Posted in Whathaveyou on March 31st, 2025 by JJ Koczan
The above photo of Denver’s Oryx was taken at the release show this past January for the band’s latest album, Primordial Sky (review here), and quite simply, it’s what it’s all about. Even before you get to Tommy Davis holding his guitar aloft in triumph, look at the sheer victory on each of their faces. Perhaps most obviously bassist Joshua Kauffman, but definitely there for Tommy and drummer Abigail Davis as well. Sweaty, tired, having very clearly just laid waste to a hometown gig in celebration of their best and farthest reaching work to-date. Fuck. Ing. A.
And speaking of ‘farthest reaching,’ just as Primordial Sky explores new and genre-defiant ground for the band, so too will their travels take them to places yet-unflattened by their volume, tonal density and cathartic take on extreme sludge, likewise spacious and crushing. They’ll go to Japan for the first time in July for a stint of six shows rounding out with two nights in Tokyo. It’s nothing but a feelgood story as far as I’m concerned. Good band puts out killer record and a couple months later does something they’ve apparently been angling toward for years.
You know how on the news they always try to leave off with a story about some neighborhood squirrel who saved a family from a house fire or the cat that traveled 1,500 miles to reunite with its family? Well, something like this is my version of that. Apart perhaps from the music itself — and I’d argue resonant catharsis counteracts depressive aspects; perhaps unsuccessfully depending on the listener — there’s no downer here. It’s only awesome. It feels good to be happy for Oryx, so whether you’ll go to Japan or you’re already there and whether you’ll see them or not, my recommendation is be glad for the band. For most acts from the US, it’s the trip of a lifetime and they’re about to make it. Couldn’t be radder.
From socials:
ORYX – Japanese Tour
Proud to announce our first shows ever in Japan performing ‘Primordial Sky’ this summer. Lineup details to come for each show. We can’t wait! 💥
ORYX JAPAN TOUR 2025 7月1日（火）- 大阪 – HOKAGE 7月2日（水）- 名古屋 – HUCK FINN 7月3日（木）- 京都 – SOCRATES 7月4日（金）- 横浜 – EL PUENTE 7月5日（土）- 東京 – PIT BAR 7月6日 (日) – 東京 – MOD 7/1 (TUE) – OSAKA 大阪 – HOKAGE 7/2 (WED) – NAGOYA 名古屋 – HUCK FINN 7/3 (THU) – KYOTO 京都 – SOCRATES 7/4 (FRI) – YOKOHAMA 横浜 – EL PUENTE 7/5 (SAT) – TOKYO 東京 – PIT BAR 7/6 (SUN) – TOKYO 東京 – MOD
ORYX is: Thomas Davis – all guitars, vocals, synth Abigail Davis – drums Joshua Kauffman – bass
Posted in Reviews on October 21st, 2024 by JJ Koczan
This is the last day of the Fall 2024 Quarterly Review. Day 11 of 10, as it were. Bonus-extra, as we say at home. 10 more releases of various kinds to underscore the point of the infinite creative sphere. Before we dive in, I want to make a note about the header above. It’s the same one I used a couple times during the pandemic, with the four horseman of the apocalypse riding, and I put it in place of the AI art I’d been using because that seems to be a trigger for so many people.
In my head, I did that to avoid the conversation, to avoid dealing with someone who might be like, “Ugh, AI art” and then a conversation that deteriorates in the way of people talking at each other on the internet. This saves me the trouble. I’ll note the irony that swiping an old etching out of the public domain and slapping an Obelisk logo on it is arguably less creative than feeding a prompt into a generative whathaveyou, but at least this way I don’t have to hear the underground’s moral panic that AI is coming for stoner rock.
Quarterly Review #101-110:
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Chat Pile, Cool World
Chat Pile are two-for-two on living up to the hype in my mind as Cool World follows the band’s 2022 debut, God’s Country (review here), with a darker, more metal take on that record’s trauma-poetic and nihilistic noise rock. Some of the bassy jabs in songs like “Camcorder” and “Frownland” remind of Korn circa their self-titled, but I’m not sure Chat Pile were born when that record came out, and that harder, fuller-sounding impact comes in a context with “Tape” following “Camcorder” in bringing together Meshuggah and post-punk, so take it as you will. Based in Oklahoma City, Chat Pile are officially A Big Deal With Dudes™, but in a style that’s not exactly known for reinvention — i.e. noise rock — they are legitimately a breath of air that would be ‘fresh’ if it weren’t so desolate and remains innovative regardless. There’s gonna be a lot of mediocre riffs and shitty poetry written in an attempt to capture a fraction of what this record does.
I guess the anonymous project Neon Nightamre — who sound and aesthetic-wise are straight-up October Rust-and-later Type O Negative; the reason the album caught my eye was the framing of the letters around the corners — have gotten some harsh response to their debut, Faded Dream. Critic-type dudes pearl-clutching a band’s open unoriginality. Because to be sure, beyond dedicating the album to Peter Steele — and maybe they did, I haven’t seen the full artwork — Neon Nightmare could hardly do more in naked homage to the semi-goth Brooklyn legends and their distinctive Beatles/Sabbath worship. But I mean, that’s the point. It’s not like this band is saying they’re the first ones doing any of this, and in a world where AI could scrape every Type O record and pump out some half-assed interpretation in five minutes, isn’t something that attempts to demonstrate actual human love for the source material as it builds on it worth at least acknowledging as creative? I like Type O Negative a lot. The existence of Neon Nightmare doesn’t lessen that at all, and there are individual flashes of style in “Lost Silver” — the keyboard line feels like an easter egg from “Anesthesia”; I wondered if the title was in honor of Josh Silver — and the guitar work of “She’s Drowning” that make me even more curious to see where this goes.
Brooklyn-based instrumentalist five-piece Astrometer present their full-length debut after releasing their first demo, Incubation (review here), in 2022. The double-guitar pairing of Carmine Laietta V and Drew Mack and the drumming of Jeff Stieber at times will put you in mind of their collective past playing together in Hull, but the keys of Jon Ehlers (Bangladeafy) and the basswork of Sam Brodsky (Meek is Murder) assure that the newer collective have a persona and direction of their own, so that while the soaring solo in “Power Vulture” or the crashes of “Blood Wedding” might ring familiar, the context has shifted, so that those crashes come accompanied by sax and there’s room for a song like “Conglobulations” with its quirk, rush and crunching bounce to feel cosmic with the keyboard, and that blend of crush and reach extends into the march of closer “Do I Know How to Party…” which feels like a preface for things to come in its progressive punch.
An annual check-in from universe-and-chill molten and mellow heavy psych explorers Acid Rooster. It’s only been a year since the band unfurled Flowers and Dead Souls, but Hall of Mirrors offers another chance to be hypnotized by the band’s consuming fluidity, the 39-minute four-songer coming across as focused on listener immersion in no small part as a result of Acid Rooster‘s own. That is, it’s not like you’re swimming around the bassline and residual synth and guitar effects noise in the middle of the 14-minute “Chandelier Arp” and the band are standing calm and dry back on the beach. No way. They’re right in it. I don’t know if they were closed-eyes entranced while the recording was taking place, but if you want a definition of ‘dug in,’ Hall of Mirrors has four, and Acid Rooster‘s capacity for conveying purpose as they plunge into a jam-born piece like “Confidence of Ignorance” sets them apart from much of Europe’s psychedelic underground in establishing a meditative atmosphere. They are unafraid of the serene, and not boring. This is an achievement.
Giants Dawrfs and Black Holes, Echo on Death of Narcissus
Five years on from their start, Germany’s Giants Dwarfs and Black Holes present Echo on Death of Narcissus as their third full-length and the follow-up to 2023’s In a Sandbox Full of Suns (review here) as the four-piece bring in new guitarist Caio Puttini Chaves alongside vocalist Christiane Thomaßen, guitarist Tomasz Riedel (also bass and keys) and drummer Carsten Freckmann for a five-track collection that has another album’s worth of knows-what-it’s-about behind it. Opener “Again,” long enough at eight minutes to be a bookend with the finale “Take Me Down” (13:23) but not so long as to undercut that expanse, leads into three competent showings of classic progressive/psychedelic rock, casual in the flow between “Soul Trip” and the foreboding strums of centerpiece “Flowers of Evil” ahead of the also-languid “December Bloom.” And when they get there, “Take Me Down” has a jammy breadth all its own that shimmers in the back half soloing, which kind of devolves at the end, but resounds all the more as organic for that.
Oryx‘s Primordial Sky threads a stylistic needle across its four songs. Delivered through Translation Loss, the 41-minute follow-up to the Denver trio’s 2021 offering, Lamenting a Dead World (discussed here), is no less extreme than one would expect, but to listen to 13-minute opener/longest track (immediate points), 13-minute capper “Look Upon the Earth,” or either of the seven-minute cuts between, it’s plain to both hear and see that there’s more to Oryx atmospherically than onslaught, however low guitarist Thomas Davis (also synth) pushes his growls amid the lurching grooves of bassist Joshua Kauffman and drummer Abigail Davis. This is something that five records and more than a decade on from their start their listeners know well, but as they refine their processes, even the outright sharp-toothed consumption of “Ephemeral” has some element of outreach.
Heads up on this record for those who dig the mellower end of heavy psych, plus intricacy of arrangement, which is a number in which I very much count myself. By that I mean don’t be surprised when Sunface‘s Cloud Castles shows up on my year-end list. It’s less outwardly traditionalist than some of the heavy rock coming out of Norway at this point in history, but showcasing a richer underground only makes Cloud Castles more vital in my mind, and as even a shorter song like “Thunder Era” includes an open-enough sensibility to let a shoegazier sway enter the proceedings in “Violet Ponds” without seeming incongruous for the post-All Them Witches bluesy sway that underlies it. Innovative for the percussion in “Tall Trees” alone, Sunface are weighted in tone but able to move in a way that feels like their own, and to convey that movement without upsetting the full-album flow across the 10 songs and 44 minutes with radical changes in meter, while at the same time not dwelling too long in any single stretch or atmosphere.
While consistent with their two prior LPs in the general modus of unmitigated aural heft and oppressive, extreme sludge, Fórn declare themselves on broader aesthetic ground in incorporating electronic elements courtesy of guitarist Joey Gonzalez and Andrew Nault, as well as newcomer synthesist Lane Shi Otayonii, whose clean vocals also provide a sense of space to 11-minute post-intro plunge “Soul Shadow.” If it’s the difference between all-crush and mostly-crush, that’s not nothing, and “Anamnesis” can be that much noisier for the band’s exploring a more encompassing sound. Live drums are handled in a guest capacity by Ilsa‘s Josh Brettell, and that band’s Orion Peter also sits in alongside Fórn‘s Chris Pinto and Otayonii, and with Danny Boyd on guitar and Brian Barbaruolo on bass, the sound is duly massive, tectonic and three-dimensional; the work of a band following a linear progression toward new ideas and balancing that against the devastation laid forth in their songs. Repercussions of the Self does not want for challenge directed toward the listener, but the crux is catharsis more than navelgazing, and the intensity here is no less crucial to Fórn‘s post-metallic scene-setting than it has been to this point in their tenure. Good band actively making themselves better.
Big-riffed heavy fuzz rock from Northern Ireland as the Belfast-based self-releasing-for-now four-piece of vocalist/synthesist Fionnuala McGlinchy, guitarist Tom Finney, bassist Michael McFarlane and drummer Ciaran O’Kane touch on vibes reminiscent of some of Mammoth Weed Wizard Bastard‘s synth-fused sci-fi doom roil while keeping the material more earthbound in terms of tone and structure, so that the seven-minute “The Abstract” isn’t quite all-in on living up to the title, plenty liquefied, but still aware of itself and where it’s going. This mitigated terrestrialism — think Middle of Nowhere-era Acid King — is the source of a balance to which Negative Space, the band’s second album, is able to reshape as required by a given song — “Burning Gaze” has its far-out elements, they’re there for a reason — and thereby portray a range of moods rather than dwelling in the same emotional or atmospheric space for the duration. Bookending intro “As Above” and the closer “So Below” further the impression of the album as a single work/journey to undertake, and indeed that seems to be how the character of “The Forest,” “Delirium” and the rest of the material flourishes.
Romanian instrumentalist heavy psych purveyors Methadone Skies sent word of the follow-up to 2021’s Retrofuture Caveman (review here) last month and said that the six-songer Spectres at Dawn was the heaviest work they’d done in their now-six-album tenure. Well they’re right. Taking cues from Russian Circles and various others in the post-heavy sphere, guitarists Alexandru Wehry and Casian Stanciu, bassist Mihai Guta and drummer Flavius Retea (also keyboards, of increasing prominence in the sound), are still able to dive into a passage and carry across a feeling of openness and expanse, but on “Mano Cornetto” here that becomes just part of a surprisingly stately rush of space metal, and 10-minute closer “Use the Excessive Force” seems to be laying out its intention right there in the title. Whether the ensuing blastbeats are, in fact, excessive, will be up to the individual listener, but either way, Methadone Skies have done their diligence in letting listeners know where they’re headed, and Spectres at Dawn embodies that forwardness of ethic on multiple levels.
Posted in Whathaveyou on August 29th, 2024 by JJ Koczan
Seven minutes of deathly splendor in Oryx‘s new single “Myopic.” The Denver trio founded by the partnered team of guitarist/vocalist Thomas Davis and drummer Abigail Davis and now completed by bassist Joshua Kauffman are set to release their four-song long-player, Primordial Sky, this Fall through Translation Loss. That same label released the band’s last outing, Lamenting a Dead World (discussed here), and if you heard that record and reasonably wondered where on earth one might possibly go from there, the answer “Myopic” seems to provide is ‘deeper.’
Deeper and perhaps more open. I won’t count on the single to speak for the entirety of the album even if it’s a quarter of the tracklisting, but as immersive as “Myopic” is, it’s also spacious and fluid. The crashes before its post-midsection acoustic break come across as particularly fervent, but they’re no less accounted for in terms of scope than the strum that follows and serves as the foundation for the onslaught that follows. Shit is heavy, kids. If you prefer your records noncorporeal, the digital release is Oct. 18. Vinyl hounds wait until Nov. 22, but surely that will come with additional anticipation and self-congratulations at defying the instant gratification of our age, and what feels better than that kind of self-appointed moral superiority? I won’t tell you how to hear it, or even to hear it — I’m not your boss — but the arguments in favor of doing so are myriad, and the stunning John Harris cover art begs to be held.
I have more to say on this one, and I’ll hope the time between now and Oct./Nov. provides a chance to do so. Either way, here’s the info for the album and the all-crucial preorder link, courtesy of the PR wire:
Denver doom/sludge masterminds Oryx announce Primordial Sky, the bands fourth studio album, for release on October 18, 2024 (digital) via Translation Loss Records.
Primordial Sky shows the trio, comprised of husband-and-wife duo Thomas (guitars & vocals) and Abigail (drummer) Davis, joined by bassist Joshua Kauffman – embracing a powerful statement of sonic devastation. Amidst a mood of profound contemplation, the lyrics delve into subjects capturing the struggle of mortality and existence. With a penchant for creating an oppressive atmosphere, Primordial Sky delivers slow-burning behemoths that ascend to staggering crescendos. Oryx is the sonic embodiment of desolation, a monolithic wall of sound that demands to be experienced at full volume.
About the track and the album release, vocalist & guitarist Thomas Davis shares:
“Lyrically, “Myopic” is a requiem portraying a state of conflict with the human condition amidst a deep-seated psychosis that demands immediate gratification, simultaneously speeding towards an extinction event of our own creation. Writing this song involved a multi-faceted approach, incorporating bass and guitar harmonies, an acoustic interlude, and pummeling drums. This song is one of Primordial Sky’s most aggressive and energetic tracks, while still featuring the intricate layering embodied throughout the rest of the album. Primordial Sky is ORYX’s pinnacle offering to date, showcasing each member’s best work and a surgical collective approach to exploring deeply expressive songwriting. Writing and recording these songs has been an immensely cathartic journey, one that we are eager to share with the world.”
Primordial Sky features stunning album artwork by world renowned Sci-Fi/NASA artist, John Harris.
The album will be released digitally worldwide on October 18, 2024 and on vinyl November 22, 2024. Three limited edition vinyl variants will be avail via Translation Loss Records.
Bone White with Splatter Edition (Limited to 100 copies)
Custom Three Color Merge with Splatter Edition (Limited to 100 copies)
Track Listing: 1. Primordial Sky 2. Myopic 3. Ephemeral 4. Look Upon The Earth
Recording Details: Recorded in January 2024 at Archive Recordings in Salt Lake City, UT. Recorded, Mixed, and Mastered by Wes Johnson. Promo photo by Mitch Kline.
ORYX is: Thomas Davis – all guitars, vocals, synth Abigail Davis – drums Joshua Kauffman – bass
Denver-by-way-of-New-Mexico sludge extremists Oryx will release their third full-length, Lamenting a Dead World, on April 30. Their first offering made through Translation Loss, it is — no big surprise here — not the album they thought it would be a year ago. At that time, they were planning to hit Earhammer Studios in Oakland, California, with Brainoil‘s Greg Wilkinson (who wound up mixing/mastering) at the helm, and just like everyone else doing anything just about anywhere, they found themselves needing to change plans. Please try to contain your shock.
I can’t speak to what Lamenting a Dead World might’ve been in other circumstances, but in this reality’s 2021, it’s a fucking beast. Five tracks running from “Contempt” to the eerily hopeful and more-complex-than-you-probably-think-it-is 15-minute closer “Oblivion,” the Ben Romsdahl-produced affair finds Oryx‘s founding duo of drummer Abigail Davis and guitarist/vocalist Tommy Davis opening the band in new ways — not the least of which is the inclusion of a third party, bassist Eric Dodgion, in the creative process. Coming off of their 2018 sophomore LP, Stolen Absolution, which was produced for maximum mass by Dave Otero, the new record finds Oryx striking a balance between rawness and breadth and delivering both with volume and atmosphere that are consuming in kind.
With guest vocals on the early cut “Misery” by Erika Osterhout, synth on the aforementioned finale by Paul Riedl, textures and whatnot by Primitive Man‘s Ethan McCarthy (also Many Blessings) and an overall more experimental, broad-reaching approach that Tommy and Abigail credit in part to Romsdahl as producer and in part to being forced off the road to basically sit in quarantine with this material for the better part of 2020, Lamenting a Dead World exists in a space that is charred black with “Contempt,” ready to shut down its own mind in “Misery,” deathly in its force on centerpiece “Last Breath,” ambient in its title-track and finding rebirth in the end of all things at its close. It is an effective encapsulation of horror and succeeds with a creative voice that is abidingly and strikingly human.
I’ll not mince words: these two were sweethearts and this was a fun chat. I’d been forced to reschedule owing to family emergency and they very kindly obliged. When we “hung up” — or whatever it is you do on Zoom — I was glad that we’d been able to find a new time.
I hope you enjoy as well:
Oryx, Lamenting a Dead World Interview, March 22, 2021
Once again, Oryx‘s Lamenting a Dead World is out April 30 through Translation Loss. Preorders are up now.
Posted in Whathaveyou on February 11th, 2021 by JJ Koczan
Veterans of Electric Funeral Fest in their hometown of Denver and all-around skull-pummelers Oryx have signed to Translation Loss Records for the release of their upcoming full-length, Lamenting a Dead World, which, well, fair enough on the title. It’ll be out April 30 and preorders are up now along with a streaming song that should show up sooner or later in the player below once it’s public. Decibel had the premiere. Rest assured, if you’ve got the nothing-heavy-or-miserable-enough itch — don’t we all? — it’s got enough nails to offer some measure of relief.
Also peel your face off.
Okay.
The record runs 40 minutes and I’m not even through it for the first time yet and I’m spitting blood. Of course the fact that I just had a tooth removed might have something to do with that, but that’s a firm maybe. In any case, I’m on painkillers and here’s this from the PR wire:
ORYX ANNOUNCE LAMENTING A DEAD WORLD; DROP CRUSHING SINGLE
Denver apocalyptic sludge trio, ORYX will release the bands Translation Loss Records debut, Lamenting A Dead World, on April 30, 2021. Five tracks show the band at their most crushing – with momentous and catastrophic waves of sludge, doom, and a symphony of pitch-black savagery! Lamenting A Dead World marks a pivotal point in the bands already prolific existence. Along with the bands most profound musical performances to date, the album features standout appearances from Ethan McCarthy (Primitive Man, Many Blessings), Paul Riedl (Blood Incantation, Spectral Voice), and Erika Osterhout (Scolex, Chthonic Deity).
Along with the announcement, ORYX have dropped the first single from Lamenting A Dead World, titled, “Misery.” The crushing track features guest vocals from Erika Osterhout (Scolex, Chthonic Deity).
Lamenting A Dead World will be released on April 30th on two vinyl variants and digital via Translation Loss Records. Pre-order is available now HERE: https://orcd.co/lamentingadeadworld
Tracklisting: 1. Contempt 2. Misery 3. Last Breath 4. Lamenting A Dead World 5. Oblivion
Recorded and engineered by Ben Romsdahl at Juggernaut Studios in Denver, CO in August 2020. Mixing and mastering by Greg Wilkinson at Earhammer Studios in Oakland, CA.
Artwork by Ettore Aldo Del Vigo. Promotional photos by Alvino Salcedo.
ORYX is: Tommy Davis – vocal, guitar, synth Abigail Davis – drums Eric Dodgion – bass
Posted in Whathaveyou on February 1st, 2019 by JJ Koczan
Check out Electric Funeral FestIV continuing to up the game of the Denver-based event. Consistently, each lineup has been bigger than the one before it, and as we see acts like Tombs, Royal Thunder, Sourvein, Gozu and Destroyer of Light tossed into the fire this June with headliners still to be announced, it seems that the scale has once again broadened in terms of draw and style alike. I wouldn’t mind catching Toke again, and I’ve never seen Oryx, but their recorded stuff is ridiculous. And I hear Destroyer of Light have a new record in progress, so yeah, the vibe here sounds awesome. Spread across three venues, Electric Funeral Fest IV promises 40 bands over its two-day run, and early-bird tickets are on sale now for those feeling like they’re up for spending some time in a low oxygen atmosphere. Sign me up.
The PR wire has it like this and promises more to come. I believe it:
DUST PRESENTS: ELECTRIC FUNERAL FEST IV
We expect the fourth installment of Electric Funeral Fest to go beyond what we accomplished at last year’s monumental event. Headliners and full lineup to be released next month. Presale 2-day passes are now available, including just 25 discounted early-bird passes. 40 bands, 3 stages, 2-days… see you in Denver this summer.
Bands announced today: Tombs, Royal Thunder, Sourvein, Call of The Void, Toke, Against the Grain, Un, Teeth, Bummer, Gozu, Dead Now, Oryx, The Lion’s Daughter, Trapped Within Burning Machinery, Destroyer of Light
Posted in Whathaveyou on January 25th, 2019 by JJ Koczan
So, uh, you wanna go get weird in the desert for a weekend? Sure, we all do. And if you’re up for making it the trip of a lifetime, Monolith on the Mesa has a bunch of decked-out vintage trailers available for you to hide from the New Mexico sun while you wait for the show to start. From the pre-party to The Obsessed headlining the second day, the inaugural edition of Monolith on the Mesa looks like the stuff of pilgrimage dreams. Om and Dead Meadow? Wovenhand? Tia Carrera jamming in a brewery? Duel? It’s an obviously curated lineup very purposefully put together with the setting in mind, and whether it’s the indoor or outdoor stage, it’s easy to see where it has the potential to be an incredible time. I’ve gone on at some length about the growth of US festival culture over the course of this decade. Look no further if you need an example of the fruit that would seem to be bearing.
If you make it down, congratulations on your life. You pretty much win.
Lineup and ticket links as per the social medias:
Monolith on the Mesa: A High Desert Rock & Art Experience
Join Us On May 16th, 17th, & 18th In Taos New Mexico At Taos Mesa Brewing Mothership For Monolith on the Mesa A High Desert Rock Experience Like Non Other! A Music Festival with Art Visuals & Installations from Local NM Artists. And Of Course Some Of The Worlds Finest Dark, Psych, Stoner, Doom & Heavy Rock from All Over the Globe and SW Region! Browse Our Websitemonolithonthemesa.comFor VIP And check out our Vintage Trailer Packages!!
MotherShip Outside Stage: Featuring Visuals By Mad Alchemist Liquid Light Show * Day 1: OM * Dead Meadow * Wovenhand * True Widow * EYE * Green Druid * Spirit Mother** Day 2: The Obsessed * Pinkish Black * Castle * The Well * Crypt Trip * WEEED * Cloud Catcher * The Munsens
Taos Mesa Worshipper Inside Stage: Day 1: * Tia Carrera * Wino (Acoustic) * Lord Buffalo * Pharlee * SuperGiant * YOU * Via Vengence * Deep Cross** Day 2 Duel * Stone Deaf * In The Company Of Serpents * Pale Horse\Pale Rider * Communion * Oryx * Sorex * Dysphotic * Devil’s Throne
Posted in Whathaveyou on June 12th, 2017 by JJ Koczan
This Friday in Denver marks the beginning of Electric Funeral Fest 2017. Kicking things off at 4:15PM will be West Coast boogie groovers Lords of Beacon House, followed immediately by High on the Mountain right across the street. I know these things because the festival has newly announced its full schedule for its two-day run, which features the likes of Slow Season, The Well, Sourvein, Goya, Oryx, headliners Acid King and Corky Laing’s Mountain, and many others. I’ve got kind of a whirlwind couple weeks coming up as it is, but if you were offering me a ticket and a flight, I’d have a hard time turning this one down. Looks like it’s going to be an incredible time for those fortunate enough to be there.
If that’s you, I hope you have a blast. Here’s the info:
SATURDAY JUNE 17th The Joint by Cannabis Stage at 3 Kings Tavern 4:15 – 4:50 Dizz Brew 5:15 – 5:50 Red Wizard 6:15 – 6:50 Feather Stone 7:15 – 7:50 Great Electric Quest 8:15 – 8:50 Barrows 9:15 – 9:55 The Heavy Eyes 10:15 – 11:00 Electric Citizen 11:40 – 12:40 ACID KING
Electric Funeral will once again be happening in the South Broadway district of Denver. Anyone that is familiar with Denver knows that S. Broadway is one of the greatest neighborhoods this city has to offer. In our second year of this event, we have added a second stage at Hi Dive. Hi Dive is across the street from 3 Kings Tavern and easily one of the greatest places to party in Denver.
There is also no shortage of other great bars and restaurants in the area for attendees to visit if they need a break from head-banging. Although both stages are indoors, this will feel like just as much of an outdoor event as people go back and forth between the two venues that will run simultaneously through both evenings. Hey hey, my my, rock n’ roll sure ain’t fuckin’ dying in Denver!
