Posted in Whathaveyou on July 24th, 2025 by JJ Koczan
You can see on the poster below it says ‘last names are in,’ which means that yes indeed, this is the final lineup announcement for Desertfest Belgium 2025 this Oct. 17-19 in Antwerp. Seeing the complete bill is cool in itself, from Graveyard and YOB to Elephant Tree, Acid Mammoth, Black Capricorn and Froglord from this latest announcement, it’s another cross-generational assemblage that, front to back, screams quality. I mean really. Colour Haze, Lowrider, High Desert Queen, Mars Red Sky, MR.BISON, Wren and Oranssi Pazuzu, and that’s hardly scratching the surface. It’s going to be a hell of a weekend.
That’s been the case for a few years with Desertfest‘s Fall flagship edition. Desertfest Belgium has become an epicenter and an intersection on the Fall circuit, but the assemblage is stunning well before you get to it being Orange Goblin‘s last Belgian date ever or Acid King doing two sets — which is probably the only way to top Acid King doing one set — the Mars Red Sky and Monkey3 collab, or Psychlona‘s unmitigated hookmaking. Oh yeah, and Bongripper will be there. So it’s “all this and crush the universe too.” If you’ll be in attendance, mark yourself lucky. Also, note to self: check out Marx.
From socials:
We are beyond thrilled to announce no less than 14 (!) new bands that will be gracing the Desertfest Antwerp stages this fall. Please welcome:
Elephant Tree 🌑 Mephistofeles 🌑 Acid Mammoth 🌑 Nightstalker 🌑 Telepathy 🌑 Black Capricorn 🌑 Froglord 🌑 FVZZ POPVLI 🌑 Huracán 🌑 GROS COEUR 🌑 T E R Z I E L E 🌑 Fomies 🌑 Scott Hepple and The Sun Band 🌑 MARX
Just a quick note that Hedonist will play DF on Saturday 18/10 (instead of Friday) and that Neànder will play DF on Friday 17/10 (instead of Saturday).
All your tickets can be found at the usual spot right now.
I’ve been waiting for this one, honestly. I think I did a Quarterly Review in April, or maybe it was late March, so it hasn’t been that long, but you know how it is with releases now. Every week there’s a ton coming out, everybody’s gotta pump through content to feed the algorithm. If you like sitting with records, if you like getting to know records, it’s still a pretty good era, but you have to understand you’re not going to hear everything. The Quarterly Review is more than a catchall in my mind, but it’s definitely also a place for stuff I can’t fit anywhere else. At this point there are bands who’ve been in QRs their entire lifecycle. I don’t think anybody knows that or cares other than me, but it’s true just the same.
I like doing these, though, and I like the marathon listening sessions that are part of it. Oh yeah asshole, you like writing about music? Well here’s 10 records a day for a week. Hope you slated a single in there somewhere. You’re gonna need it.
Quarterly Review #1-10:
Miss Lava, Under a Black Sun
This fifth full-length from Portuguese psychedelic-inflected heavy rockers Miss Lava sets its own backdrop with breadth of tone. The album is called Under a Black Sun and it is their fourth outing for Small Stone Records, but even the edgiest moments throughout are more colorful than that might indicate. Miss Lava excel — whether it’s the closing title-track or “Neon Gods” earlier or the 1:15 blowout “Chaos Strain” — at creating instrumental tension underneath the forward melodic float of the vocals. From seven-minute opener and longest cut (immediate points) “Dark Tomb Nebula,” the 52-minute/11-song outing takes its time saying what it wants to say, and it might take a couple listens for it to sink in accordingly, but the fuzz in “The Bends” and the tempo-pickup swing in “Blue Sky on Mars” can be landmarks on the path, and the album is worth meeting with the attention it’s due.
To coincide with the righteous pummel of the eight-and-a-half-minute “Silver and Gold,” Los Angeles trio The Cimmerian infuse their first full-length with a thrashing sensibility in pieces like “Neckbreaker of the Mountain” and “Black Coast Tigris,” which are all the more brutal for the guttural vocals of bassist Nicolas Rocha. Guitarist David Gein crushes and slashes enough for “Mournblade” to earn its title, and the extremity is retained even in the slowdown of “Deathstalker” later on, as Gein, Rocha and drummer David Morales seem to hold another level of viciousness in reserve for 10-minute finale “Monarch.” There’s some extrapolation from High on Fire here in the basic math of the band’s makeup, but The Cimmerian push more into thrash as a genre, and come across as more metal in their assault. There’s growing to do, and streamlining the songs may become part of that process, but as an awaited debut album, An Age Undreamed Of… heralds its own devastation and that to follow.
Athenian heavy rock institution Nightstalker return with their eighth full-length in a 35-plus-year career as led by frontman Argyris “Argy” Galiatsatos, who remains a pivotal presence in the songs. There are eight of those across the down-to-business 38-minute long-player, which opens raucous with “Dust” but settles into a psychedelic meander on “Heavy Trippin'” before “Uncut” finds a catchy space somewhere in the middle, high-energy but not a shove, and welcoming all comers. The title-track follows and takes a noisier tack instrumentally and vocally in its second half, but is a four-minute kick-in-the-pants nonetheless, so one would not accuse it of being an awkward fit here, even as the subsequent “Shipwrecked Powder Monkey” (which I’m assuming starts side B) moves through quiet/loud trades toward a fuzzy surge, “Shallow Grave” basks in melancholy, “Falling Inside” follows the bassline into a shredder of a guitar solo and seven-minute closer “Flying Mode” dares a bit of funk to round out. There’s a reason Nightstalker have stood the test of time. It’s the songs. Yes, still.
Indonesian doom rollers Whitehovse released the title-track of their first, self-released full-length, The Mighty One, as a standalone single in 2020, and I don’t know that all the songs have been around that long, but every chug in “Falling Crown” sounds like it’s there for a reason and I’m not inclined to argue. Bookended by the nod of “Endless Sorrow” and the blowout, harsh-in-the-cymbals bounce of “Vile Triumphant,” the in-betweens on the eight-track/35-minute LP are light on nonsense and heavy on just about everything else as “Falling Crown” is indicative of the five-piece’s riffy foundations. They declare themselves Sabbathian early, but “Silence of the Soul” has more of a desert bounce transposed onto their own echoing palette and against the wall reminds a bit of the slower moments in whatever kind of metal it is Solace play. Their story isn’t fully written yet, but they put key aspects in place with this material.
I don’t mean this to be an insult, but if you told me Hashishian‘s Sand Dragon was AI, I’d probably believe you. The band, from parts unknown, comprised of anonymous huffer pilgrims, are so steeped in the worship of Sleep, weed, riffs, and such, that the throatsinging vocals are a fit. Sand Dragon is meditative in its way, but it’s more stoned, and that’s the whole idea. What do you do with something that is pure worship? There is an original edge to their approach, though “Sand Dragon” itself is pretty dead-on Om, but if you’re a genre head, you know to which land “Follow the Riff” is going before its meganodder of a riff even departs. But I don’t think you take on Sand Dragon if you’re looking for originality-on-purpose. I think you take it on if you want to join them in their worship, and yeah, if you know what you’re getting going in, the naked, sans-pretense-otherwise homage happening throughout, the riff of “Meggido” just might make you a convert. Hail Cisneros.
Is garage rock inherently retro? Is there a way for a sound that was ‘mod’ when mod was mod to be the sound of the great forgetful now? I don’t know, but the UK’s Scott Hepple and the Sun Band take classic elements from garage, grunge, and heavier rock, and it’s hard to argue with the results of their formula in pieces like “Velvet Divorce” or the sweet acoustic strum of “Blue Door Jimmy,” the boogie of “Lead on Sonny Brown” and “Sweet Sugar High” and the more brash fuzz of “Fake a Smile,” as the 16-song long-player packs its 41-minute stretch tight enough that even the gag interlude “A Brief Advertisement” doesn’t come through as any more in a hurry than the rest of the proceedings. And they are in a hurry. Because they’re young and such is the way of young people. But that’s how it should be, and so, so are Scott Hepple and the Sun Band as they prove you can have ‘brash’ as a defining personality feature without needing to make yourself sound like a monster.
Immediacy is the order of the moment on Blind Mess‘ six-song The Storm Within EP, as the hit-hard trio from Munich delve into burl on “The Bell” before the throw-elbows punkthrash of “On the Edge” and the angular “Mirror of My Soul” feels all the more leveled out for the shouts that top it. They’re not without atmosphere, even before the standalone guitar introduces the first 30 seconds of “The Hemlock Cup,” but the idea is for the songs to hit you direct and they do. “The Hemlock Cup” has a burner of a solo later on, and “Sick Society” has its foundation in rock but still sounds like it listened to Megadeth in the 1990s (who among us.) before the shorter closer “Bleeding Hearts” renews the shove of “On the Edge.” It’s a quick 24 minutes and they make it feel quicker with pacing, but it’s still well enough time for the band to showcase a refined attack.
Striking a progressive first impression around material still geared for an impact despite all the turns, UK five-piece Vordermann bring elements of alternative rock into the hooks of “Delirium Tremors,” one of the three songs included on their debut EP, the intentionally-slashed Feeding on Flowers/. Intertwining vocals in a quiet stretch, weirdo shifts, post-rock drift and weighted drums beneath, melodies providing the payoff where opener “Cloudpiercer” is more about the heft, and the seven-minute “Saint Banger (The Lars Ulrich Torrent Finder General Drum Circle Experience)” moving through a long, soft-guitar intro — there’s no drum circle; there are samples — before a heavier nod arrives, ebbing and flowing until the shouted vocals arrive late to put it over the top. Look out for these guys. They give a killer showing here and in no way sound like this is the limit for where they want to take their sound. One hopes for more to come. Maybe we can find out what’s on the other side of that slash in the title.
When Austrian cosmic-rocking instrumentalists — space rock, some My Sleeping Karma-esque keys, almost certainly jam-based, but with fluidity as a compositional priority either way — Aerolith sent their second album, II, in for review, I’ll admit that I didn’t know it came out late in 2017. Going on eight years ago. If you’re wondering, I think that’s the oldest release ever to feature in a Quarterly Review — the band’s latest work, Megalorama Part II, was released in 2023 — which I try to keep at least vaguely current. I don’t know why the 2017 record was sent, but they make it easy to dig the conversation happening between the keys and guitar throughout, and the mellow-heavy mindset of “Rain Walk” and “Aufschub,” that payoff in closer “Bug Nebula,” seems to still inform their sound on the newer offerings as well. I’m not about to start retconning the entire history of the underground in a Quarterly Review, so don’t send me all your old records, but I’m glad to have had the introduction to this band regardless.
Experimentalism is crucial on this apparently-years-in-the-making second full-length from Athens-based mostly-solo outfit Occult Stereo, driven by self-recording multi-instrumentalist/vocalist/programmer Alex Eliopoulos, who blends electronic and organic instrumentation — the bedroom industrial of “In Between Lines” and “Kiss My Mask,” the acoustics of “A Glow” and “Power,” the variable drones of the otherwise anthemic “New Drip” and “Burn the Manifesto,” the fuzz ultranod of “Same Life Different Face” and the avant-garage “Not Mysterious”; it is a record that sets its own context and goes — to a readily divergent affect, melding styles across genres with expressive weirdness. At 11 songs and 64 minutes, it is a not insignificant undertaking, and surely A Temporary Utopia is not without its challenging aspects, but Eliopoulos isn’t on his own here — there are even guest vocals on “Power” — and as deep as Occult Stereo plunge, the spaces occupied are individual and fascinating.
Posted in Whathaveyou on May 5th, 2025 by JJ Koczan
Here’s a daydream for you. Hop on a plane and land somewhere in Spain that’s (quite literally, as I understand it) out of a Sergio Leone film to see three full days of international quality heavy from Mondo Generator and Unida and Nightstalker on down to Xispa and the Wild Pigs. I’m assuming the six tickets that were left when Tabernas Desert Rock Fest 2025 posted its full lineup the other day are long gone by now, or if not, congratulations if you’re one of the last six. I’ve talked to people who’ve been to this one and it looks amazing. Think of an experiential festival, kind of like Duna Jam or Bear Stone, but in an old-style Western setting.
And not to harp on it, but the lineup is really solid. I’m less familiar with Convoy or Scrotem or Baläte near the bottom of the poster, though at least the latter have played before, but with the likes of High Desert Queen, Kal-El, Rotor, TempleFang, Godsleep, Ritual King and Tankzilla, it’s a cross-generational assemblage limited to 300 tickets and what seems to be an intimate setting that, at very least, is going to look incredible when you share the photos of everyone ripping it up. This is one I’ve been keeping up with for the last few years, and I think it’s easy to see why when you check the bill.
Again, I’m assuming those six tickets are gone, but you never know until you reach out at the email below:
So now here it is, our official confirmed LINE-UP for 2025 edition, with still one surprise ;-) = ENJOY!
WE ONLY HAVE 6 TICKETS LEFT, GET YOURS NOW BY MAIL:
Posted in Whathaveyou on October 1st, 2024 by JJ Koczan
As the lineup for Høstsabbat 2024 declares itself finished with the addition of Greek heavy forebears Nightstalker — whose series of catalog reissues through Heavy Psych Sounds was announced just last week — and the day splits are unveiled to let attendees know that, indeed, you will in your life be able to witness Träd, Gräs och Stenar and Inter Arma sharing a stage in a showcase of righteous disparity only enhanced by the fact that it’s happening at Kulturkirken Jakob in Oslo, I can’t help but feel somewhat relieved that I can maybe take a break from flagellating myself for missing it. Staring at all the names though, and their sundry evocations in terms of aesthetic, it’s all the more astonishing an assemblage for how much it delivers and how broadly. To have Barren Womb and The Body & Dis Fig on the same bill as Tusmørke and Kosmodome and Monkey3 just tells you how far Høstsabbat has come in its decade-plus and how expansive their reach has gotten. It doesn’t stop there, either.
Day tickets are on sale, if there’s one or the other between the Friday and Saturday that’s shouting at you or, you know, if you have some real-life obligation to account for in part of your weekend, but the arguments for going both days are best made by the completed lineup itself, and that’s right here:
We’re sticking with the Olympian theme from the last artist announcement guys. 🔥
We are sprinkling some Greek spice to our lineup! 🇬🇷
From Mount Olympus to The Chapel stage, please welcome Nightstalker!
Having played together longer than some of us have been alive, these Greek legends now how to rock the stage. Herculean riffs, tight-as-can-be ensemble and lyricism (that’s a word right?) only surpassed by Homer. This gang of rugged, weathered Rock’n’roll half-gods will shake the Church’s pillars so hard that Oslo will get its own Akropolis after. 💥
Nightstalker, like a perfect jigsaw piece, completes our line up, and gives it the golden bowtie we wanted!
This completes our line up, so keep your eyes peeled for a day-split and day-tickets the coming days! 👀
Come the sabbath, we’re all Greek Freaks!
DAY TICKETS
With the completed schedule and lineup ready, we are also dropping some limited day tickets for those unable to attend both days. Get’em while they’re hot!
Posted in Whathaveyou on September 24th, 2024 by JJ Koczan
I’ll admit that while I’ve long recognized Nightstalker as OG champions of Greek heavy rock circa-1990-whatever, I’ve never actually dug into their 1994 debut, Side FX. This reissue, announced today from Heavy Psych Sounds — which also put out the band’s latest album, Great Hallucinations (review here) — has provided an excuse to do so.
The debut is a good place to start, as it turns out, brimming with the hallmarks of the era in crunchy guitars, punchy bass, and a blend of Motörhead and Black Sabbath that’s a bit darker than some of the more desert-style stoner of the day, but that’s ultimately less metal than I’d been made to understand. It’s brash, and there’s a break near the end of “Funny Paper” — just a couple seconds in the sub-three-minute cut –that drops to bass and drums alone that reminds me of Megadeth‘s “Peace Sells… But Who’s Buying?” that brought a smile to my face, but it’s way more about groove than aggro vibes, and that’s just fine. Like the headline says, the release date is Nov. 15.
That the band will have a new record out next year and a significant round of live dates for their 35th anniversary is likewise welcome news, if you need something else to look forward to about next year — can’t hurt — and as there are surely listeners who, like me, have never taken Side FX on, having gotten on board with Nightstalker at some later point in the last three decades, you’ll find it streaming at the bottom of this post. It’s ’90s-tastic:
Brand new reissue of the NIGHTSTALKER legendary debut album Side FX in new coloured vinyls !!
Nightstalker’s debut album, recorded in 1993 and released in 1994, captures the raw, rebellious energy of the era, blending gritty, Motörhead-inspired heaviness with infectious grooves. Emerging from Greece during the height of grunge and alternative music, the band delivers a sound that’s unapologetically rough and driven by a heavy, rhythmic pulse. Their music channeled the raw power of ‘90s rock while Nightstalker carved out their own space with their hypnotic riffs, groovy basslines, and a dark, rebellious spirit.
A bold first step, this album sets the tone for Nightstalker’s journey.
“It’s been 30 years since Side FX dropped, and those riffs still hit hard. We’re proud to reissue our debut for all of you who’ve been with us since day one—and those just discovering it now! Crank it up and hear what our sound was like in the early 90s..” Andreas & Argy
Posted in Whathaveyou on February 1st, 2024 by JJ Koczan
So I guess this is the last announcement for the lineup of Desertfest London 2024, and I’ll just say I kind of love the casual manner in which the festival set for May 17-19 tosses in another 30-plus names for the bill. Oh no big deal but here’s like two more fests we’re just gonna add while we give you the schedule. Badass. There’s a lot to dig here on all levels, from the headliners — that Friday at The Electric Ballroom, also Saturday and Sunday, looks pretty sweet — and while I’d set up camp at The Underworld on Saturday, no question I’d have to abscond from that home base to at least catch a bit of Saint Karloff, Acid King, and so on, and, well, on Sunday I’m actually kind of relieved I’m just pretending to have to pick one spot to be in, as each room has a distinctive pull. DVNE and Morag Tong or Borracho and Kadabra? Ufomammut and Monolord or Stinking Lizaveta, Darsombra and Orme? This shit is hard sometimes.
You could go on here in choose-your-adventure daydreaming, and frankly I’d encourage you to do just that. Worst that happens is you end up listening to good music. Or, you know, going to the fest, which would also be the best thing that could happen. Here’s why:
Desertfest London announces day splits and 32 additional artists
Friday 17th May – Sunday 19th May 2024 Weekend & Day Tickets now on sale
Desertfest London has revealed their day and stage splits for their 13th edition, taking place this May across multiple venues in Camden, London.
The festival proudly welcomes Masters of Reality as Friday’s Electric Ballrooms headliners, with Chris Goss at the helm providing a master-class in desert sounds. Plus, newly announced for this stage are Colour Haze and Frankie and The Witch Fingers who will join Brant Bjork Trio and Mondo Generator to kick off the weekend in true Desertfest style. Mantar and Raging Speedhorn will shake-up the Underworld, whilst Brume and Alber Jupiter psych-out at The Black Heart.
Saturday sees skate-punk legends Suicidal Tendencies back in London for the first time in seven years, as they decimate the equally legendary Roundhouse. Joined by Cancer Bats, Bongripper, Acid King and newest addition to the bill, Pest Control. Saturday’s Roundhouse stage is undeniably a melting pot of genres, but celebrating one common thread – insane live performances. Elsewhere, Maserati, Monkey3, Domkraft, Wet Cactus and many more will level Camden to the ground.
Back at the Ballroom on Sunday night, the festival enters its final day with a dose of experimental heaviness from Godflesh, Ozric Tentacles, Monolord, Ufomammut & Ashenspire. Additionally, Desertfest will be welcoming Bat Sabbath, the Black-Sabbath cover band formed by Cancer Bats to close out the entire weekend at our Underworld Stage after-party. Plus, DVNE, Nightstalker, Astroqueen, Stinking Lizaveta & The Grudge, with a hell of a lot more will be rounding off the weekend’s festivities.
Across the weekend, Desertfest has also newly announced the likes of Morag Tong, Borracho, Noisepicker, Gramma Vedetta, Lodestar, Kulk, Earth Tongue, Skypilot, Wolfshead, Weedsnake, Orsak:Oslo, WAXY, Horndal, Silverburn, Fires In The Distance, Sleemo, Midwich Cuckoos, Akersborg, Grand Atomic, Voidlurker, Under The Ashes and Fuz Caldrin.
Weekend & Day Tickets for the event are on sale now via www.desertfest.co.uk
Posted in Whathaveyou on December 12th, 2023 by JJ Koczan
Okeydokey, what do we learn here? Bongzilla will be in Europe this Spring, and Mondo Generator will be out to follow up on Nick Oliveri‘s winter solo tour, and Kadabra will go supporting their most excellent 2023 outing, Umbra (review here), though that was already apparent from the first Desertfest London announce. Along with MR.BISON, the esteemed Ufomammut — who’ll have a new LP out sometime in 2024, allegedly — Greek mainstays Nightstalker and upstarts 1782, speedrockers Tankzilla and punkers The Clamps, that’s the bill as it stands that will swap acts back and forth across two nights in Bologna and Trieste next May for Heavy Psych Sounds Fest Italy 2024.
This is not the end of the announcements, of course, but it’s a rousing start as the Italian label and booking agency continues to branch out to new places. You’ll note Trieste is home for Rocket Panda Management, who are involved here and also behind the StonerKras Fest that’s taken place the last couple of years later in the summer. I assume that’s still happening too, and will do so until I hear or see otherwise.
I don’t have numbers on the site’s readership in Bologna or Trieste, but I think these things are relevant anyway exactly because of the above: they show you who’s going to be where when. And it gives me an excuse to post the Kadabra record again. Double-win.
From the PR wire:
Heavy Psych Sounds to announce HEAVY PSYCH SOUNDS FEST ITALY 2024 Bologna & Trieste – TICKETS PRESALE + FIRST BANDS !!!
Heavy Psych Sounds Records & Booking will smash Bologna and for the first time Trieste with their highly acclaimed mini festival-series, the HEAVY PSYCH SOUNDS FEST!
In cooperation with Freakout Club and Rocket Panda Management, today Heavy Psych Sounds has announced the first confirmed bands + TICKETS PRESALE for the upcoming HEAVY PSYCH SOUNDS FEST ITALY 2024 !!!
The HPS Fest Italy will be taking place 3rd and 4th of May at the Teatro Miela in Trieste and 4th and 5th of May at the TPO Club in Bologna !!!
HEAVY PSYCH SOUNDS FEST ITALY 2024 – BOLOGNA & TRIESTE
@ TPO, Bologna // 4th and 5th May 2024
@ Teatro Miela, Trieste // 3rd and 4th May 2024
feat. BONGZILLA MONDO GENERATOR UFOMAMMUT NIGHTSTALKER 1782 KADABRA MR. BISON TANKZILLA THE CLAMPS + more TBA
Posted in Whathaveyou on December 1st, 2023 by JJ Koczan
The names here are really the thing. Suicidal Tendencies, Cancer Bats, Nightstalker, Ozric Tentacles, Mondo Generator, Sunnata, Kal-El, Psychlona, Kadabra, Saint Karloff, Ashenspire, WAKE, Bongripper, Gozer, Orme, Borehead, Sagan, Acid Throne — did I miss anybody? Hell, probably. Every year, Desertfest has a couple announcements like this where they add basically an entire festival to their festival and it’s always kind of staggering to consider the scope, never mind what Desertfest has become, particularly with London as an epicenter. One of these years I’ll get back over. It’s been too long.
Desertfest London welcomes Roundhouse headliners Suicidal Tendencies plus Ozric Tentacles, Cancer Bats, Bongripper and 15 more artists for 2024
Friday 17th May – Sunday 19th May 2024 | Weekend Tickets now on sale
Desertfest London proudly welcomes the legendary Suicidal Tendencies to their 2024 event as Roundhouse headliners. Celebrating 40 years since their genre-defying first album, prepare to have your mind Institutionalized! Whilst Desertfest remains synonymous with showcasing the best of stoner, doom and psych for over twelve years, Suicidal Tendencies’ headlining performance will add a new dimension to the festival, bridging the gap between the punk and metal scenes that have inspired countless bands worldwide.
Hailing from the sun-soaked streets of Venice, California, Suicidal Tendencies frontman Mike Muir helped shape a cultural landscape, whilst simultaneously pioneering a new genre. Taking the essence of skating, surfing and the Dogtown scene & infusing it with a unique style of hardcore punk. Their seamless un-apologetic musical blend, breaking of conventions and fearless take on challenging socials issues changed the landscape of heavy music forever. Suicidal Tendencies’ performance at Desertfest not only welcomes the band back to London for the first time in seven years, but marks a new point in the festival’s evolution as a celebration of underground counter-culture.
The icons keep rolling in as Ozric Tentacles join the bill, also celebrating a monumental 40 years, Ozrics’ unique lysergic soundscapes helped merge the worlds of psychedelia, progressive rock and dance music. Formed during a solstice at Stonehenge in 1983, Ozric Tentacles are true trailblazers – laying the tripped-out road which so many acts in the Desertfest-sphere now follow.
Heavy music’s hardest-working, and hardest-partying, road dogs Cancer Bats will up the ante with their rock’n’roll shenanigans as they bring the energy. Satan Worshipping Doom, three words that need no explanation to Desertfesters’ as Bongripper make their first appearance at the event since 2013. Plus, the prodigal son returns as Nick Oliveri’s Mondo Generator showcase their immense catalogue of desert-drenched tones.
Elsewhere the festival announces Greek stoner-Gods Nightstalker, avant-garde-jazz meets black-metal mania from Ashenspire, a spellbinding ritual from Sunnata and further melting-pot madness from crushing Canadian’s WAKE.
Additionally, Psychlona, Kal-El, Kadabra, Saint Karloff and Lord Elephant bring the grooves, whilst heaviness reigns with homegrown talent Gozer, Acid Throne & Orme. And finally rounding things off Desertfest warmly welcomes, Borehead & Sagan.
Weekend Tickets for the event are on sale now via www.desertfest.co.uk with more artists, day splits & day tickets released in January.
