Norwegian heavy progressive rockers Kosmodome are set to release their second album and first for Stickman Records, Ad Undas, tomorrow, Oct. 11. With it, they expand on the proggier side of their 2021 self-titled debut, as opener “Neophobia” — also the longest track (immediate points) at 8:41 — finds the band led by brotherly duo Sturle Sandvik (guitar and vocals) and Severin Sandvik (drums and vocals) prioritizing scope with an expanded reach in psychedelia and krautrock, guitar and vocals matching melodically in “Hyperion” in a way that leaves the listener less sure which is following which, and Ole Andreas Jensen‘s bass and Erlend Nord‘s guitar add to the sense of motion as “Hyperion” embarks on its purposefully-understated chorus for the second time.
“Obsternasig” ultimately works in a similar style of folk-informed classic heavy prog, but as Kosmodome subvert the longest-song-last genre norm (among others; that’s part of the idea here) and put “Neophobia” and “Hyperion” at the start, “Obsternasig” and the space-rock shoving “Dystopia,” which follows, can breathe as a result of “Neophobia” having already provided a summary of Ad Undas‘ scope. It doesn’t necessarily account for the sci-fi drama of “Dystopia” — which of course is about now — or the taut twists and jabs of “Turmoil” that writhe around subdued, sad verses, but focusing on immersion early lets Kosmodome have the flexibility later to bring disco-era funk into the bass and keys of “Turmoil” and to harness and subsequently blow up a slog in “Fatigue.”
It is in the patterning of the vocals on the intricate rhythms of the guitar (or vice versa) and in the patience of their execution that Ad Undas most displays the growth in Kosmodome‘s sound. I suppose in a word that would be “songwriting.” Fine. Kosmodome was hardly rushed, mind you, but the guitar is a little more willing to leave space around it, a little less busy at least on the outward impression, and when they launch into the jam on “Neophobia,” they sound like they’re there for a reason. And it’s true that you don’t get that in the same way on “Obsternasig” or “Fatigue,” but that’s because Kosmodome are making their songs with more than one purpose. On Ad Undas, each track feeds into the overarching flow and adds something new to the proceedings without taking away from what came before.
In this way, Kosmodome are able to foster a sound drawing from prog, psych, classic heavy, boogie rock and other various microgenres well served by the unhurried nod with which “Fatigue” is resolved, but not tethered to that nod as a crutch for songwriting that lacks variety or diversity among its influences. Kosmodome might dig on some heavy grooves, but there’s more happening in the songs than a riff parade, though parades are fun and if there was one, the ending of “Fatigue” would probably let you go. It wouldn’t be fair to call what they’re doing revolutionary, since homage is a part of the aesthetic, but Kosmodome‘s prog has character and charm beyond being well composed and executed, and one hopes the band continue to dive into their work with such individualism as their goal.
Ad Undas streams in its entirety on the player below, followed by more info from the PR wire.
Please enjoy:
The brainchild of the two Sandvik brothers, Sturle on guitars and vocals, and Severin on drums, Kosmodome’s music is riff-based rock with stoner elements all of which are placed within a progressive universe to great effect. Together, the duo bridges the gap between the explosive drive of bands such as Mastodon with melodic magic and retrospective, clever songwriting.
Hailing from Bergen, Kosmodome’s astonishing debut album from 2021 heralded the arrival of a melodic progressive powerhouse of a different stripe. While endlessly groovy, the band sidesteps the stoner genre by virtue of their sheer creativity, crafting extremely catchy but still unpredictable tracks topped by excellent vocals. With an explosive drive in which the melodious contrasts the hard and heavy music, Kosmodome came to blow minds with their psychedelic sounding, 60s atmosphere-coloured rock!
In recent years, the band has reached out beyond the Norwegian west coast and is now ready with their second full length album “Ad Undas”. On this album, they are less confined by genre expectations, but still sound like Kosmodome. Growing up with all types of music genres in a musical home from world music to metal is something the songwriting reflects.
Musically the record shows what else lives inside the progressive universe Kosmodome are building, where one/the goal is to avoid being stuck in genre expectations. Seeking a more dynamic and melodious sound than earlier, the songwriters – brothers Sandvik, but appearing as a stellar four piece live band – still deliver an album with heavy riffs, aggressiveness and many surprises.
Lyrically it delves into personal struggles with self-doubt, the pressures of societal expectations, and the existential battles of modern life. The songs touch on different aspects of the human condition, from the fear of failure and the need for growth to the turmoil of modern living and relentless self-exertion in a chaotic world. Ad undas is a Greek term meaning “to the waves”, but in Norway it is used as an expression when everything goes “to hell” or fails (everything goes south).
Kosmodome have played concerts on different stages in Norway and abroad, and are ready for more live performances after a studio hiatus in 2023 working on their much-awaited, second album, “Ad Undas” , set to be released on Stickman Records on October 11, 2024!
Posted in Whathaveyou on September 5th, 2024 by JJ Koczan
Admittedly, what I have to say about Høstsabbat 2024 hasn’t changed all that much since the Oslo-based festival’s last announcement, and that boils down to: the lineup is sick, it’s always a great time, I wish I could go. If you want to skip the rest of my yammering and go straight to the blue text from Høstsabbat‘s socials, you’re not going to hear me tell you you’re wrong.
Four bands this week join the bill, and as the headline above states, it’s Tusmørke, Kosmodome, Häxer and Uma. I’ve seen the first two — caught Tusmørke at Roadburn earlier this year and they were the most fun of anybody while still also being good, and Kosmodome two years ago at Freak Valley and they also ruled; their new album is out Oct. 11 on Stickman — but Häxer and Uma are new to me, which as the announcement itself posits, is a good thing. You need new blood to mix with the old. Otherwise, what’s the point?
I won’t be there to catch them — have I mentioned how fucking bummed out I am not to be going to Høstsabbat this year? sit down, it’ll only take three hours or so — but you might. Høstsabbat is Oct. 25-26, and if you’re not familiar yet, the full bill-thus-far is below. Yeah, it’s cool. Just Inter Arma and Träd, Gräs och Stenar playing the same stage. Definitely the kind of thing you run into all the time. Not a special once-in-a-lifetime happening or anything. Totally pedestrian.
Fucking hell.
Anyway. Hope you skipped all this:
As Høstsabbat is getting closer by the day, preparations are in full swing.
To leave summer behind doesn’t feel that bad at all anymore.
Souls and minds are slowly gearing up for the annual assault of volume, goodtimes, fringes, beers and the needed, deadly amount of murderous, earth shattering rumble.
To welcome you, as the church bells chimes in honor of the Sabbat, we have invited the greenest of wizards, the weirdest of men – our long time acquaintances in Tusmørke.
Even though they are, for us at least, Høstsabbat heavy weights, they haven’t been featured on our festival lineup since 2013. Our very first year.
That’s some occult wizardry for you right there!
To balance these veterans, we obviously need some youngsters. Häxer has been flying high since there debut EP earlier this year, and it’s a no brainer to have their piercing energy transform to Witch Punk before our very eyes.
Another no brainer is the Høstsabbat introduction of Oslo based two-piece UMA. No strangers to any metal head with half a foot in the underground. They have crushed skulls with their progressive, neanderthal sludge for years albeit their young age.
Two guys, massive and intricate, growls and filth.
This time Høstsabbat will be their ritual.
To round up this batch of bands, we are excited to welcome what will probably be one of Norway’s hottest new acts in the coming years. Kosmodome from Bergen managed to score a record deal with the VERY magnificent label Stickman Records, and their label debut will be unleashed just in time for their appearance at Høstsabbat.
Kosmodome floats around in an intriguing sphere of proggy, lush, psych rock with some kind of updated flare to it. It’s almost catchy even.
We’re glad we are invited for ride!
Please welcome these four beautiful bands to our October gathering!
Posted in Whathaveyou on August 21st, 2024 by JJ Koczan
I was fortunate enough to see Kosmodome at Freak Valley Festival in 2022 (review here), and after taking on the melodic reach and conveying-slog-without-being-a-slog sensibility of their new streaming track “Fatigue” (yes, it’s at the bottom of the post), I’m curious as to the spaces in which their upcoming second album, Ad Undas, might dwell. Proggy, weighted tonally but not so heavy they can’t give it a shove and have it move, the track heralds complexity and clarity of purpose in kind, and although I’m pretty sure the news they signed to Stickman came out while I was traveling a couple weeks ago (at least I thought it did) through social media, the PR wire makes it official with more details and, of course, the song itself.
Anybody notice Stickman‘s ongoing roster build? Yeah, you’ve got the Elder-adjacent stuff like Delving and Weite, but consider Full Earth, Temple Fang, Iron Jinn and Slomosa (who I think are still releasing through Stickman in Europe despite signing to MNRK Heavy in the US). Kosmodome push the label’s breadth into next-gen prog-psych even further, adding to the sphere while reaffirming their own intentions. If you can dig it — and you can; I believe in you — “Fatigue” waits below.
From the PR wire:
Norwegian Prog-Psych Rockers KOSMODOME Sign To Stickman Records & Release Album Details + Single From Upcoming Album “Ad Undas”!
Kosmodome, a rising star in the firmament of Norway’s flourishing prog music scene, have signed a deal with Stickman Records, who will proudly release the band’s sophomore studio album “Ad Undas” on October 11, 2024! The album pre-sale will start on September 6th.
The brainchild of the two Sandvik brothers, Sturle on guitars and vocals, and Severin on drums, Kosmodome’s music is riff-based rock with stoner elements all of which are placed within a progressive universe to great effect. Together, the duo bridges the gap between the explosive drive of bands such as Mastodon with melodic magic and retrospective, clever songwriting.
Today, the band is premiering a first single, the album closing track “Fatigue”, which Severin Sandvik describes as “a hard hitting song that captures the relentless grind — where every push feels like progress, but the weight of expectations and how you handle them pulls you under. It depicts the toll of constant striving and the need for balance in a hectic life. It’s the anthem of burning out, yet refusing to give up. Heavy psychedelic rock as well as progressive and stoner are genres that describe it.”
Hailing from Bergen, Kosmodome’s astonishing debut album from 2021 heralded the arrival of a melodic progressive powerhouse of a different stripe. While endlessly groovy, the band sidesteps the stoner genre by virtue of their sheer creativity, crafting extremely catchy but still unpredictable tracks topped by excellent vocals. With an explosive drive in which the melodious contrasts the hard and heavy music, Kosmodome came to blow minds with their psychedelic sounding, 60s atmosphere-coloured rock!
In recent years, the band has reached out beyond the Norwegian west coast and is now ready with their second full length album “Ad Undas”. On this album, they are less confined by genre expectations, but still sound like Kosmodome. Growing up with all types of music genres in a musical home from world music to metal is something the songwriting reflects.
Musically the record shows what else lives inside the progressive universe Kosmodome are building, where one/the goal is to avoid being stuck in genre expectations. Seeking a more dynamic and melodious sound than earlier, the songwriters – brothers Sandvik, but appearing as a stellar four piece live band – still deliver an album with heavy riffs, aggressiveness and many surprises.
Lyrically it delves into personal struggles with self-doubt, the pressures of societal expectations, and the existential battles of modern life. The songs touch on different aspects of the human condition, from the fear of failure and the need for growth to the turmoil of modern living and relentless self-exertion in a chaotic world. Ad undas is a Greek term meaning “to the waves”, but in Norway it is used as an expression when everything goes “to hell” or fails (everything goes south).
Kosmodome have played concerts on different stages in Norway and abroad, and are ready for more live performances after a studio hiatus in 2023 working on their much-awaited, second album, “Ad Undas” , set to be released on Stickman Records on October 11, 2024!
A lot going on as the festival and its many volunteers — designated by crew shirts from various years — get ready for the first full day. First band is on in about 70 minutes.
I crashed out hard last night after a vigorous round of nesting — pillows here, water bottle there, white noise on, window open to let cool air in, book loaded on tablet so I could look at words for about seven seconds before falling asleep, etc. — and woke up with the alarm at 10AM, which is only ironic because that’s 4AM at home and I might be up then on any given day anyhow. What jetlag?
Hydrated. Took ibuprofen, drank three cups of drip coffee and some assemblage of espressos — two doubles and then some — ate a protein bar and got my head right before coming back here. DVNE growling through soundcheck right now is hilarious. Not everyone can do that without music behind. Now singing clean in French. Chuckles from those lounging nearby.
The sun is out and there’s more of a breeze so far, though it will get warmer over the next couple hours. It doesn’t matter though. FVF provides places to be, whether it’s the seats on the side or this tent or the hammocks under the trees in back, and so on. People go, have a smoke, catch their breath, rest before the next thing. I am sitting in a chair, as opposed to a bench or on the ground. This itself feels like a novelty, and backstage has its own amenities, including bathrooms and places to fill your water bottle.
There are three more bands on the bill today than yesterday and the last of them is Pelican, which I hope will feel like a wonderful moment of arrival after the long stretch. But we’re in it now with doors open and the hangover soon to give way to new drunkenness. Folks went hard last night, and it wasn’t just Mr. Roomtwentynine. I’ll be interested to see how it goes once the music starts, which it will soon enough.
Notes on the day, taken as it happened:
DVNE
What a way to start the day. The largely uptempo UK post-metal outfit probably aren’t used to playing in sunshine, but all the better to see them obliterate. I’ve been lucky enough to catch DVNE live before, at Psycho Las Vegas a few years back (everything was a few years back), but the Etemen Ænka (review here) record that they put out between them and now brought them to a new level. They sound like a band who put work and conscious thought into the atmospheres they create — progressive in that way — and their clear desire to not do the same thing all the time, to distinguish themselves even among the crowded sphere of post-metal is something to deeply respect, all the more because they do it. And just when they seem to get all caught up in a mire of tense, complicated prog-metal noodling, that’s when they turn around and bash you over the head with a riff and if you can’t get down with that, why even have ears? Their sound goes as deep as you’re willing to follow it and on stage they back that cerebralness with due passion-derived force. Or, if you prefer the short version, this is a cool fucking band. I was surprised it wasn’t being filmed, but I guess one can’t have everything.
—
Supersonic Blues
Hey, guess what? Been a few years since I last saw Netherlands classic rockers Supersonic Blues. Shocking, right? Well, earlier this year they put out their awaited debut album, It’s Heavy (review here) on Who Can You Trust? Records, and man, that record is a burner. A boogie burner, even better. Seeing and hearing them play songs from it put them high on my list of anticipated bands for Freak Valley 2022, but that they played as a two-guitar four-piece and seemed to take a special jammy pleasure in doing so made them even more enjoyable to watch. You wouldn’t call them innovative — and that’s not intended as a slight, they’re actively trying not to reinvent the wheel — but their songs and vibes are tremendous fun. One of those bands who are mellow no matter how heavy they get, and who seem to find a sweet spot between ’70s grooves and a kind of laid back melodicism. There’s a part of me that hopes they never add a keyboardist and go prog — which is what a goodly portion of the bands who influenced Supersonic Blues ended up doing — but time will tell of their ultimate direction. Right now, and for the last five or so years, they’re a blast. A party that’s been waiting for you to show up. They brought their own drums.
—
Kosmodome
My first time seeing Kosmodone, whose name I’ve seen around a lot. I’ve played them on the Gimme Metal show before, but not really written about them, but they remind a bit of Hypnos 69’s warm prog, their stage arrangement such that the drummer/vocalist is off to the side rather than behind the guitars and bass, which is kind of where the keys are. They’re young, which means they can play prog without needing to stand still on stage and maybe have some Motorpsycho influence, and it’s hard to be really immersive when it’s broad daylight and still heating up, but whatever, it’s a good time. In the hills around there are hawks circling the woods, or maybe that’s the campsite, I don’t know. Either way, Kosmodome released their self-titled album last December and dedicated “The 1%” from it to all the children in the crowd, and yes, there are plenty of them and a few more clearly impending. I can’t imagine my family, my wife and son, would enjoy this — he might for a while but then would be trying to get on stage, she simply wouldn’t — but it would be an interesting experiment. Kosmodome came here from Bergen, Norway, and it occurs to me I have no clue how far away that is. Hard to get your bearings at a thing like this. But I know today’s Thursday, because that’s when Kosmodome played. They closed with “Orbit,” which also finishes the record, and I might have to buy this album now.
—
Les Big Byrd
Hell yes Swedish space rock. This was my first experience with Les Big Byrd — and they pronounced it “less” on stage rather than the French “lay” Big Byrd — but however you want to say it they brought trance groove to the hottest part of the day, riding motorik groove and a balance between songwriting and jamming with similar ease. As I’d never heard them, their synth-laced sound hit a laid back feel just right, and they also had a side-of-stage drummer, like Kosmodome, except on the other side, and he did backing vocals. They said they’ll have a new record out this Fall, and if I had any idea what month it is, I might know how far away that is from now, but at least I’ll know to keep an eye out for it. I’d dozed in the shade prior to their going on, my new hippie hat over my face, and they made easing back to full consciousness smoother than, say, Mondo Generator probably would. I chased down some coffee later in the set in the interest of remaining upright for the second half of the day’s lineup and they were done by the time I got back, but I’d watched a bit out front on the grass, people dancing on either side of me to the fluid sounds. I’ll take it.
—
Mondo Generator
Would you fuck with Mondo Generator? I wouldn’t. Seems like a good way to get punched. They’re like punk rock aggro taken to its natural extreme; a legacy of dirty, fucked up, angry — and in their case, heavy — rock and roll that is dangerous and in pursuit of danger as the end. Nick Oliveri doubles in Stöner with Brant Bjork these days, but it’s been nearly a decade since last time I saw Mondo Generator (review here) and they were a four-piece then, but they worked well as a trio. The rawer the better. Mike Pygmie I saw a few weeks ago playing with John Garcia at Desertfest New York (review here), but it’s been years since I watched the malleable Mike Amster bash away at a drum kit, and that was a pleasure as well. I don’t think I’ll ever be intense enough for Mondo Generator, but I’m honestly not sure anyone is. All the more reason to put Kyuss and Queens of the Stone Age songs in the set: no one’s gonna argue with “Green Machine” and “Thirteenth Floor,” or at very least no one here. Even when they slow down though, they’re mean, and after they closed with “Tension Head” into “Allen’s Wrench” and “Millionaire,” just to make sure everybody goes home happy after getting their ass kicked., the crowd called for one more and apparently they had time, so they threw in Queens of the Stone Age’s “Six Shooter” with Oliveri putting down the bass and just singing. That was a fun 90 seconds for sure.
—
The Atomic Bitchwax
Yay! If we’re being completely honest with each other, that’s about the extent of my depth of insight watching The Atomic Bitchwax right now. I’ll never claim to be impartial about this band, however many times I may be so fortunate as to see them or write about them, but they’re just one of the tightest heavy rock acts you’ll ever see. A couple weeks ago they absolutely flattened me at Saint Vitus Bar in Brooklyn (review here) and it was nothing but a joy. Similar set here, the lines about songs about Kung Fu and shouting out “Kiss the Sun” to the ladies, etc., but they tore into it and were a blowout and a blast and probably six or seven other adjectives that collectively round down to “quite exciting, indeed,” while also exuding glee at doing so, Bob Pantella, Garrett Sweeney and Chris Kosnik (who I’m starting to think of writing in for the upcoming US midterm congressional election) simply working at another level from just about everybody and giving Mondo Generator a run for their money without the same kind of aggression behind it. What a tour that would be. ‘Too Fast for Your Brain 2022.’ I know things are about to take a mellower turn, but these guys were the kick in the ass I needed heading into the rest of the night. A heartfelt fucking a, The Atomic Bitchwax. Thanks for the boost. And for “So Come On.” And that slowdown and speed up in “Shitkicker.” And the Deep Purple. Right on.
—
Toundra
After 9PM just now and still very light out. I guess that’s why I was disoriented last night, because night happened at a different time. Also the no sleep. I’ll admit to being relieved watching Toundra. I was expecting a big post-Bitchwax comedown, but that’s not at all what Spanish instrumentalists Toundra delivered. I’ve heard them before, written about them before, but as dug-in as their style is in that vaguely-My-Sleeping-Karma-ish progressive-meditative-sans-vocal heavy, they were jumping around on stage while they played it. It can be done! And even the dreamier stretches were given a push that was a perfect accompaniment to the richness of their tones and the lead guitar lines floating overhead. For a crowd who’ve largely spent already the last seven-plus hours drinking, or just for me who could use another coffee (perpetually), they were outright engaging to the crowd — very definitely a show — without giving up their progressive aspects. That’s not an easy thing to pull off, and they were treated with due respect by the crowd, I’m sure some of whom saw them here when they played in 2016. As I didn’t, I’m glad I’m seeing them now. If that makes me late to the party or whatever, fine. Story of my life. And yes, they had their “Stones From the Sky” moment. Someone in the back behind the lawn, by the merch and food, was burning incense. Balloons were being batted around until meeting their inevitable end. Kids sat on parents’ shoulders. Freak Valley could give classes in how to define heavy peace. Subsection on the syllabus for this set right now. How lucky I am to be here.
—
Endless Boogie
The app I use to order pizza just sent me a “hey you should order a pizza notification.” It’s like somehow it knew Endless Boogie were playing. It’s usually right anyway, and the theory applies here if not the logistics. Paul Major, center stage, guitar in hand, occasionally grumping into the microphone while grooving out — this is kind of a band you need to see live to understand. And they’re from New York. And I live in New Jersey. And I’ve seen them once before this. And it was in Europe. If you have a “go figure” file, that can go right in there. They’re hitting it though. As mellow as their records can be, and as only-on-their-own-clock as they come across, their material isn’t staid or unipolar. It’s a classic kind of dynamic and nothing fancy on paper, but if you want dig a band Endless Boogie are a band to dig, and that’s a compliment. What they’re doing on paper couldn’t be simpler — starting out and seeing where it goes — but what distinguishes them is their personality as players — and that’s not just Major either — and the conversing they do as they ooze through one movement to the next, one jam to the next. I’ll spare you wax poetics in the spirit of Manhattan concrete, but whatever they might have in common with whoever, they are their own thing. Once again, people are dancing, even bigger bubbles are being blown, and meanwhile the band is on stage ripping it up. They dedicated the entire last half-hour of their set to one song, a flowing jam with repeated cycles about smoking in the house that also magically became space rock. There really is nothing like a band who keep their word.
—
Pelican
I’m going to try to assemble a few coherent thoughts, but I can’t promise anything as regards making sense. What I didn’t realize throughout today was just how much it was building toward Pelican, and just how much the veteran Chicago instrumental four-piece were positioned as a culmination. They were the point of convergence. I’m not going to list the tie to each act, because why would I?, but as well as setting the course for an innumerable amount of acts in terms of their influence, they also kick a good deal of ass. That is to say, they’re a headliner on paper as well as in reality. I lost my left earplug right before they went on — I’d left my bag on the other side of the photo pit, and getting there was a journey; just trust me — but even with two full festival days left, I’m less distraught at the ringing in my ear with them as the cause than I might be other under circumstances. It got chilly after the sun went down, but I found a spot in back to watch them for just a bit before moving elsewhere and the swirling lights, the presence of the band on stage, the volume even after I replaced that earplug — staggering. I don’t even know how many times I’ve used the word “beautiful” in the last two days at Freak Valley, and this probably won’t be the last one either, but that’s really what it was. The end of a long day, people slouching with fatigue, booze, whatever. And then Pelican comes on and it’s this massive waveform of positive energy. A celebration, maybe. I don’t know, but it felt like resonant joy pushed through all that crunching tonality, all that hugeness of nod. Heart. In a universe where authenticity is a myth, Pelican communicate something essential — not quite primal, but not far off — for those ready to accept the invitation to hear it. That’s all. No big deal.
—
06.17.22 – Fri. – 10:54AM – Hotel
Liebe freunden — as the fellow says; it’s a kind of catchphrase for the fest and an appropriate, organic one — it occurred to me last night that I hadn’t had a meal since before I flew out on Tuesday, and that that last meal was composed entirely of Swiss cheese. So yes, breakfast. Some peppery eggs, assorted slices of cheese, coffee. The Karma to Burn of meals. Keep it simple as much as possible. Hydrate. I drank about half a liter of water per band yesterday. Take Advil. Sit down. Breathe to the extent that whatever allergy it is allows. Exist.
I’ve said a fair amount about the music so far, but the atmosphere here shouldn’t be neglected either. The spirit of the place, the green trees, green grass, yes. But also the kindness of the people. I was in the photo pit last night and someone up front in the crowd tapped me on the shoulder and said he probably wouldn’t be there if not for this site. I met a married couple (who’d gotten engaged at the festival in 2017) who were lovely and whose names I remember but won’t say, because, you know.
It’s not for me to be taking pictures of the crowd, of people who aren’t performing, who are there to hang out and enjoy themselves. It seems intrusive. But understand that, being here, the kindness of everybody I’ve met has been as essential as the music, as the setting. The people, the place, the thing. It is all the nouns, spiritually restorative.
Today I will pack a hoodie for the nighttime. Forgive me for being out of practice. I was burning yesterday afternoon and ended up buying a hat as well, so yes, you learn and relearn as you go. But strangers, friends, and strangers who become friends help along the way. Maybe not with showering — that I’ll do on my own — but the rest of it. As loud and raucous and go-go-go as it can be, it’s serene too. An existential butterfly landing on your nose. Just for a moment, I know. Two more days.
Today’s episode of The Obelisk Show on Gimme Metal is a tribute to and a look at the lineup for this year’s Freak Valley Festival, taking place next week in Siegen, Germany. Freak Valley has been hosting bands for over a decade and I’m proud to say that this will be my first year attending after many, many more wanting to do so, doing writing for the festival, etc.
Should probably point out even if I d don’t necessarily need to that this isn’t the full lineup of the festival, just as much as I could effectively pack into two hours while also managing to play a 20-minute Endless Boogie track. Could I have hunted out shorter cuts and maybe been able to fit another band or two? Probably, but it doesn’t feel like The Obelisk Show in my brain if it doesn’t end with a jam, so it is what it needs to be.
I should be in the chat this time if you want to say hi. I was doing live factoids about the bands for a while because the Gimme Bot doesn’t always know this stuff if it’s new, or weird, or not at all metal, and so on, but it just kind of got sad after a while so I stopped. Lesson learned.
Thanks if you listen, thanks if you’re reading. Thanks in general.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.
Full playlist:
The Obelisk Show – 06.10.22
Psychlona
Blast Off
Venus Skytrip
Fu Manchu
Strange Plan
Fu30 Pt. 2
Duel
Wave of Your Hand
In Carne Persona
Green Lung
Leaders of the Blind
Black Harvest
VT1
Red Fang
Wires
Murder the Mountains
The Midnight Ghost Train
Foxhole
Buffalo
Villagers of Ioannina City
Part V
Age of Aquarius
Pelican
Arteries of Blacktop
Nighttime Stories
Djiin
Warmth of Death
Meandering Soul
Toundra
Danubio
II
Geezer
Atomic Moronic
Stoned Blues Machine
Slomatics
Cosmic Guilt
Canyons
IAH
Naga
Omines
Kosmodome
Hypersonic
Kosmodome
Madmess
Rebirth
Rebirth
VT2
Endless Boogie
Jim Tully
Admonitions
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is June 25 (subject to change). Thanks for listening if you do.
Posted in Whathaveyou on March 11th, 2022 by JJ Koczan
I wanna go to Freak Valley 2022 so bad I can taste it. There’s so much to see here — this time adding Duel, Toundra, Psycholona and Kosmodome to the mix — and between Slomatics and The Midnight Ghost Train and Geezer, IAH, Temple Fang, Green Lung, Pelican, Supersonic Blues and Elder, never mind any of the actual headliners — fucking MONSTER MAGNET — it’s never been so urgent, my need to go to Siegen, Germany, this June. That’s three months from now. I’m working on it. I’m doing my best.
Talk about once-in-a-lifetime lineups. I’ve got friends playing this and people I’ve never actually met but have spoken to for over a decade. I’ve got a logo on the poster! Doesn’t that count for something. It’s The Obelisk and Rock Hardmagazine and Rockpalast. These people are fucking legends. I feel like I should be outside rattling the gate, begging my way in.
It may yet come to that. I wrote this announcement below, and there was originally another band included that got nixed last minute owing to some uncertainty, but still. Fuck this looks awesome. Let me go just this once. Let me get away with something.
To wit:
Freaks!
The world turns, the sky burns and we step up to bring you new additions to Freak Valley Festival this June!
We’ve been working diligently behind the scenes to bring you a safe and special fest to make up for our lost time together and we know you’ll dig the latest. Here goes:
Toundra
Marking their 15th anniversary in 2022, Spanish progressive instrumentalists Toundra will come back to Netphen with January’s ‘Hex’ album in tow. Released through InsideOut Music, the new record finds them as-ever honing their atmospheres between heavy post-rock and heightened-consciousness psychedelia. They’re not quite like anyone else, and we know they’ll be welcome on our stage.
Duel
These marauding Texans return by popular demand after having hit Freak Valley in 2019 on their European tour. After experiencing last year’s In Carne Persona, however, we couldn’t be more stoked to have Duel back. We already know their live sets are rippers – exclusively – and they’ll be here in June with their most ferocious batch of songs yet. This is the kind of band you should be telling your friends about.
Psychlona
Speaking of, Britain’s continually emergent Psychlona were among the slew of acts originally booked for 2020. We’ve known ever since they did their livestream with us that they’d be back in-person as soon as possible, and we’re proud today to make it official. They’ve made their bona fides by word of mouth in classic fashion, and we can’t wait to get weird when they play.
Kosmodome
The end of the year is always crazy, but if you missed the self-titled record Norway’s Kosmodome released in December, it’s by no means too late to dig in ahead of checking them out at Freak Valley 2022. The duo from the proggy hotbed of Bergen hold fast to classic melodies and mindsets, but you’re never calling anything but forward-looking. We can’t wait to have them here for the first time.
And first or not, we can’t wait to welcome you all back to Freak Valley Festival in June! If it feels like it’s been forever, that’s because it has been.
Much love, Your FVF Crew
Still more to come!
Freak Valley Festival // No Fillers – Just Killers
of the guitar (or vice versa) and in the patience of their execution that Ad Undas most displays the growth in Kosmodome‘s sound. I suppose in a word that would be “songwriting.” Fine. Kosmodome was hardly rushed, mind you, but the guitar is a little more willing to leave space around it, a little less busy at least on the outward impression, and when they launch into the jam on “Neophobia,” they sound like they’re there for a reason. And it’s true that you don’t get that in the same way on “Obsternasig” or “Fatigue,” but that’s because Kosmodome are making their songs with more than one purpose. On Ad Undas, each track feeds into the overarching flow and adds something new to the proceedings without taking away from what came before.
