Posted in Whathaveyou on January 27th, 2023 by JJ Koczan
Solid bill. More than solid, actually. I don’t think I need to argue in favor of Ruination Festival 2023’s headliners in Slomatics and Fatso Jetson, but check out the US/UK blend at the pre-show as well with Thunder Horse and Great Electric Quest with Old Horn Tooth and Oakenthrone and Gandalf the Green. That’s a good time even before you get to Sergeant Thunderhoof and Mastiff and Trevor’s Head and Ritual King and Goblinsmoker et al welcoming High Desert Queen and the aforementioned Fatso Jetson to England’s green and pleasant land.
Of course, the elephant in the room here, fest-wise, is Desertfest London, but there are arguments to be made here for the concise all-dayer/pre-show format, and if you want a curated sample of some of the best up and coming UK acts with some more established names on top, it’s a good way to go and a situation without the rampant timing conflicts that inherently happen at larger festivals. Even with two stages going, this seems doable to me and like a good way to pack in seeing a bunch of bands and not having to miss out on something you want to see.
The fest is a collaboration between Iron Boar Bookings and Riffolution Promotions, and you can see the full lineup and
RUINATION FESTIVAL
Ruination Festival is a joint event from Iron Boar Bookings and Riffolution Promotions. Taking place on the 13th of May across 2 stages, The Underground and Als Juke Bar!
Tickets are £15.
Make sure to RVSP to stay up to date with announcements. With some of the best stoner, doom & psych on the scene, from both UK and US.
(#127482#)(#127480#) Fatso Jetson Great Electric Quest High Desert Queen Thunder Horse
(#127468#)(#127463#) Slomatics, Sergeant Thunderhoof, Mastiff, Grave Lines, Trevors Head, Ritual King, Son of Boar, Everest Queen, Goblinsmoker, Boach, Swamp Coffin, Ironrat, Old Horn Tooth, Gandalf the Green, Oakenthrone
Posted in Features, Reviews on December 12th, 2022 by JJ Koczan
4:17PM – Before the show
The pilot described it as beautiful weather in Stockholm, and then I think actually checked what the weather was and was like, “uh, winter conditions,” which meant lazily snowing and cold, both of which it is. That flight arrived this morning. I’d managed to sleep on the plane with an open seat next to me in a row of two — in fits and starts as I tried to squeeze my post-surgery knee into various positions, hoping one of them would magically pass for comfort — and then took the train to the hostel where I’m crashing with the guys in Kings Destroy. They’d been invited to play Truckfighters Fuzz Festival in 2020, and you’ll never guess how that went.
This is my first time at Debaser and Bar Brooklyn, my first time in Stockholm and my first time in Sweden. The festival is set to take place in the two conjoined venues, one bigger, one smaller, and as I sit and write, Gaupa are soundchecking for their headlining set later, merch is being laid out, all that kind of stuff. The quiet before the fuzz, as it were. Apparently these days I’m more comfortable getting someplace early.
Mammonaut and Death Ray Boot open the Debaser and Bar Brooklyn stages, respectively. I’ve seen some of the Dozer and Colour Haze guys around, Truckfighters of course are here — they’re running it, so they ought to be — but I’m not looking to take up anybody’s time with my awkward-ass hellos. A quick hi after a set suits me well enough, but it’s nice to see familiar faces in a place I’ve never been.
Well, I just closed out the week, so I suppose that means I’m off the clock. Perfect for covering two killer nights of heavy rock and roll that feel like they were curated as a personal favor to yours truly (which of course they were not). If you stick through checking any of it out, thanks in advance.
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Truckfighters Fuzz Festival #3 – Night Two
Mammonaut
Hard to complain about an uptempo fuzzy kickoff to an event billed quite literally as a fuzz festival. You wanted the tone, you got the tone. Sweden’s own Mammonaut recorded their 2020 debut EP, The Last Mammonaut, with Niklas from Truckfighters, and in some of the push of the drums one can hear that influence coming through, but there’s a bit more burl at the forefront of Mammonaut’s sound and that makes them all the more suited to lead this particular charge. Immediate vibe, dug in, groove on lockdown and not in the pandemic kind of way. Less proggy Skraeckoedlan, maybe? Definitely some hint of metal shared there between those two, but Mammonaut’s sound feels cohesive for essentially being a nascent project. If nothing else — and really, plenty else — they know when to give the riff its due and I’m not about to fight them on the point. I would not be surprised in the least if when they get around to a first full-length it comes out through Fuzzorama, and if it does, they’ll be a good fit.
Death Ray Boot
I had watched them soundcheck, so maybe some of the surprise was spoiled ahead of time, but it was still fun to watch Andreas Wulkan, who used to play in Deville and stayed at my house one time in 2014, fronting the band. Straight up heavy rock, a few shades of classic form, some Queens of the Stone Age-riffing for added flair, they started off the smaller of the two stages sharing Mammonaut’s affinity for uptempo push but were more decisively rock-based, and that made the songs feel all the warmer while bringing a strut to coincide with all the stomp. The room packed out, as I expect it will for the next two nights basically every time there is a band on the stage, and they played well to the crowd, clearly feeding off that energy as they also fed into it. Who doesn’t want a bit of boogie to go with all that hairy riffing? The back and forth between stages is pretty tight, but so far so good. Two for two is a good start and I know there’s more joy to come.
Swan Valley Heights
Just to be specific, yes, I was talking about this band when I said “joy” just now. On an evening headlined by Colour Haze, it’s hard not to appreciate some warm heavy psychedelic rock, and with reminders of the days of Sungrazer, Germany’s Swan Valley Heights were immediately known to the crowd and offered righteous immersion, blending impulses toward harder push with a tonal breadth that was seemed to reach that much farther back as they went on. These sets have been short, but how many chances in my life am I going to have to see Swan Valley Heights? They picked up the pace as they went on, a little bit of classic turn of the century-style European heavy, and maintained the fluidity that made me want to watch and hear them so damn much in the first place. I know that at some point soon the pace of this night is going to slow down, but so far the bang-bang-bang has made for a sampling that brings to mind the similarities as well as the differences between these acts. The flow from one to the next does not feel accidental or unconsidered, and with Swan Valley Heights, their own flow became a big part of the proceedings.
High Desert Queen
One of two US bands on the bill, I was kind of expecting to have to wait until they made the trip to Desertfest New York or some such to see Texas’ High Desert Queen, but this’ll work too, for sure. Regardless of where it happened — well, not entirely regardless; it’s pretty special to be in Sweden — that is one kick ass rock and roll band. They kind of stole the show. If you’ve been paying attention over the course of the last year-plus, High Desert Queen have been making their presence felt in genuine upstart fashion, and the energy they brought to that stage was a clear answer as to how. They’ve already made intentions known to be back in Europe and the UK next year (they were recently confirmed for Desertfest London 2023), and given the reception they got on the Brooklyn Bar stage, that’ll be a party worth attending. They didn’t even have their gear since their luggage apparently got lost — frontman Ryan Garney shouted out Lufthansa during the set — and they still very clearly gave it their collective all for the set, and the crowd went off. Up front, I got my first Swedish beer spilled on me, which felt like a ceremonial rite, and that was my cue to move back, but a sticky backpack is a small price to pay to see a band put so much into delivering their songs to a crowd.
Dozer
Dozer aren’t the only reason to make this trip at all, but if they were, they’d be enough. They’ve got a new record coming, but the focus here was on classics, and that felt like a win out in the crowd, where by the end of the first song I was covered on the bottom left half, including the pocket with my other camera lens in it, in some particularly drunk asshole’s beer. Alas. How could it be otherwise? I was not, however, going to let unexpectedly wearing a fellow attendee’s Carlsberg spoil seeing Dozer for only the second time in my increasingly long and privileged life, and even watching from the back they were on fire. Jammed a bit, sold the melodies well, and when it came to that absolutely inimitable forward shove, it was right on the money. They’ve gotta be past the 25-year mark by now, and they’ve got the legacy to prove it, but they played their set, and that might be the highest compliment I can give them. Earlier in the day, I asked on Facebook what were the best Swedish heavy rock records of all time. Dozer had a couple candidates on there, and if I was actually making a list — no, I’m not — they would be on it. Undeniable chemistry, undeniable songwriting, undeniable delivery. And that’s just in “Rising.” I think Fredrik blew his throat out on like the fourth song, but they were nonetheless a celebration of everything that has made them so special for all this time.
Gaupa
I’ll admit to considering Gaupa in a tight spot. That is to say, I’ve been listening to Dozer and Colour Haze for about two decades. Gaupa are a much newer band — their second album, Myriad, came out on Nuclear Blast last month — and for me at least, there is not the same kind of sentimental attachment. Still, with mystique aplenty and a singer barefoot on a stage that was probably no less beer-soaked than myself, Gaupa stood and made that stage look small for more than just the fact that they were a five-piece. They’re up and coming, a good bit of buzz around their latest album, so right on, and I have no doubt that 20 years from now if the species is fortunate enough to last that long — we’ve got 20 years left, right? sure — there will perhaps be people who were in that room who’ll watch Gaupa headline somewhere and feel the way I felt about the headliners here. I did not stay long — circumstances dictated I be up front early for Colour Haze, but I do not regret the sample of Gaupa that I got, and the clear takeaway for me was I need to dig into that record. Rock and roll homework. And I’ll hope this isn’t the last time our paths cross.
Colour Haze
You have favorite bands? I do, and Colour Haze are one of them. I’ve seen them a handful of times over the years, but this was my first set with Mario Oberpucher on bass, and I was almost nervous on account of that before they went on. They played “Tempel” and all was well. I’m not going to belittle either Phillip Rasthofer’s work in the band — ever — or what Oberpucher brought to those songs live or on the newer, more his, material, but the big sigh of relief for me was when it was still Colour Haze. Was it different? Sure. There isn’t much that hasn’t changed one way or the other in the last few years. But it’s still them, and them with a new album, no less. I count Sacred (review here) among 2022’s best, because obviously, and they aired a couple songs from it. Could’ve just been where I was in the room, kind of off to the side of the stage, but it seemed like Jan Faszbender’s keys and synth were higher in the mix than last time I saw them, but it didn’t hurt, him pushing against Stefan Koglek’s guitar a bit in a solo section, like jazz players bringing the best out of each other, Manfred Merwald’s intricate but accessible drumming only furthering the impression. The place went off. Not like for Dozer — no moshing that I saw — but you could feel the appreciation between the songs and in the heavier moments, as well as when they crescendoed “Transformation” with the keyboard doing the horn parts. I’ve never regretted watching them play and I’m not sure I ever would. They only have ever been, and remain, a treasure of a band. A once in a generation band. A band to be appreciated while they can be. Am I telling myself to hit the merch stand? Yes I do believe I am.
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Alright, night two tomorrow. Thanks for reading. More pics after the jump.
Posted in Whathaveyou on September 30th, 2022 by JJ Koczan
Some considerable names in the first announcement for Desertfest London 2023. The festival set for next May 5-7 in Camden Town will be kind of the first to be removed from the effects of pandemic delay — many artists who played earlier this year had been originally booked for 2020. Seeing them move forward is encouraging.
All the more so given the bands playing, from Uncle Acid and Kadavar to High Desert Queen and Plainride. With Mars Red Sky, Ecstatic Vision and Gaupa included, Blood Ceremony, Spaceslug and a ton of others in just this first round, it looks like Desertfest is ready to throw down after a few rough years, now a survivor event hopefully that much stronger for the experience as it moves past its first decade into the next.
Announcement follows, as seen on social media:
DESERTFEST LONDON – FIRST BANDS ANNOUNCED FOR 2023 EDITION
Returning stronger than ever thanks to the unyielding support of our steadfast fan base, Desertfest is now entering its eleventh year next May. Kicking off the initial 2023 announcement, we welcome cult heroes Uncle Acid and the deadbeats to headline the Roundhouse for the very first time. As one of the most widely-requested bands in the Desertfest-sphere, the Uncle Acid amalgamation of riff-driven hard-rock & trippy melodic weavings has allowed a uniquely original, yet utterly timeless beast to form.
Swedish heavy-blues maestros Graveyard join once again, eliciting raw emotion with their lyrical prowess & introspective compositions. One of the greatest live acts of all time, German groovers KADAVAR and worshippers of vintage occult folklore Blood Ceremony, all of whose boundary pushing retro-rock sounds make a gratifying return.
For those with a heavier appetite, macabre Japanese doom legends Church of Misery, genre-bending nihilists INTER ARMA & London’s own gloom heroes Grave Lines should be a delectable entrée to proceedings.
Ukraine’s Somali Yacht Club will undoubtedly meet a rapturous reception when their flawless musicianship makes its long awaited Desertfest debut. Dynamic US rockers Valley of the Sun will also make their first DF appearance, as they quickly propel themselves onto ‘must see’ lists across the globe.
Poland’s own Spaceslug will bring revellers into a world of atmospheric sci-fi influenced proto-doom, whilst the unique sounds of Mars Red Sky, GAUPA & Ecstatic Vision also up the ante with their progressive fusions of stoner & psychedelia.
Rounding off this first announcement, we also warmly welcome Celestial Sanctuary, High Desert Queen, Plainride, Everest Queen, Venomwolf & Margarita Witch Cult.
Weekend tickets for Desertfest London 2023 are on sale now, with much more still to be announced – www.desertfest.co.uk
Posted in Whathaveyou on August 29th, 2022 by JJ Koczan
Is this just an excuse to write more about Fatso Jetson? Yeah, it is. And no, this is not the grandest tour I’ve posted about this year or probably even this week, but hell, anytime Fatso Jetson blink, I pretty much want to put fingers to keyboard about it. The long-running desert rock co-progenitors are headed out for five shows alongside All Souls — with whom they not only share drummer Tony Tornay but also the recent live split LP Live From Total Annihilation (review here) — and High Desert Queen wedged in the middle there.
It’s essentially a long-weekender, and that’s just fine. Fatso Jetson‘s Dino Von Lalli will follow suit from Tornay and pull double-duty for the final night of the tour at Transplants Brewery, playing in his other band, BigPig as well. That’s right, double-double-duty. It’s that kind of thing. Meanwhile, All Souls continue to herald their upcoming album, Ghosts Among Us, in addition to the live split, and Austin-based rockers High Desert Queen — whose Ryan Garney may or may not have booked the tour, as he will do for his own band as well as others and RippleFest Texas, which All Souls and High Desert Queen both played this year — spread the good word of their Ripple-issued 2021 debut album, Secrets of the Black Moon (review here), while making one look forward to what’s invariably next.
So there you have it. Cool bands doing stuff together. Could hardly be more straightforward than that. And if it’s not 30 shows on back to back nights and blah blah blah? Fine.
From social media:
FATSO JETSON – Oct. Cali Shows
So Cal October Rock Safari!!
We’ll be out playing some fun shows with our friends High Desert Queen, All Souls and the mighty BigPig… go forth and nightclub
Wed 10/19: Costa Mesa- Wayfarer Thur 10/20: Highland Park Bowl Fri 10/21: Sky Valley Eric’s Ranch Sat 10/22: Old Town Pub Pasadena Sun 10/23: Palmdale CA- Transplants
Posted in Whathaveyou on April 21st, 2022 by JJ Koczan
A lot of bands pay lip-service to the idea of hitting the road — now perhaps more than ever with a specific sense of post-pandemic longing — but far fewer are those who put tires to street and actually go. Kudos, then, to Austin, Texas’ High Desert Queen, who not only just wrapped a run of the Southwestern US with Sasquatch but have now announced their intent to travel abroad for the first time, playing shows in the UK and Europe. Their debut album, Secrets of the Black Moon (review here) — the vinyl release of which they’ll celebrate before absconding — is a highlight among the first-records of the year so far, and if one wants to extrapolate from the vigor with which they’re supporting it thus far, it doesn’t seem unlikely they’ll have another regional run or two in the US before 2022 is out. That’s in addition to performing at Ripplefest Texas, which High Desert Queen vocalist Ryan Garney also helms via his Lick of My Spoon Productions booking company.
But whatever intent this initial incursion on foreign soil might herald for them, the sheer fact of their going — and going on the back of their first record, still barely released– puts High Desert Queen in a different echelon of bands. Much respect for having a plan and putting it into action.
From socials:
HIGH DESERT QUEEN – UK & EU
UNITED KINGDOM, SCOTLAND, BELGIUM, & GERMANY: we are coming to you!
We are thrilled to announce our first ever tour overseas. We have a few send off show in Texas but then we head across the pond!
We can’t wait to meet new people and grow our extended family even more! Which show will you make it to???
May 20th @valhallatavern – Austin, TX USA May 21st @lastconcertcafe – Houston, TX USA May 27th @theundergroundbradford – Bradford UK May 28th – Red Crust Music Fest – Edinburg GB May 30th @torquebar – Sunderland UK June 2nd @ourblackheart – London UK June 3rd @jh_asgaard – Ghent BE June 5th @kulturhaus_b.o – Asendorf – DE June 7th Unter Deck – Münich – DE June 10th @rare_guitar – Münster – DE
Posted in Whathaveyou on March 22nd, 2022 by JJ Koczan
Back for its second year and with a fourth day in tow, Ripplefest Texas 2022 confirms its full lineup, a total beast of legends and newcomers. Really, I don’t even know what to say here except that if you’re lucky enough to go, it’s probably the kind of thing you’re going to remember for a long gosh-darn time, and it’s the kind of lineup that serves as lording-over fodder on the part of those who were there to those who weren’t. Well, at least it would if the heavy underground weren’t too cool to each other for that kind of gatekeeping nonsense. In any case, this looks like a massive undertaking to put on, and the roster of assembled acts gets a hearty ‘fucking a’ from my corner of the universe.
Tickets for all four days will run you $150, but I feel like the festival earns that on both quality and quantity of product.
Here’s the announcement, info and links:
RIPPLE FEST TEXAS – The Far Out Lounge – July 21-24
4-day passes available now!
RippleFest Texas 2022 is back and the lineup is as big and hot as Texas itself! 4 days of blistering hot music at Austin’s premier music venue The Far Out Lounge. There will be everything from crushing heavy riffs, to acoustic and banjo picking, to improvisation jam sessions and puppet shows! So many legends and great music that this will be a 4 day weekend you will not want to miss!
FULL LINEUP: Eagles of Death Metal, The Sword, Crowbar, Mothership, Big Business, The Obsessed, Stöner, Spirit Adrift, The Heavy Eyes, Sasquatch, REZN, Fatso Jetson, Heavy Temple, J.D. Pinkus, Lord Buffalo, Lo-Pan, Wino, El Perro, Void Vator, Hippie Death Cult, Howling Giant, Doctor Smoke, Nick Oliveri, High Desert Queen, Destroyer of Light, Ape Machine, High Priestess, Dryheat, Rubber Snake Charmers, Sun Crow, Holy Death Trio, Bone Church, Horseburner, Spirit Mother, Thunder Horse, Mother Iron Horse, The Age of Truth, Salem’s Bend, Las Cruces, All Souls, Kind, Fostermother, The Absurd, Godeye, Ole English, Mr. Plow, Snake Mountain Revival, Blue Heron, Grail, Formula 400, Rickshaw Billie’s Burger Patrol, Eagle Claw, Bridge Farmers.
The Far Out Lounge is located at 8504 South Congress. Winner of Best New Venue at the Austin Music Awards 2020.
Posted in Questionnaire on March 7th, 2022 by JJ Koczan
The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.
Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.
Thank you for reading and thanks to all who participate.
The Obelisk Questionnaire: Ryan Garney of High Desert Queen & Journey to Ixtlan
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How do you define what you do and how did you come to do it?
I’m a teacher by day and musician by night. Teaching is not what I set out to do in life but in a way it found me and I realized I absolutely love it. I teach high school level English as well as audio and video production.
As far as music, I started singing in a band right out of high school. Wasn’t even the best singer in the band but I was the only one brave enough to do it. I sang for a few bands here and there but had a long period where life just got in the way. Was lucky enough to connect with the people in High Desert Queen and was able to get back into it.
Describe your first musical memory.
Whenever I think back to the first time I realized music was essential in my life was when my dad gave me a James Brown cassette. I remember playing it full blast in the kitchen. I’d take my shoes off so that I could dance around in my socks on our linoleum floors trying to emulate James Brown on stage. I never even got close.
Describe your best musical memory to date.
There are so many to choose from, but seeing Tom Waits live for the first time with my brother was magical. We flew to Vancouver to see him and I’ve still to this day not seen a performer just have total control of the audience. We were all basically on marionettes and watched his every move. He along with James Brown are why on stage I feel like I better give it my all no matter if there’s two people or 2,000 people.
When was a time when a firmly held belief was tested?
I think we’ve all experienced that during the past few years with the pandemic. I still have the faith and belief that there are a lot more good people than bad that want harmony in this world. Luckily through it all, myself and my loved ones have come out even stronger than when we started.
Where do you feel artistic progression leads?
This leads to a higher consciousness as well as a euphoria that cannot be matched. Playing live and performing is great, but there is no greater feeling than creating something with people you love. That’s why the writing process is by far my favorite part of being in a band.
How do you define success?
If it’s something I’m proud of, then it was a complete success. I don’t let other people dictate or tell me if it was successful or not.
What is something you have seen that you wish you hadn’t?
Matchbox 20 live. It was my first concert ever and it pains me to say so.
Describe something you haven’t created yet that you’d like to create.
I’d finally like to get around to writing the scripts and stories I’ve been saying for years I would but haven’t gotten around to it yet. Then turning that into short and feature length films.
What do you believe is the most essential function of art?
Anything that causes an emotional response is art, but for me the most essential function is to bring people together and spread love. That is perfect art.
Something non-musical that you’re looking forward to?
Traveling to places I’ve never been and meeting more and more good people as I get older. I truly feel you can never meet enough good people in your life.
Posted in Whathaveyou on February 4th, 2022 by JJ Koczan
Good shows. One’s own stay-at-home circumstances aside, it’s nice to see things happening like this. Lick of My Spoon Productions, headed by Ryan Garney of Austin’s High Desert Queen and the party responsible for the party that reportedly was Ripplefest Texas last year — and this year coming; they added an extra day — has booked its first tour, and it brings together the aforementioned High Desert Queen with none other than Los Angeles/Boston three-piece Sasquatch, whose new record has been sitting on the shelf since about 2019 at this point. Brutal delay. I wonder if they’ve got another one in the works yet.
There are still a couple dates TBA on the run, but it’s in the Southwest and, perhaps unsurprisingly, that includes a good bit of Texas, and a booking company’s first tour isn’t anything to sneeze at. They made it a good one.
From the social media:
LICK OF MY SPOON PRODUCTIONS is happy to announce its first ever booked tour! Sasquatch and High Desert Queen coming to a city near you! (More dates to be added soon)
TOUR ANNOUNCEMENT: We are thrilled to announce that we are going on tour with the legendary SASQUATCH! And they say dreams don’t come true…
We will be hitting the road to bring the riffs to a city near you the only way we know how: AT FULL VOLUME!
Hope to see you at a show!
3/9 Arlington, TX- Division Brewing 3/10 San Antonio, TX- Amp Room 3/11 Austin, TX- Far Out Lounge 3/13 Albuquerque, NM- Launchpad 3/14 Tempe, AZ- Yucca Tap Room 3/15 San Diego, CA- Soda Bar 3/16 Costa Mesa, CA- Wayfarer 3/18 Palmdale, CA- Transplants Brewing
*More shows to be added soon*
SASQUATCH is: Jason Casanova – bass Keith Gibbs – guitar/vocals Craig Riggs – drums
High Desert Queen is: Ryan Garney- Vocals Rusty Miller- Guitar Matt Metzger- Bass Phil Hook- Drums
