Posted in Whathaveyou on March 6th, 2019 by JJ Koczan
Psycho Las Vegas 2019 has continued to defy press release-style convention and leak out bands one at a time for its lineup this August at Mandalay Bay on the Strip. I don’t think you need me to tell you this is going to be fucking off the wall, but consider it said anyhow. And it’s worth noting just how broad the latest batch of additions is. From post-rock kingpins Godspeed You! Black Emperor to a reunion for the perennially drummer-less Truckfighters to bringing Hangman’s Chair over from France with so-hot-right-now black metallers Devil Master to importing WarHorse for a non-Eastern Seaboard appearance — from what I hear, Terry Savastano (Grief, Come to Grief) will be playing guitar for this show as well — and lysergic soakers The Black Angels, it’s every bit as all-things-to-all-deviants as one could ask, and whatever stages these bands are actually playing on, you just know it’s going to be a win.
The images as posted by the fest follow here, along with what I’m pretty sure is the complete current lineup — if it isn’t, it’s certainly badass enough to cover it — and ticket info from the PR wire.
Dig it:
America’s rock ‘n’ roll bacchanal returns as PSYCHO LAS VEGAS brings its annual debauchery and unbridled volume to the Strip itself, with a move to the Mandalay Bay Resort and Casino that sets the stage for a Las Vegas Boulevard takeover, the likes of which have never been seen.
Lineup so far: Uncle Acid and the Deadbeats High on Fire Glassjaw YOB Perturbator Kadavar Oranssi Pazuzu Electric Wizard Fu Manchu Graveyard Truckfighters WarHorse The Black Angels Devil Master Godspeed You! Black Emperor Hangman’s Chair Amenra Deafheaven Old Man Gloom Clutch Power Trip Bad Religion Rotting Christ
Slated for August 16th through August 18th, PSYCHO LAS VEGAS 2019 will feature four stages, including the newly renovated Events Center, the iconic House Of Blues, the Mandalay Bay Beach, featuring a wave pool and lazy river, and an old-school Vegas-style Lounge smack dab in the middle of the casino floor. While all of the venues are located on the property, Mandalay Bay is connected by a complimentary tram service that provides easy access to affordable accommodations such as Luxor and Excalibur. Attendees will have access to discounted rates at all of these properties and other MGM hotels and resorts down the Strip.
The highly coveted “Psycho Special” passes, notorious for selling out instantly, are priced at $99, plus taxes and fees and go on sale Thursday, November 29th at 10:00am PST. Weekender General Admission passes are priced at $249, plus taxes and fees, and will increase to $299, plus taxes and fees, once the first tier sells out. Only 300 High Roller VIP passes will be sold at $499, plus taxes and fees, with package details to be announced in December. Single-day tickets will be available in the Spring at $109, plus taxes and fees. While the festival format will remain largely the same as previous years, the Thursday pre-party at DAYLIGHT Beach Club will be a more intimate event for attendees and will require a separate ticket from the festival pass. Tickets and more information available atVivaPsycho.com.
Posted in Whathaveyou on February 20th, 2019 by JJ Koczan
If we’ve learned anything at all about Psycho Las Vegas in the last few years, it’s that Psycho is gonna do its own shit its own way. It’s not about being the American Roadburn, or about being a non-suck Coachella. It’s Psycho Las Vegas. It’s its own thing, and to think otherwise is simply to have a mistaken impression. If you’ve been, you know this already.
It would seem to be in that spirit that where every other fest doles out its lineup either at once or piecemeal in a succession of announcements — trust me, I know: I write them — Psycho is once again doing its thing its way. With barely any text whatsoever, band posters have been trickling out through the Psycho Las Vegas Instagram, and if you’ve been paying attention, you’ve started to see some of the festival take shape. There was a first announcement way back in November, and I’m sure when it’s all said and done they’ll have more official word, but until then, it’s worth keeping your eyes open to see how it’s playing out. I’m trying to keep up as best I can.
To that end:
We’re upping the ante and taking this party to the strip. Join us August 16-18, 2019 at Mandalay Bay Resort and Casino for Psycho Las Vegas––featuring four stages, late night parties, and exclusive performances you won’t see anywhere else. Early Bird + Tier I tickets are on sale now atvivapsycho.com.
Lineup so far: Uncle Acid and the Deadbeats High on Fire Glassjaw YOB Perturbator Kadavar Oranssi Pazuzu Electric Wizard Fu Manchu Graveyard Amenra Deafheaven Old Man Gloom Clutch Power Trip Bad Religion Rotting Christ
America’s rock ‘n’ roll bacchanal returns as PSYCHO LAS VEGAS brings its annual debauchery and unbridled volume to the Strip itself, with a move to the Mandalay Bay Resort and Casino that sets the stage for a Las Vegas Boulevard takeover, the likes of which have never been seen.
Slated for August 16th through August 18th, PSYCHO LAS VEGAS 2019 will feature four stages, including the newly renovated Events Center, the iconic House Of Blues, the Mandalay Bay Beach, featuring a wave pool and lazy river, and an old-school Vegas-style Lounge smack dab in the middle of the casino floor. While all of the venues are located on the property, Mandalay Bay is connected by a complimentary tram service that provides easy access to affordable accommodations such as Luxor and Excalibur. Attendees will have access to discounted rates at all of these properties and other MGM hotels and resorts down the Strip.
The highly coveted “Psycho Special” passes, notorious for selling out instantly, are priced at $99, plus taxes and fees and go on sale Thursday, November 29th at 10:00am PST. Weekender General Admission passes are priced at $249, plus taxes and fees, and will increase to $299, plus taxes and fees, once the first tier sells out. Only 300 High Roller VIP passes will be sold at $499, plus taxes and fees, with package details to be announced in December. Single-day tickets will be available in the Spring at $109, plus taxes and fees. While the festival format will remain largely the same as previous years, the Thursday pre-party at DAYLIGHT Beach Club will be a more intimate event for attendees and will require a separate ticket from the festival pass. Tickets and more information available atVivaPsycho.com.
Posted in Whathaveyou on January 30th, 2019 by JJ Koczan
John Gist, who is the gentleman behind the promotional company Vegas Rock Revolution and the Planet Desert Rock Weekend festival getting ready to hold its second edition this May, has passion to spare. Passion enough to spread around and have plenty leftover. There’s a little bit of that guy-who-runs-a-fest urgency about him as well — as one would hope for such an event to be successful — but he’s someone who knows his rock and wants everyone else to know it too. The primary driver is passion.
Planet Desert Rock Weekend 2 ups its predecessor this past November in terms of ambition. With a third headliner still to be announced, Gist will bring John Garcia back for a headlining spot and see the other go to Radio Moscow, who will play the first night at Count’s Vamp’d. In addition to this, he’s already got four — one, two, three, four — European bands on the bill in the form of Mr. Bison, Kaiser, Monsternaut and Green Desert Water, and to my knowledge none have played the US before. That’s a significant risk from a booking standpoint — those are good bands, but recall it took Truckfighters half a decade of laying groundwork for their first US tour — but there may indeed be more import acts added as well, since one way or the other, the lineup isn’t done.
Passion rarely is.
Info and links:
The time is near to start announcing Vegas Rock Revolution’s Planet Desert Rock Weekend 2 for May 16-19….
Desert legend John Garcia and 17 bands from all over the country …..very tightly selected lineups to showcase top bands from the long storied history of rock of heavy rock melded with hot younger acts. Oh yeah and cannabis is legal in Vegas !
The Lineup for Planet Desert Rock Weekend v2 so far is: John Garcia and the Band of Gold — Friday Radio Moscow — Thurs at Count’s Vamp’d Nebula Black Water Rising Ape Machine Thurs at Count’s Vamp’d The Watchers – Friday Red Stone Souls Sundrifter RIFFLORD Shotgun Sawyer Jason Walker and the Majestic 12
European Showcase Bands: MR.BISON Kaiser Monsternaut Green Desert Water
Only 300 tickets will be sold to this intimate show in one of the most premier rock clubs in the country. Count’s Vamp’d is owned by Danny “The Count” Koker from Counting Cars on the History Channel. All rock all the time and very good food also. Unique cool environment!
Posted in Whathaveyou on November 29th, 2018 by JJ Koczan
Well, I hope Uncle Acid are playing the pool. Today, to mark the on-sale date for early-bird tickets, Psycho Las Vegas has unveiled what it’s calling its teaser lineup. What does that mean? It means they’re just giving a taste of what’s in store, but in names like the aforementioned Uncle Acid, YOB, Kadavar and fest-regulars High on Fire, they’re also providing some reassurance of their commitment to underground heavy. This is the same festival after all that gave DVNE their first US appearance this year and did the same for Elephant Tree in 2017. Even as they change venues and effectively double the scale of the event, I would expect that ethic to hold firm.
So, more to come. And until then, seeing the likes of Oranssi Pazuzu and Glassjaw and Perturbator already on the bill also reaffirms the fest’s ongoing readiness to do whatever the hell it wants. Psycho gonna be Psycho.
Get your ass to Mars, and by Mars, I mean Las Vegas:
We’re upping the ante and taking this party to the strip. Join us August 16-18, 2019 at Mandalay Bay Resort and Casino for Psycho Las Vegas––featuring four stages, late night parties, and exclusive performances you won’t see anywhere else. Early Bird + Tier I tickets are on sale now atvivapsycho.com.
Lineup so far: Uncle Acid and the Deadbeats High on Fire Glassjaw YOB Perturbator Kadavar Oranssi Pazuzu
America’s rock ‘n’ roll bacchanal returns as PSYCHO LAS VEGAS brings its annual debauchery and unbridled volume to the Strip itself, with a move to the Mandalay Bay Resort and Casino that sets the stage for a Las Vegas Boulevard takeover, the likes of which have never been seen.
Slated for August 16th through August 18th, PSYCHO LAS VEGAS 2019 will feature four stages, including the newly renovated Events Center, the iconic House Of Blues, the Mandalay Bay Beach, featuring a wave pool and lazy river, and an old-school Vegas-style Lounge smack dab in the middle of the casino floor. While all of the venues are located on the property, Mandalay Bay is connected by a complimentary tram service that provides easy access to affordable accommodations such as Luxor and Excalibur. Attendees will have access to discounted rates at all of these properties and other MGM hotels and resorts down the Strip.
The highly coveted “Psycho Special” passes, notorious for selling out instantly, are priced at $99, plus taxes and fees and go on sale Thursday, November 29th at 10:00am PST. Weekender General Admission passes are priced at $249, plus taxes and fees, and will increase to $299, plus taxes and fees, once the first tier sells out. Only 300 High Roller VIP passes will be sold at $499, plus taxes and fees, with package details to be announced in December. Single-day tickets will be available in the Spring at $109, plus taxes and fees. While the festival format will remain largely the same as previous years, the Thursday pre-party at DAYLIGHT Beach Club will be a more intimate event for attendees and will require a separate ticket from the festival pass. Tickets and more information available atVivaPsycho.com.
Posted in Whathaveyou on November 14th, 2018 by JJ Koczan
Psycho comes to the Strip for the first time. The Las Vegas-based festival has made its preliminary 2019 announcement and put out word that it will relocate from the Hard Rock to Mandalay Bay, add another massive venue and double the amount of tickets sold. This is now a major US festival. What began as Psycho California with a skate ramp or whatever it was has now put itself in an entirely different echelon of events. And they’ll no doubt have the lineup to stand up to that.
I love the tag “America’s rock ‘n’ roll bacchanal.” Love it. It captures so perfectly what Psycho Las Vegas does, the odd spirit of the fest and the coming together of different worlds between the weirdo longhairs and the town of Vegas itself, so propped up by ideas of glamour and wealth. I helped write the press release that’s coming out sooner or later, but I didn’t come up with that tagline. I wish I had.
There are still lots of details to be announced about the stages and all that stuff. I’ve heard some of what’s going to happen, and it’s kind of staggering, so keep an eye out. Those worrying about the beach need not be concerned. I’ll say that.
The lineup hasn’t come through yet either, but is slated to later this month. If it’s December, that wouldn’t necessarily be unexpected, but you can pretty much figure it’ll be a beast when it does. After all, they’ve got all those extra tickets to sell.
More to come, of course:
PSYCHO LAS VEGAS 2019 To Take Place At Mandalay Bay Resort And Casino August 16th – 18th; Tickets Available On November 29th
America’s rock ‘n’ roll bacchanal returns as PSYCHO LAS VEGAS brings its annual debauchery and unbridled volume to the Strip itself, with a move to the Mandalay Bay Resort and Casino that sets the stage for a Las Vegas Boulevard takeover, the likes of which have never been seen.
Slated for August 16th through August 18th, PSYCHO LAS VEGAS 2019 will feature four stages, including the newly renovated Events Center, the iconic House Of Blues, the Mandalay Bay Beach, featuring a wave pool and lazy river, and an old-school Vegas-style Lounge smack dab in the middle of the casino floor. While all of the venues are located on the property, Mandalay Bay is connected by a complimentary tram service that provides easy access to affordable accommodations such as Luxor and Excalibur. Attendees will have access to discounted rates at all of these properties and other MGM hotels and resorts down the Strip.
PSYCHO LAS VEGAS is unmatched in its level of presentation and 2019 promises not only a bigger and better festival but the experience of a lifetime. Anything goes. All bets — aside from the actual ones in the casino — are off. And if you think you knew what to expect, you’ve obviously never made the trip. Heralded as the vacation destination for those who worship all that is rock ‘n’ roll, PSYCHO LAS VEGAS’ move to Mandalay Bay is a monumental milestone in the growth of the event. The resort is one of the crown jewels of MGM Resorts International and is home to over 3,000 affordable rooms, nine bars and lounges, and 24 restaurants. Occupying 120 lush acres of land on the Strip, the world-class property defines grandeur in every sense of the word while still providing a sense of seclusion that is necessary for the PSYCHO-takeover that fans have come to expect. Make no qualms about it, PSYCHO LAS VEGAS 2019 will usher in a new era of spectacle, performance, and production.
The highly coveted “Psycho Special” passes, notorious for selling out instantly, are priced at $99, plus taxes and fees and go on sale Thursday, November 29th at 10:00am PST. Weekender General Admission passes are priced at $249, plus taxes and fees, and will increase to $299, plus taxes and fees, once the first tier sells out. Only 300 High Roller VIP passes will be sold at $499, plus taxes and fees, with package details to be announced in December. Single-day tickets will be available in the Spring at $109, plus taxes and fees. While the festival format will remain largely the same as previous years, the Thursday pre-party at DAYLIGHT Beach Club will be a more intimate event for attendees and will require a separate ticket from the festival pass. Tickets and more information will be available atVivaPsycho.com.
Posted in Whathaveyou on October 11th, 2018 by JJ Koczan
He’s doing one US gig and he’s making it count. John Garcia will appear with his Band of Gold on Nov. 29 on the Vinyl stage at the Hard Rock in Las Vegas. He did a show in Calgary earlier this year, but so far as I know, this is it for US appearances for the time being. Joining desert rock’s most pivotal frontman are Death in Pretty Wrapping, featuring Garcia‘s Unida bandmate Arthur Seay, and Luna Sol, with Garcia‘s Hermano bandmate David Angstrom, as well as Garcia‘s former Kyuss/Vista Chino bandmate, Nick Oliveri.
It’s set to be a career-spanning show, as Garcia‘s former bandmates will join him on stage for songs from their respective outfits — Garcia notes in the video below that members of Slo Burn will be on hand for the occasion as well — and one can also expect new tunes from John Garcia and the Band of Gold, whose debut album is now completed and expected to release sometime soon on Napalm Records. Will it be out in time for this show? I doubt it, but probably concurrent to Garcia‘s impending European stint early next year. If you’ll recall, that run was rescheduled to Jan./Feb. to allow for their studio time. If the photo of Garcia and Kyuss producer Chris Goss (also Masters of Reality) posted on social media means they collaborated on the album, then yeah, I’d call that worth putting off some shows. Working toward the greater good, and all that.
The show is presented by Vegas Rock Revolution and the following came down the PR wire:
John Garcia & The Band of Gold Announce Special Las Vegas Show
Desert Rock Master John Garcia & The Band of Gold have announced a special once in a lifetime show, set to take place on Thursday November 29th in Las Vegas, NV at Vinyl in The Hard Rock Hotel & Casino. The Band of Gold features (Ehren Groban on Guitar, Mike Pygmie on Bassand Greg Saenz on drums). This will be the band’s only North American appearance this year and will be a night, not to be missed.
Support on this special evening will come from bands that have a played a role in Garcia’s legendary career including Nick Oliveri, Luna Sol (featuring Dave Angstrom of Hermano) and Death in Pretty Wrapping (featuring Arthur Seay of Unida). Fans can also expect to see additional special guests from Garcia’s bands from over the years.
All of the band’s and Garcia’s friends cannot wait to play this show:
“Johnny rocks. All of his band’s rock. We all know that he’s a monster …but having John as a friend is really amazing to me. He’s such a great guy, father, husband, bandmate and brother. His vocals rock me to the core …they always have. I can’t wait to hang and share the stage with Johnny and the onslaught of monstrous players and characters joining forces in Vegas on Nov 29th. It’s going to be a throw down, for sure…my ears are already ringing. Let’s bring the rock!” says Dave Angstrom
Stay tuned for more news from John Garcia & The Band of Gold, and see if you can begin to the put the puzzle together for yourself…
My cab driver on the way over here was from Athens, a retired cargo-ship captain whose pension got taken back from him and who’s been in the US for eight months. I talked up the Greek heavy rock scene to him and apologized for the weirdness of the times here. He said, “I think America is the best country,” and compared it to Albania, where he said it’s harder to make a living. When we got to the terminal, I gave him a good tip and wished him good luck.
Maybe it was a story he tells everybody. Maybe he made it up. Whatever. I like a story.
Flight is in about an hour. My original reservation said I was flying to Houston. When I checked in this morning with my magic confirmation number, it was San Francisco. Vegas to San Fran to Boston. I’ll get into Logan in about 13 hours, reportedly.
Before I close up the laptop so I can sit anxiously here at Gate D58 and wait for boarding to start, as though my staring would somehow expedite this process — shout to Steve Murphy, who’s seen this in action — I have to say thanks. Thanks to you for reading and for your support and just everything. I was overwhelmed this weekend at the kindness of everyone who came up and said hi, people who knew the site and others with familiar names from the social medias who introduced themselves. Bands I’ve written about and bands I should’ve written more about, and everybody else. It was incredible. Thank you.
Thanks to Evan, Ronnie, Jay and everyone else from the Psycho crew for having me out here. It was a festival unto itself. The big Psycho comparison point is European festivals, the Desertfests, Roadburn, etc. Psycho is its own thing.
Just like American bands and European bands trading influence back and forth across the ocean, Psycho is the start of that conversation from this side of the world. It’s not the first US heavy fest by any stretch, but it might be the first on this scale, and all weekend rumors were circulating about venue changes and even bigger things for next year. Should be interesting.
But thank you. Thank you to The Patient Mrs. for running point on The Pecan and allowing me to be here. I’ve had a couple trips fall through this year and this was one I was glad to make.
When I get back it’s time to knuckle-down for Fall. The Patient Mrs. starts a new semester of teaching right after Labor Day, and that means I’ll be doing my share of daddytime in a way that this weekend I most definitely was not. He’ll be 10 months this Friday. First steps accomplished last Wednesday. Three teeth, fourth coming in. Dude is killing it, and if you didn’t see it, that Vol. 4 cover made by the esteemed Slevin is album art of the year as far as I’m concerned.
They just delayed my flight, so I need to run and find out what that does to my connection. Maybe I’ll get to Houston after all. Here’s to adventure. Thanks again for reading and all the best from wherever the hell I’m headed.
Posted in Features, Reviews on August 20th, 2018 by JJ Koczan
08.19.18 – Let’s call it midnight – Sunday night – Hotel room
Every time I walk down a long hotel hallway I think of John Goodman in Barton Fink toting his rifle and yelling about the life of the mind. “Look upon me!” and so on. That’s a fun association to have.
I had breakfast this morning at the kind-of diner here in the Hard Rock and it was the first meal I’d had in a while not made of a protein bar or granola and cereal. Not much time for that kind of thing, but I wasn’t sleeping and a little extra fortification seemed like the right idea for the final day of Psycho. No regrets.
Another busy day. There’s no letup here. Sets are full, and there are breaks between, but if you’re up for going, you can just keep going the whole day. It’s astounding. I’ve been doing my best to see as much as possible, but even that’s a fraction of the whole.
But, today was also the last day, so a bit of adrenaline to carry through is a fortunate happenstance. Flight’s early tomorrow, but that’s tomorrow’s problem.
Here’s today:
King Buffalo
It’s not like I’ve never seen King Buffalo, but I think they might’ve been my most-anticipated band of the weekend. Their upcoming album, Longing to be the Mountain, is a big step forward in their sound, and 2016’s Orion (review here) was already right up there with that year’s best offerings. They opened with the title-track of the new record and then “Repeater” from the 2018 EP of the same name (review here) before digging back to Orion for its own title-track and “Kerosene,” both of which were met with a relative uproar from the knowing Vinyl crowd. At one point early on someone in the audience shouted between songs, “Why are you opening?” and drummer Scott Donaldson answered, “I don’t know!” I don’t really know either, but Donaldson, guitarist/vocalist Sean McVay and bassist Dan Reynolds were a perfect start to the day, with the latter adding a wash of loops and psychedelic noise and transitional drones for between the songs, the build and fluidity of which were immersive in their totality. There was no moment that pulled one out of the atmosphere they set, and when the three of them locked into the heavier end of “Kerosene,” the room became a lake of nodding heads. I will consider myself lucky have seen them here. They made that room their own.
Indian
The Chicago four-piece — playing as a five-piece with Primitive Man‘s Ethan Lee McCarthy sitting in on noise and backing vocals — were probably the angriest act I’ve seen all weekend. Or, you know, ever. The assault factor extended not just to the brutality of what they played, the chest-vibrating volume at which they played it or the harsh noise and feedback that infected every single break between riff after punishing riff, but even unto the bright wash of white light under which they played. It was blinding to stare at the stage for any length of time. So it was a challenge on almost every level it could be short of them spraying skunk scent on the crowd or something like that. The rhythms of bassist Ron DeFries and drummer Noah Leger hit through a surge of low end and were punctuated by a kick drum that could almost turn the stomach, and the tortured, disaffected screams from guitarists Dylan O’Toole and Will Lindsay that cut through all that not-just-aggro-but-really-pissed-off morass were just one more level on which Indian‘s bleakness was conveyed. If King Buffalo were easing the crowd into the final day of Psycho Las Vegas 2018, Indian were making sure no one left without a scar. Menacing.
Coven
Legends, of course. What’re gonna do, not watch Coven? Of course not. Frontwoman Jinx Dawson arrived on stage in a draped coffin and was let out by robed minions, wearing a silver mask for the first song to obscure her face and underscore the theatrical cult rock vibe. Their 1969 debut, Witchcraft Destroys Minds and Reaps Souls is the stuff of cultish blueprint — the style simply wouldn’t exist in the same way without it — and Dawson and her also-robed backing band honored that legacy well. I’ve wondered as Coven have gotten back to the live performance sphere if they might ever do another record. I don’t know that they would or wouldn’t, or if they did what it would sound like — the band behind Dawson definitely brought a modern edge to those classic sounds — but it seems like a worthy pursuit. As it was, the crowd headbanged and took phone pictures at the same time and were no less into the revelry than Coven itself, which brought the atmosphere of ceremony in a way that reminded of the roots not just of cult rock, but black metal and doom and so much more besides. They’re a feelgood story for a band finally getting their due appreciation, or at least Dawson getting hers, but Coven on stage demonstrate the timeless vitality of what they did nearly 50 years go.
Black Mare
I had no idea what to expect from Black Mare, and I was still surprised. Was it just going to be Sera Timms singing over drones, or her and a drummer, or anything. I don’t even know. It was a full band. Timms, who’s probably best known at this point as the ethereal frontwoman of Ides of Gemini but who was also in Black Math Horseman and shared vocal duties with John Garcia in Zun — which I’m still hoping wasn’t a one-off — was joined by her Ides bandmate J. Bennett on bass, as well as a guitarist and drummer, and with a swell of volume behind her, she came out an held the entire Vinyl room rapt. There were moments between songs of actual silence. No talking, no nothing. People were just waiting to see what happened next. With a cloak and face mask that were both gradually discarded, Timms brought her otherworldly vocal approach to a kind of dark-psych lounge feel, almost like she was about to book a show at the bar in Twin Peaks. Atmosphere and tones alike were thick as this version of Black Mare called back to the project’s 2013 debut, Field of the Host (review here) to open with “Blind One” before “Low Crimes” from the split with Lycia (review here) and “Death by Desire” from last year’s Death Magick Mother (review here) seemed to move further and further into an alluring murk of melodies and ambience.
Enslaved
Well, Enslaved played “Ruun,” so really anything else that happened, basically ever, takes a back seat to that. It would be impossible for the Norwegian progressive black metal powerhouse to capture the entirety of their 14-album catalog and their 27-year career, and to their credit, they didn’t try. With “Isøders Dronning” and “Yggdrasil” from 1993’s Frost included for longtime fans or those who’ve dug in deep, they were free to explore some more recent material — opening with “Roots of the Mountain” from 2012’s Riitiir (review here) before “Ruun” and including “Sacred Horse” from 2017’s E (review here) in a showing of just how proggy they’ve become. This was my first time seeing Enslaved with keyboardist/vocalist Håkon Vinje — about whose relative youth bassist/vocalist Grutle Kjellson joked twice on stage — and he absolutely nailed new material and old. Wasn’t even a question. With him, Kjellson, guitarist/vocalist Ivar Bjørnson and guitarist Arve “Ice Dale” Isdal, who I don’t think even owns a shirt at all, was new drummer Iver Sandøy. I didn’t know Cato Bekkevold wasn’t with the band anymore after 15 years, but Sandøy made his presence felt on vocals as well and like Vinje, was right at home in the songs. I’ve never seen Enslaved that they didn’t totally deliver, and I’m happy to report that streak is still alive.
The Hellacopters
There are some serious fans of The Hellacopters walking around Psycho Las Vegas this year. Decked-out rockers, heavy-garage types, fucking classic drinkers, trouble through and through. Don’t fuck with those people. They’re the drunkard’s drunkards. Turbojugend jackets have abounded all weekend and it would seem to be The Hellacopters that brought them out. Fair enough. The Swedish rockers made The Joint get down like no one I’ve seen this weekend, and it was superlative. Superlative rock, as a genre. Lot of punk in there, lot of garage as well, but all of it was distilled down to the essence of rock and roll, and as guitarist/vocalist Nicke Andersson came out to soundcheck with the rest of the band, it was clear the room had been waiting for The Hellacopters to arrive. Andersson, keyboardist Anders “Boba” Lindström, guitarist/vocalist Andreas “Dregen” Svensson, bassist Sami Yaffa and drummer Robert Eriksson handed that same room its ass in short order. Good times, absolute forget-about-tomorrow-let’s-kill-it-tonight mentality, all-in, all-go, all-fire. Just right on. I’ve dug Hellacopters records and such as much as the next who’s like, “Yeah, that’s pretty cool, right on,” but seeing it live it’s much, much easier to understand why they have the cult following they do. It’s well earned.
Dreadnought
For everyone who could pull themselves away from The Hellacopters or for those to whom the straight-up rock wasn’t maddening enough, Denver’s Dreadnought offered an alternative in Vinyl. I’ve seen some impressive shit this weekend. It’s been a good fest, okay? Then I saw Dreadnought drummer Jordan Clancy one-hand cymbals while using his other hand to press the notes on the saxophone he was also playing at the same time. Dreadnought‘s 2017 album, A Wake in Sacred Waves (review here), was lush in its layers and as creative in its arrangements as it could be scathing in its blackened extremity, but I don’t think I’ve ever watched somebody drum and play sax at the same time. That’s a Psycho Las Vegas 2018 first for me. Guitarist/vocalist Kelly Schilling was playing a flute at the time as well, so he was in good company, and bassist Kevin Handlon and keyboardist/vocalist Lauren Vieira stood ready at a moment’s notice to take off into the next movement, be it Vieira and Schilling on a quick melodic duet, or strobe-accompanied blasting black metal, heads banging and screams utterly vicious. I didn’t stay the whole set, I’ll confess, but I was glad to catch what I did, and it only reinforced my opinion that they’re a band whose scope and execution are likewise admirable.
Sunn O)))
As it happened, I had a couple minutes to spare. As it also happened, drone/amp/riff-worship magnates Sunn O))) were going on in The Joint. Playing as just the duo of Stephen O’Malley and Greg Anderson, they were decked out in full grimmrobe regalia and surrounded of course by a henge of speaker cabinets. The floor shook, it was so loud. I hadn’t seen Sunn O))) in a very long time, and even longer with just the two of them — maybe never — so while the timing worked out for me to catch them because Vinyl was running late, it was a fortunate bit of happenstance working in my favor. There’s been so much said about the poetry of what Sunn O))) do that I’m in no way about to add any insight to the canon, but as far out as they’ve gone over the years and their intermittent studio albums, incorporating vocalist Attila Csihar and various other players throughout their time, seeing just Anderson and O’Malley together on stage, bathed in fog as ever (though the ventilation system was almost too good and the fog kept swirling away, needing immediate replenishment), reaffirmed the raw power that’s always been at the root of the band. Their project has outgrown being just the two of them, and I don’t think I’d trade the Sunn O))) discography for a hypothetical, but the force of rumble emanating from the stage said everything that needed saying.
Eight Bells
What a way to cap the festival. One more show in Vinyl, one more band I probably wouldn’t get to see otherwise. I was dragging to be perfectly honest, and as noted, Vinyl was running late, but screw it, I was already in, and Eight Bells were going to be worth the wait. The Portland-based space-psych-post-whatever four-piece vary in volume, meter, melody and rhythm, but are persistently spacious, and especially digging 2016’s Landless (review here), I was doubly interested to see Eight Bells since guitarist/vocalist Meylinda Jackson had a completely new lineup with her. Comprised now of Jackson, keyboardist/vocalist Melynda Amann, bassist Alyssa Maucere and drummer Brian Burke, the experimentalist side came out before the set even started in earnest, with Jackson taking some kind of voice box and running it through what seemed to be a host of effects to create a foundation of atmosphere. Drift was a factor, but Eight Bells were never actually out of control, and even for being a new group working together, what they played seemed well-honed and there was none of that awkward everybody-in-their-own-sonic-space-on-stage thing you get when a band is recently formed or revamped. I don’t have anything to compare it to in terms of Eight Bells, never having seen them before, but they held together a ranging heavy psychedelia that seems to be individualized no matter who’s playing it at the time.
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I fly out of Las Vegas in about eight hours. It’ll be brutal, but I’m pretty sure I’ll make it, and if not, well, there’s always ‘wandering the earth’ to try. I hear good things.
Tomorrow’s pretty much all travel, so unless I have space on the plane to open my laptop — which I sincerely doubt I will — I expect it’ll be Tuesday before I get a proper thanks-everybody post up to wrap up this coverage, so with pictures still to sort through and packing to be done, I’ll just bow out and say thanks for reading and more pics after the jump.
So… thanks for reading and there are more pics after the jump. Ha:
