Kadavar Post New Single “I Just Want to Be a Sound”; Album Available to Preorder

Posted in Whathaveyou on January 24th, 2025 by JJ Koczan

The vague sense of longing hinted toward in the title, the exhaled ‘just want’ in “I Just Want to Be a Sound,” is mirrored in a kind of pop urgency in the song’s chorus. This is the first track Kadavar have put out from their upcoming album of the same name, and in addition to answering how the inclusion of Jascha Kreft on second guitar might have shifted their dynamic — the guitar reaches farther out, giving breadth to the hooky, again pop-ish, longing and the vocal melody that carries it — it’s the first clue as to what Kadavar‘s next LP might have on offer sound-wise. In its range and atmosphere, you could almost call “I Just Want to Be a Sound” psychedelic, but there’s no mistaking the outreach in its production or the underlying structure, even if the bass still brings a bit of heft to its transitions.

Kadavar have been working to build hype leading to releasing this single, and fair enough. They’re a band who thrive on taking chances, and they’re taking a big one here, as it’s almost certain some of their listenership won’t be able to follow them on this path. Knowing that as they surely do, it’s all the more admirable that Kadavar have never capitulated to it. Surely they could be out there smiling through vintage longhair fashion shoots and a thousand differently-named remakes of “Doomsday Machine” and still have an audience. I feel like not knowing what you’re getting, their willingness to ride the edge and push the limits of expectation — is “I Just Want to Be a Sound” heavy? should it want to be? why? — can make it more satisfying, and I know better than to think one single represents the entire album from which it comes, even if it is the leadoff title-track.

Links and audio and such follow. If you’ve got thoughts, I’d love to hear them in the comments. And remember, Kadavar announced that Fall 2025 tour just a couple days ago as well:

kadavar i just want to be a sound

KADAVAR – “I JUST WANT TO BE A SOUND”

I JUST WANT TO BE A SOUND out now & available on all platforms.

Produced by @maxrieger
Thanks to @cloudshillmusic @chris_vosshagen

Pre-save “I Just Want to Be a Sound”: https://kadavarband.lnk.to/ijustwanttobeasoundIN

Album Tracklist:
1. I Just Want To Be A Sound
2. Hysteria
3. Regeneration
4. Let Me Be A Shadow
5. Sunday Mornings
6. Scar On My Guitar
7. Strange Thoughts
8. Truth
9. Star
10. Until The End

Kadavar are:
Lupus Lindemann – Vocals & Guitar
Simon ‘Dragon’ Bouteloup – Bass
Tiger – Drums
Jascha Kreft – Guitar/Keys

https://www.facebook.com/KadavarOfficial/
https://instagram.com/kadavargram/
https://www.youtube.com/channel/UCVmSmatRaSUU2LMhecGKiqg/
https://www.kadavar.com/

https://www.facebook.com/robotorrecords/
https://www.instagram.com/robotorrecords/
https://robotorrecords.bandcamp.com/
https://www.robotorrecords.com/

Kadavar, “I Just Want to Be a Sound”

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Kadavar Announce European Tour with Slomosa; New Single Coming Friday

Posted in Whathaveyou on January 22nd, 2025 by JJ Koczan

kadavar

This coming Friday, Berlin generational heavy rock forerunners Kadavar are going to put up the first single from their upcoming album, which is titled “I Just Want to Be a Sound.” Fair enough. I don’t know if that’s also the name of the LP or not, I’ve not heard any of it except the snippets in social media stories, and beyond the fact of its existence, a bunch of pre-save links and the cover art, I’ve got nothing for info on the tune or the record from which it comes. I don’t even know if the song’s on the album, come to think of it. Can we ever know anything? Is this chair even real?

Give me a couple seconds to re-sort my reality and I’ll get back to you on the track, hopefully Friday. In the meantime, Kadavar will take next-gen heavy rock’s best-to-date hope, Slomosa, on tour for the bulk of October. I’m a little curious why it’s the Fall tour being announced now, and what Kadavar‘s summer plans might be, but I assume we’ll get there when the album is actually announced in some real, here’s-actual-information kind of way. I have no guarantee that such press release-fodder is impending; I’m just trying to keep up. I couldn’t even find a text list of these dates, and because it’s 2025, I had a handful of places to look. Looks like a good tour, and you’ll note Australia’s Orb joining Kadavar and Slomosa for it.

As per socials:

kadavar european tour 2025

KADAVAR – “I JUST WANT TO BE A SOUND” EUROPEAN TOUR 2025

Pre-sale Friday, January 24th 12.00PM CET
WWW.KADAVAR.COM

With us, Norway’s finest SLOMOSA and all the way from Australia ORB

Pre-save “I Just Want to Be a Sound”: https://kadavarband.lnk.to/ijustwanttobeasoundIN

Wir haben Bock!!! 🖤

Kadavar are:
Lupus Lindemann – Vocals & Guitar
Simon ‘Dragon’ Bouteloup – Bass
Tiger – Drums
Jascha Kreft – Guitar/Keys

https://www.facebook.com/KadavarOfficial/
https://instagram.com/kadavargram/
https://www.youtube.com/channel/UCVmSmatRaSUU2LMhecGKiqg/
https://www.kadavar.com/

https://www.facebook.com/robotorrecords/
https://www.instagram.com/robotorrecords/
https://robotorrecords.bandcamp.com/
https://www.robotorrecords.com/

Kadavar, Live at Freak Valley 2024

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Kadavar Complete Work on New Album

Posted in Whathaveyou on January 7th, 2025 by JJ Koczan

I don’t know how it was for you, but Berlin’s Kadavar pretty much broke my internet yesterday with the photo and relatively brief post below confirming the completion of their next full-length. It wasn’t quite like they surprise-dropped the album itself, the title of which has not yet been revealed, but clearly there’s excitement and anticipation as they start the promotional cycle and the process of putting the thing out, and reasonably so.

The last studio LP from Kadavar was 2020’s The Isolation Tapes (review here), released in 2020, but even when the world stopped, the band never really did. During the plague, they released two live albums recorded in their own studio and a collaboration with Elder (review here), and as soon as touring reopened, Kadavar were back out. I’ve been lucky enough to see them a couple times at Euro fests in the last two years — in 2024 at Freak Valley (review here) and Bear Stone (review here), and in 2023 at SonicBlast (review here) — and though like many I’ve taken the band for granted over the last 15 or so years, the fact remains that a big part of why I’m so much looking forward to the next Kadavar record is I have no idea what it will sound like.

Part of that comes from the fact that LupusTiger and Dragon (keeping it casual there with the nicknames, I am) brought in guitarist/synthesist Jascha Kreft (Odd Couple) to expand from a trio to a four-piece for the first time, but mostly it’s just from Kadavar themselves. If you look at the course of their evolution over now-going-on-seven records, plus what they bring live, it’s a genuine scope that emerges, and as they’ve shown no signs in hindering their own creative growth, one hopes they continue to push into the unknown. The mere prospect of their doing so, floated while reminding people to sign up for their newsletter, was enough to flood the ol’ timeline. Glad to know I’m not the only one looking forward here.

From socials:

Kadavar

Friends, after 2 years of work, our new album is finally finished. Our first single will be out soon, and we’re super excited! As always, everything will be different, yet it’s still unmistakably Kadavar. Sign up for our newsletter (www.kadavar.com/newsletter) now so you don’t miss any updates. xx

Kadavar are:
Lupus Lindemann – Vocals & Guitar
Simon ‘Dragon’ Bouteloup – Bass
Tiger – Drums
Jascha Kreft – Guitar/Keys

https://www.facebook.com/KadavarOfficial/
https://instagram.com/kadavargram/
https://www.youtube.com/channel/UCVmSmatRaSUU2LMhecGKiqg/
https://www.kadavar.com/

https://www.facebook.com/robotorrecords/
https://www.instagram.com/robotorrecords/
https://robotorrecords.bandcamp.com/
https://www.robotorrecords.com/

Kadavar, Studio Live Session Vol. II (2020)

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Notes From Bear Stone Festival 2024 — Day 3

Posted in Features, Reviews on July 7th, 2024 by JJ Koczan

Before Show; In the food tent, then Jam Stage

Me and my silly ADHD brain left my bucket hat back at Rooms Daniela. Big mistake. Also no sunblock anywhere in my luggage, which I feel like is even dumber now that I’m here. There’s no definition of “adult” that doesn’t apply to me. I should be better at this stuff by now.

That will make finding and staying in shade all the more urgent, and my pale form will burn as though torched like the cosmos by Pigs Pigs Pigs Pigs Pigs Pigs Pigs themselves, but cancer is later-me’s problem, and he’ll deal with burns, tumors and such as need be. But yeah, might spend more time in the press area today, which is covered. There are also a couple clouds here and there to provide periodic relief. I’ll do my best, but it is sweat-while-stationary hot. More water. It will be okay. The music will start. Night will come.

Took a ride back into town with friends during Mother Vulture yesterday, as I mentioned near the end of that post, but I didn’t actually get to sleep until around 5AM. I was caught up sorting photos, which on my not-that-new-anymore laptop is less efficient than it used to be, and then just couldn’t quite key down. I guess the adrenaline that carried me through had a half-life. So it goes. I got up at 10AM, so not entirely sleepless, but yeah. The second long festival day here is going to be a trip, I think.

You could see the Milky Way banded across the sky as I made my way out last night, which was perhaps all the more valued as I missed out on stargazing during my recent Southwest US jaunt. A stirring reminder that we are all gas and dust revolving at however many hundreds of thousands of miles of hour around a supermassive black hole, which I feel like is worth keeping in mind anytime you might be tempted to think a thing matters or has any kind of permanence as humanity sits one EM pulse away from the Stone Ages. I could go on here, but it doesn’t seem in the spirit of things to be comforted by hopelessness. If nothing matters, you understand, it’s okay that I forgot my hat.

It is impossible to ignore the idyllic nature of this space; a forested canyon carved out by the Mrežnica, if I have it right, and the swimmers, canoers, kayakers, campers, and lawn-layers are correct to take advantage of the river, the trees, the grass, all of it. I’m a little too in my own head for that kind of whatnot, but that doesn’t stop me from seeing the pricelessness of the physical location and layout both for the attendees now and as Bear Stone continues to build on its to-date accomplishments, as one hopes it will.

However cool it will look in the aftermovie and all the posts people will put on Instagram once they’re back where there’s cell signal, the character of this spot is more perfect than a single sensory media can capture. I could do with fewer dudes urinating in random corners — I get it, bro, you’re drunk and you love nature, but the portajohn is two meters that way and the composting toilet is another five beyond that; you don’t need to pee in the river either — but you take the bad with the good, and as regards this place and this fest, it’s an easy trade to make.

Time to start this thing. Here we go.

Azutmaga

I’ve false-started on writing about Azutmaga three times now, which I guess means I’ve had enough coffee. The Hungarian instrumental two-piece — I’m pretty sure the guitarist said they were from Hungary; magyarok vannak, szerintem — got started quietly and kept a subdued, meditative vibe throughout, despite getting fairly heavy at times. They have a new album, which I will want to chase down hearing after seeing them play. Put it in my notes to remember. Just guitar and drums, though there were more effects pedals on the floor than some entire bands had, so perhaps an expansive sound isn’t a shock, but the languid groove hit me with the right kind of soothe, and in my shady stairs spot, maybe 10 steps up of the total a-whole-bunch, I watched as the pavilion likewise casually packed out, the comings and goings. A sprig from one of the trees above me fell into my lap and I stuck it behind my ear. It didn’t last, but I mention it because it seemed like a fitting thing to do as Azutmaga played, delving into some slower nod as they emerged from a wandering drift, apparently playing their new record — I’m sorry, I didn’t catch the name and can’t look it up; I assure you I mean no disrespect — and exploring through one fluid jam into the next, no pretense about it but ready to build it into a fuller nod, patiently. The guitar player spent most of the set facing the drummer head on, turned away from the crowd — one imagines them on a differently arranged stage set up next to each other, though I have no idea if they actually do that — but it didn’t matter. The focus was on trance, immersion, and I was grateful for the chance to let go of some of the anxious buzz for a bit.

Rifftree

As pure riff and volume worship as I’ve yet seen at Bear Stone from the weekend’s second duo — and right in a row; a duology of duos –Rifftree had guitar and bass tones dialed in through separate amps to maximize volume and depth, and it worked well. They were more about rolling largesse than Azutmaga initially, and both the bass player and the drummer offered rough-edged vocal shouts, but it was the way the low and high ends of the riffs were arranged that made it work so well for me. One or the other would click off, guitar or bass sound, then snap back in a manner no less satisfying for being so clearly telegraphed. They sped up and slowed down, more High on Fire here, more Sleep there, as will happen, but the dirty tone was vivid and central, with some raw feedback for extra scathe on the sludge and pummel. It was a threat that lingered when they drew back the onslaught for a nod-out, and the set was more effective for that. Not the first time I’ve said this this weekend, I know, but I swear I heard a Kyuss riff in there somewhere. Fair use in the building of such stonerly shrines. They capped with a welcome insistence of chug and shove brought to a sudden halt, and I have to think that if they were called Bong-anything, you’d already have heard of them.

I walked back over to the Sviraj!Jam and caught a few seconds of Colour Haze soundchecking. They weren’t even playing songs yet, though that would come after Rifftree finished and could be heard over by the pavilion for the Mill Stage, but I could still sit for hours and just listen to that band meander. Gladly.

Acidsitter

Throbbing heavy psych rockers Acidsitter, whose slogan “make acid great again” — it’s also the name of their record — just kind of feels tragic coming from the States, where this notion of greatness apparently translates to christofascism, were a good time. The performative elements of their two guitarists’ stage costumes were contrasted by the bassist who mostly sat on an amp case, but the vibe was potent either way. They wove between drift and thrust, synthy flourish for a touch of prog but not much more than that as their priorities were clear from the outset. They would enact a full-tone nod topped with a duly classic-style solo, but they didn’t dwell in any one place for so long as to sacrifice volatility, and wherever they went, they continued to serve the song or the moment they were in, whether that was vocal effects, a guitar played with a wisk, or a sudden turn to garage-ier push. More bass on the synth was the request, which brought about a worthy rumble to match the bass on — wait for it — the bass, and in true acid rock fashion, they felt punk-born even in the calmest parts. I’m not sure which side of their approach was druggier, but after a while it all kind of forms a haze anyway. People caught on as the set played out, and though there was a near-heroic dose of chicanery, Acidsitter held together around the rhythm section and the close-your-eyes-and-go groove thereof. Another record in the notes.

Kayleth

Kayleth on the Mill Stage. I know their stuff, had an idea what was coming, so wasn’t caught off guard when they space-blasted desert riffing with synth and theremin during “We Are Aliens.” Headlining the Mill Stage puts the five-piece in a tight space, but there’s something cool about that too, right? I don’t get to European club shows every decade, so the chance to experience a band in a smaller setting works for me. I’ve heard a few complaints about how the Mill Stage and the Jam Stage should switch, and maybe that would work, but at least with the bands who’ve played it this far, I don’t think it’s held anyone back. Just the opposite, and that goes for Kayleth as well. I can’t always hang in a crowd press — okay, I never can — but I know that’s not the case for everyone or nobody would ever go to gigs, which I’m told people still do sometimes. Kayleth were easily worth showing up for, and I don’t honestly know if they usually do bigger or smaller shows, but they owned that space easily, like veterans, and put on a show that was fueled as much by heart as by the tone of the guitar. Of course the synthesizer expanded their dynamic, but it wasn’t by any means alone in that between the backing vocals, loud/quiet and tempo trades. A lot to dig, so I dug.

Nemeček

A deeply pleasant surprise were Nemeček, whose style brought together pieces of soulful Eastern European folk, progressive rock and post-metal, space rock, electronic noise and probably six or seven other styles I’m not cool enough to know about. They had given a few short teases during soundcheck, playing half of this or that song, and even from that it was clear something equal parts divergent and special was about to take place. I knew nothing about them prior other than they’d be here, but consider myself fortunate to have seen them. All three members sat, though the keyboardist did get up regularly as well, and the acoustic guitar (or something to it; pardon my ignorance if I’m wrong) still tapped deep into a sense of heavy that was about more than sound in terms of atmosphere, though when they hit a pulse coming out of a melodic contemplation, they had power behind it. That made their set that much richer, but again, that wasn’t something they were leaning on, just part of a more encompassing whole. I wonder how it comes across on record — like a lot of things, the production would matter — but even from the photo pit, the textures they unfurled were unlike anything I’ve seen in the last three days, and they spoke to traditionalism in a way that only enhanced their individual impression. I hear they’re local. In any case, Nemeček is a band I am glad to have seen. Now I know.

Blitzpop

Aptly named, if you take the blitz as signaling the energy with which Blitzpop took and commanded the stage and ‘pop’ to mean hooks, of which the four-piece brought plenty enough for everyone and generously offered them in with boogie as a bonus. Classic in a ’70s via ’90s way, they were for sure a turn from the more severe persona cast by Nemeček — perhaps that doesn’t apply to the catchy chorus that went “Kill that motherfucker” — but even that they made fun, though I wouldn’t want to be the motherfucker in question, as their argument was pretty convincing if you count the tempo kick later in the song. A quick plug for merch, then back to the hook. They were another one about whom I knew squat, but they did a bit of “woo! woo! woo!” and ululating to bring the crowd with them and locked soon enough into a groove that at least to my ears sounded like Rage Against the Machine, not that they were at risk at that point in the set — a little more than halfway through, probably — of only doing one thing. They toyed with funk, but never lost track of where a song was headed, and as the direct sun beat down on the Main Stage, they kept the momentum up. In the back, in the shade, where I was, people ate and drank and chatted and dogs played chasing each other around as Blitzpop closed out with a Blur-style “woo hoo” that I have no doubt I’ll still be hearing on repeat in my head when I’m trying to sleep tonight. Hazards of the trade.

I ate. This part is mostly for my wife, to whom I’ve not spoken in an actual day — not unheard of if I’m off somewhere, but rare even so — but it was such a joy that I don’t mind sharing. It was a local cheese that tasted to me like sheep’s milk and was divine, and tomato stuffed with cheese, garlic and truffle flanked with greens — greens! — that was whatever the next step up from divine is. Transcendent? Probably. Not my first experience with the sustaining nature of sustenance, but after nothing but nuts for the last three days, it was a pretty amazing moment in my life that I’d like to remember. It was so good. I finished those, but have more for later. Still a lot of day left, but the sun has started to recede, which is something else I’m thankful for.

Them Moose Rush

Weren’t the band I thought they were, but were way funkier than that band, so I’ll take it. Distinguished by a tendency toward unexpected pivots, you could probably hear as much noise as punk or heavy rock in what they were doing, but it seemed clear in the intention to get bodies moving in the crowd, which it did through the course of their hour-long set, and with a notable range from their guitarist’s vocals, they immediately felt like a standout. Again, not what I had been expecting, but better. I’ll admit I’m having trouble getting over how good the bass sounds here, echoing around as it does, but Them Moose Rush were as much about the subtly mathy twists as the heavier stretches to which they alternately did and didn’t lead, and that coupled with the rampant falsetto and vocal reach, the badass bass, the ready-when-you-are drumming made for another shift on the Main Stage, but a natural one coming off of Blitzpop, who also used heavy rock as a starting point for their own purposes in craft. They went hard a couple times, and had now-we-riff-big there when they needed it, but they were just as likely to find themselves in head-down push or someplace else entirely. I’ve heard a lot of rock and roll this weekend, so if I’m repeating myself, I’m sorry, but the bottom line is they made their own kind of sense stylistically and seemed to work from the ethic of conforming genre to them rather than the other way around.

1000mods

I don’t know how much I have to say about 1000mods that I didn’t say when I saw them like a month ago, but hell, Greece’s foremost heavy rockers once more justified that title, taking the Bear Stone crowd on a ride that barely let up even when a guitar gave out and they had to fill the time with a sampled loop and cymbal wash. I had 1000mods tunes stuck in my head for weeks after Freak Valley, and if the same happens when I leave here, I won’t complain. They moved the festival into the portion of the night that’s basically three headliners back to back (to back), between themselves, Colour Haze and Kadavar, and I don’t know how you don’t get into them if you have any place in your heart for heavy rock. They’re pros; they take the stage and do their show. And if you’ve ever seen them, you know that means something. “Their show.” They got rolling again after the technical interruption like nothing had ever happened. It’s never a good time for that kind of thing, but if you have to deal with it, before “Vidage” is when you want to. The audience, clapping along to the drums — and with good fucking reason — sang along, put hands in the air and gave the band back the energy that burst from the stage, and whether I said it last time or not, it remains true: 1000mods are one of the best bands of their generation. And they’ve never done the same record twice, or given in to hackneyed songwriting or made any music other than that which they needed to make. Anytime you can see them, yes, do that.

Colour Haze

Speaking of generational bands, Colour Haze were soon to follow. I don’t like picking favorites, but I can’t think of anyone I’d rather see take a stage on a given night. They’re always finding a route, some new nuance, some turn or small improvisation or just some moment, to make it special. They made an hour and 15 minutes feel short, but it’s a festival set, so I’ll take what I can get. “Skydancer,” always a highlight. Jan Faszbender’s keys taking the spot where the horns go in “Transformation,” which closed. Mario Oberpucher playing the melody while Stefan Koglek takes a solo. And what on earth can you say about Manfred Merwald’s drumming. It had character, it’s intricate, tight on the guitar, but free-flowing, impactful when it needs to be. I don’t know how many times I’ve seen them, but I’m not exaggerating when I tell you that they’re part of the reason I do this in the first place. They’re inspiring, and only more so as they grow more progressive in sound and build on their foundation of heavy psychedelia, which itself set a path of influence so, so many bands have followed. Bands who at this point don’t even realize they’re influenced by Colour Haze because the bands they were trying to sound like were trying to sound like Colour Haze. That they were themselves is the highest compliment I can give them. They are my favorite band in the world.

Kadavar

Again, I caught them pretty recently, but I had cheesed out early on Kadavar’s set and lived to regret it last time, so I knew I wanted to make up for that to myself at Bear Stone. I know they’re long past the vintage thing, and I love those records too, but they have so much more room to grow now, and they have grown, and when they get on stage, the new and the old come together and it’s all united by the passion in the performance, the strut, the swing, vibrant. I love that they’re such a known quantity — they’re the last band tonight, third of the three headliners; people are familiar — but I have no idea what their next record will sound like beyond “it’ll probably have songs.” That’s the safer bet, anyhow. But whatever shape that takes, the fact of their delivery is that it’s encompassing of decades of heavy rock while remaining entirely their own. Onstage, they’re part glam, part hard-hitting, brazen rockers, never willing to settle artistically or stop pushing the parameters of their sound, but somehow so sure of what they do regardless of outside expectation or pressure. Of course the set was awesome. Kadavar were on a stage and the power didn’t go out. That’s a recipe for a winning way to close ab evening right there. I don’t know the status of the album they had been working on in the last however long, but it’s a no-brainer must-hear in my mind when the time comes. The same “duh, yes” principle applies to whenever the next opportunity to see them live might be.

Back at the room now, falling asleep at the keyboard a little bit. Long day, not enough sleep, blah blah you’ve heard it all before. I got a ride back from Nelly and Elias again this evening, and Nelly was the one who brought me food. She also gave me what she called “mishmash,” which was egg, roasted bell peppers, cheese and I think some tomato in there as well. I ate the last of it like five minutes ago and now I am ready for sleep.

Bear Stone’s second and final long day — tomorrow is back to just the Mill Stage — was a banger. You can see the potential all over this festival, and I’m too goddamned tired to see anything clearly right now. Thank you for reading, goodnight, and there are more photos after the read more thing. You know what I mean.

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Notes from Freak Valley 2024: Day 3

Posted in Features, Reviews on June 2nd, 2024 by JJ Koczan

Mouth at Freak Valley (Photo by JJ Koczan)

At the Fest Grounds

Rain’s back on early in the day. I forewent Doom Yoga and hotel breakfast in favor of sleeping an extra hour. Time will tell on that choice. My head is swimming in last-day logistics; how I’m getting back to the hotel tonight, how and when I’m getting to Frankfurt Airport tomorrow, on and on. So yes, wet and scatterbrained. One or the other would be enough on its own. Poncho may yet make an appearance.

A few people have asked how my mother is doing. First, thank you for reading. I feel like I’ve transposed the haphazardly way this trip ended up being undertaken onto a kind of overarching mania of the experience, but one way or the other, it’s still restorative. She’s recovering from having her knee replaced on Wednesday, is walking, had started physical therapy. These things are months in the healing, but she’s strong and inspiring.

Though it shows little sign of it at the moment, the rain is supposed to stop this afternoon. We’ll see. I was sitting before the start of the show in the smoking tent; the wafting of joint smoke inexplicably cut with tobacco as is the method. Not my thing. I barely had the batteries in the camera when Volker took the stage and it was time to roll, so take that, last-day blues. Good thing my new Freak Valley hoodie is warm.

Sorry in advance for the typos.

Splinter

Thank you to Splinter for being the day’s reminder that everything’s okay when the music starts. The Netherlands based classic-heavy four-piece fronted by Douwe Truijens had the Hammond, the boogie, enough sleaze in some of their lyrics to feel like a #metoo waiting to happen (looking at you, “Soviet Schoolgirl,” et al), but there’s no denying the life in their performance. Rain pouring down on the early crowd, Truijens was nonetheless on fire strutting and dancing around the stage with moves drawn from an arena-ready playbook, plus shorty-shorts for the last song because when you’re doing a thing, you go for it. They were tight in addition to putting on a show, and “Every Circus Needs a Clown” from last year’s Role Models (review here) was a highlight in presentation and from-speaker force to go with the conceptual foundation of what they do. That is to say, they’re a band with a plan. And that’s not a negative at all. The songs are catchy and uptempo, fun if you can get on board with euphemism, and it’s over-the-top in just the way it’s supposed to be. Echoing the energetic start of yesterday, pushing it further, Splinter made a field on a cold, rainy afternoon feel like a sweaty nightclub, and for that, one can only be grateful.

Gravy Jones

Uh oh, I think I might dig this band. Another full-size Hammond on stage, cult-ish, classic-ish riffy vibe. I recall digging the Norwegian four-piece’s 2018 debut, Funeral Pyre (review here), for the quirk it brought to genre tropes, but the apparently-don’t-do-this-all-the-time outfit were more cohesive on stage, solid in groove, hinting or maybe more with that organ toward retroist dark-boogie, and on point in the interplay of the keys and guitar. The bluesy but not caricature vocals specifically reminded me of Buffalo, but if Gravy Jones only want you for your body, they’re almost certainly nefarious in that intent. At least some of what they played was taken from an impending follow-up to Funeral Pyre, as was announced from the stage, and wherever/whenever, I take that as good news in terms of such a thing existing at all. Because I just might end up a fan of this band. You know how that happens? Hear a thing. “Oh that’s cool.” Six years pass. You see them. “Oh shit that’s cool.” It was kind of like that watching them close out with “Mountains of Madness.” If you’ll excuse me, I’m gonna go see if they’ve got anything going at the merch.

Deathchant

My prevailing impression of L.A.’s Deathchant holds firm from seeing them last August at SonicBlast in Portugal (review here), and to save you the time following that link, I’ll just say it’s thar they kick ass. Two guitars that can lean into Thin Lizzy harmonies or thrash out at will, doomly in the title-track of Thrones, which they released last Fall, but gnarly and ripping at any speed, it’s like they play both the Heavy and the Metal sides of heavy metal, but they’re not doing some bullshit disaffected-white-dude aggro thing either. They get on stage, hit it, and groove with tonal presence regardless of a given part’s intensity, drawing from metal and rock on the way, charged and precise, but not so clear in sound as to lose their edge. Perhaps they’re subject to the perils of the band in-between, when it comes to style: too metal for some rockers, too rock for some metallers, but shit, I like bands who don’t fit (also bands who do; in no way does it have to be one or the other, remember), and they played a yet-untitled shouty new song and decided on the spot to call it “Freak Valley.” It ruled and I hope they keep the name. They should probably also have six or seven live records out by now, by rights. I’ll hope to see them again at Desertfest New York later this year.

Mouth

It didn’t take Mouth long to reroute the momentum from Deathchant’s raw Motõrheaded thrust to suit their proggier psychedelic purposes, and the sun came out for them, which can only be called appropriate. I did some liner notes recently for their Vortex Redux semi-reissue LP, and well, I’ll tell you truly, they’re not a band I ever really expected to see live. I mean, it’s a universe of infinite possibility, right? So a thing always could happen, but that doesn’t mean it will. And they were so much fun. Into the music, not trying to convince you that being on stage and playing their songs isn’t the most fun thing in the world. A positive vibe, energy front to back. There was one point where guitarist/vocalist Christian Koller went on his back on the stage while playing a solo and all I could think about was how much of John Dwyer’s dried-up spit from last night must be on there, but beyond that, not a worry in the world while watching them, and their affinities for ’60s psych, ’70s prog and multiple eras of heavy rock came through with poise and passion alike. The keyboard and snare jabs in “Into the Lines” and the slew of builds throughout were exciting and well crafted, and they put everything they had into the show. They weren’t a surprise for me, but it’s kind of a relief sometimes when you see a band you’ve followed for a while and they validate the reasons you liked them in the first place. Mouth did that and improved the weather. That’s a high point in any day.

Black River Delta

Swedish mellow heavy blues rock. Oldschool in ideology, modern in tone. It always takes me a second to stop listening for the stoner to show up when Freak Valley breaks out the bluesier stuff, but Black River Delta did well in the dinnertime slot. And immediately upon thinking of it as that, I realized I was starving. No goulash, but a vegan curry — no I’m not vegan, but probably should be, not the least because it would allow me to subsist exclusively on a variety of homeground nut butters — was the thing. Green beans, carrots, broccoli, onions and peppers of course, but most crucially there were four — yes, I counted, it was four — bites of cauliflower. Cauliflower! For upwards of six minutes while Black River Delta nestled into one comfortable flow after another, I found paradise. By the time another 15 minutes had passed, they’d be finished with their sharply composed and executed fare, delivered smoothly and suited to the style bringing together contemporary and classic as so many here have, but in their own way. And soon after that, the rain would start again, but since it was between bands and Black River Delta were so classy anyhow, I won’t hold it against them. It poured for a minute there, though.

Godsleep

And stopped doing so about 35 seconds after I ran away from the photo pit to get away from the deluge coming down from the roof overhang in front of the stage while Greece’s Godsleep were getting going. I was curious what series of circumstances brought a Rutgers football t-shirt into vocalist Amie Makris’ life — I got a MFA from Rutgers Newark, and my wife did her Ph.D. in New Brunswick; you don’t see a lot of Newjerseynalia in other countries [edit: I asked her later at the merch area and she said she got it from her sister] — but the shirt didn’t last much longer than the rain, and Godsleep’s material had so much push and sweep that the thought was in and out of my head like some kind of asshole who just flies in for the festival and then is gone. They slowed down a bit for the delightfully ’90s-reminiscent “Saturday,” which was a highlight of last Spring’s all-over-the-place-and-only-more-rad-for-it Lies to Survive (review here), but as that record will demonstrate, there’s no lack of variety in what they do regardless of tempo. Not being exclusively sad, slow and miserable, there are aspects of Godsleep’s aesthetic I can relate to more than others, but almost any in-genre boundary pushing is good news as far as I’m concerned, “Permanent Vacation” sort of bridges worlds between explosion-happens-now and more methodical whathaveyou. I found that their harsher moments were complement rather than contrast to the odd bit of desert riffing and sundry other lessons in kicking ass on display. Split LP with Ruff Majik post-haste, please. Both with some screaming, while I’m making requests. Dizzying but undizzied, intermittently furious, deceptively intricate, and rad. They finished by bringing it all back around to the riffs and were better than the veggie curry. Yup. That’s the review.

Speck

Mellow molten instrumentalism from Vienna trio Speck, whose expanses soothed with considerably more cosmic warmth than is offered by, say, actual space. It was my first time seeing the band, whose second album, Eine Gute Reise, came out last Fall, and it took them a while to get going, sure enough, but more, it took me a couple minutes to warm up to it, but all of a sudden I looked up and they were killing it. They’d continue to do so even as a torrential, bucket-style downpour took hold, adding another layer of soak to the already saturated everything and causing a scramble for shelter for some and a very pointed not-scramble from others, which I can respect. Rockpalast has a small tent set up outside the production truck backstage with a tv showing the livestream feed, right next to Lulu’s Garden, and I took advantage of that to wait out the deluge. It didn’t last — it couldn’t or it’d be Freak Lake Festival — but it was harder even than the rain before, and if you were caught in it, you know that’s saying something. I eventually made my way further back to sit someplace drier, but listened as Speck brought their set-long build to its payoff, and I couldn’t help but wonder if the livestream mics picked up the sound of the rain pounding down. If so, all the more reason they should make it into a live record. People mud-moshing like a hippie version of whatever Woodstock that was.

Amyl and the Sniffers

Thrills and such from brash, hard-hitting Aussie punk rockers Amyl and the Sniffers. When they were announced as a headliner, it kind of had me scratching my head, but obviously seeing them you get it in a different way. Their frontwoman, Amyl, came out in an overcoat and stripped it off to reveal her undies while singing a line I interpreted as “I like power,” so yes, if that’s what it was, then clearly. Not gonna take away from the statement or the volume that coincided, but on my coolest day I was never cool enough to be a punker, and today’s certainly not my coolest day. Still, can’t really argue with the ass kicking meted out, and after a certain point, loud groove is loud groove. They shouted out countrymen outfit C.O.F.F.I.N., who played the other day, which was nice, en route to the next onslaught. Rain stopped and started, as it has for most of the day.

I just kind of hung around and let both the noise and the water falling from the sky — because this planet is incredible and to our present knowledge completely unique in the universe in being able to support life and water is why and we treat it like shit; by the way I’m getting on a plane tomorrow morning, so I’m not indemnifying myself, rest assured; if you’re alive to read this you’re complicit there — wash over me while making the rounds saying a few quick goodbyes/hope-to-see-you-next-years. The harsh reality of needing to head to the airport early tomorrow has set in, so better to take care of that earlier than to feel bad about it later. There are a lot of very nice people here, and they are kind to me, and talk to me. I don’t have the kind of brain that always translates being happy to see someone into a smile on my face, but even if you just said hi this weekend, please know it was appreciated. I guess I’m saying goodnight there, too. Guess I got sidetracked talking about Amyl and the Sniffers. Okay.

Kadavar

The one and only. Because as many imitators as they’ve spawned, Kadavar on a level of their own. I knew to expect good things from their still-relatively-recent four-piece incarnation from seeing them play last summer at the aforementioned SonicBlast (review here), and god damn, they’re about as headliner as you get when they take the stage at something like this. They’ve been recording — for what, I don’t know, but I’ve got my hopes — rather than the old tour-tour-tour thing, while it was killer to hear Lupus Lindemann up on stage speak to the crowd in his (and most of their, I assume) native language. He, Tiger, Dragon and Jascha Kreft — last I checked, the ‘new guy’ hadn’t chosen a spirit animal — took the stage to defy the supposition that rock and roll has no more heroes, and while they’re a professional band putting on a show for an audience, on doing so, they throw down like no one else in this thing. “Doomsday Machine” into “Come Back Life” at the start? Come on. I hung around for a few songs, which was a choice facilitated by either the rain mostly stopping or my new Freak Valley hoodie just being soaked enough that I didn’t notice, then made my way out with more than a tinge of sadness at it being over, but secure in the knowledge I’ll see Kadavar again this summer, barring disaster, and as I arrived at the hotel after hailing a cab like the New York metro, throw-your-arm-out-just-at-the-right-time-to-catch-the-driver, it occurred to me to put on the Rockpalast stream. So I got to watch “I Fly Among the Stars” and so on that way. Scrolling back told me I missed “Black Sun” and the clap-along to “Die Baby Die” while in transit, which is a little sad, but I’m grateful for what I got.

The same applies to the festival as a whole. I’m grateful for everything I saw and heard — whether it was in accord with my everyday listening habits or not — over the last three days, grateful to Jens for having me over, for Falk watching out for me in the photo pit, to Alex, Marcus, Jamie, and Basti for the rides, and to you for reading any of it if you did. As she often is concerning a wide variety of subjects, The Patient Mrs. was right to give me the push out the door I needed. Such as I’m a duck, I’m a lucky one.

If I have time, I’ll do kind of an epilogue tomorrow, if not, probably Friday, which is probably what I’d prefer to allow for a little actual-processing/distance. We’ll see. Either way, thank you again. More pics after the jump.

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Bear Stone Festival 2024 Completes Lineup; Kadavar to Headline, 1000mods, Them Moose Rush & More Added

Posted in Whathaveyou on March 4th, 2024 by JJ Koczan

Thrilled to say I’ll be at this one. My flight is booked to Zagreb, and from there I’ll travel to Slunj for a couple days to hang by the riverside and cover the Bear Stone Festival, which has completed its 2024 lineup with the additions below. You can se Kadavar joining High on Fire in the headliner position, and as Greek heavy rock kingpins 1000mods add the fest to what will no doubt be another busy summer, they’re joined in this last announcement by a swath of bands representing Croatia’s local underground — Them Moose Rush, Muscle Tribe of Danger and Excellence###, and so on as you can see below — and others from Austria, Hungary, Italy, Bosnia and Herzegovina, and Poland. It’s like an international conference, and one which I’ll be honored to attend.

Not even going to pretend to know all the names listed below, but I’ve included the descriptions with the announcement in case you’d like to check them out as well as for my own reference to study up before departure. While I’m talking about it, thank you to Bear Stone for inviting me. I look forward to being in Croatia for the first time, seeing old and new friends, and of course being pummeled into oblivion by volume for a few days. It’s going to be quite a summer. Stay tuned, and thanks for doing so.

From the PR wire:

Bear Stone Festival 2024 Full Lineup Poster_Square

Bear Stone Festival 2024 Full Lineup Announcement

Ticket link: https://eventix.shop/cexrwn4b

Here it is, the full lineup for Bear Stone Festival 2024!

28 bands spread out across 3 stages with our festival veterans Sviraj!Jam taking over the Jam stage as always.

There will be a couple more surprises announced as we get closer to the festival, so make sure to stay tuned to our socials.

Standard festival tickets include parking and camping for the entire duration of the festival and they are available on our website and via Entrio. There will be no day tickets.

Get your festival tickets here: https://eventix.shop/cexrwn4b

KADAVAR (DE)

We are beyond happy to announce the legendary Kadavar as the second headliner of Bear Stone Festival!

Their meteoric rise began with the release of their debut album in 2012, followed by breakout records like “Abra Kadavar” and “Berlin”, which earned them critical acclaim and chart success in Germany. With subsequent albums like “Rough Times”, “For The Dead Travel Fast” and their latest album “The Isolation Tapes”, Kadavar continued to evolve their signature sound while also establishing their own label, Robotor Records.

Known for their energetic live performances, Kadavar’s self-recording approach and unique production techniques ensure an authentic representation of their dynamic stage presence. Their riff-heavy sound resonates with fans of Hard Rock and Psychedelia alike, solidifying their status as pioneers in the modern Rock landscape.

1000MODS (GR)

Rising from smokey basements to packed arenas, 1000mods stands as Greece’s most successful rock band of recent decades. Their seminal album “Super Van Vacation” in 2011 revolutionised European rock with its heavy sound and vintage vibes, cementing their role as leaders of Greece’s Heavy Rock scene. With subsequent releases like “Vultures” and “Repeated Exposure To…”, they showcased remarkable songwriting skills and garnered critical acclaim, setting the stage for international recognition.

MUSCLE TRIBE OF DANGER AND EXCELLENCE (CRO)

Muscle Tribe of Danger and Excellence, born from the vibrant Zagreb Stoner scene nearly two decades ago, brings together top musicians from diverse backgrounds to create a potent blend of Rock and Metal.

With two albums and EP’s under their belt, the band’s latest release, a new EP titled “Call If You Need Anything Else” featuring three fierce tracks, solidifies their reputation for delivering energetic, no-nonsense rock with their thunderous frontman Domagoj Šimek leading the charge.

THEM MOOSE RUSH (CRO)

Them Moose Rush, though often likened to Mars Volta due to their specific vocals, carve out their own sonic niche with a blend of influences spanning from Mike Patton to Radiohead, resulting in a unique fusion of Prog, Noise, Math, Pop, and Stoner elements.

They are already notorious for their DIY art, inventive videos, and critical acclaim from outlets like Prog Magazine and Metal Injection, the band returns with their fourth studio album, “Zepaxia”, featuring 16 tracks, embarking on a European tour and gracing festival stages to promote their latest release.

BLITZPOP (AT)

Formed by Yves Krismer from Mother’s Cake, Pia, Arthur, and Kajetan from Motion Sick, Blitzpop emerges as a revolutionary, convention defying musical force with an ethos that transcends mere music and embodies a vibrant philosophy that resonates with contemporary social dynamics.

Their compositions echo the raw intensity of Dead Weather and Nirvana while forging a path uniquely their own, marking a bold new chapter in the realm of rock ‘n’ roll.

### (CRO)

### (pronounced by hitting a random object three times) is a band best described by instrumental guitar noise, feedback and pulsating lights. They are already well known in the Balkan underground for their DIY approach while avoiding a normal course of things, they have recorded and/or performed in abandoned ironworks buildings, roofs, lavatories as well as moved a whole studio to a squatted cinema.

Since 2013, this group of people have tried the best they can to harvest the silence of their small hometowns Sisak and Novska into a self-propelled world of video experiments, tinnitus and print stains on their fingers.

ZOLLE (ITA)

Zolle, the heavy rock duo comprised of Stefano on drums and vocals, and Marcello on guitars and vocals, defy conventional boundaries with their raw and intense sound, echoing the primal essence of existence.

Their latest album, “Macello”, delves into the complexities of human existence, exploring themes of ambivalence, contradiction, and paradox with unapologetic honesty. From the chaotic energy to moments of profound introspection, “Macello” invites listeners on a journey through the raw, visceral realities of life.

KAYLETH (ITA)

Formed in Verona in 2005, Kayleth draws inspiration from the Stoner/Desert Rock sounds of Kyuss, Monster Magnet, and 37005, infused with space influences. Over the years, they’ve self-produced several EPs, evolving their sound to incorporate space/psychedelic landscapes, culminating in the release of “Space Muffin” in 2015 under Argonauta Records.

With successful albums like “Colossus” and “Back to Earth”, Kayleth continues to captivate audiences, earning praise from both critics and fans alike, eagerly anticipating their forthcoming album slated for Spring 2024.

STONETREE (AT)

Emerging from Austria, Stonetree delivers a potent blend of riff-oriented Heavy Rock, characterised by explosive instrumentation, dynamic vocals, and polished production. Formed in 2016 following the disbandment of Machine Zoo, they’ve honed a distinct style fusing elements of Alternative Rock, Grunge, Stoner Rock, and Prog Rock, showcased in their debut album ‘”The Tempest” (2017).

Renowned for their energetic live performances staged from “Evertruck”, an old Volkswagen van transformed into a live stage, the trio has continued to innovate, releasing EP’s like “VOID FILL” and “VOID FILL 2” during the pandemic, setting the stage for their upcoming EP “VOID FILL 3”.

ENTROPIST (CRO)

Entropist is a Rijeka-based trio whose musical oeuvre spans through Instrumental Doom with nuanced influences of Space, Psychedelic, and Post-Stoner Rock, reflecting their diverse musical palette and harmonious fusion.

Their low-key approach and affinity for a bold, robust sound turns their live performance into a must-see experience of their sonic ethos. While carefully balancing diligence with patience amidst the pandemic’s challenges this trio dedicatedly crafted a commendable debut album which, in their own words, is best experienced live.

ACIDSITTER (PL)

AcidSitter are a vibrant musical collaboration, uniting seasoned Psych Rockers from Poland and Japan, headquartered in Krakow, where they delve into a diverse spectrum of psychedelia fueled by Rock ‘N’ Roll fervour and Punk vitality. Having graced stages at renowned festivals such as Red Smoke and Soulstone Gathering, and even embarking on a brief tour alongside King Buffalo, they’ve solidified their presence in the live music scene.

Their latest album “Make Acid Great Again” represents an exhilarating journey through dreamy, spacey realms intertwined with a solid Rock core, evoking a uniquely grounded yet fuzzy sensation akin to stepping into a new Earth.

MISERY CROWN (BIH)

Originating from the picturesque city of Bihać, Bosnia and Herzegovina alongside the scenic river Una, Misery Crown emerged in 2012 as a Southern/Sludge/Stoner band with influences from genre pioneers like Down and Crowbar, evident in their debut album “When North Meets South” released in 2013.

Evolving their sound with subsequent EPs “One Stone” and “Northern Wind”, Misery Crown balanced homage to genre roots with a quest for originality, culminating in a performance at Croatia’s Bear Stone Festival, marking their debut in the country’s vibrant music scene.

VAN MANAKIN (AT)

Van Manakin, a Vienna-based instrumental duo formed in 2020, has been crafting music together for nearly a decade, channelling their daily experiences into their jams and performances.

Creating wild and energetic soundscapes in their natural habitats, the rehearsal room and the stage, Van Manakin’s music is a cathartic blend of Post-Rock, Stoner Rock and Progressive Rock with hints of Metal and Funk, inspired by the panamanian bird of paradise known for its lasting friendships, creative sounds, grooves, and mesmerising moves.

AZUTMAGA (HU)

Azutmaga, a Budapest-based instrumental stoner rock duo, embarks on a sonic journey marked by climbing riffs and tribal rhythms, interspersed with improvised departures. Founded in 2019 by Patrik Veréb and Martin Várszegi, their music is a meditative massacre, blending psychedelic elements with the raw energy of Stoner Rock.

https://www.instagram.com/bearstonefestival
https://www.facebook.com/bearstonefestival
http://www.bearstonefestival.com

Bear Stone Festival 2024 Spotify Playlist

Bear Stone Festival 2023 Aftermovie

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Desertfest Oslo 2024 Announces Initial Lineup

Posted in Whathaveyou on November 2nd, 2023 by JJ Koczan

Desertfest Oslo banner

Set across two days from May 10-11, the inaugural Desertfest Oslo has made its first lineup announcement, with German heavy rock magnates and now-four-piece Kadavar at the top of the thus-far bill with Monolord as the Swedish riff-huffers apparently will look to return to the road next year. Not a ton of names, but you’ll note those and a few other Desertfest veterans in Acid King and The Brant Bjork Trio (who obviously haven’t played Oslo but have appeared elsewhere under the Desertfest banner), as well as Norway’s own Full Earth, Bismarck (new LP in 2024?) and Agabas rounding out the initial salvo in representing Oslo and the surround country’s vibrant and varied native underground.

A bit of behind-the-scenes fun here as well. This past weekend in Oslo was the annual Høstsabbat Festival, and part of the team behind that event held each year at the Kulturkirken Jacob is also involved in putting together Desertfest Oslo 2024. So after no doubt working on the two at the same time, they’ve now finished one event and almost immediately begun announcements for the next. This is the cycle of festival seasons in Europe now, and that team is not the only crew in the heavy underground with more than one multi-day lineup in progress at the same time.

There are more names to come — certainly Norway has a ton of bands; I’d be surprised if Norna didn’t get added, and Slomosa seem like an absolute must — but there’s time for such things and tickets are on sale in the meantime if you’re either up for making early travel plans (I am) or just looking to spend a bit of cash. It will be interesting to see how this complements Desertfest London and Desertfest Berlin as those two begin their announcements as well for next Spring. Going to be a busy season, I think, but most are.

From social media:

desertfest oslo 2024 first poster

Finally! (#127797#)

It´s time to reveal the first band announcement for the first Scandinavian Desertfest edition ever.

And man, what a start!

We are more than thrilled to present this first batch of bands, including massive Desert-legends such as Acid King and Brant Bjork Trio, the ultra riff-worship from Monolord, German groove-excellence from the lords in KADAVAR, and steaming local talent from Agabas and Bismarck, and to top it off, the new outlet spawning out from wünder-group Kanaan, Full Earth!

This weekend in May will treat you with the best of the best, leaving no amps unturned(#128293#)

Ordinary tickets out now!

More to follow soon..

https://www.facebook.com/desertfestoslo
https://www.instagram.com/desertfest_oslo
https://www.desertfest.no/

Kadavar, Live in Bremen, Germany, April 16, 2023

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Freak Valley Festival 2024 Makes Second Lineup Announcement

Posted in Whathaveyou on October 19th, 2023 by JJ Koczan

I wrote part of the second announcement from Freak Valley Festival 2024 just yesterday, as it was a surprise that the batch of bands being added were all ready to go at some late notice. Not to say I mind, just that this is all pretty fresh in my head. Apparently Amyl and the Sniffers are big enough to come from Australia and headline in Germany, which is news to me, but that’s cool and something different is welcome alongside such familiar entities as Monolord and Kadavar and 1000mods.

There’s a lot here I’m looking forward to seeing, even just having caught Kadavar in August. With Douwe from Splinter having been in Death Alley, it’ll be great to see him again, and to witness bands like SlomosaGodsleep, Daevar and Fuzzy Grass is to look at where European heavy rock is headed. The answer to that question, incidentally, is “everywhere.” With riffs.

The sentences with the bands are mine, and I did a little work on the second paragraph with the memories and all that. And you know the only reason I mention it is because I’m trying to keep track for myself however many years from now.

Dig:

freak valley 2024 poster sq second

(#127928#) Freak Valley Festival 2024 Lineup Announcement (#127928#)

Freak Valley 2024 is set for May 30 – June 1.

Get ready to rock your world at Freak Valley Festival 2024! We’re thrilled to announce an epic lineup featuring some of the hottest acts in the international underground. Join us for a weekend of nonstop music, unforgettable vibe, and memories waiting to be made.

(#129304#) Bands you can’t miss:

(#127908#) Amyl and The Sniffers: Coming all the way from Melbourne, Australia, these raucous punkers will shake things up for sure. What, you thought it was all going to be meditative heavy prog-psych?

(#128293#) Kadavar: They’re only one of the best bands of their generation. No introduction needed. Welcome back Kadavar!

(#128165#) Godsleep: These Athenian aural adventurers release ‘Lies to Survive’ earlier this year and absolutely blew us away with their scope and songwriting. Up next: see how they do it in-person! Can’t wait.

(#127775#) Deathchant: Shredding at the place where classic rock and heavy metal meet, Deathchant are a well kept secret until you see them and can’t shut up about how good they are.

(#127926#) Splinter: Hot on the heels of their second album ‘Role Models,’ Splinter foster roughed-up vintage glam heavy and from “Velvet Scam” to “Forbidden Kicks,” it’ll be a party second to none when they hit the FVF stage for the first time.

(#128266#) Here’s the star-studded lineup:

Monolord – 1000mods – Dÿse – Slomosa – Alex Henry Foster – Mouth – Speck – Demonauta – Full Earth – Fuzzy Grass – Daevar

All killers, no fillers. That’s how we do it, freaks. Get your tickets now because they’ll be gone before you know it.

Don’t miss the chance to be part of the ultimate music experience. Mark your calendars for Freak Valley Festival 2024 – it’s going to be legendary!

Stay tuned for more updates. Let’s rock!

https://www.facebook.com/freakvalley
https://www.instagram.com/freakvalleyfestival/
https://twitter.com/FreakValley
http://www.rockfreaks.de/
http://www.freakvalley.de/

Kadavar, “Die Baby Die” live at Sonic Blast Fest 2023

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