I slept every minute that was available for sleep, woke up early for breakfast and photo-sorting, and slept again after that too. When I went to shower, nothing came out of the hot water, and when I went downstairs to report same, I got a cup of coffee that I promptly spilled in its entirety tripping back up the stairs. Because that’s who I am, damnit. If I’m not giving myself a reason to apologize, am I really living? Who would I even be without humiliation?
Freak Yoga before the day started was the right call. Restorative, fun, lighthearted, nonjudgmental and set to heavy music. Basically ideal. If I could bring myself to do it every day, I’m pretty sure I’d live forever. I’m all tight and sore and a bit of stretching and My Sleeping Karma is almost always going to help. The weather again was pretty grim at the start but was forecast to get nicer later on, if cool. I was just happy to not be falling asleep while anyone was playing.
Here’s my day:
Seedy Jeezus
There was a dump of rain a couple minutes before Seedy Jeezus went on, as if to refresh the mud in the photo pit. Ha. It was over by the time the set actually started, and so it was an unmitigated pleasure to see the Australian heavy blues rockers again. Steeped in ’70s, with melancholy in their newer stuff and boogie in the old and kind of both all along, they’re a trio who absolutely bleed the love for what they do on stage, and the smiles and warmth were infectious. Lex Waterreus on guitar and vocals, Paul Crick on bass and Mark Sibson on drums; no pretense, no bullshit, just get up and hit it. Not that I don’t dig elaborate when it’s called for, but Seedy Jeezus’ songs are so human, it would be silly if they played any other way. There was another deluge right about in the middle of their set, rain and wind, and even Waterreus noted being cold as he shook out his arms to loosen up. They mixed it up around stuff from last year’s Damned to the Depths (review here), and the folks in the side tent where I stood were on board for sure, and reasonably so. It wasn’t ideal with the cold and the wet, but it was as close as we were going to get to it, and they kicked ass regardless.
Howling Giant
They brought the sunshine, and their energy was no less life-giving. Was it weird that one of the sets I was most looking forward to this weekend was a band I saw all of three weeks ago? Maybe. I caught the first show of Howling Giant’s Euro tour at Desertfest Oslo (review here), and as this was the last one, the chance to bookend with them — because for some reason no matter how many times I invite myself they never bring me along (I’m kidding) — was something special and so was the set. All smiles, all relief, sun and cool air and harmonies even in the guitar solo of “Sunken City” later on, and you could feel the good time they were having. I stood by the side of the stage up front and was there the whole time after pictures. I didn’t go off to write or get more water or give in to that gotta-move impulse I always seem to feel at these things. I stood, enjoyed it, rocked out a bit, pulled my earplugs out for “Glass Future,” and so on. Somebody in the crowd blew bubbles. Dancing, headbanging, both accommodated by the band’s sound. Barring disaster, this won’t be the last I see of them this year, and I can’t help but look forward to the next one already. A dose of that will keep you going. Safe travels home and thanks to Howling Giant. I didn’t realize how much I needed that. Bonus points to Adrian Zambrano for the ‘fukice’ on his guitar. I’m not sure if that was there in Oslo, but yes.
Super Jet Kinoko
Operating in the finest tradition of dancey weirdo J-psych cosmic throb, Super Jet Kinoko were a left turn from the unabashed hooks of Howling Giant, but the vitality was still there and people were ready for it. I mean, as ready as you could be for the dancing bird, dual vocals, synth and hand-percussion extravaganza they put on. Planet Earth, not ready. Freak Valley though. Pulses from a drum machine added to the physicality, and the costumes even aside from the bird head, were no less on point than the techno aspect. One dude had his hippie sticks out and was going to town in the sunshine as the bassline shifted (dimensions), holding to motion on an ideological level even as they seemed to space out. The most raw-psych band of the fest so far, but clearly over-the-top was what they were going for, so it all made its own kind of sense in its absurdist nonsense. But busy as it was, there was plainly a plan at work, and for being a lot, you never felt like they lost control or didn’t know where they were going next, and that was apparent to me as someone who’d never seen or heard them before. They fit right in — Mr. Mushroomweinerpants jumping into the crowd, etc. — which cannot have been something they were used to doing. But people ate it up, which was really the only way to go.
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Are you hydrating? What and when did you last eat? Are you taking time to talk to people like a human might? Have you been to the merch yet? How badly do you wish you had your brimmed hat (because you have the beanie The Patient Mrs.’ Mom knit for your giant head) and sunglasses? How about you just find a spot and chill the fuck out? Remember to breathe, you antsy bastard.
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The Neptune Power Federation
Coming from Sydney, Australia, The Neptune Power Federation were a logical follow-up to Super Jet Kinoko, while bringing a different kind of theatricality to their presentation, at least as far as vocalist Screaming Loz Sutch goes. The songs were straightforward and rooted in classic hard rock, and Sutch was a definite presence on the stage, even beyond the headdress, while the band behind kept things moving with sneaky efficiency. A healthy push kept the crowd going, and I decided I should dig into Mondo Tomorrow, which they released in April and almost immediately followed with a redux of their first record. No, I don’t know the difference between the the original or the new one, but let that be emblematic of an oddball aspect that most definitely came through in the set as well. They covered Ratt’s “Bang Your Head (Metal Health)” — which they also do to close Mondo Tomorrow — and that was fun too, the audience clapping along as the Imperial Priestess Herself soared over one of the catchiest choruses the genre of metal ever produced. Indeed, heads banged. I felt like I needed more coffee to keep up, but no question they were all-in.
The Grand East
Considering their debut EP isn’t out yet, I’m guessing I’m not the only person in the crowd for whom this was a first exposure to The Grand East’s synthy sleaze, but folks have been ready to dance all day and in between their frontman mugging for the Rockpalast cameras, which to be fair were right in his face waiting for it, and the swap between electronic and organic drums, plus keyboards besides, there was plenty enough to help abate even the most persistent cases of the wiggles. Maybe wasn’t my thing, but I’ll check out that EP to confirm that, and I’m no fun anyhow. The assembled masses of Freak Valley, on the other hand, let rip like it was Friday night, which of course it was but you take my point. For being an apparently new band in a killer slot, The Grand East endeared themselves and won people over — helps that everybody loves shorty-shorts, I think, but there were howls — and were by no means dumb musically, careening and boogieing and ’70s here and ’80s there and ’00s garage a bit, taking seemingly disparate ideas and smashing them together like a hadron collider of shove. I went and ate some dinner, which I mention for accountability, and made it back for the finish as they tied it all together and drove the point home. That point? Look out.
Long Distance Calling
Clearly it was time to dig in, and progressive instrumentalists Long Distance Calling were to be the means to that end. The German five-piece celebrate their 20th anniversary this year and have a new album out called The Phantom Void to mark the occasion. Sans-vox prog feels like a setup for a band to be indulgent as hell, but what pulled me in the most was the sense of structure in the material, the fact that they had songs, and in that, I was even a little reminded of Karma to Burn (not a sonic comparison necessarily; more ethical), who of course were also (mostly) steadfast in their instrumental approach. Maybe some of My Sleeping Karma wistfulness in theree too. I guess comparing bands who write songs without singers in mind is pretty weak as regards insight — sorry — but Long Distance Calling were able to immerse their audience without diving headfirst into an effects wash or extended jams. And nothing against a band who does that — I like a lot of heavy instrumental jams — but the tighter rein and steady, methodical builds suited Long Distance Calling, and it wasn’t their fault that after the emergent gorgeousness of the afternoon, the rain started again while they were playing. Not too much, and not nearly enough to stop the people up front from clapping along at all, and fair enough for the reachout in the songs and the impact set alongside some of the float in the guitars. I ended up enjoying it more than I expected to, which sounds like a backhanded compliment but is intended with only the frontest of hands.
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I was pretty well cooked at this point in the evening. Long day, fair amount of sun, jetlag, old and out of shape; you name it. There was a longer break on the main stage before Messa, which allowed for Darmstadt’s Trails to play a set on the second stage — Greek punkrippers Frenzee did likewise between Messa and Goat — but on the one side of the sky was a gorgeous sunset and it was still raining, so naturally I started looking for the rainbow. It was behind me, of course. Double rainbow at Freak Valley 2026, y’all. Trails were plugging away with riffs and push in ample supply for all, and they pulled a lot of heads over to the corner of the property, but I made my way to a little spot and took the rest where/when I could get it because there was still more night to come, or let’s say the night at all since it was daylight until like 10PM.
We now return to your regularly scheduled review, which you never actually left…
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Messa
The Italian genremelders started out at a slow burn, and to be honest, that wasn’t what I needed at that point in the day, but dang they were immersive and their sway in those quiet moments is essential to who they are. I get it, is what I’m saying, I was just tired as crap, so when the blastbeats or the next bluesroller riff kicked in, it was refreshing. That expansive stylistic mindset has always felt intentional on the part of Messa. They quickly became masters of their approach, and have reaped acclaim accordingly — hyped far and wode, with a touring impulse to match — and by now they’re professionals as well as creative songwriters, so the hype is thoroughly justified. Melodic, dark, dynamic and continually growing, they were a shift from Long Distance Calling and Trails alike, and I guess from the day in general; there was so much dancing when the sun was out in the afternoon. There was still dancing, plus some making out — I don’t know when P.D.A. in my head went from “public display of affection” to “pathological demand avoidance” (look it up), but it did — and that probably wasn’t unreasonable either. Messa are a band heavy metal is lucky to have.
Goat
I was dead on my feet, which I mention not purely to complain — much as I do love that — but to emphasize the allure of Swedish freak-psych troupe Goat for making me stick around as long as I did. The band were in full regalia, costumes, fleshed out percussion arrangements, boogie from capital ‘e’ Elsewhere. Not my first time seeing them play, but I couldn’t tell you how many years it had been. What hit me about it was that for all the oddities, all the intricacies, all the twists and shuffles and changes and melt-your-chemicals that Goat have going on, so much of their sound relies on Rickenbacker bass as its launchpad. Worldly in the musical sense, they were the last party of the night for those still looking to get down, and you’ll get no argument from me if that was you, but my brain and body were destroyed even before Messa went on, so Goat played me out, and if I’m honest even at that point they put a little bounce in my step. When I got back to the hotel, I put on the Rockpalast stream and was glad to have the chance to do so. Talk about your sole-occupant wavelengths.
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The cab on my way out said he didn’t take a card. I don’t know why that’s a thing? Cash only? Does that make it easier to rip me off? I don’t even give a shit. Overcharge me. I’m going like a mile down the road. I will pay you 20 euro to get me there, I couldn’t care less. Just let me go to bed, goddamnit.
My fucking hero Alex Fuchs, who runs the transport here, saw me walking up from the AWO grounds to the road, pulled over, and gave me a lift. That is the tip of the iceberg why the first three words of that sentence were “my fucking hero,” but with no signal to get an Uber and no other prospects than standing there and waiting for someone who might take a card from my cashless ass (tomorrow I will get cash somewhere), holy crap was I grateful. Thank you, Alex. Like, forever.
There are more pics after the jump and day three starts with doom yoga shortly. See you there.
Posted in Whathaveyou on March 10th, 2026 by JJ Koczan
You might recall the first Tundra and Lightning Festival took place in Bergen, Norway, last Fall. This year’s edition brings Norwegian heavy rock stalwarts Gluecifer to the bill, along with Swedish psychedelicists Goat and a slew of others including Kryptograf and Skraeckoedlan and Håndgemang and more from the always-vibrant Scandinavian heavy underground, and Meryl Streek, a one-man punk outfit from Ireland, because why not.
There are seven more bands to come, so the ultimate shape of Tundra and Lightning 2026 remains to be seen, but you can already see the engagement with the regional underground here, between The Dogs, Emmerhoff and The Melancholy Babies, Slug Boys and so on, also Gluecifer again. And as Norway reaffirms its place as a hotbed for heavy sounds, there’s no shortage of an underground to engage with. They’re still building this one. I like that.
From the internet:
First line up reveal for Tundra and Lightning 2026!
Following a completely sold-out debut in 2025, Bergen Live and USF Verftet are proud to announce the return of Tundra and Lightning Festival. The second edition will take place Friday 2 and Saturday 3 October 2026, once again filling the entire Kulturkvartalet USF with heavy riffs, raw energy and rock from Norway and beyond.
Today we reveal the first 11 artists for this year’s festival. Expect an intense autumn weekend in Bergen as rock fans gather for two days of powerful live music from both established names and exciting rising acts.
First Artists Announced
One of Norway’s most important rock bands, Gluecifer, is finally back with a brilliant new album and explosive live shows.
The masked Swedish cult band GOAT will make their first-ever Bergen appearance at the festival, while The Dogs return after a two-year break — with their first comeback show taking place in the city between the seven mountains.
Local favorites Nix & The Nothings are known as one of Bergen’s most energetic live bands and were among the most requested acts after last year’s festival. From Sweden comes Skraeckoedlan, bringing a suitcase full of fuzz-drenched stoner and doom.
The festival will also host an exclusive 30th anniversary concert with the legendary Emmerhoff & The Melancholy Babies, almost exactly 30 years after their very first official show at the iconic Garage in 1996.
In addition, the lineup features exciting acts from Norway and abroad, including Bergen rockers Kryptograf, stoner powerhouse Håndgemeng, Dublin’s furious one-man punk project Meryl Streek, Swedish rockers Tears of the Fatman with their explosive mix of post-punk, rock ’n’ roll and boogie, and chaotic rock energy from Slug Boys.
Lineup – Tundra and Lightning 2026
Gluecifer GOAT (SE) The Dogs Nix & The Nothings Skraeckoedlan (SE) Emmerhoff & The Melancholy Babies Kryptograf Håndgemeng Meryl Streek (IE) Tears of the Fatman (SE) Slug Boys + Seven more artists will be announced later.
Ticket Information
Festival passes go on presale Thursday 5 March at 10:00. Sign up for presalehere.
Day tickets will be released together with the next artist announcement.
We look forward to welcoming rock fans from near and far to another unforgettable autumn weekend in Bergen.
Posted in Whathaveyou on November 3rd, 2025 by JJ Koczan
It hasn’t been that long since the last announcement from the 2026 Freak Valley Festival, which brought the likes of Messa, Child, Longdistancecalling, Howling Giant, Upupayāma and more to join Tranquonauts, Coltaine, Kylesa, Stoned Jesus and Uncle Acid, among others, from the first round. But the message here, clearly delivered, is that Goat stand on their own.
And that’s always kind of been the story for the Swedish cult-psych ritualists. So much the better for them to headline. Their Afrobeat-informed, lysergic, at times vividly funky grooves have always stood them out from the heavy underground enough to enjoy crossover appeal to arthouse indie and the arbiters of cool more broadly speaking, but it’s been well over a decade since their debut album, World Music, and Goat have never really stopped being awesome. Their latest release is a remix of their 2024 self-titled LP done in collaboration with producer The Human Language, and earlier this year they also had a split out with fellow Swedes and Freak Valley veterans, Graveyard.
No coincidence that Goat were added to the bill just as online tickets went on sale over this past weekend. I don’t know that the fest is sold out yet, but usually it’s not too long after the onsale that tickets are gone, and with Goat as added impetus, it’s hard to imagine that not being the case this year too.
From social media:
HEADLINER ANNOUNCEMENT @goatworldmusic live at @freakvalleyfestival 2026
After many, many years of trying… it finally happened:
GOAT will headline FREAK VALLEY FESTIVAL 2026!
The legendary Swedish collective, known for their mind-bending mix of psychedelic rock, tribal grooves & hypnotic rituals, are coming to Freak Valley for the very first time!
We’re beyond proud and still can’t believe it. This one’s truly special.
Online Tickets go on sale this Sunday, 02.11. at 17:00 cet at fvf.ticket.io — don’t sleep on it!
Posted in Whathaveyou on July 12th, 2016 by JJ Koczan
I guess I kind of thought Uncle Acid, YOB, Pentagram, John Garcia, etc. were among the headliners at Desertfest Belgium 2016. Apparently not. The Antwerpen-based extension team of the Desertfest brand has raised the stakes by only now announcing the first of its three headliners in the form of Swedish Afrobeat psych ritualists Goat. As to who might join them at the top of the bill, I haven’t the foggiest. Like I said, I thought the headliners were already announced.
In addition to Goat, Desertfest Belgium 2016 has also added New Jersey’s own The Atomic Bitchwax, Swiss instrumentalists Monkey3, Swedish creepers Salem’s Pot, Norwegian heavy rockers Lonely Kamel and Greek forerunners-of-riff 1000mods, thereby making an already packed bill even more packed.
Dig it:
GOAT WILL HEADLINE DESERTFEST BELGIUM 2016, Atomic Bitchwax & Monkey 3 also confirmed
We promised you a trio of headliners for the summer, and today the first one gets revealed. It is with great pleasure we announce that the Swedish powerhouse GOAT will be part of the 2016 Antwerp Desertfest line-up. Their eclectic approach to rock and dance grooves and their blinding stageshow are right in tune with the open-minded vibe we want to bring to our festival, and we’re confident it will be one of the highlights of DF Antwerp 2016.
But of course, that’s not all! We have some more heavy hitters to disclose, with Atomic Bitchwax and Monkey3 both confirmed for the festival. And to round off this epic set, how about the blues jams of Lonely Kamel, the rising stars of the scene Salem’s Pot, and the killer stoner from Greece 1000mods!
You can now set your sights on the last week of July… when we drop the second headliner name, as well as a bunch of other goodies. Until then, spread the word and the good vibes!
GOAT
Hailing from the small remote village of Korpolombolo, GOAT has managed to take the world by storm with an exuberant voodoo-inflected rock sound that is as funky as it is psychedelic. No need to introduce them at this point, and no need to tell you this will be a sweaty, dazzling, rump-shaking and genre-busting highlight of the 2016 DF festival!
THE ATOMIC BITCHWAX
The legendary true “Super Stoner Rock” band has been going at it since 1993, but still shows no sign of wear’n’tear! Last year’s album ‘Gravitron’ was another exuberant slab of hard & psych rock, and their incessant touring has made Atomic Bitchwax a much-respected darling of the stoner community. So it is an honour to announce them for the 2016 Desertfest edition!
MONKEY3
With a fifteen-year career in cosmic and psychedelic instrumental jams, Monkey3 has become a household name for every stoner rock fan who likes a little space travel now and then. The band’s now preparing the release of their next full album ‘Astrasymmetry’ in the fall, so expect them to demo new material in their live set – which effectively means: “expect everything, and nothing”.
LONELY KAMEL
Inspired by the heavy blues-legends, the Norwegian Lonely Kamel churns out classic hard rock with a distinctive touch of the blues – although you can definitely hear a myriad of other influences from ’60s and ’70s rock in their heady stew. Don’t call it retro – these are music lovers paying their respect to all their great heroes, and finding their own exciting sound along the way!
SALEM’S POT
With a name like that, there really should be no question what the band’s aesthetic is all about: doom doom doom with a side of freakshow horror and some mindbending psychedelics. Hailing from Sweden, the band has been steadily releasing tapes and vinyl to a steady growing crowd of enthusiasts. There’s shades of Electric Wizard riffage, but Salem’s Pot manage to make the sound unmistakably their own.
1000 MODS
Heavy rock from Chiliomodi, Greece with a dedication to vintage equipment, a thick and heavy analog sound and remarkably passionate stage performances. Over their career they have played over 200 live shows with bands like The Black Keys, Graveyard, and Brant Bjork, as well as recording with the almighty Billy Anderson.
Posted in Features on January 2nd, 2015 by JJ Koczan
It was close for a long time, but in the last week or so, one record pulled ahead to stake a definitive claim on the top spot. Even so, more than the 2013 poll, this was a fun one to watch, three albums duking it out, trading back and forth in the raw votes depending on who happened to submit a list at any given time. In the end, 355 people participated in this year’s poll, which is an average of over 11 per day — there was a significant push at the end — and up from 2013, which now that it’s 2015 will no doubt soon feel like ancient history.
To that end, Happy New Year and huge, huge thanks to everyone who took the time to contribute a list to the poll. Even if it was one or two records, the simple fact that you felt it was worth your time to type out the names of bands and albums and take part in this thing is unbelievably gratifying to me. I do a lot of the talking around here, apart from comments and the forum, so to have your participation in this really means a lot to me. It’s nice knowing you give enough of a crap to take part.
You’ll find two lists below. The first, measured in points, is the weighted tally. A 1-4 ranking is worth five points, 5-8 worth four, 9-12 worth three, 13-16 worth two and 17-20 worth one. After that comes the raw votes, a measure of what caught the most attention along the way.
After the jump, you’ll also find all the lists contributed to the poll — including my own, which seemed fair since I do a lot of reading on this site, mostly to experience shame at the typos and correct them hoping no one else noticed — presented in the order in which they were received. Thank you all again.
Top 20 of 2014 — Weighted Results
1. YOB, Clearing the Path to Ascend (560 points)
2. Wo Fat, The Conjuring (404)
3. Electric Wizard, Time to Die (367)
4. Pallbearer, Foundations of Burden (334)
5. Conan, Blood Eagle (275)
6. Orange Goblin, Back from the Abyss (254)
7. Greenleaf, Trails and Passes (240)
8. Truckfighters, Universe (237)
9. Brant Bjork and the Low Desert Punk Band, Black Power Flower (235)
10. Earth, Primitive and Deadly (230)
11. Fu Manchu, Gigantoid (225)
12. Blues Pills, Blues Pills (211)
13. Lo-Pan, Colossus (202)
14. Eyehategod, Eyehategod (198)
15. Monolord, Empress Rising (190)
16. Mastodon, Once More ‘Round the Sun (188)
17. Mars Red Sky, Stranded in Arcadia (161)
18. John Garcia, John Garcia (156)
19. Bongripper, Miserable (141)
20. Radio Moscow, Magical Dirt (127)
Honorable mention to:
Goat, Commune (126)
Swans, To be Kind (117)
Monster Magnet, Milking the Stars (116)
Blood Farmers, Headless Eyes (105)
Floor, Oblation (104)
Mothership, II (104)
Stubb, Elephant Tree, Thou and plenty of others also did very well in the voting, but everything else I could find was less than 100 points. Again, it was close for a while between Wo Fat, Electric Wizard and YOB — and Pallbearer wasn’t so far behind them, either — but YOB pulled it out in the end and jumped way in front of everyone else. A lot of number-one votes for Clearing the Path to Ascend, which I can understand completely, since I happened to agree with the position.
On to the raw votes:
Top 20 of 2014 — Raw Votes
1. YOB, Clearing the Path to Ascend (138 votes)
2. Wo Fat, The Conjuring (111)
3. Electric Wizard, Time to Die (104)
4. Pallbearer, Foundations of Burden (89)
5. Orange Goblin, Back from the Abyss (78)
6. Conan, Blood Eagle (72)
7. Fu Manchu, Gigantoid (71)
8. Truckfighters, Universe (66)
9. Earth, Primitive and Deadly (65)
10. Greenleaf, Trails and Passes (64)
11. Blues Pills, Blues Pills (63)
12. Brant Bjork and the Low Desert Punk Band, Black Power Flower (60)
13. Lo-Pan, Colossus (58)
14. Eyehategod, Eyehategod (55)
15. Monolord, Empress Rising (52)
16. Mars Red Sky, Stranded in Arcadia (48)
16. Mastodon, Once More ‘Round the Sun (48)
17. John Garcia, John Garcia (47)
18. Bongripper, Miserable (41)
18. Radio Moscow, Magical Dirt (41)
19. Goat, Commune (37)
19. Mothership, II (37)
20. Swans, To be Kind (32)
And some honorable mentions:
Dwellers, Pagan Fruit (31)
Floor, Oblation (31)
Monster Magnet, Milking the Stars (31)
Mos Generator, Electric Mountain Majesty (30)
Thou, Heathen (30)
The Well, Samsara (30)
A couple ties here make the raw votes list a little more inclusive, and since it’s not like we’re giving out olympic medals, it didn’t seem fair to count out ties and sacrifice other numbers. The top 20 has 23 entries? Yeah, sounds about right. Again, not much mystery ultimately to who came out on top, but it was a more thrilling race than the final numbers might suggest. Cool to see some differences in placement emerge between the two lists as well, Greenleaf and Brant Bjork doing really well in the weighted results since they obviously inspire some strong support, and a couple of others working their way into the raw votes top 20. I’m not really a numbers guy, but it’s been cool putting this together.
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About not being a numbers guy: All the lists that came in appear after the jump below. If you find some glaring error in my math, or something seems like it really got enough votes to be included in one or the other, it’s possible I just missed it. I hope you’ll point it out in the comments so that if there is a mistake, I can get on correcting it as soon as possible. Your vigilance is sincerely appreciated.
And thank you again so much for being a part of this readers poll. It’s been a really great experience and I look forward to doing it again come Dec. 2015.
Please find everybody’s list after the jump, and have fun browsing:
Before I even start, let’s get one thing out of the way. I want a new Sleep album too. My not including them on this list isn’t due to the fact that I don’t think a new Sleep album is a good idea, but just because I haven’t seen anything about it being recorded or released in the next five-plus months. If it hits on Jan. 1, 2015, I’ll be the happiest Baby New Year you ever saw, but that’s a different list altogether.
Ditto that Om and High on Fire. The latter were writing as of May, and I know Om did some recording way back in January, but I’ve yet to see solid word of new records at all, let alone before the end of the year. Either or both or all three may happen, but until I see some hint of it, all I can go on is the info I can find.
Seriously though, how badass would it be if all three put out albums before the New Year? That excitement is kind of what this list is about. Some of these records I’ve heard, but most I haven’t, so it’s just basic speculation about what I think could be some of the best releases in the next couple months. You’ll note that while there are plenty of dates TBA, nothing listed arrives in November, so as 2014 winds down, there’s bound to be even more quality stuff than appears here.
In fact, I struggled to take things out to get it down to 30. And it still goes to 31! I figured no one would mind. They’re numbered, but the list is in alphabetical order.
If I left something out you’re dying to hear, please let me know in the comments.
Thanks in advance for reading:
1. Alunah, TBA (Sept.)
Birmingham’s Alunah, like several others below, are a holdover from the Most Anticipated Albums list back at the start of the year. The difference between now and then is that, while its title still hasn’t been revealed so far as I know, their Napalm Records debut has been recorded, mixed and mastered, the latter by Tony Reed, the former by Greg Chandler of Esoteric, and given a September release date. Two years after Alunah made riffy doom sound easy on their sophomore outing, White Hoarhound (review here), I look forward to hearing how they’ve grown and shifted in their approach to warm-sounding tones and memorable hooks. They’ve set a pretty high standard for themselves. Alunah on Thee Facebooks, Napalm Records.
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2. Apostle of Solitude, Of Woe and Wounds (Oct.)
These guys. I don’t mind telling you it was a thrill when Indianapolis doomers Apostle of Solitude were announced as having signed to Cruz del Sur to release their third album, Of Woe and Wounds, this fall. Their second outing, 2010’s Last Sunrise (review here), didn’t get the attention it deserved, but the handful of songs they’ve made public since have shown much promise, and as the first Apostle of Solitude full-length to feature guitarist/vocalist Steve Janiak (also Devil to Pay) in harmony with guitarist/vocalist Chuck Brown — the band is completed by bassist Dan Davidson and drummer Corey Webb — this is definitely going to make for a doomly autumn. Apostle of Solitude on Thee Facebooks, Cruz del Sur Music.
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3. Blackwolfgoat, Drone Maintenance (Aug. 26)
Recorded late last year at Amps vs. Ohms in Boston, the third album from Maple Forum alum Blackwolfgoat — the prog-drone alter ego of guitarist Darryl Shepard (Milligram, Black Pyramid, The Scimitar, Roadsaw, etc.) — is the project’s most expansive outing yet, and it seems Shepard is moving more in a song-based direction, rather than some of the building loops of the past two offerings. Of course, there will be plenty of those as well, but watch out for some acoustic guitar, and deep-in-the-mix vocals, as they could easily hint of things to come. Or Darryl could turn it on its head and do a calypso record. Either way, I’m on board with no pretense of impartiality. Blackwolfgoat on Bandcamp, Small Stone’s Bandcamp.
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4. Blues Pills, Blues Pills (Aug. 5)
The much-heralded Swedish/French/American psych-blues conglomeration Blues Pills will make their self-titled debut (short review here) next month, and while it’s probably going to be a bigger deal in Europe than in the States — at least until Nuclear Blast brings them over here for a tour, then the country is going to go apeshit for them — the songwriting and soulful execution of their tracks justifies the hype. There’s a bit of retro posturing to what they do, some Graveyard shuffle (it feels inevitable at this point with a ’70s-influenced band), but the grooves are easy to dig into and the potential is basically limitless for where they want to go. It’s scary to keep in mind, but this is just the beginning. Blues Pills on Thee Facebooks, Nuclear Blast.
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5. Bongripper, Miserable (July 7)
You may notice something strange about the date above for a list of upcoming albums in that July 7 was yesterday. Well, Chicago’s Bongripper posted their new three-track full-length monster Miserable on their Bandcamp for stream and download ahead of the vinyl’s arrival, and it was just too righteous to leave out. Those seeking landmark riffing need look no further than the 19-minute centerpiece “Descent,” which meters out stomp enough that future “scientists” will study its footprint, and closer “Into Ruin” (28:25) is guaranteed to be the heaviest half-hour you’ll spend today. Miserable feels like a no-brainer, but maybe that’s just because Bongripper have such a propensity for pounding skulls into mush. Bongripper on Thee Facebooks, Miserable on Bandcamp.
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6. Botanist, VI: Flora (Aug. 11)
I feel like I missed a couple numbers from San Francisco-based environmentalist black metal unit Botanist along the way, but they’ll nonetheless issue VI: Flora on The Flenser next month, furthering their marriage of destruction and beauty and insistent percussive expression. The spaces Botanist — a one-man project from Robert Martinelli — create feel ritualistic without the dramatic posturing that pervades much of the genre, and sound, somewhere between raging and mournful, is hypnotic. Whatever your expectation might be, Martinelli seems pleased to use it to their advantage, and ultimately, defy it. Post-human, hammered dulcimer-laden black metal. It would be harder for Botanist to not be unique. Botanist on Thee Facebooks, The Flenser.
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7. Brant Bjork, TBA (TBA)
When Brant Bjork‘s next album might show up, I don’t know. I know he’s signed to Napalm, and I know the photo above was snapped as he finished some vocals before going on tour with his Low Desert Punk band that includes guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, but whether or not the album they made is the funk-inspired Jakoozi that’s been in the offing for a while, or another collection of songs, and if Napalm will get it out before the end of the year remain a mystery. I do find it interesting that for his first “solo” outing post-Vista Chino (that band being on hiatus), Bjork has assembled a new band to work with rather than record multiple instruments himself, but no matter who’s involved, when it’s Brant Bjork writing the songs, it’s gonna be high rock from the low desert. Can’t wait to dig into whatever comes. Brant Bjork on Thee Facebooks, Napalm Records.
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8. Earth, Primitive and Deadly (Sept.)
The headline for Earth‘s new album is it’s the one where they experimented with vocalists. And hey, if you’re going to toy around with the idea, you might as well get Mark Lanegan involved. The former Screaming Trees frontman is one of several singers appearing on Primitive and Deadly, due in September on Southern Lord, and it would appear that Earth‘s sound — always evolving, always somehow changing — is about to take another considerable turn. Fortunately, the Seattle band, led by guitarist Dylan Carlson and now approaching their 25th year, have long since proven worthy of trusting with their own direction. Earth will never be huge, by the simple nature of what they do, but their influence resounds and the quality of their output is unmatched. Earth on Thee Facebooks, Southern Lord Recordings.
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9. Electric Wizard, Time to Die (Sept.)
“Wake up baby/It’s time to die.” So goes the title-track hook of Electric Wizard‘s new album and Spinefarm Records debut, Time to Die. As ever, it’s simple, hateful, drenched-in-fuzz misanthropy, and Electric Wizard revel in it accordingly. Their witchcult continues to grow in their native UK and abroad, and while their last two records have divided some listeners, they’ve invariably gained more ground than they’ve lost. A legal dispute with Rise Above finds them on the new label, and if there’s even the slightest chance that change will bring them to the US for a tour, I’ll take it. Expect 66 minutes of glorious filth. Electric Wizard on Thee Facebooks, Spinefarm Records.
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10. Fever Dog, Second Wind (TBA)
Palm Desert youngsters Fever Dog have been kicking around the last few years finding their sound in varying elements of heavy rock and psychedelic experimentation. Most recently, they impressed with the single “Iroquois” (review here) taken from their new album Second Wind, and in looking forward to the full-length, I’m eager to learn how their style has solidified and what sort of vibes they conjure over its course. They’ve shown plenty of propensity for jamming in their prior work, so hopefully there’s a bit of that on hand as well. I’ve said before they’re a trio of marked potential, and nothing I’ve yet heard has dissuaded me from that impression. Fever Dog on Thee Facebooks, Fever Dog on Bandcamp.
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11. Goat, Commune (Sept. 23)
Somehow, a band from Sweden who dress up in tribal costumes (problematic) and play Afrobeat psychedelia became a very, very big deal. I couldn’t explain it if I wanted to, and I won’t try, but I know that when Sub Pop releases Goat‘s second album, Commune, it’s going to be to a flurry of hype and heaps of critical fawning. It would be tempting to call Goat a novelty act, but their 2012 debut, World Music (discussed here), showcased a legitimately creative musical approach to go with the visual aspects of their presentation, and I find the fact that I have no idea what to expect from Commune to be refreshing. Goat on Thee Facebooks, Sub Pop Records.
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12. Grifter, The Return of the Bearded Brethren (Aug. 11)
UK heavy rockers Grifter will make a welcome resurgence on Ripple Music with The Return of the Bearded Brethren, an album that builds on the straightforward, catchy sounds of their 2011 self-titled label debut (review here) and takes their infectiousness to new places lyrically, such as exploring issues of aging via an ode to Princess Leia from Star Wars. That particular brand of humor and is writ large on Grifter‘s second Ripple outing, and the trio set to work refining their take without losing the engaging feel of their self-titled. It feels like a long three years since that record hit, and I’ll be glad to have a follow-up in-hand. Grifter on Thee Facebooks, Ripple Music.
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13. Ice Dragon and Space Mushroom Fuzz, New Blue Horizon/A Peak into the Future (TBA)
Unclear at this point whether Boston outfits Ice Dragon and Space Mushroom Fuzz collaborated on New Blue Horizon/A Peak into the Future, or if it’s a split. Either way, the prolific acts make a sound pairing. Both are vehemently creative and exploratory, psychedelic and progressive each in their way, and if what’s presumably a single finds them working together, all the better, but even if not, new material from either is nothing to balk at, particularly when topped off by such gorgeous artwork. Neither act is ever long from putting something out, so to have them come together one way or another makes a weird brand of sense, which I’m relatively sure the songs will as well. Ice Dragon on Thee Facebooks, Space Mushroom Fuzz on Thee Facebooks.
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14. Ides of Gemini, Old World New Wave (Sept. 16)
Ides of Gemini‘s 2012 Neurot Recordings debut, Constantinople (discussed here), established the three-piece as freely inhabiting either side of the imaginary line between ambience and heaviness, J. Bennett and Kelly Johnston providing sometimes minimal, sometimes consuming foundations for vocalist Sera Timms (ex-Black Math Horseman, also Black Mare) to cast ethereal melodies. What Old World New Wave will hold sound-wise, I don’t yet know, but Ides of Gemini‘s otherworldly resonance and ultra-patient approach makes it well worth finding out. Ides of Gemini on Thee Facebooks, Neurot Recordings.
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15. John Gallow, Violet Dreams (Aug. 4)
Frontman of Blizaro and Orodruin guitarist John James Gallo adds a ‘w’ to his last name and steps out solo on the I, Voidhanger Records release, Violet Dreams, the title hinting at some of his on-his-sleeve affinity for Italian psych-doom master Paul Chain and Swedish legends Candlemass. Gallo‘s work in Blizaro has a tendency to lean toward the progressive and cinematic, but as John Gallow, the focus is more on classic doom riffing and darkened metallurgy. As one would expect, he’s well in his element on the hour-long album, and I hope he decides to call the next one Ancient Theatre. Also note the incredible artwork of Costin Chioreanu. John Gallo on Thee Facebooks, I, Voidhanger Records.
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16. John Garcia, John Garcia (Aug. 5)
A long-discussed solo debut for the former Kyuss frontman following a stint alongside Brant Bjork in Vista Chino, John Garcia‘s John Garcia (review here) finds the singer right in his comfort zone, topping desert rock riffs with his trademark guttural vocals. To be perfectly honest, I’m not sure I’d trade a second Vista Chino outing for it if given the choice — that band seemed to be on course for a sound of its own, separate from Kyuss‘ legacy, and that struck me as worth pursuing — but these songs have a similar enough production style that it’s easy to think of the one as an offshoot of the other, and of course Garcia calls his shots well throughout. John Garcia on Thee Facebooks, Napalm Records.
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17. King Buffalo, TBA (TBA)
Including King Buffalo here was pretty speculative on my part, but I dig the Rochester, NY, outfit and didn’t want to leave the prospect of their STB Records debut long-player out. It probably won’t land until 2015 — the future! — but their demo (review here) still gets regular plays around these parts, and I’m very much looking forward to catching them with similarly-minded Nashville blues rockers All Them Witches when they tour together next month. Whatever King Buffalo‘s recording/release plans might be, they’re definitely one to keep an eye on in the back half of this year. King Buffalo on Thee Facebooks, STB Records.
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18. Kings Destroy, Kings Destroy (TBA)
Love these guys, love this band. I make no bones about it. Their third record, self-titled and produced as the last two were by Sanford Parker, is as close as they’ve yet come to capturing their live sound, and while they’ve yet to nail down an exact release date, they have a couple very cool tours in the works for this fall, including dates next month with Eric Wagner‘s Blackfinger, that will make a fitting lead-in to their best outing yet. I’ve heard this and had the chance to see some of the material live, and they’ve outdone themselves again, which, considering the esteem in which I continue to hold their 2013 sophomore full-length, A Time of Hunting, is really saying something. Kings Destroy on Thee Facebooks, War Crime Recordings.
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19. The Kings of Frog Island, V (Fall)
Easily one of the LPs I’m most eager to hear over the next few months, and specifically on vinyl. The Kings of Frog Island have shown themselves to be so dedicated to the format that their early-2013 album, IV (review here), was presented as two bundled sides even digitally. They recently gave a taste of what their fifth album will in-part hold via a video for “Sunburn” and I’m told more jamminess ensues elsewhere to complement that track’s easygoing flow and platter-ready hook. All the better. The Kings of Frog Island on Thee Facebooks, The Kings of Frog Island on YouTube.
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20. Lonely Kamel, Shit City (Sept. 9)
I’d be lying if I said part of my immediate interest in Oslo heavy rockers Lonely Kamel‘s fourth record wasn’t due to the cheeky title, but it’s been three years since the Napalm Records four-piece released their last album, Dust (track stream here), and as they’ve put in plenty of road-time, it doesn’t seem unreasonable to go into this time around with elevated anticipation. I’m not sure you could get away with calling an album Shit City unless you meant business. Got my fingers crossed that’s precisely the case with Lonely Kamel. Lonely Kamel on Thee Facebooks, Napalm Records.
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21. Lo-Pan, Colossus (Oct. 7)
Fucking a. Doing the research for this list was the first I’d seen the Jason Alexander Byers cover art for Lo-Pan‘s fourth album, Colossus, or its Oct. 7 Small Stone release date. I haven’t heard the tracks yet — they recorded in Brooklyn back in March, and while I got 2012’s Salvador (review here) pretty early, the Columbus four-piece seem to be keeping a tighter lid on the follow-up — and I can’t help but feel like that’s my loss. Judging by what I’ve heard of the material live, Lo-Pan have dug further into their individual brand of riff-led soulful heavy, and I’ve got a high wager that a few months from now, Lo-Pan‘s latest will make an appearance on another list. More to come. Lo-Pan on Thee Facebooks, Small Stone Records.
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22. Novembers Doom, Bled White (July 15)
One of doom’s most fascinating and largely ignored progressions is that of Chicago melancholists Novembers Doom, who, when they started out 25 years ago, did so largely as a death metal band, and then moved on to pioneer an American interpretation of what’s commonly thought of as European doom, until, over their last several records, as they’ve started to move back to a more extreme, double-kick-drummed style. Bled White, on The End Records, continues along this path, but especially in the cleaner vocals of frontman Paul Kuhr there remain shades of the morose emotionality that typified what’s now become their mid-period doom idolatry. Unheralded, Novembers Doom keep exploring deeper, darker terrain. Novembers Doom on Thee Facebooks, The End Records.
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23. Pallbearer, Foundations of Burden (Aug. 19)
Foundations of Burden is unquestionably among the second half of 2014’s most anticipated albums. Arkansas-based doom four-piece Pallbearer will mark its release with extensive European and North American tours, and where their 2012 Profound Lore debut, Sorrow and Extinction (review here), came out and caught listeners off-guard with its unabashed emotional core, their sophomore outing finds them positioned at the forefront of American doom. Already the hype machine is rolling out the red carpet for the Billy Anderson-produced Foundations of Burden, but no one can say these guys haven’t put their work in, and the record is indeed one to look forward to. Pallbearer on Thee Facebooks, Profound Lore Records.
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24. The Skull, TBA (TBA)
For The Skull to put out an album of original material is a unique challenge. Their earlier-2014 first single (stream/review here) found them standing up to it on the new song “Sometime Yesterday Mourning,” but at least half the point of the band since its inception has been to pay homage to legendary doomers Trouble, from whence vocalist Eric Wagner, bassist Ron Holzner and drummer Jeff “Oly” Olson come. For their Tee Pee Records debut full-length — yet untitled and hopefully out before 2015 — it’ll be most interesting to see how guitarists Matt Goldsborough (ex-Pentagram) and Lothar Keller (Sacred Dawn) rise to the occasion of building off some of doom metal’s most celebrated tones. Fingers crossed on this one. The Skull on Thee Facebooks, Tee Pee Records.
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25. Snail, Feral (TBA)
Nothing has been formally announced yet, but on Small Stone Records‘ website, they list Snail‘s Feral among their upcoming releases. It would make a suitable pairing, the West Coast riffers having previously worked with MeteorCity on their 2009 post-reunion outing, Blood (review here), prior to independently releasing 2012’s Terminus (review here), and Small Stone seems like a good home for their fourth overall record and return to form as a trio, which was their original incarnation before their original dissolution circa 1994. How they expand on the heavier crunch of Terminus remains even more a point of fascination, and surely their cult following will be glad to find out. I know I will. Snail on Thee Facebooks, Small Stone Records.
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26. Steak, Slab City (Sept. 9)
After two strong EPs in 2012’s Disastronaught (review here) and 2013’s best-title-ever-boasting Corned Beef Colossus (review here), it’s time for London stoner rockers Steak to step up their game for their Napalm Records debut full-length. The four-piece headed to the Californian desert to record Slab City, and so it’s fair to think some of that atmosphere may have worked its way into the material. Would be an awfully long way to go, otherwise. In either case, Steak have showcased considerable songwriting chops already, now it’s just a matter of sustaining it for a full album’s runtime and keeping enough variety in their approach. I have no doubt they’re ready for this next step. Steak on Thee Facebooks, Napalm Records.
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27. Stubb, Cry of the Ocean (TBA)
It is with simple, unabashed warm feelings that I look forward to hearing Cry of the Ocean, the second long-player and Ripple Music debut from UK riffers Stubb. They’ve traded out drummers since 2012’s self-titled (review here), bringing aboard Tom Fyfe with guitarist/vocalist Jack Dickinson and bassist/vocalist Peter Holland, but I’m excited to hear what changes and shifts in sound Cry of the Ocean might have in store to match its provocative title. Goes without saying the photo above isn’t the final artwork, but instead Tony Reed‘s mastering sheet from back in May when he worked on the tracks. No solid release date yet, but hopefully soon. Stubb on Thee Facebooks, Ripple Music.
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28. Torche, TBA (TBA)
Torche‘s new album and Relapse Records debut was originally slated for the end of the summer. Given that no official word has come out about a title or anything like that and the members of the band have been busy with other projects, it seems unlikely as of now that they’ll hit that target, but after something of a break so frontman Steve Brooks could focus on the resurgent trio Floor, Torche are in fact getting going again, beginning with their first tour of Australia this fall. Maybe their LP will be out by the time they go and maybe it won’t, but word on the street is that whenever the thing arrives, it’s gonna be heavy, which I have no problem believing. Torche on Thee Facebooks, Relapse Records.
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29. The Well, Monomyth (Late Summer)
I’ve been waiting since the March announcement that Austin trio The Well signed with RidingEasy Records for further word of their debut full-length, Monomyth (pretty sure that’s not the cover above), but thus far to no avail. Their 2012 single, Seven (review here), was a repeat-listen thriller, and anticipation abounds for what sort of psychedelic garage riffing they’ll conjure up for the album itself. It’s been a couple months at this point, and maybe it’ll be 2015 before Monomyth gets out, but screw it, a boy can hope. The Well on Thee Facebooks, RidingEasy Records.
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30. Witch Mountain, Mobile of Angels (Sept.)
Please note: The original cover art with this post was not final and has been replaced with the above band photo.
Portland, Oregon’s Witch Mountain have spent much of the two years following their 2012 third LP, Cauldron of the Wild (review here) on tour in the US and abroad, playing fests, headlining, supporting, but generally putting in a lot of time. As such, Mobile of Angels, which will be out on Svart in Europe and Profound Lore in North America, comes as the end product of a considerable touring cycle. Has all that gigging worn Witch Mountain into the ground, or will they rise above it with metal-loving doom-blues supremacy? They’ve got a vinyl-ready 38 minutes on tap for September and if they’ve ever been in a position to make their case, it’s now. Watch out for the killer sway in “Can’t Settle,” the title of which seems a fitting theme for the band. Witch Mountain on Thee Facebooks, Profound Lore Records.
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31. YOB, Clearing the Path to Ascend (Sept. 2)
Yet again — as was the case back in January — alphabetical order forces me to end with YOB, whose seventh full-length and Neurot debut might just be my most anticipated of all on this list. The recently-unveiled Orion Landau cover speaks to a brooding sentiment, and from the one time I was fortunate enough to hear it to-date, the four-track album from the Eugene, Oregon, natives corresponds to its visual side in being a more aggressive push than was 2011’s Atma (review here), but also more exploratory and contemplative in its approach. Now statesmen in American doom and the forebears of a cosmic-minded sound, YOB stand ready to showcase a creative progression that has yet to find its end point. YOB on Thee Facebooks, Neurot Recordings.
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Other Notable Mentions
Just a couple of these I’d be remiss if I didn’t note. Some were carried over from earlier this year, others just come up along the way. Not sure on all the release dates, but these are worth keeping an ear out for:
Acid King — Were listed in January, but their record has a Feb. 2015 release date.
Bright Curse — Second album recorded at Skyhammer Studios.
Brothers of the Sonic Cloth — My understanding is the album is done and they’re waiting to secure a label. Seems like a good occasion for Southern Lord to step forward, if not Profound Lore or Neurot.
Eggnogg — Not sure if it’s their full-length, You’re all Invited, or something else that’s coming, but whatever. More stoner-funk riffing needs to be had.
40 Watt Sun — There was some word of this early in the year, but nothing since.
Godflesh — Their first in 15 years, A World Lit Only by Fire, will be out Oct. 7. A fuckup not including them on the list proper.
It’s Not Night: It’s Space — Eagerly awaiting the Small Stone debut from this instrumental outfit, but it might be next year.
Karma to Burn — New album, Arch Stanton, out in August. I emailed for a review promo and never heard back. Always a great feeling.
Larman Clamor — Solo-project from Alexander von Wieding has a new one in the can, but I’m not sure on the release schedule.
Lowrider — They’re working on it, but don’t hold your breath to have it out by December.
The Machine — Kind of a slow year for Elektrohasch, but the new one from these Dutch fuzzers would be a nice way end up.
Nachtmystium — Century Media releases their final album, The World We Left Behind, on Aug. 5.
Orange Goblin — Seriously debated putting them on the list, since I know they’ve recorded, but they seem to be promoting a recent reissue of 2007’s Healing through Fire and their upcoming European tour with Saint Vitus rather than their new album, so unless news comes out about it like this week from Candlelight, I wouldn’t expect it until early in 2015.
Pink Floyd — Believe it when I see it, but I honestly couldn’t care less either way if I tried.
Ruby the Hatchet — Their full-length Tee Pee debut is due sometime in the next couple months.
Sun Voyager — Upstate NY youngsters had hinted at new recordings.
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Again, if I forgot anything — and I’m sure I did — please let me know in the comments.
Posted in Whathaveyou on July 1st, 2014 by JJ Koczan
Swedish cult-psych overseers Goat have announced that their second album will be out Sept. 23 in North America on Sub Pop. Stranded Rekords gets the release a day later in Scandinavia and Rocket has it for the remaining portions of the earth the day before. The record arrives with much anticipation following Goat‘s widely-heralded 2012 debut, World Music(discussed here), and the reputation they’ve built for themselves around theatrical costumed performances. Commune, the new one, doesn’t have the advantage of blindsiding people like the first one did, but I think they’ve done pretty well indoctrinating their audience, so it shouldn’t be a problem.
The PR wire brings info and new music, asking no thanks in return:
Swedish collective GOAT share details on behalf of Commune, their second album
Commune will be available September 23rd via Sub Pop Records in North America, September 24th via Stranded Rekords in Scandinavia, and September 22nd via Rocket Recordings for the rest of the world.
Commune is the follow-up to GOAT’s hypnotic 2012 debut, World Music, which received widespread acclaim and placed in many of that year’s top-ten lists. The mysterious, masked group continued to awe the world with their intense, ritualistic live shows, the “Dreambuilding” b/w “Stonegoat” 7″ (released in North America by Sub Pop in 2013), and the recent Live Ballroom Ritual double-album.
GOAT has scheduled a fall European tour in support Commune, which begins September 19th in Copenhagen, DK at Vega and ends October 3rd in London, UK at the Roundhouse. Please find a current list of tour dates below.
Commune is now available for preorder in North America via Sub Pop Mega Mart, iTunes and Amazon. While supplies last, customers who pre-order the LP version of Commune frommegamart.subpop.comwill receive the colored-vinyl “Loser Edition” of the album and a limited-edition, single-sided 7” with a non-album track.
Commune Tracklisting: 1. Talk to God 2. Words 3. The Light Within 4. To Travel the Path Unknown 5. Goatchild 6. Goatslaves 7. Hide From the Sun 8. Bondye 9. Gathering of Ancient Tribes
Tour Dates Jul. 06 – Belfort, FR – Eurokeennes Jul. 18 – Suffolk, UK – Latitude Festival Jul. 20 – Ostrava, CZ – Colours of Ostrava Aug. 03 – Stockholm, SE – Stockholm Music & Arts Aug. 23 – Paredes de Coura, PT – Paredes de Coura Festival Sep. 19 – Copenhagen, DK – Vega Sep. 20 – Tilburg, NL – Incubate Sep. 21 – Brussels, BE – Ancienne Belgique Sep. 23 – Berlin, DE – Postbahnhof Sep. 24 – Munich, DE – Ampere Sep. 25 – Paris, FR – Trabendo Sep. 27 – Liverpool, UK – Liverpool Psych Festival Sep. 28 – Glasgow, UK – SWG3 Sep. 29 – Newcastle, UK – Northumbria University Oct. 01 – Brighton, UK – Concorde 2 Oct. 02 – Bristol, UK – Trinity Centre Oct. 03 – London, UK – Roundhouse
Posted in audiObelisk on June 10th, 2013 by JJ Koczan
A couple things you’ll want to note as you make your way through the latest batch of audio streams from Roadburn 2013. First, the Satan’s Satyrs set is a Blue Cheer tribute, and that’s frickin’ awesome, and second, I’m pretty sure that Pilgrim photo below (from the same set as the one above) is one of mine. So, you know, it’s nice to be included.
Thanks as always to Walter and the Roadburn crew for letting me host these streams, and to Marcel van de Vondervoort for continuing to boldly helm the recordings year after year. Posterity owes you a gratitude.
Enjoy:
The Pretty Things – Live at Roadburn 2013
Goat – Live at Roadburn 2013
Amenra – Live at Roadburn 2013
Cough – Live at Roadburn 2013
The Atlas Moth – Live at Roadburn 2013
My Brother The Wind – Live at Roadburn 2013
Satan’s Satyrs Tribute To Blue Cheer – Live at Roadburn 2013
