Posted in Whathaveyou on January 23rd, 2023 by JJ Koczan
Park myself in Joshua Tree for a weekend just as the winter is turning to spring, catch a ton of awesome bands from and beyond the desert? Yeah, that sounds pretty magical, to be honest. Nothing against San Francisco. I’ve seen videos from outside at Thee Parkside and it looks like an incredible place to see a gig, but if I’m making the trip from the other side of the country — and unless there’s a sudden fiscal windfall in my favor, I’m not, sadly — it’s the desert calling, all the more with All Souls and BigPig and Third Ear Experience on that bill. That’s a memorable weekend in the making.
The 2023 lineups for Heavy Psych Sounds Fest in California are finished, and with the two posters next to each other you can see some of the differences from one to the other, but they’re mostly the same as artists will play in one city one night, the other the other, and as someone who remembers seeing Yawning Man and Fatso Jetson together a decade ago at Desertfest London 2013 (review here), I’d offer up a kidney to do so again if I thought I could be healed in time to actually enjoy the show in March.
Anybody want to buy some… shit I have nothing of value. Alright then.
Here’s the bill:
Heavy Psych Sounds Records & Booking is proud to announce *** HEAVY PSYCH SOUNDS FEST CALIFORNIA 2023 JOSHUA TREE & SAN FRANCISCO ***
full lineup announcement
Heavy Psych Sounds together with Plastic Cactus Productions and Subliminal SF presents the full lineup of the Heavy Psych Sounds Fest California 2023 !!!
HEAVY PSYCH SOUNDS FEST ***CALIFORNIA 2023*** MARCH 25 & 26
SAN FRANCISCO @ OPEN AIR AT THEE PARKSIDE
JOSHUA TREE @ HI DESERT CULTURAL CENTER
JOSHUA TREE HI DESERT CULTURAL CENTER MARCH 25th and 26th
WINDHAND WEEDEATER BRANT BJORK NEBULA THE ATOMIC BITCHWAX YAWNING MAN FATSO JETSON DUEL HIPPIE DEATH CULT GEEZER KADABRA WARLUNG LOVE GANG WITCHPIT COSMIC REAPER ALL SOULS BIG PIG THIRD EAR EXPERIENCE DEATHCHANT WHISKEY AND KNIVES HIGH TONE SON OF A BITCH
SAN FRANCISCO OPEN AIR AT THEE PARKSIDE MARCH 25th and 26th
WINDHAND WEEDEATER MONDO GENERATOR NEBULA THE ATOMIC BITCHWAX DUEL HIPPIE DEATH CULT GEEZER KADABRA WARLUNG LOVE GANG COSMIC REAPER WITCHPIT DEATHCHANT HIGH TONE SON OF A BITCH DISASTROID
Posted in Whathaveyou on April 14th, 2022 by JJ Koczan
You don’t need much more here than the list of bands, which is its own excuse for being. Italian label Heavy Psych Sounds returns to the States at the end of next month with Heavy Psych Sounds Fests in Los Angeles and San Francisco. With the day-splits announced, you get a little more sense of how the two nights in two cities will function (it’s not an insignificant drive from one to the other, mind you) and share bands, but any way you go, you don’t lose, whether you’re looking at Dead Meadow and Weedeater headlining, the appearances of long-running acts like 16 and Danava and Nebula, or relative newcomers in Kadabra or Mountain Tamer and others from the label’s ever-expanding roster of talent.
It’s a fucking solid two day lineup. Doesn’t look completely overwhelming. Looks like a party, which is exactly what I expect it will be for those fortunate enough to be in attendance. Maybe that’s you. If so, cheers. I hear Bongzilla like it if you bring them weed.
From the PR wire:
HEAVY PSYCH SOUNDS FEST CALIFORNIA 2022 – DAY SPLITS LINE UP
– feat. DEAD MEADOW, WEEDEATER, THE ATOMIC BITCHWAX, BONGZILLA, NEBULA, DANAVA and many more –
HEAVY PSYCH SOUNDS in cooperation with SUBLIMINAL SF and SOS BOOKING present:
HEAVY PSYCH SOUNDS FEST CALIFORNIA 2022
28 & 29 May
(Memorial Day weekend)
LOS ANGELES @ 1720 Club
SATURDAY, MAY 28th
DEAD MEADOW DANAVA NEBULA HIPPIE DEATH CULT 16 KADABRA MOUNTAIN TAMER
SUNDAY, MAY 29th
WEEDEATER BONGZILLA THE ATOMIC BITCHWAX HIGH REEPER WARLUNG THE FREEKS JD PINKUS HIGH TON SON OF A BITCH
SAN FRANCISCO @ Openair at Thee Parkside
SATURDAY, MAY 28th
WEEDEATER BONGZILLA THE ATOMIC BITCHWAX HOT LUNCH HIGH REEPER WARLUNG JD PINKUS HIGH TON SON OF A BITCH
SUNDAY, MAY 29th
DEAD MEADOW DANAVA NEBULA HIPPIE DEATH CULT 16 KADABRA MOUNTAIN TAMER DISASTROID
Posted in audiObelisk on February 6th, 2020 by JJ Koczan
You know the origin story of High Tone Son of a Bitch, right? It’s complicated and full of ups, downs, love and loss and all that other deeply human-type stuff. A life story, as it were. The band revitalized circa last year and spent much of the ensuing return period getting their lineup situated and getting their feet under them in terms of stage presentation, but they had a wealth of material to draw from in that regard that went even further than what actually ever saw proper release. On March 20, Tee Pee Records — which also stood behind brothers Paul and Andrew Kott for Kalas‘ lone studio album — will issue Lifecycles: EPs of HTSOB, a new compilation of songs that span the original era of the band from 2002 through about 2005, preceding Andrew Kott‘s death in 2007.
High Tone Son of a Bitch have two four-trackers currently available. Their Better You Than Me originally came out on CD through Shifty Records in 2003 and though Velocipede was recorded in 2004 it didn’t actually see proper release until 2018 when they put it up on Bandcamp. Last June brought the new single Death of a New Day / Eye in the Sky (discussed here) that was the band’s first proper offering in 16 years and preceded a stop at the opening night of the inaugural Desertfest NYC (review here) at Saint Vitus Bar. I don’t know how much if any of that material will be included in Lifecycles when it comes out, but there was still plenty more of stuff recorded that apparently never made it to the public, and thus we have the arrival of “Wicked Threads.”
As to what the original plan for the song might have been, I couldn’t say, but with a militaristic snare and wistful guitar and mellotron lines at the outset, the song sets an immediately brooding spirit. Gritty vocals arrive in emotive fashion and give direction to the arrangement, which remains dramatic if not theatrical in such a way as to pull back from the central regret being expressed. The title refers — no, not to your new jeans — to part of a concept that encompasses the entirety of the three-song progression from which the track comes. It’s not as immediately aggressive as they were on stage when I saw them last Spring or as noise-rocking as some of their other material is, but “Wicked Threads” gives some sense of High Tone Son of a Bitch‘s atmospheric resonance and the general breadth of what they used to do. Part of the story, much like this release itself is a part of their overarching narrative.
When it comes to what they’ll do next, however, I’ve no idea. I don’t know if they’re actually signed to Tee Pee or if there’s a new album or another EP or something else brewing, or to what or where their tour plans might take them and when, but even as they look back with Lifecycles: EPs of HTSOB, they make it clear they’re beginning that cycle anew, and moving forward.
Again, the release is March 20. Some more background follows the track below.
Please enjoy:
Paul Kott on “Wicked Threads”:
The Wicked Threads EP is a concept album that spans the past 12,000 years of human history in three songs. It examines the impact of the emergence of class systems, including believing in gods and the development of organized religions, priesthoods, rulers and ruled, and economic classes, has had. The song “Wicked Threads” is set in the modern era of late-stage capitalism, in the wake of thousands of years of these systems of control holding sway over humanity. It’s viewed through the lens of my experience growing up in a dead textile mill town called Lewiston, Maine. Many generations of the people of who live and die in these towns all across America and the world have a long history of being fucked over by wealthy elites. Many of these same people (not everyone, mind you), having been exploited, sucked dry, and ultimately abandoned, seem to fawn over and venerate those who are exploiting them, to adore them. There is almost a worship of the idea of a return to the days when the mills were running full steam and the bosses rang bells to tell them what to do and when. It’s like Stockholm Syndrome, to love your captors, love your abusers.
Originally formed by brothers Paul and Andrew Kott from the ashes of Oakland prog/doom sludge masters Cruevo, and preceding the Matt Pike-fronted Bay Area metal “supergroup” Kalas, High Tone Son of a Bitch (HTSOB) is a “supergroup” unto itself. Since its founding, HTSOB has pulled together members and collaborators from bands like Noothgrush, Kalas, Hammers of Misfortune, Men of Porn, Melvins, Hawkwind, Neurosis, High on Fire, Sleep, Necrot, The Skull, Worshipper and more. When Andrew Kott died unexpectedly in a tragic fall in 2007, HTSOB disbanded – seemingly forever.
Paul Kott revived the band – at the urging of his Latin Grammy-winning nephew Juan Herrera (Andrew’s step-son) – in 2019. Through lineup changes and regular collaborations that have included some of the most important underground musicians of the modern era, Paul has allowed his brother’s inspiration to live on, carrying the psychedelic hard rock and post-doom vision of HTSOB forward – all the while remaining uncompromisingly true to the musical roots the brothers established years ago.
High Tone Son of a Bitch transcends not only genre archetype but death itself, to weave an essential portrait of the dualistic nature of our lives. This retrospective of 4 EPs simultaneously speaks to the fragility and resilience of the human experience as it spans the years covering the formation of the band, its musical growth, the death of Andrew Kott (one of 2 co-founding brothers), and the path to a rebirth and new life in music and beyond by surviving brother Paul Kott.
Posted in Whathaveyou on September 2nd, 2019 by JJ Koczan
I’ve been seeing the immediately recognizable moniker of Oakland, CA’s High Tone Son of a Bitch pretty steadily of late, particularly since their performance this past April at Desertfest NYC (review here). This weekend, the five-piece took off on a round of West Coast touring that will mark their inaugural run with producer Billy Anderson on bass. Yes, that Billy Anderson — commonly referred to around these parts as Billy “Frickin'” Anderson, or some more vulgar variation thereof. One might recall Anderson‘s work with his band Blessing the Hogs or teamed with Los Natas members in Solodolor, etc. Well, now he’s in High Tone Son of a Bitch, so there’s another line on what’s arguably the heavy underground’s most enviable curriculum vitae.
They’re in L.A. tonight with Orange Goblin, Earthless and Black Cobra for a show that would appear to be a festival in everything but name, and they’ll join the Anderson-produced Holy Grove this weekend as the tour wraps up in California. Badass.
Check it out:
High Tone Son of a Bitch Announces West Coast Tour Dates
Billy Anderson Joins Bay Area Group Featuring Members of Kalas, Noothgrush, Neurosis, Necrot, Saviours and More for Later Summer Swing
Oakland psych rock band High Tone Son of A Bitch (aka HTSoB) has announced west coast tour dates in support of its comeback EP, ‘Death of a New Day / Eye in the Sky’. Set to launch on August 30 in Santa Cruz, CA, the 10 city tour will run through September 9 in Sacramento. Famed producer / bassist Billy Anderson, who recorded the group’s new EP, will join HTSoB on the live dates and remain a part of the band’s lineup, moving forward. The just-revealed live schedule is as follows:
High Tone Son of A Bitch live dates:
September 2 Los Angeles, CA Regent Theater (w/ Orange Goblin, Earthless, Black Cobra) September 3 Fresno, CA TBD September 4 Crockett, CA Toot’s Tavern (w/ Rockman) September 5 Nevada City, CA Cooper’s September 6 Pacifica, CA Winters Tavern September 7 Oakland, CA Elbo Room (w/ Holy Grove) September 8 Cupertino, CA Homestead Bowl & The X Bar (as part of Bowling and Beers in Hell fest w/ Holy Grove, Solar Haze, etc.) September 9 Sacramento @ Blue Lamp (w/ Holy Grove)
Formed in 2003 by the brothers Paul and Andrew Kott with bassist Ron Nichols (a veteran of Neurosis’ Noah Landis’ legendary punk band Christ on Parade), and named after named after the bumper sticker on an automobile from the Steven King novel, ‘The Dark Half’, HTSoB ultimately pulled together the talents of an all star cast, with the line-ups and contributing guests coming from and heading into bands like Kalas, Cruevo, Noothgrush, Hammers of Misfortune, Neurosis, and others. The original lineup’s trajectory was cut short by tragedy when Andrew, who was struggling with addiction, died unexpectedly. In 2018, Andrew Kott’s step-son Juan, who plays in the Latin Grammy-nominated Mexican regional band Banda Troyana, urged Paul to start HTSoB up again. Paul then gradually re-formed a revised lineup of the band that has now fully arisen in triumph from the ashes of tragedy.
Posted in Whathaveyou on May 28th, 2019 by JJ Koczan
I couldn’t help but feel that, as I watched High Tone Son of a Bitch perform recently at Desertfest NYC (review here) that I had seen them before. I narrowed the possibilities down to some drunken afternoon at SXSW circa 2004 — I recall Paul Kott‘s past band, Kalas, played there one year, but the details are long gone. Hazards of the trade when it comes to drinking in the Texas sun, which, if I’m honest I’d probably be okay never doing again. At least the drinking part.
What matters more than whether or not I’d seen them before is the likelihood that I’ll see them again, what with the band pressing forward after a long absence with a new single release next month. The two-tracker is called Death of a New Day / Eye in the Sky and it’ll be out June 21, along with back catalog reissues that are only fair enough for a band who wasn’t around for so long.
The PR wire has details, a preorder link and a new track streaming:
Reunited California Metal Band High Tone Son of a Bitch to Release New EP, ‘Death of a New Day / Eye in the Sky’, June 21
Bay Area Group Featuring Members of Kalas, Noothgrush, Neurosis, Necrot, Saviours, Alaric, and More Returns!
Oakland, CA underground metal band High Tone Son of a Bitch (aka HTSoB) will release a new EP, titled ‘Death of a New Day / Eye in the Sky’ on June 21.
The reunited Bay Area band, which features a core of Russ Kent (Noothgrush, Alaric), Chris Corona (Wildeyes), Joe Fucko (Strychnine), Paul Kott (Kalas, Cruevo), and Johann Zamora (Men of Porn, Totimoshi), along with studio and itinerant live contributions from HTSoB’s first singer, Scott Wagner, Dave Edwardson (Neurosis), and Sonny Reinhardt (Necrot, Saviours, Word Salad), and whose unique vision of heavy psychedelic hard rock breaks the genre box, recorded the new 2-track EP at Sharkbite Studios with famed producer Billy Anderson (Sleep, High on Fire). The EP features the herculean new song “Death of a New Day” along with a re-imagined, post doom metal take on the 1982 Alan Parsons Project classic “Eye in the Sky”. Pre-order ‘Death of a New Day / Eye in the Sky’ at this location.
Fresh off a crowd-capturing live performance as part of the inaugural Desertfest New York — where the band shared the stage with Elder, Windhand, Worshipper, and more — and a U.S. tour run with Weedeater and The Skull, High Tone Son of A Bitch has fully returned and is firing on all cylinders. First formed in 2003 by the brothers Paul and Andrew Kott with bassist Ron Nichols (a veteran of Neurosis’ Noah Landis’ legendary punk band Christ on Parade), and named after named after the bumper sticker on an automobile from the Steven King novel, ‘The Dark Half’, HTSoB ultimately pulled together the talents of an all star cast, with the line-ups and contributing guests coming from and heading into bands like Kalas, Cruevo, Noothgrush, Hammers of Misfortune, Christ on Parade, Men of Porn, Neurosis, and others. The original lineup’s trajectory was cut short by tragedy when Andrew, who was struggling with addiction, died unexpectedly. In 2018, Andrew Kott’s step-son Juan, who plays in the Latin Grammy-nominated Mexican regional band Banda Troyana, urged Paul to start HTSoB up again. Paul then gradually re-formed a revised lineup of the band that has now fully arisen in triumph from the ashes of tragedy.
In its first outing as a band in 13 years, High Tone Son of A Bitch teamed up with old friend Billy Anderson to create a sprawling new vision of heavy music. The new original, “Death of a New Day”, features HTSoB vocalist Russ Kent joining forces with singer Scott Wagner (who sang on the group’s 2003 debut EP ‘Better You Than Me’) to set epic melodic vocal lines against a backdrop of titanic riffs that descend into and emerge from a synth and guitar-drenched psychedelic black hole. “Eye In the Sky” sees HTSoB put its spin on the Alan Parsons Project’s pop hit. Heavy and audacious, the song’s psyched-out “Vietnam helicopter” synth intro and sparse build-up crawl into an epic doom undertaking. Charting a new course that builds on its original direction, High Tone Son of a Bitch’s ‘Death of a New Day / Eye in the Sky’ EP bends the possibility of the future of heavy music in a new direction, and sets a new course for the band’s bright future.
Track listing:
1.) Death of A New Day (6:43) 2.) Eye in the Sky (10:17)
Simultaneously upon the release of ‘Death of a New Day / Eye in the Sky’, High Tone Son of A Bitch will digitally reissue both of its previous releases, the aforementioned 2003 EP ‘Better You Then Me’ and the ‘Velocipede’ EP (2004). Both the Alex Newport-produced ‘Better You Then Me’ and ‘Velocipede’ will also see limited edition 2-on-1 vinyl release via Throne Records (Spectral Lore, Corrupted, etc.)
Posted in Reviews on April 27th, 2019 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
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
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
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
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.
Posted in Whathaveyou on February 13th, 2019 by JJ Koczan
Desertfest New York 2019, the first one ever, has completed its lineup for this April. Taking place at The Well and Saint Vitus Bar, the three-night event will be headlined by Black Cobra, Windhand and Elder and will boast newly-announced performances from Steak, High Tone Son of a Bitch, Heavy Temple, Tower, Green Milk from the Planet Orange, Duel, Sun Voyager, Fatso Jetson and others. It was always going to be a stacked bill, and well, it’s worked out to be a stacked bill. Obviously the Desertfest brand, with history in London, Berlin, Athens and Antwerp, are no strangers to putting on an event, and as Desertscene and Sound of Liberation partner with NY-based Tee Pee Records, there was really no way this was going to be a flop, and it looks like it won’t be.
Calendar’s marked.
Here’s the final lineup:
THE 1ST DESERTFEST NEW YORK
FULL LINE-UP + DAY SPLITS ANNOUNCED FOR DF NYC – BLACK COBRA, WEEDEATER, HERE LIES MAN, ASG + MORE
Taking place at Saint Vitus Bar on Friday 26th April and The Well on Saturday 27th & Sunday 28th April, please welcome to the bill:
• black cobra • Weedeater • Here Lies Man • ASG • Ruby the Hatchet • FATSO JETSON • Electric Citizen • HTSOB • Steak • Mick’s Jaguar • DUEL • Heavy Temple • TOWER • Green Milk From The Planet Orange • Sun Voyager
Unfortunately, we also have to announce that The Atomic Bitchwax can no longer play due to touring conflicts, along with Cali rockers Dommengang. Both band conflicts were out of our control, but we apologise for any inconvenience caused.
2-day weekend passes for ‘The Well’ shows only (Sat + Sun) are still available via www.desertfest.nyc
3-day passes which include access to Saint Vitus on Friday are SOLD OUT
Desertfest NYC will take place at Saint Vitus Bar on Fri 26th April & The Well on Sat 27th April + Sun 28th April
