Live Review: Planet Desert Rock Weekend V – Night 4

Posted in Reviews on February 3rd, 2025 by JJ Koczan

Luna Sol and Friends. (Photo by JJ Koczan)

Earlier – Before Show

Saw some of the Vegas arts district this afternoon, which is new to me. I guess when I travel by myself like this, generally speaking, most of what I’m seeing is bands. The structure of this festival is a little more relaxed.

Tonight is the last of it, and that’s sad, but you can feel it’s time. People are starting to talk about plans for getting back to real life, when’s your flight, and that kind of thing. An inevitable part of the cycle. The community built over the course of this weekend will disperse, everyone hopefully a little better for it than they came in. I feel restored in the very specific way that I’ve only ever found an experience like this can provide.

But, what’s been billed as “Last Call” by fest-curator John Gist returns to the five-band format of Friday night, with Jason Walker’s Badmotorfinger open, playing the Soundgarden album, then Iota, BoneHawk, Duel headlining and Luna Sol (plus guests) closing out late. My trust in the righteousness of what’s coming is complete. I’m ready for it. It’s been a good weekend to be alive.

Once more into the night:

Jason Walker’s Badmotorfinger

Jason Walker, who was singing and started off on guitar but put it down to concentrate on vocals — fair, considering the subject matter — has played with Gene Simmons and Bang Tango and is very clearly one of those uber-talented professional musicians, and his band operated at the same level. This is probably for the best as they groove-tread on what for a lot of people is sacred ground in playing Soundgarden’s seminal 1991 third album, Badmotorfinger. I’ll confess I don’t have the history with the record that many in the crowd clearly did, but Walker gave it due vocal scorch in standing up to one of rock and roll’s most legendary voices, and it was on point and nearly as ’90s as Godzillionaire the other night, so immediately there’s a tie-in, a flow to the night. This was a cool one-off thing, kind of exclusive thing for the people who are here — something special — and Walker absolutely cintrol-wails as a singer, respectful but not without putting something of himself into it. I’d say I’ll be lucky to have “Outshined” in my head for the next week, but really it’s still “Freelance Fiend.” More on that later.

Iota

I was nervous to see Iota. Not that I didn’t expect it to be good, but 2008’s Tales (discussed here) is a record to which I do have no small measure of sentimental attachment, and last year’s surprise return, Pentasomnia (review here), is no less stunning for the months since its release. This is fortunate, since Iota’s cosmic heavy desert blues is nothing if not lustrous. The guitar tone and vocal croon of Joey Toscano are defining elements, but Andy Patterson’s drums — also production on the albums — and Oz Yasri’s bass lock in that groove on the records. How could I not be looking forward to it? Patterson wasn’t with the band, and they played as a four-piece, with Yasri, Dio Britto on drums and Chris Clement, shared vocal duties in dead-on flow and harmony with Toscano to riveting effect. They raised the monolith at the start, and it was all shove and go and fuck yes, but whatever hearing I lost taking my earplugs out for “The Intruder,” it was worth it. Toscano was talking between songs and said something about how we’re in hard times and we’re scared, but stopped himself and said, no, we’re not scared. Well, I am, so I said so. We’ve met, but he didn’t know it was me or anything. I was out front and the lights were low. I said, “Fuckin’ I am.” A couple laughs. He said, “I hope this soothes, brother,” and they played “The Returner.” It did.

BoneHawk

If Iota took the ’90s of Soundgarden covers and showed the extent to which it is malleable, Michigan’s BoneHawk redirected energy into straight-up heavy rock, some mellower groove, but the real thread between the sets is songwriting. Yeah, genre bands share elements — this is not a revelation, I’m aware — but it’s the way that sharing has been thoughtfully steered that makes the difference here on Planet Desert Rock, where for sure BoneHawk fit right in. For the most part their stuff was comfortably placed — tempo set for vibe; not a complaint — but they did change it up, shift through some push or heavier roll as one would expect. Thinking of bands from other nights like Fire Down Below, The Watchers or even Omega Sun, who are based in large part around straightforward structures and weighted groove — to be sure, the list goes on — BoneHawk gave that side of the proceedings a wink, but they had bluesy aspects too and a bit of strut in reserve when they needed it. They used it well. Guitarist/vocalist Matt Helt — joined in the band by bassist Matt Smith, drummer Nate Cohn and former-but-sitting-in guitarist Chad Houts — told a story between songs about falling down the stairs at the casino where the band are staying and being laid up for the last two days. Didn’t take away from the bounce even a little bit.

Duel

Duel might be Austin’s foremost heavy rock and roll export at this point, and while they were raucous as ever their delivery. “Children of the Fire” always lands with me. It’s a sure bet. The double-guitar bastards o’ riff and charge continue to support last year’s Breakfast With Death (review here), from which they aired “Pyro” before dipping back to 2019’s Valley of Shadows (review here) and daring toward taking a breath with “Black Magic Summer.” Duel have a catalog at this point — Breakfast With Death was their fifth record in nine years; the rush in their music is meta-urgency — and they’ve toured for all of them with the usual plague asterisk, and have developed the ability to go back and forth between different levels of aggression and dynamic more, and time has seen them develop into a richer but no less furious band. I don’t know how many times I’ve seen them, but they have yet to let me down, and honestly it’s getting to be an increasingly high level of expectation on my part. Oh, Duel are playing? Well that’s guaranteed front-to-back riotous heavy, some metal (“Chaos Reigns”), some punk, some boogie, usually done in praise to some arcane entity or blasphemous proposition. So yes, in other words, they were very much the headliner. Remember Mos Generator tearing it up last night? PDRW strikes again.

Luna Sol

Oh shit, Dave Angstrom’s the real deal, y’all. Like one of the best rock and roll performers I’ve ever seen on a stage. I don’t care that I didn’t see Cactus in 1972 because I got to watch Luna Sol nail “Evil” in 2025. Hyperbole? Fuck yeah it is, and nothing less would do. Side note, because in the spirit of Angstrom’s mindmelting shred I’ll go ahead and improv while keeping it conversational: Doug, the bassist, apparently also runs the Denver Bong-a-Thon, which I think might be the coolest factoid I’ve ever heard about a human. I don’t know drummer’s provenance, or his name — I’m somewhere between Zeph and Zeth — but I do know he was class as fuck on that kit in “When You’re High” and the take on Mountain’s “Never in My Life” (for more, see “Cactus” above) and the whole band was fire from start to finish. Blowout classic heavy blues rock. Originals and covers.

The entire time, Angstrom was the consummate entertainer. He told stories that were genuinely funny. He was comfortable talking to the crowd — he called the crowd “his people” and it was sweet and sincere — and so, so, so much fun. I had no idea. Blindsided. I stood up front for most of the set, did take a break to write, but it didn’t work and I needed to be back out so that’s where I went. You have to understand, I wasn’t going into this completely unaware. I’ve covered Luna Sol before. I reviewed Vita Mors, the album they put out last year on Ripple. It was cool. The vocals were a little high in the mix here and there, but certainly worse sins have been committed.

My point is I had no idea that’s who Dave Angstrom was on stage, and no idea about the chemistry of the band or the sheer joy it would be to see them play. Whether I was hypnotized watching Doug and Zep/th jam while the guitar got a well-earned new E string, or Jason Walker coming out for the ‘and Friends’ portion toward the end of the set and the whole band dropping jaws taking on Budgie’s “Breaking All the House Rules,” it was something special because they made it that way.

For the very end, Angstrom opened it up to a jam on — wait for it — Leaf Hound’s ultra-catchy, ultra-classic strutter “Freelance Fiend.” And giving Doug a break on bass for it was the very Adam Sage of Sonolith, who locked in and played around that bassline that I’ve been listening to him practice at his house where I’ve been staying for the last couple days much to my utter delight at having that groove in my head. I was happy for my new friend, happy to see him play, and it was right at the finish where the narrative threads aligned one last time and the music and community around the music coalesced. Those two things, as I have now been fortunate enough to experience, are what really ties all of Planet Desert Rock Weekend together. They are the core of it, along with passion.

Thank you for reading.

This was beautiful. I have the best friends.

I am so incredibly grateful. Thank you. I said “I love you” a lot tonight. I meant it every time. Let’s keep saying it. Please.

Thank you to John Gist. Thank you to Jocelyn and Adam Sage (and the weimeraners). Thank you Wendy. Thank you Cate Wright. Thanks Scott Spiers, Leanne Ridgeway, Behrang Alavi and the Samavayo cats, Todd & Corinne Severin, Ryan Garney, Mario & Tim from Borracho, Sean and Andrea, Manu, Treetops Tony (he’s tall) and Phoenix Phil who was gonna send me some Stone Witch to check out but I already looked them up and I’ll close out a week with them at some point, and everyone I spoke to along the way.

I had old friends at this festival. And I made new ones. And I already hope I can come back.

I fly home tomorrow early afternoon. Work to do beforehand, plus packing, so crashout needs to happen. Thanks again for reading and by the time this goes live you’ll hopefully find more pics after the jump.

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Ripplefest Texas 2025: Weedeater, Telekinetic Yeti, Shun, Human Impact, Valley of the Sun and More Added to Lineup

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

Okay, so here’s the deal. Last year, I found myself wanting to keep up with Ripplefest Texas‘ lineup additions and couldn’t really do anything coverage-wise because they were happening daily and that kind of turns the site into a one-subject show in a way that doesn’t really help. Took me a year to figure it out, but I’m going to do Friday updates like this one — a roundup of what’s been coming out every day from the fest since the last announcement — for as long as they go with the daily adds. I don’t know when that will be, how many bands are playing — 2024 was huge, I’d expect 2025 to be correspondingly proportioned — or what time your flight needs to get into Austin for you to get there in time for the start on Sept. 18. I’m low on insight. But this is a party that’s becoming central to the year here in the US, so I want to cover it as much as I can.

The fest had quite a week. This is in order from oldest to newest, so Weedeater were the first added, etc. Here you go:

ripplefest texas 2025 weedeater

RIPPLEFEST TEXAS 2025 – NEW BAND ANNOUNCEMENT: WEEDEATER

Those infamous sludge outlaws WEEDEATER bring their own branded “weed-metal” to RippleFest Texas. Their style marks the crossroads where true Southern rock and metal meet raw humour, old religion, as well as weed and whiskey.

If you’ve seen them live before then you know what a great show they put on! If you haven’t seen them then you are in for a treat! Get your eardrums and your livers ready!

RIPPLEFEST TEXAS 2025 LUNA SOL

NEW BAND ANNOUNCEMENT: LUNA SOL

Denver’s high mountain stoner blues rock band, LUNA SOL, is fronted by singer and lead guitarist DAVID ANGSTROM, known from Hermano, Supafuzz, Black Cat Bone, and Asylum On The Hill. Celebrating their 14th year, they released an epic album, VITA MORS, on September 20, 2024, via Todd Severin’s kickass Ripple Music label.

On VITA MORS, Angstrom collaborates with drummer ZETH PEDULLA and bassist DOUG TACKETT, creating a unique chemistry that inspired them to capture the raw energy of their sessions. VITA MORS delivers a live sound, immersing listeners in an atmosphere reminiscent of a dive bar with heavy riffs and vivid Southern Kentucky roots. The album embodies a mix of fury and delicacy, providing a perfect backdrop for Angstrom’s powerful storytelling.

Following 2015’s “Blood Moon” and 2017’s “Below The Deep,” VITA MORS spans 50+ minutes, exploring themes of betrayal, love, murder, and heartache. It features contributions from friends across various bands, continuing LUNA SOL’s tradition of collaboration. Angstrom noted, “The riffs were flowing, the tones were massive …and the fun continues.”

LUNA SOL is currently scheduling various US dates + an EU 2025 tour. The band’s live show is always impressive and delivers a fistful of full frontal riffs and immense power from a wall of vintage amps …and beer. There’s always a lot of beer.

ripplefest texas 2025 shun

NEW BAND ANNOUNCEMENT: SHUN

Shun is a four-piece heavy, atmospheric post-rock band from the Western Carolinas (Greenville, SC / Asheville, NC) comprised of Matt Whitehead (Throttlerod), Rob Elzey, Jeff Baucom, and Bo Leslie (ex Throttlerod). Shun’s debut album was self-recorded during pandemic isolation, mixed by J Robbins (Clutch, The Sword, Coliseum, and so many more), and released on Small Stone Records. With styles ranging from melodic noise rock and heavy riffs to atmospheric largesse with contemplative, patient contraction, Shun emerged from the pandemic and began playing regional shows with bands like Shiner and Spotlights.

In 2024, Shun reteamed Small Stone and with J Robbins for their follow-up record, Dismantle, this time recording at J’s Magpie Cage studio in Baltimore, Maryland. Dismantle continues several crucial threads from the self-titled in terms of songwriting, while expanding their scope with a more refined crunch and drifting, ethereal outreach. It is heavier and paints a broader landscape in Matt Whitehead’s vocal and guitar melodies and reshapes it as the backdrop for weighted post-rock while refusing to sap its own vitality in service to shoegazey posturing.

Dismantle is able to push, pull, crash down loud or recede into float as Shun wills. That they’d wield such command in their craft likely won’t be a surprise to those who took on the self-titled, but among the things Dismantle undoes, it strips the listener of expectations and replaces them with its unflinching creativity and refreshingly forward-looking take.

ripplefest texas 2025 telekinetic yeti

NEW BAND ANNOUNCEMENT: TELEKINETIC YETI

Based out of Iowa, Telekinetic Yeti is a two-man band that delivers sonic brutality melded with psychedelic doom wizardry, forged by the worship of the almighty riff and honed by relentless touring and dedication to their craft.

Creating music as cryptically enchanting as it is heavy, you wouldn’t guess that the impressive cacophony pouring out of the speakers like molten, metal syrup is being produced by only two people. Founder and guitarist Alex Baumann explains, “Originally I decided not to have a bass player purely for logistical reasons, it was just another schedule to work around, another person who’s boss could tell us we can’t tour, but then I started seeing it as a challenge, like let’s see how heavy we can make it with just two people.”

After having Telekinetic Yeti 2 years ago at RippleFest Texas, we couldn’t wait to have them back!

ripplefest texas 2025 whores

NEW BAND ANNOUNCEMENT: WHORES.

Formed in 2010 in Atlanta, Georgia, the trio has established themselves as one of the most successful and motivated bands in the genre today. Elements of Helmet, Melvins, and the Amphetamine Reptile roster can be heard throughout their catalog, but Whores are no regurgitated throwback act. Through intense, cathartic live performances and the perfected aggressive tenacity present on their recordings, the band has gained a fervent following sure to do nothing but grow in the years to come.

ripplefest texas 2025 human impact

NEW BAND ANNOUNCEMENT: HUMAN IMPACT

Human Impact, the New York-based outfit founded by Chris Spencer (Unsane) and Jim Coleman (Cop Shoot Cop), who recently released their sophomore album, Gone Dark (Oct. 4, Ipecac Recordings).

The Human Impact arsenal is more formidable than ever thanks to the addition of two more noise-rock veterans: bassist Eric Cooper (Made Out of Babies, Bad Powers) and drummer Jon Syverson (Daughters). Spencer had spent the 2020 COVID lockdown working on a cabin in the East Texas woods and would travel into Austin for informal jam sessions with the pair in the Cooper’s garage. Friendly blasts through vintage Unsane songs ultimately resulted in the rhythm section being fully absorbed into Human Impact.

ripplefest texas 2025 valley of the sun

NEW BAND ANNOUNCEMENT: VALLEY OF THE SUN

After fourteen years of rocking and rolling across the world, Valley of the Sun released their fifth lp, “Quintessence”, which explores new sonic dimensions for the band, who is once again in a three piece format. Over the years they have graced the stages of clubs and festivals alike, including Hellfest, Palp Festival, Keep It Low, Tabernas, Lazy Bones, Motocultor, and Desertfests New York, Berlin, London, and Belgium. Hellbent on dominating the world with their unique, unapologetic twist on stoner-grunge, they finally bring the show to Ripplefest Texas.

There is no greater family reunion than RippleFest Texas, so get your tickets now and get your eardrums and bodies ready for lots of crushing music and warm hugs!

Get Tix at: www.lickofmyspoon.com

https://www.facebook.com/theripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

https://www.facebook.com/LOMSProductions
https://www.instagram.com/LOMSProductions/
http://www.lickofmyspoon.com/
https://linktr.ee/Lickofmyspoon

Mothership, Live at Ripplefest Texas 2022

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Quarterly Review: Fuzz Sagrado, 24/7 Diva Heaven, Mount Hush, Luna Sol, Ian Blurton’s Future Now, Moskitos, Deer Lord, TFNRSH, Altareth, Jarzmo

Posted in Reviews on December 10th, 2024 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

Day two. I mean, it’s work in the sense of it takes effort to put together these posts and structure thoughts into hopefully somewhat coherent sentences, etc., but at this point the Quarterly Review is a pretty important tool for me to hear records that, generally once I hear them, I feel like I want to be covering. Sometimes the intensity of that feeling varies; there are things that don’t “fit” with the stoner-and-doom adjacent foundations of what this site does, but the format allows for that flexibility as well, and I credit the QR for helping broaden the perspective of the site as a whole and making me push my own boundaries.

Admittedly, the trade for covering so much — 50 records in five days is a lot, if it needs to be said — is that I can’t always get as deep as I otherwise might, but as I’ve said before, the fact is that I’m one person, and if writing about a lot of this stuff didn’t happen in this way, it probably wouldn’t happen at all. It’s still never going to be everything I want to cover, but doing it this was is often more suited to the subject at hand than a longform writeup would be, it gives me a chance to explore, it’s a consistently challenging undertaking on multiple levels, and it’s satisfying like little else around here when you’re on the other end of one and immediately start building the next.

I’m not entirely sure why I felt the need right there to justify the existence of the entire Quarterly Review thing as a part of this site. If you care, thanks. If not, I can only call that understandable. Thanks for seeing this sentence and whatever you came here for anyway.

We march on, into day two.

Quarterly Review #11-20:

Fuzz Sagrado, Cold Remains

fuzz sagrado cold remains

As Christian Peters has gradually embraced his inner rocker over the last couple years with Fuzz Sagrado, rediscovering the sacredness of tone, if you will, and using an expanded palette of synth and keyboards to build on the project’s beginnings while tying it together with his prior outfit, the heavy psych rockers Samsara Blues Experiment, it’s fascinating how much the respective personalities of the two acts still shine through. On Cold Remains, along with the new song “Snowchild” that leads off, Peters showcases three until-now lost pieces that have their origins in his former band but were never released: “Cold Remains,” a grim-lyric title-track given due heft of low end, the short “Morphine Prayer,” which intertwines acoustic strum and electric leads and drops the drums for an even more open feel, and “Neurotic Nirvana,” which clues you into the grunge of its central riff in the title but stretches outward from there across six minutes with particular bliss in the solo for a hopeful second half. It sounds like reconciliation, and in that, it fits well with the ongoing growth of Peters‘ Brazilian period.

Fuzz Sagrado on Facebook

Electric Magic Records on Bandcamp

24/7 Diva Heaven, Gift

24-7 Diva Heaven Gift

From the punkish opening shove of “Rat Race” and “Manic Street Ballet,” 24/7 Diva Heaven‘s second full-length for Noisolution, Gift, unfolds a style that’s both raw and dense enough to carry a heavy groove, straightforward but nuanced in craft and threaded through with attitude born out of ’90s-era riot grrrl noise rock, but able to temper that somewhat with a mellower, more melodic rocker like “Crown of Creation” — some influence from The Donnas, maybe? — before the sharp-edged intensity of “Face Down” and the thrust of “These Days” precede the centerpiece title-track’s quiet-grunge trading off with careening, hard-hitting punk rock in a way that works. No worries, as “L.O.V.E. Forever” and the Godsleep-esque aggro-rocker “Suck it Up” follow at what might be the start of side B, with a highlight bassy groove in the QOTSA-meets-Nirvana catchy “Born to Get Bored,” staying in a heavy rock modus but nonetheless faster and kind of threatening to throw a punch in “Flawless Fool,” the piano-led “Nothing Lasts” capping with duly wistful minimalism. Killer. It’s 11 tracks in 32 minutes, wastes zero of its own or your time, and has something to say both in sound and its lyrics. This band should be on all the festivals.

24/7 Diva Heaven on Facebook

Noisolution website

Mount Hush, II

MOUNT HUSH II

Holy smokes that’s a vibe. Even at its most active — which would be “Grey Smoke,” if you want specifics — the heavygaze-adjacent psych blues rock of Germany’s Mount Hush holds an encompassing sense of atmosphere, and while cuts like “All I See” or the smokey “Blues for the Dead” can trace some of what they do to the likes of All Them Witches, Queens of the Stone Age, Colour Haze, and so on, the material is inventive, unrushed and explores outward from a solid foundation of craft, leaning perhaps deepest into psych on “Celestial Eyes,” featuring a classy bit of flute in the penultimate “54” and going big in melody and tone for the finishing move in “Blood Red Sky,” working in Eastern scales for a meditative feel while staying loyal to its own distortion and post-Uncle Acid swing; one more part of the not-slapdash pastiche Mount Hush build as they take a marked breadth of influence, melt it down and shape something of their own from it. Gorgeously. Flowing with grace at no expense to the impact, II is a striking and forward looking point of arrival waiting to be caught up to. This is a band I’m glad to have heard, even before you get to the RPG.

Mount Hush on Facebook

Mount Hush’s Linktr.ee

Luna Sol, Vita Mors

luna sol vita mors

Wherever you’re headed, Luna Sol are ready to meet you there. David Angstrom — also of Hermano — leads the bluesy heavy rockers with a slew of choice, family-style cuts. Granted, with 15 tracks and more than 50 minutes of material, there’s room to move around a bit, but whether it’s the Leaf Hound cover “Freelance Fiend” or Mountain‘s “Never in My Life” or the delay-laced verses of not-a-cover “Surrounded by Thieves” later on, Vita Mors offers both scope and craft around the heavy blues framework. That can get a little meaner tonally in “Watch Our Skeletons Die” or fuzzily back a bouncing groove on “I’ll Be Your One,” and the songs will remain united through Angstrom‘s vocals and the trust the band as a whole earn through the strength of their songwriting. It’s not a minor undertaking in an age of short attention spans, but given their time, Vita Mors‘ songs can very easily start to live with you.

Luna Sol on Facebook

Ripple Music website

Ian Blurton’s Future Now, Crimes of the City

Ian Blurton's Future Now Crimes of the City

Taut in their two-guitar drive and going big on hooks and harmonies alike, Ian Blurton’s Future Now‘s second album, Crimes of the City, is a heart-on-sleeve heavy rocker brimming with life, purpose in its construction, and a sense of celebrating the riffs and metals of old. With Blurton himself on guitar/vocals, guitarist Aaron Goldstein, bassist Anna Ruddick and drummer Glenn MilchemGregory MacDonald is also listed as ‘The Goose’ in the credits — the four-piece don’t touch the four-minute mark once in Crimes of the City‘s succession of 10 bangers, despite coming close in “Cast Away the Stones,” and as one could only expect, the songs are air tight in structure and delivery. And just when it seems to run the risk of being too perfect, Blurton drops the layers for the verse of “Nocturnal Transmissions” or exudes sheer delight in the ’80s metal of “Seventh Sin of Devotion,” or the whole band rides a groove like “School’s In,” and it’s all so open, welcoming and vibrant that it can’t help but be human in the end. Killer at any volume, but more don’t hurt.

Ian Blurton’s Future Now on Facebook

Ian Blurton’s Future Now on Bandcamp

Moskitos, Mirage

moskitos mirage

Prone to a psych-garage freakout, willfully jagged on the swaying “Two Birds,” indie drifting to the Riff-Filled Land™ and the neighboring Epicsolosburg on “Ten Lies” and righteously horny/not creepy on “Woman,” Mirage is the first full-length from South Africa’s Moskitos, and while it has some element of sneer as a facet inherited from in-genre influences, “Ryder” still feels sincere as it departs what Moe called a “carhole” one time in favor of a more open landscape. There’s intricacy in the rhythm of “Believer” if you want it, and the set-up-for-contrast relative patience of opener “Umbra,” which, yeah, still twists the cosmos a bit by the time it’s done, is a highlight as well, and “Trigger” shifts between quiet parts and putting a shuffle beneath its melodic ending, but some of the most effective moments here are more about the soul behind it all. The feel is loose, but they’re not without a plan, and while there’s no shortage of haze between here and there, it will be interesting to hear how Moskitos build on ideas like the expansive-but-not-unpoppy-till-the-payoff “Ten Lies” and what new ground they find as they move forward.

Moskitos on Facebook

Moskitos’ Linktr.ee

Deer Lord, Dark Matter Pt. 2

deer lord dark matter pt. 2

This Halloween-issued sequel to Deer Lord‘s early-2023 EP, Dark Matter (review here) unfolds across six tracks broken into two sides of three each. Each begins with its longest track (immediate points), and uses the spaciousness cast in “Dark Matter” (8:11) and “Intelligent Life” (7:24), respectively, to bolster the atmosphere of the rockers that follow, “Faster” and “Dogma” on side A, the swinging cosmic blowout “Blade” and closer “Pay” on side B. If that makes it sound somewhat orderly, this symmetry is contrasted by the loosen-your-head psychedelic drive of “Dogma” or “Faster” sounding like Clutch as beamed from Voyager 1 hitting a gravity wave on the way. The now-trio of guitarist/vocalist Sheafer McOmber, drummer Ryan Alderman and bassist Jared Marill hit on a sonic niche of earthy fuzz meeting with spaced plasmatic volatility. It’s big and it moves! It would be more of a surprise if they weren’t signed by somebody or other by the time they get around to their debut full-length.

Deer Lord on Facebook

Deer Lord on Bandcamp

TFNRSH, Book of Circles

TFNRSH Book of Circles

Following up on their 2023 self-titled-if-you-go-by-apparent-pronunciation LP, Tiefenrausch, Book of Circles sees instrumentalist three-piece TFNRSH make a striking entry into the admittedly crowded German and greater European sans-vocal heavy psychedelic underground. Standing out through a proggy use of synth, the second album offers “Zorn” in the place the first put “Slift,” and while it’s true the band remain not without influence from the modern European heavy psychedelic ouevre — some of the twists in “Zemestån” feel Elderian, as an example — they’re distinguished not only by how heavy “Zorn” eventually gets or “WRZL” is at its outset, or by Julius Watzl‘s stellar hold-it-together drumming amid the currents of synth being run by both guitarist Sasan Bahreini and bassist Stefan Wettengl there, but also by the float and patience of “Ammoglÿd” — imagine a mid-period Anathema intro but it unfolds as the whole song and it works — which only underscores the progressive mindset underlying all of this material. The kind of record that won’t hit with everybody but will hit with some very, very hard.

TFNRSH on Facebook

TFNRSH on Bandcamp

Altareth, Passage: The Welfare Sessions

Altareth Passage The Welfare Sessions

While based largely in doom, Altareth‘s Passage: The Welfare Sessions absolutely soars in the solo of its centerpiece track “Singapore,” picking up from a mellower kind of lumbering brood and answering the lift of its middle with a push to the finish. Passage: The Welfare Sessions may be worth the asking price for that alone, but that hardly means that’s all the Gothenburg five-piece have on offer, when there’s acoustic to layer into the subsequent “Pilgrim” or the blend of murk and impact in the rolling leadoff “Passage,” the way “The Stars” holds to its crawling tempo but offers a sense of payoff anyhow, or the psychedelia that runs alongside the march of “Recluse,” which rounds out the reportedly live-recorded proceedings with emotive melancholy and a final stretch of quiet, sample-topped guitar. Produced by Kalle Lilja and Per Stålberg at Welfare Sounds, hence the title, Passage: The Welfare Sessions speaks even more boldly to the band’s potential than their 2021 debut, Blood (review here). Don’t be fooled by smooth transitions and a subtlety of scope. Altareth are onto something.

Altareth on Facebook

Altareth on Bandcamp

Jarzmo, Antropocen

jarzmo antropocean

If you find yourself wanting to applaud in the couple seconds of silence between “Bat Trip” and the pointedly doomjazzy “Piosenka o przemijaniu,” at least know that you’re not alone. Antropocen is the debut full-length from Kraków, Poland’s Jarzma, and with it, the band invent a style of playing that is immediately their own, basing their arrangements around nyckelharpha and imaginative percussion and drumming either folkish or not, voices coming and going through songs that don’t just sound the way they do as a novelty, but break their own rules from the very outset in the poppish dance hook of opener “Big Heat.” It’s brazen, it’s masterful in terms of performance, and it’s made from a place of wanting to add to the scope of the genre that birthed it (doom/heavy) and represent something about its place to those outside. I guess you could call it experimental in terms of sound, but that’s not to say there’s anything haphazard about it. Given the range of what they’re doing — the band is comprised of Piotr Aleksander Nowak on the aforementioned nyckelharpa and drummer/vocalist Katarzyna Bobik, and there are guests throughout — it’s kind of astonishing for how clearly the plan comes across, actually. When you want something in heavy music you’ve never heard before, Jarzmo will be waiting.

Jarzmo on Facebook

Jarzmo on Bandcamp

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Planet Desert Rock Weekend V: Luna Sol Added to Lineup

Posted in Whathaveyou on October 15th, 2024 by JJ Koczan

planet desert rock weekend v last call banner

Fresh off the Sept. 20 release of their new album, Vita Mors, Denver-based heavy rockers Luna Sol are the third band announced for Planet Desert Rock Weekend V‘s final day, to be held at Sinwave on Feb. 2 in Las Vegas after the three days of the fest-proper. A comedown day, or maybe trying to hold onto a last bit of weekend before real life claims attendees again. Can’t argue either in ethic or, to this point, execution.

Because as you can see, Luna Sol join BoneHawk and Iota on the carefully curated bill, which will ultimately feature five bands. Each outfit here offers something of their own, but at least so far, there’s a thread of songwriting tying them together. Of course I’m curious to find out who the last names are probably in the next couple of weeks. I don’t know how the fest is doing on tickets, but for the life of me I can’t think of a reason to sleep on the decision either.

Planet Desert Rock Weekend founder John Gist of Vegas Rock Revolution sent the following down the PR wire:

Planet Desert Rock Weekend V last call luna sol

Vegas Rock Revolution’s Planet Desert Rock Weekend is always excited to bring back legacy bands that have performed before at PDRW! We do like to put space of 2 years between playing and in this case Luna Sol is a band that performed on the inaugural evening of PDRW when we did “A Night with John Garcia” at the Hard Rock Casino’s Vinyl.

For those that are unfamiliar with Luna Sol, their frontman is Hermano’s Dave Angstrom. Dave over the year has played with not only the iconic Hermano (featured Kyuss’s John Garcia) but also Supafuzz, Black Cat Bone and other bands.

Luna Sol’s recent album “Vita Mors” released by one of the top heavy underground labels Ripple Music landed at #4 on The Doom Charts for September as voted on by insiders from around the world. This power trio from Denver delivers a strong blues based tone to our final evening of PDRW V …. Last Call which is Sunday February 2, 2025 at Sinwave.

We will have two more bands to announce for this special diverse evening of heavy rock tunes!

Tickets for PDRW Last Call: https://www.eventbrite.com/e/1022254108557

Tickets for PDRW V: https://www.eventbrite.com/e/873750791137

FB event: https://facebook.com/events/s/planet-desert-rock-weekend-v-j/1399556780734695/

https://www.facebook.com/VRRProductions/
https://www.facebook.com/vegasrockrevolution/

Luna Sol, Vita Mors (2024)

Planet Desert Rock Weekend V preview playlist

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Quarterly Review: Torche, Spillage, Pharlee, Dali’s Llama, Speedealer, Mt. Echo, Monocluster, Picaporters, Beaten by Hippies, Luna Sol

Posted in Reviews on July 3rd, 2019 by JJ Koczan

quarterly-review

We meet again. The Summer 2019 Quarterly Review. It’s four in the morning and I’m getting ready to start the day. I haven’t even managed to pour myself coffee yet, which even as I type it out feels like a crime against humanity, such as it is. I’ll get there though.

Wednesday in the Quarterly Review marks the halfway point of the week, and as we’ll hit 30 reviews at the end, it’s half of the total 60 as well, so yeah. Feeling alright so far. As always, good music helps. I’ve added a couple things for consideration to my ongoing best-of-the-year list for December, so that’s something. And I think I’ll probably be doing so again today, so let’s get to it.

Quarterly Review #21-30:

Torche, Admission

torche admission

15 years later and Torche‘s sound is still expanding. To that point, it’s never sounded quite as expansive as it does on Admission, their fifth album and second for Relapse behind 2015’s Restarter (review here). There are still plenty of straight-ahead heavy riffs on cuts like “Reminder” or “Slide” or the bomb-tone-laden “Infierno,” but in the title-track, in “Times Missing,” the closer “Changes Come,” “Slide” and even the 1:30-long “What Was,” there’s a sense of spaciousness and float to the guitars to contrast all that crunch, and it effectively takes the place of some of the manic feel of their earlier work. It’s consistent with the brightness of their melodies in songs like “Extremes of Consciousness” and the early pusher “Submission,” and it adds to their style rather than takes away, building on the mid-paced feel of the last album in such a way as to demonstrate the band’s continued growth long after they’d be well within their rights to rest on their laurels. Sharp, consistent in its level of songwriting, mature and engaging across its 36-minute entirety, Admission is everything one might ask of Torche‘s fifth album.

Torche on Facebook

Relapse Records website

 

Spillage, Blood of Angels

spillage blood of angels

If you, like me, believe doom to be the guardian style of classic heavy metal — you could also argue power metal there, but that’s why it’s an argument — Chicago’s Spillage might be the band to help make your case. With their own Ronnie James Dio in Elvin Rodriguez (not a comparison I make lightly) and a connection to the Trouble family tree via founding guitarist Tony Spillman, who also played in Earthen Grave, the band unfurl trad-metal poise throughout their 53-minute second album, Blood of Angels, hitting touchstones like Sabbath, Priest, and indeed Trouble on a chugger like “Free Man,” a liberal dose of organ on “Rough Grooved Surface” adding to the classic feel — Rainbow, maybe? — and even the grandiose ballad “Voice of Reason” that appears before the closing Sabbath cover “Dirty Women” staying loyal to the cause. I can’t and won’t fault them for that, as in both their originals and in the cover, their hearts are obviously in it all the way and the sound is right on, the sleek swing in the second half of “Evil Doers” punctuated by squealing guitar just as it should be. Mark it a win for the forces of metal, maybe less so for the angels.

Spillage on Facebook

Qumran Records on Facebook

 

Pharlee, Pharlee

pharlee pharlee

San Diego strikes again with Pharlee‘s self-titled debut on Tee Pee Records, a 29-minute boogie rock shove that’s marked out by the significant pipes of Macarena Rivera up front, the shuffling snare work of Zack Oakley (also guitar in JOY and Volcano) and the organ work of Garret Lekas throughout, winding around and accentuating the riffs of Justin “Figgy” Figueroa and the air-push bass of Dylan Donovan. It’s a proven formula by now, but Pharlee‘s Pharlee is like the band who comes on stage in the middle of the festival and surprises everyone and reminds them why they’re there in the first place. The energy of “Darkest Hour” is infectious, and the bluesier take on Freddie King‘s “Going Down” highlights a stoner shred in Figueroa‘s guitar that fits superbly ahead of the fuzz freakout, all-go closer “Sunward,” and whatever stylistic elements (and personnel, for that matter) might be consistent with their hometown’s well-populated underground, Pharlee take that radness and make it their own.

Pharlee on Facebook

Tee Pee Records website

 

Dali’s Llama, Mercury Sea

dalis llama mercury sea

Long-running desert rockers Dali’s Llama return with Mercury Sea, their first release since 2017’s The Blossom EP (review here) and their first full-length since 2016’s Dying in the Sun (review here), sounding reinvigorated in rockers like opener “Weary” and the subsequent grunge-vibing “Choking on the Same,” “When Ember Laughs” and the garage-style “She’s Not Here.” Persistently underappreciated, their albums always have a distinct feel, and Mercury Sea is no different, finding a place for itself between the laid-back desert blues and punkier fare on a cut like “Someday, Someday,” even delving into psychedelic folk for a while in the 6:54 longest track “Goblin Fruit,” and a bit of lead guitar scorch bringing it all together on closer “All My Fault,” highlighting the theme of love that’s been playing out all the while. The sincerity behind that and everything Dali’s Llama does is palpable as ever in these 11 tracks, an more than 25 years on from their inception, they continue to deliver memorable songs in wholly unpretentious fashion. That’s just what they do.

Dali’s Llama on Facebook

Dali’s Llama on Bandcamp

 

Speedealer, Blue Days Black Nights

speedealer blue days black nights

Speedealer ride again! And just about at top speed, too. The Dallas, Texas, outfit were last heard from circa 2003, and their turnabout is marked with the self-release of Blue Days Black Nights, a fury-driven 10-tracker that takes the best of their heavy-rock-via-punk delivery and beefs up tones to suit another decade and a half’s worth of hard living and accumulated disaffection. The Dallas four-piece blaze through songs like “Never Knew,” the hardcore-punk “Losing My Shit,” the more metallic “Nothing Left to Say,” and the careening aggro-swagger of “Rheumatism,” but there’s still some variety to be had throughout, as highlight “Sold Out,” “War Nicht Genung” and “Shut Up” find the band no less effective working at a somewhat scaled-back pace. However fast they’re going, though the attitude remains much the same, and it’s “fuck you fuck this” fuckall all the way. Those familiar with their past work would expect no less, and time has clearly not repaired the chip on Speedealer‘s shoulder. Their anger is our gain.

Speedealer on Facebook

Speedealer webstore

 

Mt. Echo, Cirrus

mt echo cirrus

Based in Nijmegen, the Netherlands, the instrumentalist four-piece Mt. Echo present a somewhat noisier take on Russian Circles-style heavy post-rock with their nine-song/46-minute debut, Cirrus. Not at all shy about incorporating a noise rock riff or a more weighted groove, the dual-guitar outfit nonetheless spend significant time patiently engaged in the work of atmosphere-building, so that their material develops a genuine ebb and flow as songs tie one into the next to give the entire affair a whole-album feel. It is their first outing, but all the more striking for that in terms of how much of a grip they seem to have on their approach and what they want to be doing in a song like “Lighthouse at the End of Time” with airy lead and chugging rhythm guitars intertwining and meeting head-on for post-YOB crashes and an eventual turn into a harder-pushing progression. Ambience comes (mostly) to the fore in the seven-minute “Monsters and the Men Who Made Them,” but wherever they go on Cirrus, Mt. Echo bring that atmospheric density along with them. The proverbial ‘band to watch.’

Mt. Echo on Facebook

Mt. Echo on Bandcamp

 

Monocluster, Ocean

Monocluster Ocean

Over the course of five longform tracks on Ocean, Germany’s Monocluster build fluidly on the accomplishments of their 2015 self-titled debut (review here), greatly expanding on the heft and general reach of their sound while, as opener “Ocean in Our Bones” demonstrates, still holding onto the ability to affect a killer hook when they need one. Ocean is not a minor undertaking at 56 minutes, but it dedicates its time to constructing a world in cuts like “Leviathan” and “A Place Beyond,” the giant wall of fuzzed low end becoming the backdrop for the three-part story being told that ends with the 11:43 “Home” standing alone, as graceful and progressive as it is brash and noisy — a mirror in that regard to the nine-minute centerpiece “Guns and Greed” and a fitting summation of Ocean‘s course. They keep this up for very long and people are going to start to notice. The album is a marked step forward from where Monocluster were a few years ago, and sets up the expectation of continued growth their next time out while keeping a focus on the essential elements of songwriting as well. If we’re looking for highlights, I’d pick “Leviathan,” but honestly, it’s anyone’s game.

Monocluster on Facebook

Monocluster on Bandcamp

 

Picaporters, XXIII

picaporters xxiii

The third full-length from Argentine trio Picaporters marks another level of achievement for them as a band. XXIII arrives three years after El Horror Oculto (review here) and is unquestionably their broadest-cast spectrum to-date. The album comes bookended by eight-minute opener “La Soga de los Muertos” and “M.I.,” an 18-minute finale jam that would give a Deep Purple live record reason to blush. Soulful guitar stretches out over a vast rhythmic landscape, and all this after “Jinetes del Universo” motorpunks out and “Vencida” pulls together Floydian melo-prog, “Numero 5” precedes the closer with acoustic interplay and the early “Despertar” offers a little bit of everything and a lot of what-the-hell-just-happened. These guys started out on solid footing with their 2013 debut, Elefantes (review here), but neither that nor El Horror Oculto really hinted at the scope they’d make sound so natural throughout XXIII, which is the kind of record that leaves you no choice but to call it progressive.

Picaporters on Facebook

Picaporters on Bandcamp

 

Beaten by Hippies, Beaten by Hippies

beaten by hippies beaten by hippies

As their moniker hints, there’s some edge of danger to Belgium’s Beaten by Hippies‘ self-titled debut (on Polderrecords), but the album ultimately resolves itself more toward songwriting and hooks in the spirit of a meaner-sounding Queens of the Stone Age in songs like “Space Tail” and “More is More,” finding common ground with the energy of Truckfighters though never quite delving so far into fuzzy tones. That’s not at all to the band’s detriment — rather, it helps the four-piece begin to cast their identity as they do in this material, whether that’s happening in the volatile sudden volume trades in “Dust” or the mission statement “Rock ‘n’ Roll,” which feels geared a bit to the anthemic but would probably work just as well in whatever pub they happen to be terrorizing on a given evening. Their delivery skirts the line between heavy and hard rock as only that vaguely commercially viable European-style can, but the songs are right there waiting to take the stage at whatever festival is this weekend and blow the roof — or the sky, I guess, if it’s outdoors — off the place.

Beaten by Hippies on Facebook

Polderrecords website

 

Luna Sol, Below the Deep

luna sol below the deep

Guitarist/vocalist Dave Angstrom may be best known in heavy rock circles for his work alongside John Garcia in Hermano, but in leading the four-piece Luna Sol through their 12-song/50-minute sophomore outing, Below the Deep (on Slush Fund Recordings), he proves a capable frontman as well as songwriter. Sharing vocal duties with bassist Shannon Fahnestock while David Burke handles guitar and Justin Baier drums, Angstrom is a steady presence at the fore through the well-constructed ’90s-flavored heavy rock of “Below the Deep” and “Along the Road” early, the later “Garden of the Gods” playing toward a more complex arrangement after the strutting “The Dying Conglomerate” paints a suitably grim State of the Union and ahead of the fuzz-rich ending in “Home,” which keeps its melodic purpose even as it crashes out to its languid finish. Whether it’s the charged “Man’s Worth Killin'” or the winding fuzz of “Mammoth Cave,” one can definitely hear some Hermano at work, but Luna Sol distinguish themselves just the same.

Luna Sol on Facebook

Slush Fund Recordings webstore

 

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Luna Sol Announce New Album Below the Deep out June 21

Posted in Whathaveyou on May 28th, 2019 by JJ Koczan

luna sol

From out of the mountains of Colorado come Luna Sol, who are set to issue their second album, Below the Deep, on June 21 through Slush Fund Recordings. Riff heads will note that the band features guitarist Dave Angstrom, whose songcraft is a long-since proven quantity owing to his time in Hermano and Supafuzz. Given that pedigree, it’s not entirely surprising to find some basic discussion of desert rock around the band — having John Garcia on the first record will inevitably help that too — but one would hardly consider them bound by ecosystem in their work. It’s like rock, but you know, heavy. They should really come up with a name for that.

Enjoy heavy rock:

luna sol below the deep

Luna Sol to Release New LP, ‘Below the Deep’, June 21

Denver Rock Group Featuring Former Hermano Guitarist Readies Electric Sophomore Album

Colorado heavy rock hypnotists Luna Sol, which features in its ranks guitarist / vocalist Dave Angstrom, formerly of Kyuss vocalist John Garcia’s early aughts band Hermano and Lexington, Kentucky’s Supafuzz, will release its new LP, ‘Below the Deep’, on June 21 via Slush Fund Recordings / Cargo Records.

Luna Sol (Latin for “moon soil”), plays self-described “high mountain rock”, delivering riff-centric music in the “desert rock” tradition while incorporating more variety. Deceptively tuneful, the band delivers an intoxicating collection of hazy, leaden R’N’R that blends volcanic riffage with an earthquaking crunch while crooning vocals float over the songs like ghostly echoes. Luna Sol’s robotic boogie is catchy in a way that doesn’t so much announce itself as creep up behind you. ‘Below the Deep’ is the follow-up to the group’s 2015 debut, ‘Blood Moon’, an album which featured guest spots from John Garcia, Guns N’ Roses’ Dizzy Reed and Nick Oliveri.

Ominous cover art by Amplified Design (Pallbearer, Brant Bjork) lends a foreboding visual air to the record, which Angstrom says was the plan all along. The clearly troubled personal lyrics of the album create a tension that we can all empathetically relate to. With messages of pain, praise, sorrow, death, rejoicing, revolution and honest apologies, ‘Below the Deep’ takes us on a fairground ride of riffs, hooks and emotions.

“We wanted ‘Below the Deep’ to look and feel like worn out Steven King novel, with artwork that will scare children,” he says. It might. A clothed young woman submerged in a lake at the foothills of the Colorado Mountains is creepy. But Angstrom thrives in the darkness. He was married at the Standley Hotel in Estes Park, the haunted mansion that inspired King’s classic “The Shining.”

“This may be the best record I’ve ever made,” says Angstrom. “Below the Deep is a lyrical confession, served with a fist. It’s a dark cohesive album. Hangings, suffering, pain, recovery, family, life; it all seems to make sense when I’m playing and singing about it. We had a goal to create a straight up, guitar oriented, fist-in-the-air classic rock record. I’m extremely proud of this one.”

Track listing:

1.) Black Cloud
2.) Below the Deep
3.) Along the Road
4.) Man’s Worth Killin’
5.) Sometimes We Get It Right
6.) The Dying Conglomerate
7.) Garden of the Gods
8.) Hallelujah
9.) Mammoth Cave
10.) Wait For It

Pre-order ‘Below the Deep’ at this location

In addition to Dave Angstrom, Luna Sol features David Burke (guitar), Shannon Fahnestock (bass, vocals) and Justin Baier (drums).

https://www.facebook.com/Lunasolmusic/
https://squareup.com/store/slush-fund/.

Luna Sol, Below the Deep album trailer

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Planet Desert Rock Weekend Announces Lineup with John Garcia, Wino, Wo Fat, Sasquatch and More

Posted in Whathaveyou on October 17th, 2018 by JJ Koczan

planet desert rock weekend john garcia

Last week, John Garcia and the Band of Gold announced that a lone US appearance would take place in Las Vegas on Nov. 29. As presented by Vegas Rock Revolution, that show will be the first of a three-evening event called the Planet Desert Rock Weekend, also featuring headlining spots from Scott “Wino” Weinrich and Texas fuzz-blues stalwarts Wo Fat, as well as support from the likes of House of Broken PromisesFreedom HawkSasquatchPowered Wig MachineValley of the SunThe Heavy Eyes, and so on. The venue changes each night, but there’s no question what’s happening here: It’s a festival.

Look. I can’t tell you how to live your life. Well, I could — eat right, try to get some exercise, love everybody, etc. — but I can’t tell you where to go on any given day. Even aside from this being a rare chance to catch John Garcia in the States, this lineup is pretty much unfuckwithable. Vegas may be known as the land of Psycho, but without a doubt, Planet Desert Rock is looking to make an impact of its own in underground heavy. If you were there to see it, I can’t imagine you’d have regrets later.

Awesome posters by Joey Rudell, full lineup and info follow, courtesy of the fest’s social medias:

Planet Desert Rock Weekend

A Desert Rock Weekend Experience of amazing music from all over the country. Each band hand selected to ensure amazing relevant lineups daily. No fillers just got music.

3 nights of amazing Heavy Rock lineups

Night 1 starts off with legendary vocalist John Garcia of Kyuss. This is a exclusive evening that has never happened before. He will be singing songs from all his bands including Kyuss, Unida (Arthur Seay on guitar) , Hermano (Dave Angstrom on guitar) and Slo Burn (Chris Hale on Guitar). Former Kyuss bandmate Nick Oliveri will also be playing a song or two with John. Luna Sol featuring Angstrom also on the bill as well as Nick Oliveri and Arthur Seay’s Death in Pretty Wrapping with Unida/House of Broken Promises bandmate Mike Cancino on drums. This will be John Garcia only show in the U.S. in 2018. Vinyl at Hard Rock Casino is home to this very special one time event Thursday night.

Night 2 The Bunkhouse Saloon in Downtown Las Vegas hosts headliner Scott “Wino” Weinrich. Longtime heavy rock vocalist with such iconic underground bands as The Obsessed, Spirit Caravan , Saint Vitus and Shrinebuilder. Also joining on the bill will be heavy rock veterans Valley of the Sun who is rising from the ashes and gearing up for a big 2019 with a new album. The Heavy Eyes comes in from blues town Memphis with their psychedelic bluesy rock style and their own very unique catchy sound. House of Broken Promises featuring Arthur Seay and Mike Cancino of Unida fame will be representing Indio CA with riff rocking madness. War Cloud out of Oakland revs up with a late 70s/early 80s high energy styled metal/rock. King Chiefs (formerly Chiefs) gives a 90s grunge era style to this stacked lineup.

Night 3 is highlighted by a rare west coast appearance by Wo-Fat out of Dallas Texas. This power trio has played all over the world at many of the top festivals including DesertFest. Thick Bluesy psychedelic explosion of heavy rock would be a start to describing their incredible sound. World travelled Sasquatch joins the party as one of the premier bands poised for next level breakthrough. Freedom Hawk flies over from Virginia Beach bringing with them catchy rocking songs with duel guitar action. One of the most consistent bands in the stoner rock genre. Powered Wig Machine gets its motor running again after a little layoff as Wayne and Joey Rudell of Fuzz Evil play the epitome of desert rock style blended with retro rock influences. Blackwulf flies down from Oakland on the heals of their last highly acclaimed album which featured former Pentagram member Geoff O’Keefe. Heavy riff rocking live band. Red Desert makes a special appearance coming all the way from Minnesota as they prepare for a big 2019 with a new album/EP. Desert rock sound blended with stoner and doom. Beauty Bar downtown on Fremont street is home to this all star lineup.

We are very proud of these lineups and will only have a limited amount of tickets to sale as each of the last 2 locations have only room from 270 or so……snag those tickets as this is first come first serve. Cool vibe and stacked lineups will be happening each and every night. Our hopes is to develop this into something heavy rock bands and fans can flourish in for future shows. See you soon !

Tickets available on each of these links for the individual days

Night 1 –John Garcia and Friends – NOV. 29
https://www.facebook.com/events/2217039788574233/

Night 2 –Wino/ Valley of the Sun/ The Heavy Eyes/ House of Broken Promises/ War Cloud/ King Chiefs – NOV. 30
https://www.facebook.com/events/734357036916015/

Night 3 — Wo-Fat / Sasquatch/ Freedom Hawk/ Powered Wig Machine/ Blackwülf/ Red Desert – DEC. 1
https://www.facebook.com/events/296321447858932/

https://www.facebook.com/VRRProductions/
https://www.facebook.com/vegasrockrevolution/

Wo Fat, Live in Oklahoma City, OK, Aug. 10, 2018

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John Garcia & The Band of Gold Announce Exclusive US Appearance

Posted in Whathaveyou on October 11th, 2018 by JJ Koczan

john garcia

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 show poster

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…

john garcia and the band of gold logo

https://www.facebook.com/JohnGarciaOfficial/
https://www.instagram.com/johngarciasolo/
https://shop.napalmrecords.com/

John Garcia, Las Vegas show announcement

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