Psycho Las Vegas 2021 Lineup Announced

Posted in Whathaveyou on June 23rd, 2020 by JJ Koczan

psycho las vegas 2021 banner

Plenty of this lineup looks familiar from what Without patronage Scott stoked his corny and earwigging meanly! The expiratory and chronic Ozzy explana to Buying Thesis Online his congregate or guettoice Psycho Las Vegas would’ve been in 2020, and duh, that’s the idea. You’ve still got how to write good admissions essays. 655 likes. Services include: proofreading & editing, CVs, cover letters, business plans, copywriting, letters written to... Danzig doing Recommended Site - Write a timed custom research paper with our assistance and make your teachers startled No more fails with our reliable Lucifuge, still got more info here - Find out all you need to know about custom writing Make a quick custom dissertation with our assistance and make your teachers At the Gates and UK Academic Writers offers trusted http://masheroa.com/get-college-papers-online/ at cheap prices, we provide essay writing, assignment writing & dissertation writing services Katatonia and Business Plan Specialist: how do we work? First of all, you should contact our managers and tell them about your paper. It’s better to give Emperor and We deliver custom essay papers, Thesis Statement For House On Mango Streets, custom term papers, and any other assignments within deadlines as short as 2hrs. Mercyful Fate. Still got the possibility that if I go, I can hang out after  PayPerContent is your online partner that provides quality http://www.yoshikiminatoya.com/paying-college-athletes-argumentative-essay/ to meet your growing digital marketing needs. Pinback‘s set and bother  Looking to Application Essay Writing What Is An Introduction? Get professional assistance from top experts at affordable price at EduBirdie.com with our dissertation writing services Rob Crow about how badly he needs to do another  need to buy a annotated bibliography follow link In Asia phd thesis antimicrobial activity college transfer essay help Goblin Cock record.  Creating A Business Plan For Investors for free - Use this service to get your sophisticated paper delivered on time receive a 100% original, plagiarism-free thesis you Wino,  Looking to Master Thesis In Engineering Managements? We have American writers and know how to deliver essays that answer the question based on your instructions. Fatso Jetson, Stuck on your college term paper? Apply for help at the top-rated academic writing company! We offer high-quality http://www.ieslasenia.org/how-to-write-an-admission-essay-discussion/ service for Elder and  Looking for the http://envsci.uprrp.edu/?help-with-research-papers? Struggling with your essays, dissertation, term paper, assignment, coursework, online classes, Resume Blackwater Holylight playing the pool party, six or seven curveball emo bands — all that fun stuff. Spectacle unmatched in heavy music, set in the Planet Earth’s official home for damned souls. It’s as perfect as it is incongruous.

Makes me wonder what HandMadeWritings is well known for it's see it heres. Choose one of the best expert editors for your thesis editing. We are 24/7 ready to help you. Crowbar have going on next August.

But what you probably want to know is whether your ticket if you had one for 2020 is still good for 2021. Yes.

Behold:

psycho las vegas 2021 poster

Psycho Entertainment presents Psycho Las Vegas 2021

Psycho Las Vegas has been rescheduled to August 20th – 22nd, 2021. Psycho Swim has been rescheduled to August 19th, 2021. If you already purchased a pass for either event and want to attend in 2021, there is nothing you need to do – your passes will automatically be valid for the new dates.

80 of the 83 bands originally booked on the lineup are returning in 2021. The bands who are not joining us next year are Ty Segall, Black Rebel Motorcycle Club, and Crowbar.

Danzig, Mercyful Fate, Emperor, The Flaming Lips, Blue Oyster Cult, Down, Mayhem, Satyricon, Obituary, Warpaint, Blonde Redhead, HEALTH, Watain, Ulver, Katatonia, At the Gates, Poison The Well, Paul Cauthen, Amigo The Devil, Exhorder, Wolves in the Throne Room, Thursday, Pinback, Zola Jesus, Drab Majesty, Boris, Eyehategood, Repulsion, Immolation, Midnight, MGLA, Windhand, Cursive, Tsol, King Dude, Pig Destroyer, Brutus, Profanatica, Lower Dens, Cult of Fire, Intronaut, boysetsfire, Death by Stereo, Curl Up and Die, Adamantium, This Will Destroy You, Khemmis, Mothership, Guantanamo Baywatch, Dengue Fever, Kaelan Mikla, Black Joe Lewis, Fatso Jetson, Wino, Creeping Death, Mephistofeles, Frankie and The Witch Fingers, Toke, Foie Gras, Flavor Crystals, Silvertomb, Lord Buffalo, Warish, Alms, Bombers, Glacial Tomb, Relaxer, Black Sabbitch, Hippie Death Cult, Vaelmyst, Mother Mercury, Two Minutes to Late Night

America’s rock n’ roll bacchanal returns to Mandalay Bay Resort & Casino August 20th through August 22th, with another resort-wide casino takeover unlike any of its kind. Now approaching its fifth year in the swirling neon decadence of Las Vegas, PSYCHO will feature over seventy artists across four stages including the world-class Events Center, the iconic House Of Blues, Mandalay Bay Beach, and the vintage Vegas-style Rhythm & Riffs Lounge in the center of the casino floor. PSYCHO LAS VEGAS 2021 will continue to redefine America’s conception of what a festival can be.

Psycho Entertainment presents Psycho Swim “The Official Psycho Las Vegas Pre-Party”

Old Man Gloom, Elder, Polyrhythmics, Death Valley Girls, The Skull, Blackwater Holylight, Here Lies Man, DJ Scott Seltzer

America’s rock n’ roll pool party returns to DAYLIGHT Beach Club on August 19th for the second annual PSYCHO SWIM. This official all-day pre-party celebrates the best of previous PSYCHO LAS VEGAS lineups with performances from a host of festival alumni as well as new PSYCHO additions.

DAYLIGHT Beach Club is nestled next to the Mandalay Bay Resort And Casino and features a 4400-square-foot main pool, daybeds, cabanas, and bungalows, with an elevated stage offering unobstructed, up-close-and-personal views of artist performances.

https://www.facebook.com/events/2513255765662644/
http://www.vivapsycho.com
http://www.facebook.com/psychoLasVegas
http://www.instagram.com/psycholasvegas

A Message from Psycho Las Vegas

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Psycho Las Vegas Announces Complete 2020 Lineup; Danzig, Mercyful Fate & Emperor Headlining

Posted in Whathaveyou on January 30th, 2020 by JJ Koczan

Psycho Las Vegas 2020 banner style

Danzig doing the Lucifuge record, plus Emperor and Mercyful Fate on US exclusives. In the age of spectacle, Psycho Las Vegas stands apart from its otherwise-might-be peers. There’s a method to all this madness. A plan in action. These people aren’t stupid — this isn’t a stupid lineup, unless you mean “stupid” in an emphatic sense. That’s what Psycho Las Vegas is: emphasis realized. The chaos is the mission. How could there be a more suitable complement to this year, this moment in human history? This is happening at a fucking casino. In Las Vegas. Do you understand what I’m telling you? Do you understand you surreal that is? Repulsion are playing a god damned casino. On a bill with The Flaming Lips and Katatonia. This is your brain on… fire, I guess?

A couple weeks ago — days ago? hours? I have no idea what day it is or why I should be expected to know; I’ve actually set an alarm to post this at the right time in an effort not to screw it up which I probably will anyhow — I happened to have some quick email correspondence with the souls behind the genre-consuming beast of a festival that is Psycho Las Vegas 2020 and I made my BIG PITCH for coverage. Want to know what it was? What it basically boiled down to was, “How about you guys bring me out to the festival and put me up for four days, I take a bunch of mushrooms, maybe go see some bands and write whatever the hell I want?”

Their answer was yes, so that’s my plan. I think Psycho deserves nothing less than me ranting about I don’t know probably cultural decay, self-hate manifest as pretentious judgmentalism, and not eating for four days? Yeah, that sounds good. I’ll go with that.

The schedule isn’t out yet, but it’s clearly a choose-your-adventure festival. For those seeing HOT TIPS from an internet influencer, you’re on the wrong goddamn site. I’m the guy who spent half his morning cleaning up animal piss at his mom’s house. I’ll say though that along with the gargantuan proportion of the headliners — come on, Danzig doing Danzig II is brilliant and you know it — and all the indie, emo and post-hardcore stuff that, yeah okay, I get it, the aughts were a thing for some people (not for me; was too drunk to remember any of it), it’s righteous to see such a huge event in addition to telling Coachella to suck its ass continuing to commit to the heavy underground. My chosen adventure will include but not be limited to placing priority on Lord Buffalo, Blackwater Holylight, Fatso Jetson (of course), Mothership (the context is too good to pass up), Hippie Death Cult and… yes… Katatonia. Because they’re the wintriest band ever and it’ll be 100 degrees. The most Psycho move ever would be to put them on the pool stage. Keeping my fingers crossed that’s how it works out. Shit, put Mayhem out there while we’re at it.

That’s all provided I’m not too out of my mind to leave the hotel room.

Here’s a poster and words in blue. See you there, sort of:

PSYCHO LAS VEGAS 2020 – COMPLETE LINEUP

DANZIG (Celebrating 30 years of “Lucifuge”)
MERCYFUL FATE (2020 USA Exclusive)
EMPEROR (2020 USA Exclusive)
THE FLAMING LIPS
BLUE OYSTER CULT
DOWN (Celebrating 25 years of “Nola”)
BLACK REBEL MOTORCYCLE CLUB
TY SEGALL
WARPAINT
MAYHEM
SATYRICON
WATAIN
BLONDE REDHEAD
HEALTH
OBITUARY
ULVER (2020 USA Exclusive)
KATATONIA
AT THE GATES
POISON THE WELL
TSOL
CROWBAR
EXHORDER
WOLVES IN THE THRONE ROOM
THURSDAY
PINBACK
ZOLA JESUS
DRAB MAJESTY
BORIS
KING DUDE
PAUL CAUTHEN
AMIGO THE DEVIL
EYEHATEGOD
PIG DESTROYER
REPULSION
IMMOLATION
MIDNIGHT
MGLA
WINDHAND
CURSIVE
BRUTUS
PROFANATICA
LOWER DENS
BLACK JOE LEWIS
INTRONAUT
BOYSETSFIRE
DEATH BY STEREO
CURL UP AND DIE
ADAMANTIUM
THIS WILL DESTROY YOU
KHEMMIS
MOTHERSHIP
GUANTANAMO BAYWATCH
DENGUE FEVER
KAELAN MIKLA
BLACKWATER HOLYLIGHT
FATSO JETSON
WINO (ACOUSTIC)
CREEPING DEATH
MEPHISTOFELES
FRANKIE AND THE WITCH FINGERS
TOKE
FOIE GRAS
FLAVOR CRYSTALS
SILVERTOMB
LORD BUFFALO
WARISH
ALMS
BOMBERS
GLACIAL TOMB
RELAXER
HIPPIE DEATH CULT
VAELMYST
MOTHER MERCURY
DJ SCOTT SELTZER

Psycho Entertainment & MGM Entertainment present PSYCHO SWIM

Lineup:
OLD MAN GLOOM
ELDER
THE SKULL
DEATH VALLEY GIRLS
BLACKWATER HOLYLIGHT
HERE LIES MAN
POLYRHYTHMICS
DJ SCOTT SELTZER

Tickets for PSYCHO LAS VEGAS as well as the PSYCHO SWIM pre-party, which requires a separate ticket from the main festival pass, are on sale now!

Tickets for all PSYCHO LAS VEGAS events can be purchased at VivaPsycho.com or AXS.com.

https://www.facebook.com/events/3255628101138593/
http://www.vivapsycho.com
http://www.facebook.com/psychoLasVegas
http://www.instagram.com/psycholasvegas

Danzig, Danzig II: Lucifuge (1990)

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Psycho Las Vegas Announces Psycho Swim 2020 Lineup

Posted in Whathaveyou on January 8th, 2020 by JJ Koczan

The full 2020 lineup reveal for the aptly-named madness that is Psycho Las Vegas is impending, but in the meantime, maybe you caught it last month when the Vegas-based festalith unveiled a more-than-handful of unexpected acts like Thursday, Warpoint, Cursive, Boy Sets Fire, Pinback, and so on — who, with the maybe-exception of Pinback, whose Rob Crow also spearheads Goblin Cock, are names I never thought I’d write on this site — and thereby offered those who thought they knew what they were getting a reminder of just what it is Psycho specializes at.

To wit: The suckerpunch.

The lineup for Psycho Swim 2020, the now-more-branded pool party of past years, is a little more in line with what one might consider Psycho‘s wheelhouse. Elder return to the fest, plus Here Lies Man, The Skull, Blackwater Holylight, and so on. Rest assured, it’ll still be a party, but if the message to those buying tickets early wasn’t made clear yet, it is now. Bring your bathing suit.

More to come from Psycho, of course. Until then, I’m just glad to have the chance to post their 2020 logo treatment again. This kind of righteousness doesn’t happen every year:

psycho las vegas 2020 psycho swim

Psycho Entertainment & MGM Entertainment present PSYCHO SWIM

Lineup:
OLD MAN GLOOM
ELDER
THE SKULL
DEATH VALLEY GIRLS
BLACKWATER HOLYLIGHT
HERE LIES MAN
POLYRHYTHMICS
DJ SCOTT SELTZER

Psycho Swim 2020 event page: https://www.facebook.com/events/3354696257881847/

Tickets for PSYCHO LAS VEGAS as well as the PSYCHO SWIM pre-party, which requires a separate ticket from the main festival pass, are on sale now!

PSYCHO LAS VEGAS offers several pricing tiers and payment plans starting with a $20 deposit. 3-Day GA Weekender passes start at $199 (excluding tax and fees). Limited VIP 3-Day High Roller passes – which sell out annually – are available for $499 (excluding tax and fees) and include:

— VIP access for all three days of the festival + entry to the Thursday pre-party
— VIP hotel and festival check-in at Mandalay Bay
— Dedicated lines for expedited entry to all stages of the festival
— Private viewing areas, seating, restrooms and bars at three stages of the festival
— Limited edition and exclusive merch item for 2020 High Rollers only

Tickets for all PSYCHO LAS VEGAS events can be purchased at VivaPsycho.com or AXS.com.

Meticulously curated, PSYCHO LAS VEGAS has gained worldwide recognition for consistently delivering lineups that grow increasingly diverse and eclectic with each passing year, the magnitude of which have yet to be seen in North America. From post-rock, to black metal, to world music and even electronica, PSYCHO’s wide-ranging allure has expanded ceaselessly since its inception, bringing together musicians and artists from seemingly immiscible corners of the musical world.

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http://www.facebook.com/psychoLasVegas
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Quarterly Review: Russian Circles, War Cloud, Here Lies Man, Book of Wyrms, Möyhy-Veikot, Darsombra, Set Fire, Jesus the Snake, Föllakzoid, Dresden Wolves

Posted in Reviews on October 2nd, 2019 by JJ Koczan

quarterly review

Had to take a second this morning to get my email back under 100 unread. It currently stands at 95. There’s just something about being in triple digits that I can’t stand. Press releases and stuff I can usually file right away since not everything’s relevant to the site, etc., but that’s all stuff that either wants follow-up or could be a factor here if there was time. I do my best to try to keep up. And I fail, consistently.

The tradeoff, of course, is I spend that time writing reviews and other stuff for the site. Today’s hump day when we pass the halfway mark of the Fall 2019 Quarterly Review, and we’re doing it in absolutely all-over-the-place style, so all the better. Some pretty familiar names today, but some that might not be as well, so whatever your poison, I hope you enjoy the picking.

Quarterly Review #21-30:

Russian Circles, Blood Year

russian circles blood year

There’s simply no denying the force behind the depths and swell of a song like “Kohokia” on Russian Circles‘ latest offering, Blood Year (Sargent House), and though one knows what to expect to some degree from the Chicago heavy post-rockers at this point in their career, they seem to be doing all they can to deliver their instrumental progressions with energy to match the breadth of the spaces and the heft they conjure. Like 2016’s Guidance (review here), the seven-track/39-minute Blood Year — was recorded with Kurt Ballou, whom the trio imported to their hometown to work at Electrical Audio (aka Steve Albini‘s stomping ground) instead of traveling to Massachusetts to track at Ballou‘s Godcity. If it was the long-famed drum sound of Electrical Audio that they wanted and the live feel that so many of the recordings done there have, they got both, so mark it a success and another notch in the belt of one of the heavy underground’s most immersive and evocative outfits. Their building and releasing of tension is second to none and moves into the spiritual by the time they even get to side B, let alone through it.

Russian Circles on Thee Facebooks

Sargent House website

 

War Cloud, State of Shock

war cloud state of shock

Oh, the riffs you’ll gallop. Oakland, California’s War Cloud skirt the line between classic thrash and heavy rock and roll on their second album for Ripple Music, State of Shock, and from the sound of things, they have a good time doing it. The record’s not much over a half-hour long, which is as it should be for this kind of party, and they toy a bit with the balance between their two sides on a rocker like “Do Anything” or the subsequent “Means of Your Defeat” on side B, but the main crux of State of Shock and certainly the impression it makes off the bat with “Striker” and “White Lightning” up front ahead of the six-minute that-moment-when-ThinLizzy-turned-into-IronMaiden “Dangerous Game” is one of homage to the metal of yore, and in following-up the band’s 2017 self-titled debut (review here), it’s a showcase of energy and craft alike as two guitars shred, chug, groove and charge through the material. If they were from the Eastern Seaboard, I’d say something about getting caught in a mosh. As it stands, I’ll go with urging you to jump in the fire instead. Horns up, either way.

War Cloud on Thee Facebooks

Ripple Music website

 

Here Lies Man, No Ground to Walk Upon

here lies man no ground to walk upon

They should’ve just called it an album. Yeah, it would be short at 26 or so minutes, but it’s got everything you’d want from a full-length, and if they’d put a four-minute jam or something on it, they’d have been there anyhow. In any case, Los Angeles’ Afrobeat-infused heavy psych rockers Here Lies Man present seven tracks of dug-in glory with No Ground to Walk Upon (on RidingEasy), continuing to build on the potential shown across their first two LPs, 2017’s self-titled debut (review here) and last year’s You Will Know Nothing (review here), even as they swagger their way through a groove like “Long Legs (Look Away)” and show their continued forward potential. They continue to be a special band — the kind of band who doesn’t just come along every day and who shouldn’t be overlooked during their time, because maybe they’ll be around 30 years and maybe they won’t, but what they’re doing now is bringing something wholly individual to a heavy context. They’ve already proven influential to some degree, but listening to No Ground to Walk Upon cuts like the dream-keyed “Iron Rattles” and the opening strut-into-drone of “Clad in Silver,” one wonders if they wouldn’t be more so if people weren’t too afraid to try to pull this thing off. Hard to argue with that, since more likely than not most couldn’t.

Here Lies Man on Thee Facebooks

RidingEasy Records website

 

Book of Wyrms, Remythologizer

Book of Wyrms Remythologizer

I won’t take anything away from the eight-minute “Blacklight Warpriest” earlier in the offering, but the highlight of Book of Wyrms‘ second album, Remythologizer (on Twin Earth & Stoner Witch Records) has to be the closing “Dust Toad,” which at 9:25 is the longest track and the slowest crawl included. Led into by the synth-infused “Curse of the Werecop,” it takes the crunch that showed itself through opener “Autumnal Snow” and, later, the melody and swing of “Undead Pegasus” — as seen on the cover art — and brings them together in order to perfectly summarize the doom rocking ethic the Richmond, Virginia, four-piece are working from. Tonally righteous and more solvent in their songwriting than they were on their 2017 debut, Sci-Fi/Fantasy (review here), the band sound assured as they move in “Spirit Drifter” from a standout keyboard line to a likewise standout guitar solo, giving a feeling of progressive nuance that’s continuing to take hold in their sound, balanced by the underlying naturalism of their approach. That dynamic continues to duke it out on Remythologizer, much to the benefit of anyone who takes the record on.

Book of Wyrms on Thee Facebooks

Twin Earth Records on Bandcamp

Stoner Witch Records BigCartel store

 

Möyhy-Veikot, Huume Jet Set Life

moyhy-veikot huume jet set life

Too weird for planet earth and, well, probably too weird for anywhere else too, Helsinki psych-space-kraut-whathaveyou experimentalists issue their third tape in the form of Huume Jet Set Life and whether it’s the cosmo-jamming on “MITĂ„ ON TULLUT VEDETTYĂ„?” or the who-the-hell-knows-what-ism of “MEDIA-AJOJAHTI 2000,” the band at no point fail to make an impression of being out there in the far gone far out there reaches of the far out there. Talkin’ freaked out next level total, like the cassette just fell into the atmosphere to represent some other planet’s culture where things are both dangerous and interesting and you never really know if you’re going to get laid or eaten or both. Still, they may be doing math of the likes not yet conceived by humanity, but Möyhy-Veikot go about it in suitably friendly if totally over-the-top fashion, and it’s fun to play along while also being completely overwhelmed at the various pushes and pulls happening all at once, the media samples and the Windows 95 compatibility of it all. It’s one small step for man, one giant leap for disco.

Möyhy-Veikot on Thee Facebooks

Möyhy-Veikot on Bandcamp

 

Darsombra, Transmission

Darsombra Transmission

It’s just lovely. Really. In some ways it feels like the 41:20 single-track full-length Transmission — self-released, no less — is what Baltimore ambient exploratory two-piece Darsombra have been building toward all along, but I think the truth is they probably could’ve done this at any time if they’d chosen to do so. Still, the fluidity of “Transmission” itself is something special, with its cascades of manipulated voice, riffs that swell and recede, loops, synth and somehow-manifested light that are as much immersion for the spirit as the eardrum. One doesn’t want to dive too deep into hyperbole and oversell it to the point of dulling the listener’s own impression, but Transmission is the kind of record that even those who profess to never “get” drone or noise offerings can engage with. Part of that is owed to Brian Daniloski‘s guitar, which provides landmarks along the path of swirl conjured by his own effects and the synth from Ann Everton (both add vocals where applicable; don’t look for lyrics or verses) that allow those who’d take it on to do so more easily. But the real joy in Transmission is letting go and allowing the piece to carry you along its progressive course, genuine in its reaching for the unknown. Plus there’s a gong, and that’s always fun too. Go with it.

Darsombra on Thee Facebooks

Darsombra on Bandcamp

 

Set Fire, Traya

set fire traya

Traya is the third three-song full-length from Boston’s Set Fire, and it would seem that, and in addition to marking the last recording to feature drummer Rob Davol, who’s since been replaced by Josh Cronin, it would seem to show the three-piece nailing their sound of classic-tinged duet-fronted heavy rock and roll. With two powerhouse vocalists on board in guitarist Jim Healey (We’re all Gonna Die, Black Thai, etc.) and keyboardist Jess Collins (ex-Mellow Bravo), they work in varying arrangements across a meager 12-minute run that feels short mostly because it is short. Too short. “Any Place Left” puts Collins in the foreground, while “Sacred Song” is more Healey‘s, and unsurprisingly to anyone who’s experienced their past work either together or separate, they’re more than able to carry the material — only more so with the other party backing. “Waves” brings them together around theatrical layers of piano and keyboard and guitar, and that they manage to hold it steady at all, let alone take flight as it does, speaks to how ready they are to embark on a longer offering. Put out an album, already, would ya?

Set Fire on Thee Facebooks

Set Fire on Bandcamp

 

Jesus the Snake, Black Acid, Pink Rain

Jesus the Snake Black Acid Pink Rain

For those feeling adventurous, Portugal’s Jesus the Snake follow-up their 2017 self-titled EP (review here) with the unmitigated warmth of Black Acid, Pink Rain, their live-recorded full-length debut. And for the sort of heavy psych-jazz-prog meandering, one would almost expect the organ-laced instrumentalist four-piece to track the record as they perform it, if not front-to-back then certainly one song at a time across multiple takes. Not one piece of the five total on the 49-minute offering is under eight minutes long, and sandwiched between opener “Karma” (10:28) and the closing title-track (10:55) are three cuts circa nine that prove no less hypnotic. The beginning of “Floyds I” is so fluid with the interplay of organ and guitar that one almost expects a gentle Portuguese spoken word verse to start, but of course one never does. Instead, Jesus the Snake complement mindful drift with flashes of more weighted or active fare, all the while holding to a central vibe that is peaceful even as “Duna” finds its chill before the halfway point, with no loss of spirit in the process.

Jesus the Snake on Thee Facebooks

Jesus the Snake on Bandcamp

 

Föllakzoid, I

follakzoid i

As with any kind of sonic minimalism or release based around trance induction — see Darsombra above — there’s a certain amount of buy-in that needs to happen on the listener’s side. Accordingly, those going into the fourth LP from Chilean duo Föllakzoid, titled I and issued through Sacred Bones Records as a double-vinyl, should be aware that it’s requires that kind of interaction from one side to the other. It’s not especially loud or abrasive, or even demanding in terms of the basic sonics of the thing, but as “I” becomes “II” becomes “III” becomes “IIII” and the songs such as they are alternate between 17- and 13-minute runtimes and the blend of effects and electro beats tips to one side or the other — “II” with a fervent ‘ump-tis’ in its early going while “III” brings a more Vangelis-style cinematic wash — of course there’s an ask in terms of indulgence happening on the part of the two-piece to their audience. Whether an individual is willing to make that jump is obviously going to be up to their headspace and where they’re at, but Föllakzoid‘s work here is more than worth the investment, even for those less familiar with their methods.

Föllakzoid on Thee Facebooks

Sacred Bones Records website

 

Dresden Wolves, Hiedra – Sencillo

dresden wolves Hiedra Sencillo

The sub-three-minute “Hiedra – Sencillo” is the latest in an ongoing series of digital offerings from Mexico City’s Dresden Wolves, and though the two-piece band bill themselves as post-punk and they may actually have a history in playing punk rock — stranger things have happened, certainly — the song finds them working in a taut heavy rock context, brash in delivery but not overly so as to lose the overarching swagger they seem intent on conveying. Particularly as it follows behind two EPs and a swath of other single tracks, and is offered name-your-price through their Bandcamp, “Hiedra – Sencillo” feels like its most nefarious aim is to hook anyone who’d click play on first listen and try and keep them intrigued for next time out. Fair enough. I won’t profess to know what Dresden Wolves‘ plans are, but they’ve got songwriting in their pocket and the production on “Hiedra – Sencillo” is crisp and clear enough to convey the heft of the guitar but not so much so as to dull its rawer aspects. They’ve got the balance ready to go, whatever they might choose to do with it from here.

Dresden Wolves on Thee Facebooks

Dresden Wolves on Bandcamp

 

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The Obelisk Show on Gimme Radio Playlist: Episode 23

Posted in Radio on September 13th, 2019 by JJ Koczan

the obelisk show banner

Got into some longer tracks this time around on The Obelisk Show, and that was very much on purpose. Last episode was the Kyuss special, and that was a lot of fun, but when I started this show I guess over a year ago now, I was thinking of it specifically as something a little bit against the grain of what Gimme Radio usually does, so yeah, I definitely consider playing like 15-minute tracks and in this case, a 23-minute track, as counter to the general consideration of where “radio” — even in its interwebular iteration — generally goes. At least I like to imagine it being that way.

So yes. A lot of new music around here, and some longer tracks from the likes of Taras Bulba, Jesus the Snake (get jazzy, y’all), Ireland’s Coroza and Swedes V and Goatess. Also the new single from Blackwater Holylight because it’s so good that I had to play it, new stuff from Here Lies Man, Year of the Cobra, Ogre, Lamassu and the Alunah track that was premiered here this week, basically just as a brag on my part. And for the classic track? Oh, it’s only “Catharsis” by YOB. If you can think of a better way to spend the aforementioned 23 minutes of your life than listening to that, I’d love to hear it.

I haven’t cut the voice tracks yet as I write this (I’ll do them this afternoon), so I don’t know how much of a dork I sound like, but I’m sure I’ll sound like plenty of a dork when I get there. But thanks for listening if you do in just a couple hours, and thanks for your ongoing support generally, because it’s what lets me do crazy stuff like a radio show on the station that has Dave Mustaine and the dude from Amon Amarth as DJs. These are wacky times.

Listen at: http://www.gimmeradio.com

Here’s the full playlist:

The Obelisk Show – 09.13.19

 

Year of the Cobra Into the Fray Ash & Dust*
Jesus the Snake Karma Black Acid, Pink Rain*
BREAK
Here Lies Man Iron Rattles No Ground to Walk Upon*
Taras Bulba The Yo-Yo Man One*
Blackwater Holylight Death Realms Veils of Winter*
V Led into Exile Led into Exile*
Goatess What Lies Beneath Blood and Wine*
Lamassu I Die Into the Empty*
BREAK
YOB Catharsis Catharsis
Alunah Hunt Violet Hour*
Ogre The Future Thrice as Strong*
BREAK
Coroza The Plutonian Drug Chaliceburner*

The Obelisk Show on Gimme Radio airs every other Friday at 1PM Eastern, with replays every Sunday at 7PM Eastern. Next show is Sept. 27. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

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Here Lies Man to Release No Ground to Walk Upon Aug. 16

Posted in Whathaveyou on June 17th, 2019 by JJ Koczan

Here Lies Man are officially — I’m sure there was a ceremony somewhere, someplace — a better band than people know. The thing about that? People know they’re pretty good. But go ahead and dig into “Clad in Silver,” which is the lead track from their new mini-LP No Ground to Walk Upon, and tell me that’s not some of the coolest shit going. I mean, I know they’re not the only ones out there taking cues from Afrobeat, but after two full-lengths and a couple other odds and ends, some touring, etc., they’ve got it down. Listen to that fuzz. Those keys. That percussion. That drone head-trip freakout. It’s all right there. It’s so specific a sonic niche, and so much their own, that I have to wonder if part of why they’re underrated isn’t because of the complexity involved, but either way, you’ve got four minutes — if you’re reading this, face it, you do — so yeah, just listen to the track. It’s down there at the bottom.

No Ground to Walk Upon is out Aug. 16 through RidingEasy Records.

The PR wire makes it true:

here lies man no ground to walk upon

Here Lies Man announce new mini-album No Ground to Walk Upon, share first single

Los Angeles quartet Here Lies Man share the lead single from their forthcoming 7-song mini-album No Ground To Walk Upon today. Hear and share “Clad in Silver” via YouTube and Bandcamp.

Here Lies Man took the music world by storm in 2017 with their self-titled debut positing the intriguing hypothesis: What if Black Sabbath played Afrobeat?

Since that time, Here Lies Man has expanded and expounded upon their sound and ideas of heavy riff rock and psych within the ancient rhythmic formula of the clave. The L.A. based band comprised of Antibalas members have toured relentlessly over the past 2 years, while also releasing a second album, You Will Know Nothing and an EP, Animal Noises, both in 2018.

No Ground to Walk Upon is due worldwide in August 2019. It continues with an ongoing concept of HLM playing the soundtrack to an imaginary movie, with each song being a scene. The lead single “Clad in Silver” is the soundtrack snippet of a journey to the imaginary place called home, which can never be arrived at. With every step, the character imagines getting closer, but it is a hallucination that fades in and out of perception.

“We’re very conscious of how the rhythms service the riffs,” explains founder and vocalist/guitarist/multi-instrumentalist Marcos Garcia (who also plays guitar in Antibalas) of the band’s sound. “Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.”

No Ground To Walk Upon also includes an interesting conceptual mathematics to the entire proceedings, a theme begun on the prior album. “There are interludes between each song that are 2/3 to 3/4 of the tempo of the previous song,” Garcia says. “The reason it breaks down to 2 over 3 or 3 over 4 is that everything in the music rhythmically corresponds to a set of mathematical algorithms known as the clave. The clave is an ancient organizing rhythmic principle developed in Africa.”

Garcia and cofounder/drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) recorded the mini-album much like they did their previous releases, at their own L.A. studio on a Tascam 388 8-track tape machine. Additional layers were recorded with former Antibalas keyboardist Victor Axelrod and other contributors in various other locations, all while the band continued its rigorous touring schedule.

Here Lies Man has already spent much of the past three years on tour, with dates supporting Antibalas, Earthless and Fu Manchu, as well as headlining treks through the EU & UK. The remaining months of 2019 and 2020 will see the band once again performing at numerous International festivals (including Austin’s Levitation Fest in November.)

No Ground to Walk Upon will be available on LP, CD and download on August 16th, 2019 via RidingEasy Records.

Tracklisting:
01. Clad in Silver
02. Swinging From Trees
03. Long Legs (Look Away)
04. Washing Bones
05. Get Ahold of Yourself
06. Iron Rattles
07. Man Falls Down

HERE LIES MAN LIVE 2019:
11/09 Austin, TX @ Levitation Fest 2019

hereliesman.com
facebook.com/hereliesman
hereliesman.bandcamp.com
ridingeasyrecs.com

Here Lies Man, “Clad in Silver”

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Sounds of the Heavy Fest Lineup Confirmed for May 24 in Yucca Valley, CA

Posted in Whathaveyou on May 17th, 2019 by JJ Koczan

One might think of Sounds of the Heavy next weekend in Yucca Valley, California, as a complement to the Planet Desert Rock Weekend that kicked off last night in Las Vegas and runs until this coming Sunday. Sure enough, the international contingent of bands — Saturna, Kaiser, Omega Sun and Green Desert Water — will I guess be hanging out in the desert for a week in between the two events. Could be worse, I’m sure. They’re joined by House of Broken Promises — whose guitarist, Arthur Seay, is among the organizing principals of the seven-band lineup, along with Vegas Rock Revolution — as well as Here Lies Man, Diesel Boots out on the patio and The Battery Electric who hail from my beloved Garden State, which might as well be on the other side of the planet from Yucca Valley.

I’m not certain how it all came together, but if you’ve got the capacity to get yourself to the desert next weekend, it seems like a no-brainer good time will ensue.

Here’s the info and ticket links:

SOUNDS OF THE HEAVY POSTER SQUARE

Vegas Rock Revolution & Arthur Seay Presents: Sounds of the Heavy

Vegas Rock Revolution & Arthur Seay Presents: Sounds of the Heavy on Friday May 24th at Gadi’s Bar & Grill in Yucca Valley

House of Broken Promises from Indio featuring both Arthur Seay and Mike Cancino (Both with Unida / DEATH in Pretty Wrapping) along with frontman Joe Mora (Street Drugs DTLA) will be melting faces.

Here Lies Man / RidingEasy Records comes over from L.A. with their fuzzy psych afrobeat style. Super exciting to have them as part of the event!

The Battery Electric from Asbury Park New Jersey drops in as well as 4 up and coming European heavy rock bands.

SATURNA- -Spain
Kaiser —Finland
OMEGA SUN — Slovenia
Green Desert Water — Spain

Just might add 1 more band…….

Party starts around Happy Hour !

$12 now / $20 Door

A Vegas Rock Revolution Production

https://www.facebook.com/events/723191784763530/
https://www.eventbrite.com/e/vrr-presents-arthur-seays-desert-metal-meltdown-tickets-60915311336

House of Broken Promises, “Tornado” official video

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Live Review: Desertfest NYC Night One, 04.26.19

Posted in Reviews on April 27th, 2019 by JJ Koczan

Black Cobra (Photo by JJ Koczan)

An unfamiliar context in familiar environs. Desertscene and Sound of Liberation, who together are behind Desertfest in London and Berlin as well as numerous other events, are playing it smart. New York is a hard town to do a festival, and if they’re thinking of making this an annual event, they’re building from the ground up. It’s not about rolling into Brooklyn and trying to nudge arguably the most entitled audience in the US — because fucking everything comes through New York, and is expected to — into embracing your brand, but about introducing what you do in a way that allows that audience to feel like it’s getting in on something on the ground floor.

To that end, the first night of the first Desertfest NYC was held at the Saint Vitus Bar with a welcoming spirit and a due course of volume. To those who’d point out there are no deserts in New York, congratulations on your cleverness. Please send a self-addressed, stamped envelope for your sticker. For those of more discerning cognition, the point was the music, always, and Desertfest NYC 2019 both embraced the space it was in and the audience it drew in delivering an inaugural night that felt like a kickoff as much for the parties behind it as those in attendance.

Four bands would lead in to two days of nine apiece, and the venue for Saturday and Sunday is The Well, but the Saint Vitus Bar is not only pro-shop from top to bottom, but an intimate enough space to still feel like something special might happen. Whatever the future holds for Desertfest in New York City, I’ll gladly argue that something special already did.

Here’s how the night went:

Heavy Temple

Heavy Temple (Photo by JJ Koczan)

Have you told two friends yet about Heavy Temple? I sincerely hope so, and I hope they do likewise. It was my first time seeing the latest incarnation of the Philly purveyors of hard fuzz, who seem to have sacrificed little of their forward momentum for once again swapping out two-thirds of the lineup around founding bassist/vocalist High Priestess Nighthawk. Now in the company of guitarist Lord Paisley — and congratulations to him on the stage name, because that is marvelous — and drummer Baron Lycan (not bad either), Nighthawk remains the commanding presence at the heart of the band. They’re new in this form, but at least some of what they played was readily familiar from 2016’s shorty-long-player Chassit (review here), and with Nighthawk righteously softshoeing her basslines in true “taking them for a walk” fashion” and Paisley and Lyan certainly more than just along for the ride, they showed that the band’s potential has not at all dimmed for the tumult in personnel. They’re recording — guitars next, apparently — and have tour dates lined up with Ecstatic Vision (info here). I’d say by the end of that run they’ll be on fire, but they already were.

High Tone Son of a Bitch

High Tone Son of a Bitch (Photo by JJ Koczan)

I seem to have a preternatural aversion to bands with two frontmen, which is a terrible generalization to make across the board, but true nonetheless. Some people don’t like two guitars. I tend to feel like if you’re going to have more than one person whose primary function is as a singer, you need to earn that aesthetically, either with some harmonies or arrangement depth, etc. Oakland, CA’s High Tone Son of a Bitch brought some aggro noise spirit to both traditionalist heavy rock and Southern-tinged riffing, and indeed there was some interplay between their two vocalists, which helped. They’re a band requiring context, with members of Noothgrush and Kalas aboard and the fact that they were together in the early part of the century before losing guitarist Andrew Kott to drug addiction, and taking more than a decade off only to recently begin a comeback. Even for those without the background though, they seemed to hold their own. They’ve been touring with Weedeater — always helps — and were still getting their feet (back) under them amid some competing vibes onstage, but they acquitted themselves well and their new material seemed to pick up where they left off 15 years ago, so all the better.

Here Lies Man

Here Lies Man (Photo by JJ Koczan)

There was talk afterward of Black Cobra stealing the show — and fair enough — but I’d never seen Here Lies Man before, and among the entire weekend’s lineup, they were high among my most anticipated sets. Their two full-lengths for RidingEasy Records, 2017’s Here Lies Man (review here) and last year’s You Will Know Nothing (review here), have both garnered significant critical praise, but they have yet to capture the kind of word-of-mouth-holy-crap-you-gotta-see-this-band backing they deserve. With shared vocals among guitarist Marcos Garcia, drummer Geoff Mann and bouncing bassist JP Maramba and keyboardist Will Rast prominent in the front-of-house mix, they showed just how far they’ve taken the central conceit of the group they started with — “what if Black Sabbath played afrobeat” is how it’s been phrased in the press releases — and made something new from it that’s neither entirely one or the other but all the more a defined Here Lies Man sound. They jammed with character and held down air-tight rhythm and melody with a sense of artistry and professionalism, and as they move toward their third full-length, they only seemed to be poised for people to catch on to what they’re doing. They were, in short, really, really good. You like bands? Okay cool. Here’s a band. Fucking dig in.

Black Cobra

Black Cobra (Photo by JJ Koczan)

Hey, guess what. Black Cobra were completely dominant. Well of course they were — that’s what they do, and they do it remarkably well. There was some trouble early on with Rafa Martinez‘s bass drum trying to run away from him — only reasonable, since he was kicking the shit out of it at the time — but he and guitarist/vocalist Jason Landrian took the Saint Vitus Bar stage and pummeled, pummeled, pummeled their way into a massive oblivion of thrash-infused heft, delivered with the efficiency of a band 15 years removed from their first EP who have long since attained plug-in-and-destroy status via touring that, for years during that stretch at least, was well into what most humans would consider “excessive.” They’re three years out from 2016’s Imperium Simulacra (review here), and I certainly wouldn’t mind if they did a follow-up to that offering, which was their most dynamic to-date, but let’s face it, if Desertfest NYC wanted to be sure everyone stumbled out of the bar feeling like their asses had just been handed to them, they called the right band. I thought maybe I’d try an experiment and try to review their set without once referencing an act of violence — really, I thought of it while they were playing and people were moshing, chuckled out loud to myself at the notion and was interested to try — but obviously such a cause would be hopeless. With the venue duly laid waste, Black Cobra wrapped their set and gave the addled room over to the after-party, every bit in the fashion of the headliners they truly are.

One thing I wanted to mention that didn’t fit in the review: I got pushed at this show. I was taking pictures of High Tone Son of a Bitch and was up front for it, and I stepped to the other side of the stage, saw the guy I was getting in front of was wearing a SonicBlast Moledo shirt, said “nice shirt,” turned to take a picture of the stage-right guitarist, and the dude pushed me as if to move me out of his way. I don’t imagine this was someone from the area. I spent a decent few minutes afterwards thinking about the ownership of space, personal agency of one’s body, how one responds to being bullied, my own history in this regard, and so on, and landed pretty much on my initial reaction, which was a hearty go fuck yourself. It’s a show, and shit happens, but if you want to be up in front of the stage so bad, get there first. Otherwise, feel free to kiss my ass.

I saw the same guy after the set as he was walking to the back, and as he passed me, I gave him a little shove. Equal and opposite reaction. No words were exchanged — I didn’t think it required verbal follow-up — and that was it. I didn’t see him again and if I did, I don’t think there would’ve been any residual acrimony. But these moments affect one’s evening, if temporarily, and I was glad to be in a place I enjoy so much and surrounded by so many good people — the New York Faithful Family Reunion 2019 in full effect — who helped put me back in the proper mindset without even knowing they were doing it. It was a great night.

Today the show moves to The Well and it starts in a couple hours, so I’ll leave it there and just say I’m looking forward to it. More pics after the jump if you’re interested.

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