Hail hail rock and roll on a Saturday night, and all concordant rituals. After a busy week of building steam, to be sure I was ready to blow some off, and a four-act night at Factory Records — two Jersey homegrowns, two imports — would be just enough volume to do the trick. The record store is located in Dover, just a couple exits on I-80 West from where they had all the sinkholes that were big news in NJ and nowhere else earlier this year.

Tennessee doom rockers WyndRider and Ohio fuzz-riffing stalwarts Valley of the Sun were at the top of the bill, while The Crooked Skulls and the recently-seen Heavy Flow opened. It had been a minute since I was last at Factory Records, but the room with the stage and P.A. was much the same: cozy, intimate, loud. Old rugs and couches and treasure chests and the odd bit of well-lived-in antiquity. So yes, familiar from last time.

I rolled in circa doors and found a couch spot to sit and write that I guessed would be homebase for the evening. There have been at least three heavy shows in Northern New Jersey this year, in the county where I live, and this was one of them. I’ve yet to hit one that was packed to the rafters, but I’m not kidding when I say that not traveling to a show, having gigs somewhere I can just go and then go home — my house, also pretty close to Rt. 80 — and having that level of convenience, is a new experience for me. I like it. I finally understand why people feel compelled to complain when tours are skipping their town. It’s way easier when bands come to you.

When originally announced, this show was supposed to happen at Stanhope House, but apparently not so much. They may have closed? I only know what I’m told and am too lazy to find out for myself. In any case, Factory Records is a decent spot, and I had the feeling the bands would sound huge in that room, all exposed concrete on the walls and such. By the time The Crooked Skulls were done line checking, I knew I was right.

And we all know there’s nothing I enjoy more than agreeing with myself, so all the better. Here’s how the night went:

The Crooked Skulls

It was my first time seeing the Garden State’s own The Crooked Skulls, who hit the stage fresh from releasing their new single “Iron Smile,” on which Fu Manchu’s Bob Balch sits in on guitar. They played that song last, and fair enough, but it wasn’t the only highlight of their set, along with “Buried” just before. Their sound is a reasonably straightforward proposition — guitar, bass, drums, with vocals shared between guitarist Pete Koretzky (lead) and bassist Dave Van Auken (backing mostly, some lead), drummer Chuck Snyder bashing away behind — following riffs with metal at their foundation and a burl in the tone that carries extra impact for the chug, which at this stage is a big part of the structure of their riffs. That hint of aggro comes tempered by the pacing, which is in it purely for the groove. If shows in this area are going to be a thing — and golly that would be nice, even at such a pace as I’ve seen them this year — I suspect it won’t be the last time I see them. So much the better for the path of growth on which they’ve set themselves. I had been wondering what their plan was for a first release and was fortunate enough to get clarity on that after they played.

Heavy Flow

My second time seeing Rahway’s Heavy Flow, the two-piece who reminded me rather quickly of why I thought they were such a blast last time. Because they are (remember what I said about agreeing with myself?). Gravelly vovals with a bluesy tinge meld to suit riffs that are classic in a variety of ’90s-based senses, plus hooks and hooks and hooks and personality to back it, whether you’re watching somewhat-introverted-but-still-engaged-like-when-the-slackers-roamed-the-earth guitarist/vocalist James Matheson and more-outwardly-all-in-on-the-notion-of-play-as-playing drummer/vocalist Matt Weisser, or, better, both, since it’s how well they work together that makes it work. Granted it hasn’t been that long, but I took remembering songs from last time as a good sign. It almost always is. But the grunge, some shoegaze fuzz, the jangly strut, “hands in pockets,” as they put it. Cool band, man.

Valley of the Sun

I have a concern for Valley of the Sun being underappreciated that I can only describe as “oddly motherly.” Don’t tell them. Just you and me talking. But the truth of the matter is they’ve been kicking ass for a good while now and I guess I think of them as not hyped enough. Seriously, for all the Bandcamp-flavor-of-until-this-riff-ends bands that have come and gone in the time Valley of the Sun have made themselves into one of the most reliably killer heavy rock live acts this country has to offer, I feel like there’s more respect due. That’s all. They played a short set — guitarist/vocalist Ryan Ferrier said they were “in the neighborhood,” recording a new album to follow-up 2024’s Quintessence (review here), which is an enticing thought — but nothing new was aired. Still, I’ll take a run through a few classics alongside new burners, the last of which was the title-track of Quintessence, written somewhat differently on bassist Chris Sweeney’s setlist, a highlight well worthy of the greatest hits set out it rounded out. This was my second time watching Valley of the Sun this year after Planet Desert Rock Weekend V (review here), and when I shouted out for them to play a new one — followed by a “c’mon” that I issued as a gift on behalf of the state of New Jersey for them to take with them — Ferrier said to go to Brooklyn tomorrow for soundcheck. Tempting proposition.

WyndRider

“These songs are about satan, sluts and speed,” informed guitarist Robbie Willis right before WyndRider kicked into their set. Willis didn’t share vocals with singer Chloe Gould, but the mic was there mostly for shit-talking purposes, and that was reason enough. This was my first time seeing WyndRider, and they simultaneously, inevitably reminded me of the heyday of Southern sludge in some of their riffing, and had that air of Electric Wizardly cult nod as well. They were on tour through much of August and had just picked back up the night before in Richmond, but if they were rusty after like a week of not playing I wouldn’t be the one to know it. Their set — Willis and bassist Joshuwah Herald had their setlists written on porno-mag tearouts; I remember seeing Lo-Pan do that like 17 years ago and tee-heeing — did bring a new song, or one that, as Willis noted, wasn’t really new but wasn’t on an album yet, called “Crawlspace,” and along with “Motorcycle Witches,” their debut single “Electrophilia” and their encore of “Remember the Sabbath” made for highlights as they capped the evening. The latter they said they wrote after somebody called them “Sabbath worship” in a review as a pejorative. It wasn’t me. I think I’ve only ever used that phrase as a compliment. But anyhow, “Remember the Sabbath” underscored the point, with drummer Chase Karczewski (Ponddigger) doing the “Black Sabbath” toms in the quiet parts and everything. I was tired by then because I’m an old man and I wake up early, but that one last lurching groove — the product of a couple “one more song!” shouts from the crowd — was a welcome way to close it out. As a personal ethic, I rarely wear a shirt for a band I haven’t seen live, but I’ve had a WyndRider shirt in regular rotation for a while. Not a purchase I regret in the slightest.

Then I went home and did the dishes. True, except for the fact that I’m out of Cascade. But you know what? That’s Tomorrow-Me’s problem and I’ll leave it in his woefully incapable hands to deal with on my behalf. Thanks in advance, jerk.

And thanks to you for reading. You’re not a jerk.

More pics after the jump.

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At 43 years old, I’d never been to a show in my own zip code. This was a first.

Autodidact Brewing is located on eastbound Rt. 10 in Parsippany, New Jersey. Through the trees on the other side of the road are the neighborhoods in which I grew up and now live, respectively, next to each other. I didn’t have to get on a plane, or drive to New York. It wasn’t an inconvenience. I had a whole day before the show — shit, we went and bought the new Donkey Kong; that alone makes it busier than some days — and then when it was time to head out, I put some shoes on and left. The ride? Three minutes, tops. A fellow could very much get used to such a thing. I guess that’s why anybody would ever want to live in Brooklyn. Had been a mystery to me prior.

Three band night with Electric Citizen in from Ohio, Maryland boogie rockers Magick Potion as the support on that tour, and Heavy Flow as the local opener. Not my first time at Autodidact — I don’t drink but have been there socially with my wife; that’s how close to my house we’re talking — but my first time there for a show, as I was away in April when Howling Giant came through the same spot. I missed that. I wasn’t going to miss this. The joint remains right on. I wore flip-flops. Orthotic rubber flip-flops. Nobody cares. That’s life in your 40s. Imagine being 22 and that shit matters to you.

Here’s the night:

Heavy Flow

From Bergen County, the duo Heavy Flow were an immediate good time. The space where the band were set up was small, like 100 people would be a lot, but it was prefect for a two-piece going all-in on the floor. They were a blast, and by the end of “Count to 10” — gave me Shovelhead nostalgia, but mixed with Dead Meadow tones — I wanted to sing along. I don’t know if who I’m assuming was guitarist/vocalist James Matheson and drummer/vocalist Matt Weisser — by which I mean I don’t know for sure that’s the lineup, but it was when they did their second EP in 2016 — have anything new in the works or what, but the groove was on lock, and Weisser had the best time playing of anybody I’ve seen in at least a year. A dude who very clearly loves drumming, existentially. His energy and Matheson’s — he seemed pleasantly surprised to see people enjoying themselves in the crowd — were infectious, and the night was off to a killer start before it was even dark out.

Magick Potion

Out supporting their RidingEasy-issued 2024 self-titled debut (review here), Magick Potion just about nailed it on every level. The Baltimoreans specialize in proto-metal, some cult leaning, some garage sneer in the foundation, but they let it get heavy a few times too and the ensuing roll was a treat. They had the sound, the look and the chops, and I kind of feel like at this point it’s the latter that make the difference. Because you can grow your hair out and get the mustache if you’re so blessed, pants are bought and sold, but if you’re playing ’70s-leaning anything at this point, for where the style is in its life-cycle — well past peak hype, but enduring and if I can dare to suggest, growing — if you’re not bringing it instrumentally, you’re gonna fall flat every time. Magick Potion, with a bit of softshoe here and a bluesy pull there, were for sure about the presentation — right down to the knife thrown onto the stage floor standing up — but again, they backed up all of it. Having now seen them, I wanted to go back to the record. So I bought a CD.

Electric Citizen

I like this band. I like how they’ve become less predictable over time. I think their new record, EC4 (review here), does things with a classic-heavy influence that haven’t been done before. They played as a five-piece, with the core lineup of vocalist Laura Dolan, guitarist Ross Dolan, bassist Nick Vogelpohl and the picking-up-the-gauntlet-of-into-it-drummerness drummer Nate Wagner joined by touring keyboardist Naomi Bennett, who handled the parts with class, whether it was going punch for punch with the leads or holding down the root melody of a riff, the fleshed-out dynamic of Electric Citizen’s sound was perfect in the new material, which I’ll admit was reasonably fresh on my brain, but stood out in a positive way. Obviously playing a Thursday night crowd at a suburban brewery isn’t going to be the biggest show of this tour, but there was nobody in Electric Citizen who wasn’t going for it, and as I was fortunate enough to be there to witness, I appreciated the hell out of that. Laura’s croon, Ross’ solos complemented by Bennett’s keys, Vogelpohl like Dan Maines in the quiet confidence while Wagner hosts a one-man freakout. I had my earplugs out by the end of the set. Rock and frickin’ roll.

—

I was saying hi to Laura and Ross before the show, and I was so, so awkward. Like I wanted to apologize for being born. Wow that was rough. Then Laura shouted me out on mic, which was sweet, but nobody knows me in Parsippany (family notwithstanding), so yeah. I got made fun of after for it, and fair enough.

Thanks for reading, and thanks to The Patient Mrs. for coming out with me. Thanks to Craig Cirinelli for putting the show together. I very much hope there can be more in that space.

I didn’t take a ton of pictures, because I was enjoying a thing, but there are a few more after the jump if you’re so inclined. And if so, thanks again.

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New Jersey duo Heavy Flow mix garage rawness with warm-toned fuzzy psychedelia, and yeah, they have a song that sounds kind of like Misfits. That one is “Hangin’ Round,” from their newly-issued 2016 second EP, Heavy Flow 2, which along with its self-titled 2014 predecessor, has just been compiled onto a new tape release by King Pizza Records. The band played a release show this past weekend and also took part in the label’s recent Pizzafest, which is pretty much how you win at naming festivals. All tracks are available for streaming and take about 10 seconds to dig into, so if you’re unwilling to make that effort, I’ve got nothing for you, but otherwise, have at it and enjoy.

The release info came down the PR wire for lazy summer perusal:

Heavy Flow I & II: It’ll Give You Goosebumps

Our favorite nasty two-piece from the dirty shores of the dirty Jerz have just released their first tape and we’re excited. It’s a combo of their first and second EP’s and they both rip.

Heavy Flow is James Matheson whose growling vocals and heavy blues licks are paired with Matt Weisser’s pounding drumming and howling backing vocals. II is the newest release from the duo and it’s the latter half of the tape (tracks 7-12) available through King Pizza. Fat, reverb-drenched guitars pierce the cave-like production with Matheson’s gravelly shouts and Weisser’s thumping beats hanging low overhead, warning of impending doom. Lick the salt and come with me to a forbidden land where we can gallop and headbang in peace and harmony with Mother Heavy and Father Riffs.

Additional info below:

SONG LIST
1. Rubber/Glue
2. My Own Name
3. Down and Out
4. Cold as Stone
5. Trouble Find Me
6. Daydream
7. Shelter
8. Holy Roller
9. Hangin’ Round
10. Let Me Down EZ
11. Close
12. Won’t Be Me

https://www.facebook.com/HeavyFlow/
http://heavyflow.net/
http://music.heavyflow.net/album/heavy-flow-2
http://kingpizzarecords.storenvy.com/products/16031166-heavy-flow-i-ii-cassette
https://www.facebook.com/kingpizzarecs/

Heavy Flow, II (2016)