves in right now, I feel like this has been one of the smoother sessions I’ve sat in on, and at this point I’ve done a few.

Steve goes back in for a fill. Fixed. Richie punched in a transition. Pat’s over guitars. Onto vocals for the guide track. Lyrics some bit of stoner escapism. “What is real? And where do we go from here? Nothing is real.” Done.

One more for tonight.

12.18.21 – ~8:30PM – Applehead Recording – Woodstock, NY

“Stoned Blues Machine”

Maybe the title-track. Hell of a title to live up to. Thudding start into slower nod, drums crashing in a way a little more open, pulls up for what might be between-measure shifts, gives it a back and forth feel, but that center groove is a gut puncher and they know it because they keep going back to it. Trippy solo over a rolling bassline. I must be getting tired because I’m running out of ways to say something sounds cool.

Can hear the blues in “Stoned Blues Machine” as they progress. Geezer started out and to some extent has kept a heavy blues underpinning, but I can also hear the other stuff going on in their sound as it’s progressed over the last eight years or so. They hold out distortion at the end of “Stoned Blues Machine.” Noise and delay. First take is solid, but won’t be the last.

They do another take. Warmer. Closer. Pat floats an intro idea they’d apparently talked about. Tape, as it were, is rolling, so they feel it out and it sounds about as solid as something so purposefully molten could want to. Not sure if that’s a slide in there or just the delay making it sound like one, but I like not knowing so I’m not going to sit up and look. Oh, okay, I will. Yeah, it is.

This is the jammier side of the band coming out. Nothing to complain about. They bring it around on the quick to the rest of the song they played earlier and it seems to be a little slower this time, keeping some of that vibe going, though it’s been a long day at this point and that could completely be my imagination.

Harrington calls out “hits!” and some follow, shifting into what’s either another verse or bridge, hard to know until the vocals (or whatever) go over it, but pick up with more drive coming out of the solo and into the ending. They’ve put work in at this point — it’s after 9PM, I got here at 11:45 and they were already working getting sounds — but have a lot to show for it.

Come in to listen. There will be some parts to fix. Doesn’t matter. Everyone knows the day is wrapping up sooner than later and the mood remains as it was. Any fatigue I discern is probably just me projecting because if I was at home right now I’d have probably been in bed for the better part of an hour already.

Nah, everyone’s tired. Talking about doing one more instead of the fixes for this one, get the basics down.

12.18.21 – 9:30PM – Applehead Recording – Woodstock, NY

“Broken Glass”

Richie switches basses. Pat warms up on some chug and noodles. The song starts with snare hits, like death metal, only not at all. It’s a strutter, twisting around Hendrix leads, well punctuated by toms and kick drum. Fucking a. Easy to see why they thought they might be able to sneak this one in before the end of the night. It’ll probably work.

Two takes, in to listen. Second take is the one, but everybody wants a piece of the end again, so they decide to take it from somewhere in the solo ahead of the transition to the last run. They do. No drama.

Pat goes back in for vocals. “We gotta get up and dance/We gotta get up and go/But where are we going?”

This one’s a ripper. Pat fixes a guitar thing after. Quick. Steve has something quick at around 2:16, but he and Chris decide to leave it.

Uptempo kick in the ass. Way to end a long day.

In this year of returned-so-far live music, and with the eternal asterisk looming overhead as a reminder to hold such things precious while one can, I’m very much enjoying posting about so many festivals taking place over the last few days/weeks, as well as the inevitable bit of daydreaming that always accompanies. To wit, seeing High on Fire, Geezer and Ecstatic Vision in Switzerland, or watching Duel and Black Rainbows back-to-back in Austria? Yes, that would be just fine.

And attending such a thing would be a great way to sample Heavy Psych Sounds‘ wares when it comes to European bands — Deadsmoke, Ryte, Hazemaze, 1782, Acid Mammoth, Giöbia, Tons, Sleepwulf, Oreyeon, and maybe even a look at something to come in Hellroom Projectors — as well as given headliners Elder.

The arguments in favor are myriad and though I won’t be there, I’m glad these things are happening, because you never know, maybe next time. Or, maybe not, in which case that’s all the more reason for this to happen where and when they can.

From the PR wire:

HEAVY PSYCH SOUNDS RECORDS Announces Final Day-Splits For HPS Fests in Switzerland & Austria!

Featuring ELDER, HIGH ON FIRE, MONDO GENERATOR, BLACK RAINBOWS, ACID MAMMOTH & many more high class live acts!

Headquartered in Rome, Italy, Heavy Psych Sounds Records represents some of the best artists in the global heavy psych, doom, fuzz blues, sludge and space rock realms such as Stöner (feat. former Kyuss members Brant Bjork & Nick Oliveri), Nebula, Yawning Man, Black Rainbows, Belzebong, Acid Mammoth, Alunah or The Sonic Dawn to name just a few. The underground cult label is not only THE adress for all heavy rock record collectors, but has also become an essential part of the live scene with a brisk participation from heavy music fans all over the world. Their festival-series shows no exception, spotlighting the ever-growing label’s dedication to its craft. While the first HPS Fests were held in Italy, the label has since extended its live reach into the UK, Belgium, Germany, France, the Netherlands, Austria and even the USA. Now, after more than 2 long years without any live shows, Heavy Psych Sounds Records has revealed the final day-splits for their upcoming HPS Fest editions in Winterthur, Switzerland as well as in Salzburg, Austria!

“We are so stoked to finally get back on the road with our HEAVY PSYCH SOUNDS FESTs !“ Rajko Dolhar of Heavy Psych Sounds recently commented. “After bringing our heavy psych vibes to many parts of Europe and the USA in recent years, we wanted to take over Switzerland and now Salzburg, too. Last year, the pandemic put a hitch in our giddy up but we are pretty sure that in 2022 we will succeed. The Line-Ups are some of the best we’ve ever put together so far, with HIGH ON FIRE, ELDER, MONDO GENERATOR, DUEL and so many more, grab your tickets and see you soon in front of the stage again!”

Taking place in both cities between June 3 – 5, 2022, with an eclectic line-up of high class bands such as psych rock kings ELDER, heavy masters HIGH ON FIRE, the desert punks of MONDO GENERATOR and many many more, the day-splits of the festival editions will read as follows.

WINTERTHUR TICKETS: https://www.petzi.ch/de/events/46811-gaswerk-heavy-psych-sounds-fest/tickets/#ticket-67502

SALZBURG TICKETS: https://www.rockhouse-bar.at/e458/heavy-psych-sounds-fest-salzburg

heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/
www.youtube.com/user/MonoStereo79

High on Fire, “Blood From Zion” live at Brick-by-Brick, San Diego, CA

About five minutes after I sent in this playlist, a mass email went out from Gimme Metal to reinforce the guidelines for how to make shows in terms of length and allowing room for promos, voice tracks, and so on. If in fact that’s more than coincidence, I won’t say I didn’t earn it, considering. Some of this stuff I’ve played before — Apostle of Solitude, Uncle Woe, Scott Kelly probably — but a lot of it is new too. If you’ve been on the site at all this week, you’ve probably already seen premieres for Soldat Hans, Uncle Woe and Ealdor Bealu (the latter today), and Moura and that new Geezer were recently featured here as well. You see? It’s all about cross-promotional synergy between varying sides of the massive corporate machine that is The Obelisk. We own Coca-Cola now, if you didn’t know. A recent pickup.

Keep an ear out for the shift from MWWB to Tau and the Drones of Praise. There’s some weirdo back and forth in the playlist here that I love, especially in that middle block of music. I tried to talk less and cram in as much music as I could. You know how it is. Next time, I’ll try to keep it to the established timeframe. I try to be good. And no, The Obelisk didn’t really buy Coca-Cola. Not that I would if I could, but I can’t even afford a can thereof, let alone the company itself.

Thanks if you listen, thanks if you’re reading. Thanks in general.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.

Full playlist:

The Obelisk Show – 03.18.22

Apostle of Solitude	Apathy in Isolation	Until the Darkness Goes
Crowbar	Zero and Below	Zero and Below
Geezer	Broken Glass	Stoned Blues Machine
VT1
Deathwhite	Earthtomb	Grey Everlasting
Daisychain	How Can I Love You	Different Shades
Moura	Baile do dentón	Axexan, Espreitan
Ealdor Bealu	Mirror Reflecting Mirror	Psychic Forms
MWWB	The Harvest	The Harvest
Tau and the Drones of Praise	Already Written	Dream Awake: Live at Roadburn Redux
Atlas789	El Despertar – Luz Y Sombra	El Despertar – Luz Y Sombra
Dark Worship	Culling Song	Death of a Saint
Scott Kelly & the Road Home	The Field That Surrounds Me	The Forgiven Ghost in Me
Famyne	Once More	II
Kaleidobolt	I Should Be Running	This One Simple Trick
VT2
Uncle Woe	We Plant the Seeds for Things We Know Will Never Grow	Pennyfold Haberdashery & Abbatoir Deluxe
Soldat Hans	Anthaupt	Anthaupt
E-L-R	Opiate the Sun	Vexier

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is April 1 (subject to change). Thanks for listening if you do.

Gimme Metal website

The Obelisk on Facebook

May 20 is the set date for Geezer‘s Stoned Blues Machine to arrive via Heavy Psych Sounds. Preorders are up as of today, and the chance to announce that fact and host the premiere below of “Broken Glass” kind of fell into my lap, and there wasn’t really any way I wasn’t going to say yes. I still need to coordinate when I’ll put up my in-studio with the band — the drafts of the posts have been ready to roll out since December — but that’s little more than an email to be sent, and there’s about four minutes of stomping heavy rock and roll to be had here instead.

In the bio I wrote for Stoned Blues Machine, I noted that Geezer‘s sixth LP boasts their broadest-sounding production to-date. I think you can hear that in “Broken Glass.” Listen to Steve Markota‘s drums. Big room. And Richie Touseull‘s bass and Pat Harrington‘s guitar both sound rich but still able to move as they strut and careen through the no-nonsense cut. They jam out elsewhere on the record — looking at you, “The Diamond Rains of Saturn” — but Stoned Blues Machine also continues to highlight the songcraft and stonerly charm that made 2020’s Groovy (review here) such a boon to that generally wretched year.

I’ll have more to come before the release — including, eventually, that in-studio — but here’s the song, art and preorder links for now.

Enjoy:

Geezer, “Broken Glass” track premiere

BROKEN GLASS is the first single taken from the GEEZER upcoming brand new album STONED BLUES MACHINE.

The release will see the light May 20th via Heavy Psych Sounds.

GRAB YOUR COPY HERE:
https://www.heavypsychsounds.com/shop.htm

USA SHOP:
https://www.heavypsychsounds.com/shop-usa.htm

https://heavypsychsoundsrecords.bandcamp.com/album/geezer-stoned-blues-machine

“High octane blues for the 21st Century. Broken Glass is a call to arms. In a world where everything seems to be going backwards we need to grab hold and smash your face into the future. Where are we going? I don’t know man. Rock and roll will fucking save the world don’t fight that shit dig on it.”

New album ‘Stoned Blues Machine’ out May 20th on Heavy Psych Sounds.

GEEZER is
Pat Harrington – vocals/guitar
Richie Touseull – bass
Steve Markota – drums

https://www.instagram.com/geezertown/
https://www.facebook.com/geezerNY/
http://geezertown.bandcamp.com/
heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/

Geezer, “Solstice”

I took the picture of Geezer here, and I wrote the bio below (they shortened it a bit and took out the yet-to-be-unveiled title of the new album; so it goes). Since late December, I’ve been sitting on a two-day in-studio feature I did with them while they were making this record at Applehead Recording in scenic Woodstock, New York, that I hope to be able to post sometime in the coming weeks. I need to check with the Heavy Psych Sounds folks to make sure I’m not stepping on promo-plan toes in giving away song titles or anything like that.

Accordingly, I’ve heard this album, seen the cover (epic), all that stuff. It’s a winner. This announcement-of-an-announcement is par for the course of HPS record rollouts, and sometimes I post these and sometimes I don’t, but I’m doing so now to give you a heads up that this is coming and that it rules and whatnot. If you dug mid-2020’s Groovy (review here), then I assure you you’ll be down with what they’ve got going this time around.

More to come:

HEAVY PSYCH SOUNDS signed the cosmic stoner rock band GEEZER for the new album – presale + first track premiere March 9th!!!

We are so stoked to announce that the stoner blues-rock riffers GEEZER has signed a worldwide deal with Heavy Psych Sounds for their new album !!!

PRESALE + first track premiere: MARCH 9th

SAYS THE BAND:

“We are beyond stoned… I mean stoked to be working with Gabe and the Heavy Psych Sounds family on the release of our new album! HPS are the grooviest cats with the hippest bands and it’s rad as fuck to be a part of it. Break out the weed and the riffs, this time, we’re going to eleven!”

BIOGRAPHY

A decade beyond their formation, Geezer have become a staple presence of the US heavy underground. From their 2013 debut, the Kingston, New York, trio have progressed into and through open-spaced jams and memorable hooks, offering glimpses at their growth across records like 2014’s Gage, 2016’s self-titled and 2017’s Psychoriffadelia, founding guitarist/vocalist Pat Harrington has led the band – now himself, bassist Richie Touseull and drummer Steve Markota – on a thrilling journey of altered consciousness and downright boogie.

Amid the grim existence of 2020, Geezer unleashed Groovy, their most vital release yet, pulling together what Harrington calls the “three pillars of Geezer: heavy, trippy, groovy” with a batch of memorable songs and easy-rolling vibes.

It’s a rare band that finds its sound so engagingly, and with the new album, the sixth Geezer LP, coming out in 2022 via Heavy Psych Sounds, they once again build on their accomplishments, working with producer Chris Bittner at Applehead Recording in Woodstock, NY, to harness the band’s most expansive production to date.

GEEZER is
Pat Harrington – vocals/guitar
Richie Touseull – bass
Steve Markota – drums

https://www.instagram.com/geezertown/
https://www.facebook.com/geezerNY/
http://geezertown.bandcamp.com/
heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/

Geezer, “Solstice”

Geezer, Groovy (2020)

Are you paying attention here? I certainly hope so, because this is some world-class-festival shit that’s happening in Brooklyn. After a successful initial public offering in 2019, Desertfest NYC 2022 has upped the stakes to a staggering degree. Look at those headliners. Shit, look at the fact that they’re bringing Stoned Jesus from the Ukraine and Planet of Zeus from Greece to play. That alone. Then you get into cross-continental fare like Brume and Dead Meadow and Big Business and so on, and the broader ambitions of Desertfest‘s New York incarnation seem clear. This is a festival that’s still building and still looking to reach out, get bigger. Staggering. Pay attention. Bands will start because the people in them go to this.

The day splits have been announced and the righteous likes of Geezer, Howling Giant, Warhorse and the aforementioned Brume, among others, have been added.

Four day passes are gone. I wouldn’t expect any of the others to last.

From the PR wire:

Desertfest New York announces day splits for 2022 edition, plus adds Cloakroom, Warhorse, Black Tusk and more to line-up

Europe’s leading stoner rock collective Desertfest returns to New York in 2022.

Taking place in the unique arts space of the Knockdown Center from May 13th – May 15th, with an exclusive pre-party at Saint Vitus Bar on May 12th.

Following a momentous first announcement, which saw the festival welcome the likes of BARONESS, HIGH ON FIRE, CORROSION OF CONFORMITY, TORCHE, ORANGE GOBLIN, DEAD MEADOW, INTER ARMA & GREEN LUNG, Desertfest New York now announces day-splits & day tickets, plus the final few acts to complete the second edition of the transatlantic heavy rock bacchanal.

Joining the bill on Saturday will be genre defying dream-gazer’s CLOAKROOM alongside doom legends WARHORSE. Whereas Friday’s main-stage will host the guttural thud of BLACK TUSK. Plus, revellers can expect to see BRUME, GEEZER, MOTHER IRON HORSE, HOWLING GIANT, GREEN DRUID & GREENBEARD all storm the Knockdown Center.

Unfortunately, Fatso Jetson are no longer able to play the pre-party & are replaced by riff demons FREEDOM HAWK.

Day tickets & 3-day passes for Desertfest New York 2022 are on sale NOW via the following link – https://desertfest.eventbrite.com

4-day passes (includes access to Saint Vitus pre-party on Thursday 12th May) are SOLD OUT, there will be no single day tickets available for the pre-party.

Full Line-Up:
Knockdown Centre May 13th – May 15th 2022
Baroness | High on Fire | Monster Magnet | Red Fang | Corrosion of Conformity | Torche | Orange Goblin | Dead Meadow | Cloakroom | Inter Arma | Big Business | Warhorse| Green Lung | Stoned Jesus | Black Tusk | Left Lane Cruiser | Sasquatch | Silvertomb | Telekinetic Yeti | Stinking Lizaveta | High Reeper | Yatra | Holy Death Trio | Geezer | Brume | Somnuri | Mother Iron Horse | Green Druid | Leather Lung | Greenbeard

Saint Vitus Bar May 12th 2022
The Atomic Bitchwax | Planet of Zeus | Freedom Hawk | Druids

https://facebook.com/Desertfestnyc/
https://www.instagram.com/desertfest_nyc/
http://www.desertfestnewyork.com

Brume, Rabbits (2019)

I just finished writing the below announcement for Freak Valley 2022. It’s Tuesday night, and I’m pretty sure this announcement goes live tomorrow. I only found out about it today, and I’m pretty sure the festival itself only confirmed it today, but when I sent Jens Heide — follow him on Instagram for enviable pics of heavy ’70s vinyl — and asked about it, he said he didn’t want to bother me on such short notice. Well. Maybe if I hadn’t spent a good portion of my morning talking to Tony Reed about his work ethic, I might’ve let that slide, but not today.

So here we are. The ones in this paragraph, I think, will be the last sentences I write today, and if they’re coherent at all I assure it has nothing to do with my level of consciousness, which is minimal. It was long day. Tomorrow is another one. But I’m happy I got this done. It means something to me to be able to do that. Tomorrow morning I’ll get up and start it again. Obligation and elation.

Here’s the announcement I wrote, as posted by the fest:

Buckle up, beloved Freaks!

Today brings confirmation of one of heavy-anything’s most legendary bands — MONSTER MAGNET — will play Freak Valley Festival!

Not only them, but VILLAGERS OF IOANNINA CITY and GEEZER will both make return appearances on our stage!

More info:

MONSTER MAGNET

Why the hell would Monster Magnet need an introduction? More than 30 years on from their start, the legacy of Monster Magnet is simply unmatched. Not only were they among the first bands to tap into classic ’70s hard rock, psych and space rock in a new generation of Satanic-drug-thing-you-wouldn’t-understand attitude, but with frontman Dave Wyndorf as the core presence in the group, they gave us a singular weirdo icon as well as a catalog full of hits, tripouts, slam-home riffs and rock and roll from another dimension entirely. There are 7.75 billion or some such people on this wretched planet and still only one Monster Magnet. They’re a must-see every night they’re on stage, and we’re honored to welcome them to Freak Valley for the first time ever.

VILLAGERS OF IOANNINA CITY

Having last joined us in 2016, Villagers of Ioannina City come back to Freak Valley Festival following their second album, 2019’s ‘Age of Aquarius.’ The Napalm Records release brought new spaciousness to the Greek outfit’s style, and as they look to celebrate their 15th anniversary in 2022, we can’t wait to find out what the years since we last saw them have seen them become on stage, especially as ‘Age of Aquarius’ did so much to expand their sound. Whether you were there six years ago or not, this is a return you will not want to miss. If you want a preview of what you’re in for, check out their 2021 live album, ‘Through Space and Time (Alive in Athens 2020).’

GEEZER

The Kings of Kingston, NY, first came to Siegen in 2017 and psych-blues-jammed their way right into our freaky hearts. Early last year, they joined forces with Italy’s Heavy Psych Sounds and released ‘Groovy’ in Spring 2020. Not a great time for shows, as you might remember. Still, in hard times, Geezer’s vibe was full-on and their easy-rolling spirit, embodied in the whiskey-vox of guitarist Pat Harrington, was a safe haven where one could go and make everything feel right again. With as much love as Geezer put into what they do, let alone the party that results, there was no way we weren’t going to bring them back.

We’ll have another announcement for our Wednesday lineup and more on tickets and all that, but before we go, thank you, thank you, thank you for your support of Freak Valley Festival. We’re putting together something truly special for 2022, and it wouldn’t be possible at all without your passion inspiring our passion. It means the world to us to be able to bring you this fest, and now more than ever, it’s crucial we don’t take that for granted. Thank you. 

Still many more announcements to come!

Lineup Freak Valley Festival 2022:
MONSTER MAGNET
FU MANCHU
HIGH ON FIRE
WITCHCRAFT
THE MIDNIGHT GHOST TRAIN
VILLAGERS OF IOANNINA CITY
GEEZER
+MORE TBA!

Freak Valley Festival // No Fillers – Just Killers

Freak Valley Festival 2022 IS SOLD OUT.

June 15-18 2022

https://www.facebook.com/events/2434350453469407
https://www.facebook.com/freakvalley
https://www.instagram.com/freakvalleyfestival/
https://twitter.com/FreakValley
http://www.rockfreaks.de/
http://www.freakvalley.de/

Monster Magnet, “Solid Gold Hell” (The Scientists cover) lyric video

The first Heavy Psych Sounds Fest in Salzburg, Austria, will take place June 4 and 5, 2022 with Elder, Mondo Generator, Black Rainbows, Duel, Ecstatic Vision, Giobia, Acid Mammoth, Geezer, 1782, Hazemaze, Sleepwulf, Tons, Deadsmoke, Ryte and Oreyeon playing. Because shit, I guess if you’re gonna do a thing, make it count.

This tells us a few things about the European touring circuit for next summer, some of which we knew, some not so much. That Geezer would head abroad again was unveiled with their last Heavy Psych Sounds Fest announcement, but to see others pulled not only from the US — Duel, Ecstatic Vision, Mondo Generator — but with a meet-in-the-middle vibe from north and south in Europe as well — Sleepwulf and Acid Mammoth, Tons and Black Rainbows, etc. — is enough to make me think that the Rockhouse Bar in Salzburg that’s set to host the two-dayer will be a significant centerpoint for the label’s summertime activities. Maybe not all of these bands will be doing full European tours, but some of them definitely will. Mix and match your favorite combination. See how many killer shows you can make out of this single, also killer festival.

I don’t even remember what I was gonna post before this came down the PR wire, but I guess whatever it was can wait.

Because here:

*** HEAVY PSYCH SOUNDS FEST SALZBURG ***

Heavy Psych Sounds Records & Booking will smash Salzburg with their highly acclaimed mini festival-series, the HEAVY PSYCH SOUNDS FEST!

In cooperation with Rockhouse Bar, today Heavy Psych Sounds has announced the dates and full bands line-up of the first HEAVY PSYCH SOUNDS FEST – SALZBURG.

The HPS Fest Salzburg will be taking place 4th and 5th of June, 2022 at the Rockhouse Bar in Salzburg !!!

HEAVY PSYCH SOUNDS FEST – SALZBURG
@ Rockhouse Bar, Salzburg
June 4th and 5th 2022

feat.
ELDER
MONDO GENERATOR
BLACK RAINBOWS
DUEL
ECSTATIC VISION
GIÖBIA
ACID MAMMOTH
1782
GEEZER
HAZEMAZE
SLEEPWULF
TONS
DEADSMOKE
RYTE
OREYEON

TICKETS PRESALE:
https://www.rockhouse-bar.at/e458/heavy-psych-sounds-fest-salzburg

We’ll have 50 early bird tickets online and 50 more early bird that will be sold at the Dome of Rock festival at the Rockhouse from 2nd to 4th December 2021.

heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/
https://www.instagram.com/heavypsychsounds_records/

Elder, “Halcyon” live session