Posted in Whathaveyou on October 30th, 2025 by JJ Koczan
Looks like a banger of a way to lose time for an entire weekend. Inhale the mountain air till you pass out, wheel yourself into Denver’s Bar 404 and set up shop for three days of curated heavy local and farflung (though not the band Farflung), find your bliss and if you’re lucky you might even remember it afterward. The first-ever HUFR Fest — gonna be more like a HUGR Fest by the time everybody’s done giving hugs — will launch with a bang. Looking for something without the same headliners you’ve seen a hundred times? Here’s an event digging into the underground for real and finding something to offer apart from the did-you-know-High-on-Fire-won-a-Grammy norm. I don’t even know Vashon Seed, but I’m keen to find out.
Okay I took two seconds and googled. Roots in Sub Pop pre-grunge Seattle noise, heavy punker approach, one record out in Sept. 2020 (hell of a time for a debut), find it below. See how easy and fun it can be to learn new things?
Six bands Friday, six bands Saturday, five on Sunday. Deer Creek seem to have dropped off, which is unfortunate, but there’s still nary a clunker to be found. If you go to this one, I hope it’s as much of a blast as it looks:
HUFR FEST: Mile High Riffs
April 24–26, 2026 | Bar 404, Denver, CO
The Heavy Underground Farm Report proudly presents HUFR FEST: Mile High Riffs, a three-day celebration of Colorado’s heaviest underground sounds. From stoner rock and doom to psychedelic and desert grooves, this festival unites local legends and national rising acts for a weekend of riffs, community, and fuzz-soaked vibes.
LINEUP Friday, April 24 Vashon Seed Hibernaut Violet Rising Lord Velvet Sonolith Lost Relics
Saturday, April 25 Psalm Momovudu Godzillionaire Luna Sol Blue Heron Cobranoid
Sunday, April 26 Nomestomper Black Sunrise Messiahvore Shadow of Jupiter Peach Street Revival
Posted in Whathaveyou on September 25th, 2025 by JJ Koczan
Mind you, I don’t know that the upcoming first-ever HUFR Fest in Denver is pronouncing itself as “huffer,” but I’m certainly happy to pretend they are either way. In any case, it stands for Heavy Underground Farm Report, which is helmed by Sean Patrick Brooks, and has been put together with the express purpose of showcasing the Mile High City’s homegrown fare alongside the regionally-imported strains of Blue Heron, Luna Sol, Psalm, Sonolith, Godzillionaire and others. It’s a classic-enough formula, and as missions go, there are few more honorable than pulling a crowd into a room and showing them a piece of the scene they’re standing in, whether a given attendee is from there or not.
However you want to say it, HUFR Fest in running three days is showing itself to be not at all without ambition this first time out. They’re calling it, somewhat inevitably, ‘Mile High Riffs,’ and given the largesse of some of these bands — I just heard Blue Heron‘s take on “Head Like a Hole” for the first time; good fun — that would seem to be the standard they’re applying. Looks like fun.
From social media:
HUFR FEST – Mile High Riffs
Denver, Colorado is about to get heavier. Created by Sean Brooks, Andrea Thomas-Brooks, and Zeth Pedulla, HUFR FEST – Mile High Riffs is a three-day celebration of stoner, doom, and riff-driven rock, happening April 24–26, 2026 at Bar 404 in the heart of Denver.
With 17 bands across the weekend, HUFR FEST brings the crushing weight of doom, the fuzzed-out haze of stoner rock, and the psychedelic grooves of heavy underground music to the Mile High City. More than just a festival, it’s a gathering for the heavy music community—fans, bands, artists, and riff worshippers alike.
Prepare for walls of sound, swirling smoke, and the kind of communal energy that only heavy music can create. Welcome to HUFR FEST – Mile High Riffs.
Posted in Whathaveyou on June 9th, 2025 by JJ Koczan
Ripplefest Mexico coming in hot with an inaugural lineup or this Dec. 6 and a bitchin’ three-eyed axolotl on the poster that puts me in mind of classic Simpsons with the triocular fish, but, you know, is a little more this-century. The Well will make their way south to Mexico City to headline the first Ripplefest Mexico, and they’ll be joined by long-running Chilean groovers Demonauta, who I got to see last year (review here) and could only recommend as an experience, as well as Vinnum Sabbathi, Demons My Friends, SaturnoGrooves, Black Overdrive and King in Yellow, plus Lord Velvet from Colorado and Transit Method, also from Austin. Solid bill. Get there early. King in Yellow sound pretty cool.
I don’t know much about the Fuck Off Room, but I do enjoy a good bit of fucking off, so right on. You might recall the Doom City Fest that took place in Mexico City the last few years as well. It will be cool to see how both continue to grow.
Heavy rock festival Ripplefest México announce the full lineup for their first-ever edition taking place on December 6th, 2025 at Fuck Off Room in Mexico City. Tickets are on sale now!
Born from the success of Ripplefest Texas — the largest stoner and doom festival in the U.S., backed by legendary label Ripple Music — Ripplefest has expanded globally with celebrated editions in France (Nantes) and Germany. Now, México joins the movement, uniting local and international stoner rock and doom communities under one roof: Mexico City’s renowned FuckOff Room, located inside the popular Condesa neighborhood.
With a total of nine bands gracing the bill, Ripplefest México will showcase a powerful mix of established and emerging acts from the global heavy rock scene, delivering the raw energy and immersive experience that defines the Ripplefest brand.
About launching Ripplefest México, the promoters say: “We’re excited to embark on this new adventure to continue strengthening the Mexican stoner scene and bridge a connection with the US stoner community as well, by establishing a Mexican chapter to the largest stoner and doom festival in the United States, Ripplefest Texas. Ripplefest México will emulate the spirit and replicate the experience of all previous Ripplefests by presenting a lineup that is attractive and interesting to heavy music lovers in our city, and by being curated and organized by music lovers and musicians from our scene itself. We hope you can join us, and thank you in advance for your support. Everyone is invited.”
Lineup:
The Well (Austin, TX) Demonauta (Santiago, Chile) Demons My Friends (Austin, TX / Mexico City, Mexico) Lord Velvet (Denver, CO) Transit Method (Austin, TX) Vinnum Sabbathi (Mexico City) Saturno Grooves (Durango, MX) Black Overdrive (Mexico City, MX) King In Yellow (Tamaulipas, MX)
Posted in Reviews on February 29th, 2024 by JJ Koczan
Day four of five puts the end of this Quarterly Review in sight, as will inevitably happen. We passed the halfway point yesterday and by the time today’s done it’s the home stretch. I hope you’ve had a good week. It’s been a lot — and in terms of the general work level of the day, today’s my busiest day; I’ve got Hungarian class later and homework to do for that, and two announcements to write in addition to this, one for today one for tomorrow, and I need to set up the back end of another announcement for Friday if I can. The good news is that my daughter seems to be over the explosive-vomit-time stomach bug that had her out of school on Monday. The better news is I’ve yet to get that.
But if I’m scatterbrained generally and sort of flailing, well, as I was recently told after I did a video interview and followed up with the artist to apologize for my terribleness at it, at least it’s honest. I am who I am, and I think that there are places where people go and things people do that sometimes I have a hard time with. Like leaving the house. And parenting. And interviewing bands, I guess. Needing to plow through 10 reviews today and tomorrow should be a good exercise in focusing energy, even if that isn’t necessarily getting the homework done faster. And yeah, it’s weird to be in your 40s and think about homework. Everything’s weird in your 40s.
Quarterly Review #31-40:
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Monkey3, Welcome to the Machine
What are Monkey3 circa 2024 if not a name you can trust? The Swiss instrumental four-piece are now more than 20 years removed from their 2003 self-titled debut, and Welcome to the Machine — their seventh album and fourth release on Napalm Records (three studio, one live) — brings five new songs across 46 minutes of stately progressive heavy craft, with the lead cut “Ignition” working into an early gallop before cutting to ambience presumably as a manifestation of hitting escape velocity and leaving the planetary atmosphere, and trading from there between longer (10-plus-minute) and shorter (six- and seven-minute) pieces that are able to hit with a surprising impact when they so choose. Second track “Collision” comes to crush in a way that even 2019’s Sphere (review here) didn’t, and to go with its methodical groove, heavy post-rock airiness and layered-in acoustic guitar, “Kali Yuga” (10:01) is tethered by a thud of drums that feels no less the point of the thing than the mood-aura in the largesse that surrounds. Putting “Rackman” (7:13, with hints of voice or keyboard that sounds like it), which ends furiously, and notably cinematic closer “Collapse” (12:51) together on side B is a distinct immersion, and the latter places Monkey3 in a prog-metal context that defies stylistic expectation even as it lives up to the promise of the band’s oeuvre. Seven records and more than two decades on, and Monkey3 are still evolving. This is a special band, and in a Europe currently awash in heavy instrumentalism of varying degrees of psychedelia, it’s hard to think of Monkey3 as anything other than aesthetic pioneers.
With its Sabbath-born chug and bluesy initial groove opening to NWOBHM grandeur at the solo, the opening title-track is quick to reassure that Sweden’s The Quill are themselves on Wheel of Illusion, even if the corresponding classic metal elements there a standout from the more traditional rock of “Elephant Head” with its tambourine, or the doomier roll in “Sweet Mass Confusion,” also pointedly Sabbathian and thus well within the wheelhouse of guitarist Christian Carlsson, vocalist Magnus Ekwall, bassist Roger Nilsson and drummer Jolle Atlagic. While most of Wheel of Illusion is charged in its delivery, the still-upbeat “Rainmaker” feels like a shift in atmosphere after the leadoff and “We Burn,” and atmospherics come more into focus as the drums thud and the strings echo out in layers as “Hawks and Hounds” builds to its ending. While “The Last Thing” works keyboard into its all-go transition into nodding capper “Wild Mustang,” it’s the way the closer seems to encapsulate the album as a whole and the perspective brought to heavy rock’s founding tenets that make The Quill such reliable purveyors, and Wheel of Illusion comes across like special attention was given to the arrangements and the tightness of the songwriting. If you can’t appreciate kickass rock and roll, keep moving. Otherwise, whether it’s your first time hearing The Quill or you go back through all 10 of their albums, they make it a pleasure to get on board.
Equal parts brash and disillusioned, Nebula Drag‘s Dec. 2023 LP, Western Death, is a ripper whether you’re dug into side ‘Western’ or side ‘Death.’ The first half of the psych-leaning-but-more-about-chemistry-than-effects San Diego trio’s third album offers the kind of declarative statement one might hope, with particular scorch in the guitar of Corey Quintana, sway and ride in Stephen Varns‘ drums and Garrett Gallagher‘s Sabbathian penchant for working around the riffs. The choruses of “Sleazy Tapestry,” “Kneecap,” “Side by Side,” “Tell No One” and the closing title-track speak directly to the listener, with the last of them resolved, “Look inside/See the signs/Take what you can,” and “Side by Side” a call to group action, “We don’t care how it gets done/Helpless is the one,” but there’s storytelling here too as “Tell No One” turns the sold-your-soul-to-play-music trope and turns it on its head by (in the narrative, anyhow) keeping the secret. Pairing these ideas with Nebula Drag‘s raw-but-not-sloppy heavy grunge, able to grunge-crunch on “Tell No One” even as the vocals take on more melodic breadth, and willing to let it burn as “Western Death” departs its deceptively angular riffing to cap the 34-minute LP with the noisy finish it has by then well earned.
LLNN & Sugar Horse, The Horror bw Sleep Paralysis Demon
Brought together for a round of tour dates that took place earlier this month, Pelagic Records labelmates LLNN (from Copenhagen) and Sugar Horse (from Bristol, UK) each get one track on a 7″ side for a showcase. Both use it toward obliterating ends. LLNN, who are one of the heaviest bands I’ve ever seen live and I’m incredibly grateful for having seen them live, dig into neo-industrial churn on “The Horror,” with stabbing synth later in the procession that underscores the point and less reliance on tonal onslaught than the foreboding violence of the atmosphere they create. In response, Sugar Horse manage to hold back their screams and lurching full-bore bludgeonry for nearly the first minute of “Sleep Paralysis Demon” and even after digging into it dare a return to cleaner singing, admirable in their restraint and more effectively tense for it when they push into caustic sludge churn and extremity, space in the guitar keeping it firmly in the post-metal sphere even as they aim their intent at rawer flesh. All told, the platter is nine of probably and hopefully-for-your-sake the most brutal minutes you might experience today, and thus can only be said to accomplish what it set out to do as the end product sounds like two studios would’ve needed rebuilding afterward.
Fuzzter aren’t necessarily noisy in terms of playing noise rock on Pandemonium, but from the first cymbal crashes after the Oppenheimer sample at the start of “Extinción,” the Peruvian outfit engage an uptempo heavy psych thrust that, though directed, retains a chaotic aspect through the band’s willingness to be sound if not actually be reckless, to gang shout before the guitars drift off in “Thanatos,” to be unafraid of being eaten by their own swirl in “Caja de Pandora” or to chug with a thrashy intensity at the start of closer “Tercer Ojo,” doom out massive in the song’s middle, and float through jazzy minimalism at the finish. But even in that, there are flashes, bursts that emphasize the unpredictability of the songs, which is an asset throughout what’s listed as the Lima trio’s third EP but clocks in at 36 minutes with the instrumental “Purgatorio,” which starts off like it might be an interlude but grows more furious as its five minutes play out, tucked into its center. If it’s a short release, it is substantial. If it’s an album, it’s substantial despite a not unreasonable runtime. Ultimately, whatever they call it is secondary to the space-metal reach and the momentum fostered across its span, which just might carry you with it whether or not you thought you were ready to go.
The listed representation of dreams in “Dream One” adds to the concrete severity of Cold in Berlin‘s dark, keyboard-laced post-metallic sound, but London-based four-piece temper that impact with the post-punk ambience around the shove of the later “Found Out” on their The Body is the Wound 19-minute four-songer, and build on the goth-ish sway even as “Spotlight” fosters a heavier, more doomed mindset behind vocalist Maya, whose verses in “When Did You See Her Last” are complemented by dramatic lines of keyboard and who can’t help but soar even as the overarching direction is down, down, down into either the subconscious referenced in “Dream One” or some other abyss probably of the listener’s own making. Five years and one actual-plague after their fourth full-length, 2019’s Rituals of Surrender, bordering on 15 since the band got their start, they cast resonance in mood as well as impact (the latter bolstered by Wayne Adams‘ production), and are dynamic in style as well as volume, with each piece on The Body is the Wound working toward its own ends while the EP’s entirety flows with the strength of its performances. They’re in multiple worlds, and it works.
With the expansive songwriting of multi-instrumentalist/sometimes-vocalist Eric McQueen at its core, The Mountain King issue Apostasyn as possibly their 10th full-length in 10 years and harness a majestic, progressive doom metal that doesn’t skimp either on the doom or the metal, whether that takes the form of the Type O Negative-style keys in “The White Noise From God’s Radio” or the tremolo guitar in the apex of closer “Axolotl Messiah.” The title-track is a standout for more than just being 15 minutes long, with its death-doom crux and shifts between minimal and maximal volumes, and the opening “Dødo” just before fosters immersion after its maybe-banging-on-stuff-maybe-it’s-programmed intro, with a hard chug answered in melody by guest singer Julia Gusso, who joins McQueen and the returning Frank Grimbarth (also guitar) on vocals, while Robert Bished adds synth to McQueen‘s own. Through the personnel changes and in each piece’s individual procession, The Mountain King are patient, waiting in the dark for you to join them. They’ll probably just keep basking in all that misery until you get there, no worries. Oh, and I’ll note that the download version of Apostasyn comes with instrumental versions of the four tracks, in case you’d really like to lose yourself in ruminating.
The self-titled debut from Parisian doomers Witchorious is distinguished by its moments of sludgier aggression — the burly barks in “Monster” at the outset, and so on — but the chorus of “Catharsis” that rises from the march of the verse offers a more melodic vision, and the three-piece of guitarist/vocalist Antoine Auclair, bassist/vocalist Lucie Gaget and drummer Paul Gaget, continue to play to multiple sides of a modern metal and doom blend, while “The Witch” adds vastness and roll to its creeper-riff foundation. The guitar-piece “Amnesia” serves as an interlude ahead of “Watch Me Die” as Witchorious dig into the second half of the album, and as hard has that song comes to hit — plenty — the character of the band is correspondingly deepened by the breadth of “To the Grave,” which follows before the bonus track “Why” nod-dirges the album’s last hook. There’s clarity in the craft throughout, and Witchorious seem aware of themselves in stylistic terms if not necessarily writing to style, and noteworthy as it is for being their first record, I look forward to hearing how they refine and sharpen the methods laid out in these songs. The already-apparent command with which they direct the course here isn’t to be ignored.
Though their penchant for cult positioning and exploitation-horror imagery might lead expectations elsewhere, North Carolinian trio Skull Servant present a raw, sludge-rocking take on their second LP, Traditional Black Magicks II, with bassist Noah Terrell and guitarist Calvin Bauer reportedly swapping vocal duties per song across the five tracks while drummer Ryland Dreibelbis gives fluidity to the current of distortion threaded into “Absinthe Dreams,” which is instrumental on the album but newly released as a standalone single with vocals. I don’t know if the wrong version got uploaded or what — Bauer ends up credited with vocals that aren’t there — but fair enough. A meaner, punkier stonerism shows itself as “Poison the Unwell” hints at facets of post-hardcore and “Pergamos,” the two shortest pieces placed in front of the strutting “Lucifer’s Reefer” and between that cut and the Goatsnake-via-Sabbath riffing of “Satan’s Broomstick.” So it could be that Skull Servant, who released the six-song outing on Halloween 2023, are still sorting through where they want to be sound-wise, or it could be they don’t give a fuck about genre convention and are gonna do whatever they please going forward. I won’t predict and I’m not sure either answer is wrong.
Notice of arrival is served as Lord Velvet dig into classic vibes and modern heft on their late 2023 debut EP, Astral Lady, to such a degree that I actually just checked their social media to see if they’d been signed yet before I started writing about them. Could happen, and probably will if they want it to, considering the weight of low end and the flowing, it’s-a-vibe-man vibe, plus shred, in “Lament of Io” and the way they make that lumber boogie through (most of) “Snakebite Fever.” Appearing in succession, “Night Terrors” and “From the Deep” channel stoned Iommic revelry amid their dynamic-in-tempo doomed intent, and while “Black Beam of Gemini” rounds out with a shove, Lord Velvet retain the tonal presence on the other end of that quick, quiet break, ready to go when needed for the crescendo. They’re not reinventing stoner rock and probably shouldn’t be trying to on this first EP, but they feel like they’re engaging with some of the newer styles being proffered by Magnetic Eye or sometimes Ripple Music, and if they end up there or elsewhere before they get around to making a full-length, don’t be surprised. If they plan to tour, so much the better for everybody.
Posted in Whathaveyou on February 2nd, 2024 by JJ Koczan
You can see in the lineup for Rocky Mountain Riff Fest 2024 that the festival, which is set for April 20 in Kalispell, Montana, is expanding its reach. Yes, Wizzerd, Sorcia, Merlock, The Gray Goo and Spliffripper have played before — The Old Ones played Erosion Festival in 2016; I remember thinking that looked awesome and it did — but returning parties are accompanied by newcomers like Lord Velvet, Chokesetter and Hot Milk and the Flower Pallets, who play the pre-show, and I think they’ll have two stages going and Mos Generator are popping eastward from their home in Port Orchard, Washington, which is probably like a 40-hour drive or something, to headline. I’d go to this in a second, man. That’s a good way to spend a day, and you’re in Kalispell, which looks gorgeous.
The full lineup was announced on social media — I know, crazy, right? — and notes a venue change that looks like it’ll actually be pretty cool having it all in one place. Dig:
FULL LINEUP HAS ARRIVED!
We’re excited to reveal the lineup for #rmrf2024! We are welcoming back some heavy hitters, and introducing some bands to the Flathead valley for the first time.
-MOS GENERATOR- -SORCIA- -LORD VELVET- -MERLOCK- -CHOKESETTER- -WIZZERD- -GREASE CULT- -THE GRAY GOO- -THE OLD ONES- -SURFBAT- -SCHTICKY- -SPLIFFRIPPER- -FREE DRUGS- -HOT MILK AND THE FLOWER PALLETS-
In years past, Riff Fest has been a block party between the legendary @oldschoolrecords134 and the Eagles in downtown Kalispell. Facing the closure of the 1st Street location of OSR, we are now taking over two levels of the Eagles! It’s going to be a party in the whole building, with our traditional free pre-party at the Glacier Park VFW.
We are also proud to bring on some local sponsors who are stoked to help bring some killer music to the valley!
