Posted in Whathaveyou on April 5th, 2024 by JJ Koczan
After the reveal of the first single “(Not) Science Fiction” yesterday — it’s also below if you don’t feel like opening another tab; I’ll tell you up front it’s not every band that gets two posts in two days around here — Orange Goblin have followed up this morning with an announcement for the July 19 release of Science, Not Fiction, their 10th album, and the launch of preorders through Peaceville Records.
Word of the album came through their email list, and according to that, it was sent to subscribers a few hours early, so I’ve delayed posting this in an effort to not be, well, a prick about it. But I mean, if you heard the track yesterday — and if not, don’t think you’re late — then I think the turn in production style from 2018’s The Wolf Bites Back (review here) or 2014’s Back from the Abyss(review here), that sharper, more metallic edge in the sound, makes sense. They don’t come on stage to, “It’s a long way to the top if you wanna be a metal band.” They come out to classic heavy rock. What I hear in “(Not) Rocket Science,” aside from the optimism of the lyric, “We’re doing alright” — which, as a species, are we really? — is Orange Goblin‘s version of that. It’s not about going back to an earlier style, necessarily, because the point of view, sound and style is new, but about bringing a more organic-feeling side of their sound forward. I’ve only heard the one song, so can’t tell you more about the record than that, but I hear purpose there and am intrigued to find out where the rest of Science, Not Fiction goes.
The tracklisting below is the CD digipak version, which comes with a bonus track. That’s the one I ordered, so that’s what I’m using. The info below is combined from the email they sent to subscribers (that’s your hint to sign up for their mailing list), the preorder page on Merchnow, and the tour dates I think I initially grabbed from their Facebook. If it seems like a hodgepodge, that’s probably why.
I probably should’ve gotten a t-shirt bundle. Alas:
ORANGE GOBLIN – SCIENCE, NOT FICTION – JULY 19TH 2024 – PRE-ORDER NOW!
Science, Not Fiction – the band’s 10th studio album. Recorded and produced by Mike Exeter (Black Sabbath, Judas Priest, Tony Iommi) at Woodworm Studios in Oxfordshire over a few weekends at the end of 2023.
Available as: 10 Track Double 45rpm Vinyl (various colour choices) 10 Track Deluxe Digipak CD 9 Track CD Range of merch bundle combinations available.
Originally formed in London under the name Our Haunted Kingdom back in 1995, celebrated UK metal greats Orange Goblin entered the world of heavy music as wide-eyed enthusiasts, eager to channel the fire and fury of their favourite bands. Emerging amid the exhilarating melee of the mid-‘90s stoner rock and doom explosion, Orange Goblin’s debut album ‘Frequencies From Planet Ten’ was released via underground imprint Rise Above Records in October 1997.
Since then, the quartet has shared the stage with legendary acts such as Alice Cooper, Danzig, and Heaven & Hell among numerous others on their rise to prominence. A stream of critically acclaimed and widely revered studio albums also added to Orange Goblin’s substantial legacy, from early classics like ‘Time Travelling Blues’ and ‘The Big Black’ through to more recent triumphs like 2012’s universally praised ‘A Eulogy For The Damned’ and 2018’s equally hailed ‘The Wolf Bites Back’.
Fast forward to 2021 and Orange Goblin ushered in a new era of metal chaos, signing with legendary UK metal imprint Peaceville Records, with long-standing trio Ben Ward, Joe Hoare & Chris Turner joined by new bassist Harry Armstrong for this next chapter.
The first fruits of this union manifest in new studio album ‘Science, Not Fiction’; an absorbing exploration (and exploitation) of the world as seen through the three fundamental factors; Science, Spirituality, & Religion and how they determine and affect the human condition. Commandingly articulated as ever through vocalist Ben Ward, this is backed by Orange Goblin’s unmistakably catchy and accomplished yet often deceptively intricate brand of Sabbath-ian Heavy Metal thunder.
‘Science, Not Fiction’ was recorded at Woodworm Studios UK in late 2023, with production and mixing duties carried out by Grammy winning producer Mike Exeter (most notable for his work with Black Sabbath) and mastering was conducted by the esteemed Peter Hewitt-Dutton at The Bakery in LA.
This edition of ‘Science, Not Fiction’ is presented on digipack format, including the bonus track, ‘Eye of the Minotaur’, including 20 page booklet.
Tracklisting: 1. The Fire At The Centre Of The Earth Is Mine [05:19] 2. (Not) Rocket Science [04:21] 3. Ascend The Negative [05:23] 4. False Hope Diet [06:57] 5. Cemetary Rats [05:57] 6. The Fury Of A Patient Man [03:01] 7. Gemini (Twins Of Evil) [05:05] 8. The Justice Knife [04:58] 9. End Of Transmission [05:51] Bonus Tracks 10. Eye Of The Minotaur [04:32]
Orange Goblin live: 06.04 – Cyclone (Shibuya) – Tokyo, JAPAN (w/ Church of Misery) 07.04 – Soccer Factory, Osaka, JAPAN 09.04 – Lion Arts Factory, Adelaide, AUSTRALIA 10.04 – The Basement, Canberra, AUSTRALIA 11.04 – The Zoo, Brisbane, AUSTRALIA 12.04 – Crowbar, Sydney, AUSTRALIA 13.04 – The Croxton, Melbourne, AUSTRALIA 15.04 – Mothership, Auckland, NEW ZEALAND 16.04 – Rolling Stone, Christchurch, NEW ZEALAND 17.04 – Valhalla, Wellington, NEW ZEALAND
Posted in Whathaveyou on April 4th, 2024 by JJ Koczan
This weekend, Orange Goblin begin their tour of Japan, Australia and New Zealand, and before they went — and even I think a day early, the band has posted a lyric video for their new single, “(Not) Rocket Science.” And it’s a rocker. Handclaps and all. The first studio offering from the band since 2018’s The Wolf Bites Back (review here), and the first with bassist Harry Armstrong — who for sure gets his punches in — has a classic heavy groove propelled by Christopher Turner‘s drums, a line of keys or guitar deep in the mix to add to the urgency, and a trademark gruff vocal from Ben Ward in a hook over a choice Joe Hoare riff. Call it Orange Goblin, because it’s Orange fucking Goblin.
I don’t know when their 10th album, from whence the new single comes, will be out, but hearing this only makes me more excited at the prospect. Not gonna delay further. Here’s the info, the tour dates, the video. Go go go:
Legendary UK metal giants Orange Goblin are back with a new single “(Not) Rocket Science”
Video created by Matthew Vickerstaff (IG @matthew_vickerstaff )
“(Not) Rocket Science” is a matter of fact observation on the human tendency to over-complicate life …” Frontman and lyricist Ben Ward says “It’s basically saying that life can be pretty simple and straightforward if you just stop wasting your time and make each day count. Be prepared to work hard, don’t expect any hand outs and basically enjoy yourself along the way. When Chris came up with the music he said it needed something that could be delivered in a Bon Scott / Lemmy style and I think it came out really well”.
06.04 – Cyclone (Shibuya) – Tokyo, JAPAN (w/ Church of Misery) 07.04 – Soccer Factory, Osaka, JAPAN 09.04 – Lion Arts Factory, Adelaide, AUSTRALIA 10.04 – The Basement, Canberra, AUSTRALIA 11.04 – The Zoo, Brisbane, AUSTRALIA 12.04 – Crowbar, Sydney, AUSTRALIA 13.04 – The Croxton, Melbourne, AUSTRALIA 15.04 – Mothership, Auckland, NEW ZEALAND 16.04 – Rolling Stone, Christchurch, NEW ZEALAND 17.04 – Valhalla, Wellington, NEW ZEALAND
Posted in Whathaveyou on January 31st, 2024 by JJ Koczan
I’ve been trying to post this for like a week. This happens to me now. I’ll be sitting on the couch at like 7PM or some such — well past what I consider ‘Obelisk time’ in my feeble brainclock — and see some relevant item on my phone. I haven’t covered Krach am Bach much in years past, so I probably said something like, “Oh shit right on, I can post about something new,” and started to put the thing together. I don’t remember if I squared the poster image or the fest did — probably them. But then I get in the actual back end of the site and there are like 50 other things and then I’m already late and blah blah fucking blah here I am with another festival lineup post. I’m sure by now the lineup has been completed and the festival — which is set for Aug. 2-3 — has already taken place. Because time would bend over backwards just to screw me up, and I say that as the voice of experience.
But the lineup. Seems likely The Devil and the Almighty Blues will be out on tour, ditto A Place to Bury Strangers, Wine Lips, Deathchant, El Perro. You’ll notice Elder-offshoot Delving among the confirmations, which might mean another studio offering from that project is on the way, and I’ll go to bat for each of Karkara, Humulus, Travo and Black Helium being worth your time based solely on my experience with their recorded output. There’s more to come here, but I’m not sure how much more you really need.
Check it:
+++ First announcements || Tickets available +++
In case you’re wondering about some news for the 29. Krach am Bach Festival, we’ve got the finest selection for a ride through heavy, fuzz-drowned and hypnotic space trips.
Orange Goblin |UK A Place To Bury Strangers |US The Devil And The Almighty Blues |Norway Wine Lips |Canada Tuber |Greece Deathchant |US El Perro |US Madmess |Portugal delving |US Verstärker |US KARKARA |France Humulus |Italy TRAVO |Portugal Black Helium |UK ᴉGeRaldᴉ |France
Posted in Whathaveyou on January 23rd, 2024 by JJ Koczan
Pretty rad bill out of the gate for Rock Im Wald, which tops its thus-far bill with Danko Jones, who should be made an ambassador for Canada by now, as well as Sweden’s Graveyard, might-have-a-new-record-out-by-July UK stompers Orange Goblin, and the Brant Bjork Trio with its namesake on guitar and Mario Lalli on bass. Then you get into Planet of Zeus coming from Greece — maybe touring with Godsleep? — an appearance from The Devil and the Almighty Blues, which doesn’t happen all the time and you want to be there when it does, and the implied confirmation of summer European activity for High Desert Queen out of Texas, and it’s a win even before you get down to The Great Machine‘s madcap performance penchant, the upstarts Margarita Witch Cult, El Caco who released their first album in seven years in 2023, a partially-revamped Asomvel and Psychonaut‘s post-metallic texturing. It’s 13 bands. They’ve all got something going on.
The fest is set for July 25-27. Both SonicBlast and Hoflärm (in Portugal and Germany, respectively) are two weeks later, Aug. 8-10. Among the shared confirmations there are Brant Bjork Trio (who also announced a Spring run around the Desertfests and Sonic Whip) and Graveyard (for SonicBlast), so fair enough to expect tour announcements to come from them, and I’ll add Planet of Zeus and Margarita Witch Cult to that with an asterisk for ‘likely’ since of course I never actually know anything about anything.
There will be more to come, of course — it’s a three-dayer — and I’ll do my best to keep an eye out, but already there’s a lot to dig here. From socials:
We are delighted to present the first 13 bands for our Rock im Wald Festival 2024, taking place from July 25th to 27th. As always, we have once again given our best to offer you Rock’n Roll in its most beautiful facets. And there is more to come soon, of course. Finally, we aim to provide you with three festival days filled with musical surprises and highlights this year.
For those of you who are already convinced, you can now secure your tickets in our ticket shop, which can be found at the following link. https://rockimwald.de/ticket-shop/ Cheers & Peace Eure #RIW Crew
Line-Up so far: DANKO JONES | GRAVEYARD | ORANGE GOBLIN | BRANT BJORK TRIO | PLANET OF ZEUS | THE DEVIL & THE ALMIGHTY BLUES | THE GREAT MACHINE | PSYCHONAUT | EL CACO | ASOMVEL | GODSLEEP | HIGH DESERT QUEEN | MARGARITA WITCH CULT
Posted in Whathaveyou on October 17th, 2023 by JJ Koczan
A few weeks ago, London doom rock titans Orange Goblin put word out of their plans to record their 10th full-length next month. That’ll be their first studio outing since 2018’s The Wolf Bites Back (review here), and six years between full-lengths is the longest stretch of their career, that itself coming up on its 30th anniversary, depending on from when you count their start.
The numbers aside — and certainly one might account for an extra year or two between albums considering the years in question — I’m curious to know where Orange Goblin are headed with their first long-player of this bizarre decade. The Wolf Bites Back followed on from 2014’s Back from the Abyss(review here), and both of those aligned the band toward a more straight-ahead and aggressive production style, still definitely riff-based, still definitely Orange Goblin, but a little more toward heavy metal than some of the records preceding.
Am I complaining? Hell no. I’m saying I’m eager to know where that’s leading and what’s in store on the new record, which will also be their first since Harry Armstrong joined on bass. As regards shows, the band has recently put out word that for 2024 they’ll play Switzerland in March 9 for the inaugural Plug Out Festival there, and that they’ll be in Belgium in August for the Alcatraz Festival.
Easy to imagine tours being built around these, so when they did the ‘big things coming’ thing and teased announcing this tour, the only real question was which one it would be. Neither, it turns out. They’re going to Japan, Australia and New Zealand. Go figure.
From socials:
**ORANGE GOBLIN ANNOUNCE TOUR OF JAPAN, AUSTRALIA AND NEW ZEALAND FOR APRIL 2024**
After many years of being asked, Orange Goblin have announced that they will finally return to Japan and Australia in April 2024, whilst also adding their first ever shows in New Zealand!
These will be the bands first shows in Japan since 1999 and their first in Australia since touring there as part of Soundwave Festival in 2013. We are excited to return and also to visit New Zealand for the very first time EVER!
Catch the band at: 06.04 – Cyclone (Shibuya), Tokyo, JAPAN* 07.04 – Soccer Factory, Osaka, JAPAN 09.04 – Lions Art Factory, Adelaide, AUSTRALIA** 10.04 – The Basement, Canberra, AUSTRALIA** 11.04 – The Zoo, Brisbane, AUSTRALIA** 12.04 – Crowbar, Sydney, AUSTRALIA** 13.04 – The Croxton, Melbourne, AUSTRALIA** 15.04 – Mothership, Auckland, NEW ZEALAND*** 16.04 – A Rolling Stone, Christchurch, NEW ZEALAND*** 17.04 – Valhalla, Wellington, NEW ZEALAND***
* = Support in Tokyo from Church of Misery ** = Support in Australia from Dr Colossus and Astrodeath *** = Support in New Zealand from Pieces of Molly
Posted in Whathaveyou on September 26th, 2023 by JJ Koczan
So this is the kind of thing that, as a nerd generally and an Orange Goblin fan in particular, I should probably be well stoked on. ‘Good band is gonna make a record’ is almost always welcome news even if it means I’m probably on the hook for buying a CD of that record, if one is even made. Orange Goblin are signed to Peaceville now. They’ve bounced around a bit in the last couple years; playing fests and so on since 2022 and bringing in Harry Armstrong on bass, they also released 2020’s digital-first Rough & Ready: Live & Loud (review here) on Dissonance Productions, and you might remember their ninth studio LP, 2018’s The Wolf Bites Back (review here), was on Spinefarm. Pretty funny they show up on Peaceville though some 30 years after starting out in the deathlier Our Haunted Kingdom, influenced by the likes of Paradise Lost and others from the label’s oeuvre.
And generally speaking, I guess I am stoked on the prospect of a new Orange Goblin record. There’s a lot that can happen between now and when it eventually comes out, but I saw the band this past summer — even rode in the van with them back to the hotel where they were staying (I was residing elsewhere) — and they killed with vigor and resonant verve. The Wolf Bites Back was pretty metal. I’ll be interested to hear where album 10 takes them. I’ll try and tamp down the nerdery accordingly.
From socials:
It’s been a while since we posted as we have been busy in the rehearsal room writing and fine tuning new material ahead of the 10th Orange Goblin studio album. We will enter a recording studio in England in November to start laying it down, our first album since 2018’s ‘The Wolf Bites Back’ and first for new label, Peaceville Records. We have 10 new songs pretty much ready to go and are very excited to share these with you, hopefully to be released in the first half of 2024.
Orange Goblin is: Ben Ward – Vocals Joe Hoare – Guitar Harry Armstrong – Bass / Backing vocals Christopher Turner – Drums
Feeling moderately asskicked when I woke up, I headed to the hotel breakfast quickly to grab coffee. They had scrambled eggs and I didn’t have any, which was the wrong choice. My stomach was a little iffy. So maybe pounding seven espressos out of the machine wasn’t a hot idea either. I’d call these rookie mistakes, but I’m no rookie. Just a dumbass who can’t handle basic nourishment when left to his own devices.
Some light nausea and a not-nap later, it was back to the festival grounds for me. Today is supposed to be hotter than yesterday, so I’ll keep to my routine of refilling the water bottle at least once per band. I am a firm believer in the power of hydration, which is good because I think that’s what’s going to get me through the day. You can’t always count on stumbling into a yoga class at just the right time, sadly.
Before I go up to take pics of the start of the 10-act final day here, I would like to reiterate my thanks to Freak Valley for having me back. The vibe here is intimate and friendly and there are still however many thousand people, so that’s saying something. I am honored to be here, to have been here, to have met people and made friends here and seen and heard things I never knew I would. If you told me 15 years ago that I’d be living this life, even on intermittent weekends spread throughout the year, I’d probably have been like, “Wow that sounds exhausting, sure hope I don’t blow out a knee or some shit,” but underneath I’d be flabbergasted. I remain so, loving it.
My phone autocorrected “living” at the end of that last sentence. I’m leaving it as is. Some mistakes are on purpose.
Thank you again. Here we go. Day three of three:
Reverend Beat-Man
Before the show actually started, the good Reverend was to be found one-man parading around the merch/food area with a mini amp and bullhorn, hand-delivering scummer blues as he went. I didn’t even have the battery in my camera yet, so the above pic is from my phone. I don’t know what car battery he was huffing before going onstage, but I’d gladly take a hit off it. Dude was full-on, exclusively, there on his own doing weirdo blower blues, put his clergy collar on during his purposefully laughably long intro. Distorted vocals, some looped cello for good measure, a real performance piece, complete with sleaze, “Jesus Christ Twist,” boogie like he was born to do it, merch sold on the honor system, and a fest-day’s worth of shenanigans packed into a set that had the early crowd shouting for one more song when it was over. A hoot in the grand tradition of hoots.
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Ritual King
Proper English heavy rock. You can hear aspects of original-era desert riffing, some Truckfighters as well in that rolling bass, but Ritual King’s 2020 self-titled debut (review here), issued through Ripple, had more progressive stretches too and that came through a bit in the shuffle jam amidst all the roll and richness of fuzz, the bass holding down the groove while the guitar trips out ever so slightly. It was almost like you could hear them growing as they played, and their first record was already a call to the converted. I’ll not go around making predictions, but they were tight, seemed to be just the right amount of not-sober to represent the UK ahead of Orange Goblin later, and made it clear that the next generation of heavy knows from whence it comes and is ready to make its own statement in the genre. That’s the hope, anyhow. They could break up tomorrow, you never know. If that happened, I’d be glad to have seen them today. Second record later this year. Don’t tell anybody. It’s a secret.
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Food: With about 10 minutes before Gaupa went on, I very quickly inhaled the meat out of a sans-rice goulash, leaving most of the sauce, veggies, etc. Burned tongue for the effort. My self-imposed dietary restrictions at this point are laughable — I brought three (small, plastic) jars of almond butter with me, left the one I wanted to bring at the hotel, hence the improv. What my feelings on this matter tell me is I’m channeling other shit into disordered eating because it’s a way to exert control over some aspect of my life. Take care of your brain, kids.
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Gaupa
Burner. If I hadn’t seen them in December in their native Sweden, I’d likely be blown away both by the band’s performance and the response from the crowd, but while I knew what to expect, Gaupa still set a high standard on the stage. Hair flying all over the place, and vocalist Emma Näslund’s sort of hard-hippie dance moves putting emphasis on the band’s psychedelic side even as the actual tones are doomly thick and their riffs are high-class Euro stoner. They’re on their way, and the only question is how far they’ll push it. And they’re young, which is crucial. Last year’s Myriad (review here) featured heavily and it was immediately apparent that those assembled were familiar. They were an early pull for the crowd — all of a sudden, the grass was packed — and their delivery more than justified that.
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Tabernacle
All the way over from San Francisco, Tabernacle are a conceptual four-piece who make a point of only playing original arrangements of traditional English folk songs. And I guess on paper that kind of says covers, but that’s not quite the end of it. Technically, they’re songs that have been around and performed by many people — it’s fucking folk music; it’s for and of the folk — but the way they interpret the root material is their own, pairing ancient melodies with heavy warmth, languid, fluid nod. I guess the difference between Tabernacle and what I would generally think of as covers is the possibility of progressing in terms of sound. Their approach is open to growing, and between lead vocalist/synthesist Caira Paravel, bechapeaued guitarist/vocalist Walker Phillips, who are solo filk players as well, bassist Camilla Saufley (ex-Golden Void, The Assemble Head in Sunburst Sound, and a Freak Valley veteran) and drummer Adam Weaver (The Asteroid No. 4), they clearly have the range and reach to make that happen if they choose. They don’t have much out, just a few songs streaming, and so I think people didn’t know them that well — writing the announcement that they were playing here was how I learned about them too — but for a band writing around established foundations, they wanted nothing for originality. I’d listen to a record of this, happily.
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Hypnos 69
Hard for me to say enough how much I was looking forward to Hypnos 69. Not something I ever dreamed could happen, even before the band broke up like a decade ago. They’re a band whose music I’ve listened to for 20 years — and that by no means makes me groundfloor, so please don’t think I’m saying it does — and when I was first learning about underground rock, my initial immersion in different styles and bands from all over, they taught me so much about what heavy music could do, about what ‘progressive’ meant in terms of influence and presence, about atmosphere and about how music can seem to chase itself in circles forever and have fun doing it. I was nervous before they went on. What if they didn’t live up to the expectation in my head? What if they were jerks on stage? What if what if what if a piano fell out of the sky on my head two minutes before they went on? They were better than I could have hoped. I guess the phrase “bucket list band” applies, but really it was just something I’d reconciled myself to missing and never being able to see. I’ve lived with those records for so long, to hear and at them brought to life in front of me — along with new material, no less — felt like a landmark. I am so grateful. Thank you Hypnos 69, thank you Freak Valley. And please, if you’re seeing these words and you’ve never heard this band, I implore you to listen. Start with 2010’s Legacy (review here), and work back through 2006’s The Eclectic Measure (discussed here), 2004’s The Intrigue of Perception (discussed here) and 2002’s Timeline Traveller (rules but hasn’t closed a week yet; keeping it in my back pocket; it’s on their Bandcamp with all the rest). At least check it out if you haven’t. Please.
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The Obsessed
Dudes sounded great. More than 40 years on, The Obsessed came across with new life and brought the doom of the Chesapeake to this little alcove in Netphen with fervency and groove alike. Founding guitarist/vocalist Scott “Wino” Weinrich and drummer Brian Costantino have been playing together for about a decade straight at this point, and with Chris Angleberger on bass and Jason Taylor on guitar/backing vocals — last I saw them was 2019 in Boston with Reid Raley still on bass and just Wino on guitar; the more standard configuration as a trio through their history — they sounded more than ready to follow-up 2017’s Sacred (review here) and were locked in all the way with a trademark groove that has helped forge trad doom. There was a short rant between songs about biometric scans and money on bracelets and freedoms being taken away, but that’s who Wino is and is nothing new, even if the discourse around and promulgation of conspiracy theories has changed in the last 10 years. In any case, the songs sounded like I can only imagine riding a motorcycle feels, and that’s the idea when it comes to The Obsessed, so I’m calling it a win outright. New record later this year on Ripple, from which they aired “It’s Not Okay,” which was shouted out to “all these fucking keyboard warriors” typing all their words and something about showing up at their house with a baseball bat on a Sunday and having them run away. Fair enough.
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The Great Machine
Somehow they played fast even when they were playing slow, but either way, Israeli trio The Great Machine ran circles around the stage, and out in front for a bit too, and were a sight to behold as they made sure to get their cardio in while playing. Good fun, great energy, and their new album, Funrider (review here), while aptly named, is just a whiff of what they do live in terms of forward charge. But in addition to running around stage, the sound was also right on, roll and shove and even the odd quiet moment playing off each other with killer stoner roll and density that they made move almost as much as they did while playing. And even more, their set happened to coincide with the first break in the heat of this very, very sunny day, so all the conditions seemed to apply for them to kick ass, which they did with marked thoroughness. They’ve been here before, in 2017 (I looked it up; I know a good place for that kind of thing), and I have a hard time imagining they wouldn’t be invited back again. Rarely in my experience is heavy rock so much fun and still has so much to offer musically. They brought out a guest screamer toward the end of the set and continued to lap the vast majority of everything as they pummeled riff after riff. Hypnos 69 were the band I knew I was waiting for. The Great Machine were the band I didn’t know I was waiting for.
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Hällas
This wasn’t my first time encountering Swedish cosmic strutters Hällas — who rock proto-metallic ’70s space riffs and their capes with equal aplomb; not being sarcastic — but it was the melodies that got me this time. Such a smooth, classy style, between the up-to-three vocalists and the organ and guitars, giving them a sense of out-thereness in alignment with their stage presence. I don’t mind telling you I am beat. Truly. But the sun is on its way down as we head toward 21:30, and I’m happy to let “Star Rider” take me into the home stretch of Freak Valley 2023. Much like hope The Great Machine were more than just somebody’s ecercise video, so too were Hällas more than the sum of their stage costumes. I guess in terms of sound they’re vintage, but it’s retrofuturism if anything, and they’re masters of it at this point and reliable in that regard. And even if I was dragging ass — no yoga today, sadly, though I’ve done some stretching throughout and basic sustenance helped — they most certainly were not and they had people singing along, dancing, spontaneous clapping along, the whole thing. I found a not-quiet but also not-crowded spot to sit and watch, trying to soak in as much as I can of this festival because I know it’s going to be over soon. What a party it’s been. No wonder tickets sell out in like a day every year.
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Orange Goblin
On a planet marked by its paucity of guarantees, you can know in your heart that when Orange Goblin show up, it’s to destroy. Their second album, Time Travelling Blues (discussed here), was released in 1998 on Rise Above Records, which makes its 25th anniversary the occasion for playing it in full for the first time ever here, at Freak Valley, but I ask you in a spirit of friendship, would they really need an excuse? From fucking “Blue Snow” through the fucking title-track — god damn, that groove, and that ending — and fucking “Nuclear Guru,” that’s one of the best fucking sabbath rock records ever made to not actually be by Black Sabbath. The set was a celebration that felt like it applied to the whole weekend, and Orange Goblin absolutely hit that mark. Chris Turner on drums propulsive or swinging or both, Joe Hoare on guitar with blues shred, Harry Armstrong — the only member of the band now who wasn’t in it a quarter-century ago — with a stark reminder that ‘heavy’ lives in the bottom end, and Ben Ward jumping up and down and running point like the frontman he is, like a walking advertisement for his own sobriety and healthy living. Full of life. The night isn’t over yet, but this was a special set in more than just the songs being played. A highlight? Shit. These guys — and in no small part, this record — have inspired a generation and counting of English heavy. It is, and they are, a classic. And being here, with the trees lit up in back and the hey-hey-heys from the crowd almost as loud as the band itself, the band throwing in “Red Tide Rising” as a bonus track at the end. I hope I never forget it. Thank you.
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Slift
Do we need to talk about Ummon? That record (review here) carried entire legions of weirdos through the pandemic, and I felt like I was overdue for seeing Slift live. Not in a the-moment-has-passed way, because it hasn’t, but just in that way I’m perpetually late to any and all parties. They brought the drums down front and set up in a line, had a video protection behind, and you could feel the bass in your chest on that side of the stage even when they were warming up, speaking from personal experience. They lit the galaxy on fire. They blew up the fucking Death Star. Slayer meet Hawkwind. Didn’t know space thrash was a thing? It was tonight for sure, but that’s really just the launch point for the Andromeda-bound FTL groove that Slift emit. People were saying their goodnights, me too, but after a long and busy few days since I took off from Newark an entire dimension ago, I was only too happy to be disintegrated by the pulsations of their cosmic noise. I can’t believe I’m here. I can’t believe it’s ending. I can’t believe how ineffective my earplugs were in the face of their dizzying assault. I could go on, easily, about them ripping holes in space-time, or I could start using treknobabble, which might be fun, but I’m not sure that would capture the overwhelming physical presence of Slift at Freak Valley. I can’t remember the last time I so badly wanted a band to not be a fluke. They’ve got nearly impossible expectations to meet. But, that tension, you can feel in your blood. This band might be the real deal, and I know I’m not the first to say so. At least some of what they played was new, so that bodes well. I’m keeping my fingers crossed. I’m hopeful. Do you know how good that feels?
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Thank you again for reading. Thank you Freak Valley. Thank you Jens, Alex, Marcus, Felli, Roman, Juan, Pete Holland. I met friggin’ Komet Lulu! I was so nervous and awkward; totally embarrassed myself. Everybody who approached me to introduce themselves and say some words about this site or what I do. People are so impossibly kind. Friends I met last year and saw again. Sister Rainbow! I don’t think I knew how badly I needed this, but I bet The Patient Mrs. knew, and thanks to her most of all. Thank you, Wendy. I love you.
I wrote too much today. I took too many pictures. I guess some part of me was trying to cram in as much as I could while I could. No regrets. For mostly my own future reference, here’s the running order of the entire festival. I saw all of it.
More pics after the jump. You know the deal. Cheers from Freak Valley 2023, and all the love in the universe. I fly home tomorrow.
Some of the best heavy rock records of all time were released through Man’s Ruin Records. We’re talking about pivotal, genre-defining releases that continue to resonate some 20-plus years later, which in rock and roll time is an eternity. Some bands are still active and contributing, and some have left it behind, but in light of the sudden passing last week of artist and label-founder Frank Kozik, it felt right to take a look at that portion of his life he spent fostering bands and some of the impact that music has had on, at this point, two subsequent generations of heavy.
I’ve told this story before, but maybe in 2004, I was at SXSW in Austin, Texas, meandering off 6th St. in order to find a show happening in a record store. Went under the highway bridge and all that to get to Snake Eyes Vinyl. I don’t think it’s there anymore, but at the time they were hosting bands as part of the whole SXSW thing. They moved bins and so on to make room for amps, or had artists play outside; I sat on a hill and saw Kylesa on the back of a trailer on a sunny afternoon; Drunk Horse and Saviours shared the ‘stage’ inside, etc.
The narrative in my head is that I was waiting for either Drunk Horse or Saviours — I honestly don’t remember — to go on, did some shopping in the interim, and stumbled on a motherlode of Man’s Ruin CDs. Some I had, many I didn’t, but with the label defunct two years prior, the stuff was already becoming rare and, on eBay, not cheap. I grabbed a stack that was no fewer than 10 discs — including Drunk Horse — and made my way to the counter to pay, only to find out that they belonged to Becca, the woman who ran the store. She was visibly sad to be parting with them.
I said that it was okay, I would give them a good home and take care of them. And I did. I still have them the better part of two decades later. It tells you the kind of connections that listeners made to the music that Kozik put out that, even when she had decided to sell them in her shop, it was hard to let go of those albums. Kozik’s work with Man’s Ruin was special, and the heavy underground has worked on a label-as-hub model since, whether it’s imprints like Small Stone, Ripple Music, Heavy Psych Sounds, and so on. Not only is Kozik’s output through Man’s Ruin still relevant aurally and visually, but it continues to shape the structure of heavy rock’s promotional and distribution apparatus. One does not generally think of a small business as influential.
Yet here we are. Some of the below was hoisted from social media, and some folks I hit up direct or through PR, but through it all, the spirit of thankfulness is palpable, and I’ll add my thanks to that, because there’s no way I’d be sitting here writing this sentence right now if not for Frank Kozik and Man’s Ruin Records. Heavy music owes him a debt it can never repay.
Thanks to all who took part in this, and thanks as always for reading.
Lori S. from Acid King:
Wow (#128558#)(#128546#). Um…. Don’t know what to say . Man’s Ruin and Frank were a huge part of my life and always will be . Thank you for releasing our records creating a scene that didn’t exist and for the endless amount of cool artwork that will be on planet earth way longer than all of us R.I.P.
Sometime like, 94-96 I went to visit my friend, Tim Moss in San Francisco. While running around we stopped at Man’s Ruin where he introduced me to Frank Kozik and Frank being the nice guy that he is, let me grab a bunch of posters. I was freaking out. His label opened my ears to so many bands who later would become family. His art has always been a part of my life. Below is one of the prints he let me take and it was the very first piece of art we hung at Jackalope. Oh shit and then that amazing Man’s Ruin fest at the Troubadour w/ Scott Carlson, Lori Joseph, Rich Hay, Scott Reeder and lord can only remember who else (#128514#). Thanks for everything, Frank. Rest easy.
Fatso Jetson:
Our music and art scene has lost a true godfather, Frank Kozik believed in the unique music from our desert and was responsible for some of the most influential recordings, all were released on his Man’s Ruin label. From Kyuss to Queens of the Stone Age, Brant Bjork, the Jack Saints, Desert Sessions….the list goes on and on. We are so grateful and honored to be part of his history. Thank you Frank …Fatso sends love to you and your family brother. God Speed.
Brant Bjork (Kyuss, Ché, Fu Manchu, solo):
I was having dinner with Frank Kozik one night in SF and he asked me if it was true that I was going to record a solo record. I said yes. He said he wanted to put it out. The result was Jalamanta. That was in 1999 and it was my first solo release. I had no idea then I’d still be releasing solo records 24 years later. Thank you Frank for believing in me and all the other artists and bands you believed in. It takes one to know one. Frank was, still is and will always be… a true artist. ❤️BB
Eddie Glass of Nebula:
Frank was such a cool dude and played a legendary part in the scene when it was coming up. It was so cool being on his label because he would design the covers and the Sun Creature EP came out perfectly. He will be dearly missed.
Amanda Topaz from Begotten:
Frank Kozik was a friend at a time in my life when it was really hard to be my friend. His unexpected death makes me incredibly sad an my thoughts are with his wife Sharon. Although I Haven’t seen him in twenty years I am so grateful for his generosity. I don’t think cats now realize the extent of what he gave us because now the Spotify AI Algorithm picks out what you listen to every day, AI makes your music videos for you, for all I know AI is generating your riffs for you too. But back then in New York, finishing up music school where I was lucky enough to have one of Coltrane’s bass players as a teacher – and he would tell us – We can teach you how to play the music but you have to understand that it’s the soul of our generation – we created it in the streets and in the clubs -. Imagine then as a lost child hearing THE MELVINS for the first time – this sound from the Bay Area all the way across the country – for the first time at 1 in the morning from some cd bought in an underground record shop in a back alley with a group of friends. Or the desert sessions. Or Acid King / Kyuss / Nebula/ High on Fire. It was life-changing. This was the sound of OUR generation. Kozik handed it to us on a Man’s Ruin platter. Didn’t make a dime off it – he supported the company with poster and art sales as far as I know. And he was nice enough to give our big ugly maroon 89 Chevy van the name, “La Guappa”.
Lou Gorra of Solarized (also Halfway to Gone):
Frank was a brilliant artist. We all know that. I was so incredibly humbled when one of my favorite artists of all time signed my dopey little band to one of the coolest labels of the twentieth century. My time making records for Man’s Ruin was short lived, but the memories I made during that time will remain with me for the rest of life. I’m so incredibly sad that there will be no more new Kozik art for the world to love, but I’m tearfully grateful that my music can be referenced in his monolithic legacy, even in the most minuscule way. Thank you Frank. RIP
Darryl Shepard (ex-Roadsaw, currently Kind, etc.):
Seeing as how Craig and I were both in Roadsaw and we both play on this record, I feel this should be posted here as well: Not enough can be said about Frank Kozik. His artwork defined a subculture. His record label Man’s Ruin kickstarted the global stoner rock underground into high gear. The heavy underground rock scene would not exist the way it does now without his involvement. That is not hyperbole. Roadsaw was fortunate enough to release a 7” on Man’s Ruin. We went to his art studio in San Francisco while on tour and met him while he was screen printing the covers. We played the Bottom of the Hill that night and he personally dropped off the records at the club so we’d have some to sell. An absolute legend in the art and music worlds. R.I.P. Mr. Kozik. And thank you.
Sergio Ch. of Los Natas (currently Ararat, Soldati, solo, etc.):
Frank gave me the opportunity of my life. He believed in my work and shared it to the world. Got me into the big leagues just trusting some guys from Argentina and their love for music. I wouldn´t be standing where I am right now if not for is help, art and determination. I remember after recording album Ciudad de Brahman, back in San Francisco 1999, we piled into his truck and took a ride, just pumping the album’s mix cassette tape into the car’s player. He looked at me right into my eyes in a stop light and told me, almost breaking in tears, “Sergio, your music has spirit. Never give up. I am old and tired but you must keep doing what you do.” A few [years] later, Man’s Ruin Records announced their closeup and I got a huge UPS box right at my home in Argentina, including the one inch tapes from Natas’ Ciudad de Brahman album. along with a release rights letter from Frank. What a gentleman. Will miss you Boss, thanks and love foreva.
Erik Larson of Alabama Thunderpussy:
I didn’t know Frank Kozik as well as I would have liked to, but the fact that I knew him at all is nothing short of fantastic. When we met, I was just some Metal-Punk from Virginia, and yet the man showed me and Alabama Thunderpussy nothing but encouragement throughout the years we had a working relationship. I could always count on a no bullshit opinion from him. Frank didn’t seem to tolerate bullshit. His whole approach to Man’s Ruin Records seemed to be a testament to that viewpoint, and a ‘pay attention to what’s important right now’ attitude that kept things exciting, challenging and precarious all at once. I think it is safe to say Alabama Thunderpussy would never have achieved as much as we have, had it not been for that first opportunity Frank Kozik gave to us. I’m forever grateful to him for that.
Jim Hogan of Solarized (currently Defiance Engine):
When Frank Kozik ran Man’s Ruin Records, he helped our band, Solarized, more than any other label we ever dealt with. He offered a 50% profit split, made us store posters, and he made custom screened posters for when we toured. Eventually the label folded, but he helped hundreds of bands, and he and his crew released a whole lot of great albums. His poster art, his custom vinyl toys, and his record label were nothing short of amazing. He was the only guy we ever knew who got interviewed by Newsweek. He was an outstanding human being and he is truly a brother lost.
Reg Hogan of Solarized (currently Defiance Engine):
We send our heart felt condolences to Frank’s family and friends…Frank did more to elevate scene awareness, with his passion and love for the music, than most of the music industry. We are grateful he took a shine to our brand of Jersey swamp rock.
Arthur Seay of Unida:
Was an honor to have Frank release our Unida record ‘Coping with the Urban Coyote’, which really put us on the map and allowed us to tour Europe and caught the attention of the majors lol. He was a true artist, gifted, talented and crazy as fuck.
Jason Casanova of Tummler (currently Sasquatch):
Frank was the man. Not only for his art, but his vision for Man’s Ruin and the music scene that it created. I can’t thank him enough for giving my old band Tummler a shot at putting out a record back in the heyday. The smoking bunny will live on forever. RIP dude. You rule. – C
Johan Rockner of Dozer:
RIP Frank Kozik ❤️
He signed us back in ’98 and released our two first albums In the Tail of a Comet and Madre De Dios. He was one of those who believed in us, which we are forever thankful for. Without him Dozer would not be were we are. We met him in Stockholm at his exhibition “the Stockholm job”, a really cool and down to earth kind of guy.
Ben Ward of Orange Goblin:
Sad news this morning that the legendary artist Frank Kozik has passed away. Frank did some great artwork for Orange Goblin over the years and his label, Man’s Ruin Records, was responsible for some of the coolest releases in various genres from the mid to late ’90s. His artwork lives on forever and Frank will be remembered as a kind, funny, intelligent and humble man with a very unique style and he will be missed. Condolences to his family and friends. Thank you Frank, RIP.
Sons of Otis:
RIP Frank Kozik(#128128#) Mad visionary. The ONLY label that ever paid us.
