Earlier – Before Show

My flight got in last night, and even waking up already in the town where I’m seeing a show tonight feels like a relief, as opposed to getting here and needing to rush to the venue, which is how it might otherwise generally go. I made this trip to Las Vegas last year for Planet Desert Rock Weekend, and it was a highlight of the whole year, and set a positive tone that I’ll just say helped and leave it at that.

A lot this year is the same. I’m staying with Adam from Sonolith and his wife Jocelynn (and the power trio of weimaraners) again, which is great, and I feel ready for it. I woke up at about six this morning — which means I slept late with the three-hour time difference, but I was also up late thanks to the same temporal shenanigans — and had a Hungarian lesson on WhatsApp that, surprise, I forgot to cancel, before I even had time to brush my teeth. My teacher was very forgiving.

But Count’s Vamp’d, which was where three of the four nights last year were held, has closed, so The Usual Place, which was the bigger spot last year, will be home to the whole festival. And if you’re not familiar with the concept, Planet Desert Rock Weekend is put together by John Gist of Vegas Rock Revolution promotions. It’s five or six bands a night, tops, and it’s impeccably curated to such a degree as to make each one of them count.

Tonight, as an example, will feature five bands, three of whom — Saturna (Spain), Isaak (Italy) and The Quill (Sweden) — are European imports. I think The Quill might’ve come over at some point in their career, but the other two I’m pretty sure are making the trip for the first time. That would make it special enough. They’re to be joined by Oakland’s Phantom Hound, and Austin’s The Well, who play first and third, respectively. For me, it’s firsts for all save The Well, and I’m not Joey Goestoeveryshow, but nights of such proportion and anticipation are not of regular occurrence. So yes, special. That’s what you come for.

Here’s the night as it happened. I was there early enough to see The Quill soundcheck, which was well before doors. I’ll do my best on tenses, but no promises for consistency will be made. Reread this paragraph if you don’t know what I’m talking about. Typos too, while we’re doing disclaimers. I’m on my phone and doing my best to give some sense of what it’s like to be here while I am. Thanks for reading on if you do.

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The Show

Phantom Hound

It’s gonna be a (Planet Desert) rocker weekend, and Phantom Hound rocked the start of it. Big Alice in Chains circa Facelift/Soundgarden vibes vocally on their 2024 album, From Boom Town to Ghost Town, but the delivery was more direct from the stage, and there was room in the sound for the grunge later anyhow. That wasn’t the whole story, is what I’m saying. The room had been filling up, and the Oakland trio brought folks to the front, as one would hope for the night’s opener. That goes back to Gist’s curation, which was the thread last year for sure, and which gives every band a purpose in each slot. The ability to put people where you want them is not a thing to be taken lightly, and Phantom Hound were moody, but in a style able to crossover generations in its appeal, familiar in its roots but heavy and modern in tonality. If you like point of view, and I do, they had it. They nestled into a steady groove in material I didn’t know, and as a first impression of the night, weekend, and for me, the band, since I’d never seen them before, they came across like they know their strengths but are in it for the love of what they do. That gave the songs their soul, which was everything. Dude also shouted out his mom, who was in the crowd, and that was awesome.

Saturna

They said from the stage this was their second time in the US, and for them, this was the culmination of two weeks on the road, so yes, Saturna were basically on fire from the outset. I guess it’s fair to call them veterans since they’ve been around more than a decade, but even after 2024’s The Reset (review here), it’s fair to call them underrated, but they’re right up PDRW’s alley, with a take that blends ’70s and ’90s dual-guitar heavy with strong vocal melodies, enough instrumental flexibility to boogie when called to do so and songwriting that reaches into the progressive without feeling overly self-indulgent. As ends to tours go, they set themselves up (or whoever booked it set them up, anyhow) for a banger finish, which I guess one might do their second time over, but of course they had a hand in that too, with a performance that gave a sense of air, of letting it breathe, while still hitting tight. Hail heavy Spain. I’d never seen Saturna before, but I’m glad I did tonight, and not just because they covered “Never Say Die,” but yes, also that. They also set a high bar for a big rock finish.

The Well

I could tell you the last time I saw The Well, but I’m stoned enough at just this moment to skip the link-dump, and that feels better. It’s been a while. Their soundcheck found them right in the balance vocally, with guitarist Ian Graham and bassist Lisa Alley sharing the role, and after Saturna and Phantom Hound, killer vocals was fast becoming a theme fitting for an evening that would end with The Quill. But The Well. Different approach than either of the first two bands, but carrying elements of both forward from their own standpoint. Their West Coast tour is just starting — they were in Albuquerque last night, are on from here to CA — but their bounce was on point, and that feeling of movement is important to what they do. They had what was diagnosed from the stage as “technical bullshit,” but it was momentary and the sampler was going again soon after, and all was riffs and merriment of a dark but warm variety that the square universe neither could nor will ever realize but sure feels like gnarly mana for weirdos. They’re a pro shop. Maybe the theme for the night is ‘bands who make you happy to be in the room.’ No arguments. Time for a new record from The Well, but I wouldn’t rush them. They’re doing just fine as is. “Here’s a song everyone can relate to. It’s about the end of the world.” Of course it was “This is How the World Ends.” There was no chance they were lying. They had new stuff too, so bonus.

Isaak

I’ve been writing about this band since they were called Gandhi’s Gunn, over 15 years ago now, so to see them for the first time now is a trip. Understand, that doesn’t make me cool any more than it makes me an aardvark (though I also think being an aardvark would be kind of cool), but it gives seeing them some context for me. Their 2024 split with Geezer (review here) was both a hoot and a holler, and again, I was glad again to be here for it. If The Well were bounce and nod, Isaak were a shove, and that was more than called for. I’ll admit I was lagging before they went on (in part the jet- variety, in part just the old man variety), and that was a piece of why I went and sat in the photo pit more than 10 minutes before they went on — penance is I’m pretty sure I sat in spilled beer — but their energy left no room for it. They hit it hard and fast and if I didn’t know them before this I’d be concerned they were blowing themselves out before the tour, but I’m perfectly willing to believe this was how Isaak roll every night. Classic desert riffing, and they made it go. Sixteen years later, it feels nice to have been right in thinking something kicks ass. They might’ve enjoyed “The Way” most, or that might be me projecting. But as much as the immediacy suited them, I was still up front when they turned it hypnotic at the end and absolutely zero regrets on that. I did regret not introducing myself before to go up to the merch table after they were done, which is not always a thing I’m brave enough to do, being social interaction and all.

The Quill

Entering their maybe-40th year as a band, the heavy rocking monsters of Mönsterås were classic to start with, so I’m not sure how you would define them now other than how I just did. And unlike most of the other bands tonight, The Quill didn’t make a tour of it. Frontman Magnus Ekwall even said from the stage they were here just for this occasion. And they made it one. There’s metal in their sound as well as no shortage of rock, but when they hit into the hook of “Queen of Illusion,” it was all of it out together. Ekwall indeed tipped off the night for singers, with backing from guitarist Christian Carlsson and bassist Roger Nilsson, and in addition to respecting The Quill for having been at it as long as they have and, particularly, for making the trip to Vegas, they also killed. Midnight came and went and they made it worth sticking around. With drummer Jolle Atlagic adding to the roll, Carlsson had his Sabbath cross well placed, shredding with precision and soul alike; someone born to do a thing and who’s worked on it for probably well over four decades anyway. Craft was part of the appeal, the memorability of their material, recent or old (they did “Voodoo Caravan,” which they might every show, I don’t care, it was still cool), but it was the heart that sold me on it. If they didn’t love it they wouldn’t be here telling people to buy shirts so they don’t have to take them back to Sweden, belting it out. And once again, it was a shift away from what Isaak were doing, who were a shift from The Well and in through Saturna and Phantom Hound, but there was consistency too, in the songs and the way they handed them to the crowd along with the room’s collective ass. An arena set.

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After Show

Yo it’s like two in the morning, no way am I sorting photos tonight. I entertained the notion for actual earth seconds, but it’ll be there in the morning and presumably so will I. So we’ll have no more talk of that. I’m even more tired than when I did that Hungarian lesson at 6:30 this morning.

It was a good night, and in its sans-bullshit spirit, I’ll dispense with wax poetry about it. PDRW VI picks up tomorrow bright and early (not really) and I’m gonna sleep the crap out of the rest of the night so I can be ready for it.

By the time this is posted, there will be more pics after the jump. Thanks again for reading.

Read more »

Glory or Death Records has announced a pair of label showcases for next month. Set to take place over two nights — June 7 in Tempe, Arizona, and June 8 in El Cajon, California (in San Diego County) — and true to the ‘Friends and Family’ tag applied to the duly wizardly posters below, the lineups feature Glory or Death denizens like Great Electric Quest, Formula 400, Hudu Akil, Phantom Hound, Tzimani and a solo performance from guitarist Kelley Juett of Mothership, who recently signed to the Cali-based imprint to release his first solo album, Wandering West.

Juett is billed as doing “loops,” which is fair enough if you take a listen to the initial single “Mind Mirage” from his upcoming LP (at the bottom of the post, as it happens), and seems to be in the opening spot for both nights, though that kind of thing can also be cool during changeovers between more-than-one-person-involved bands sometimes, so you never know. In addition, Phoenix psychedelic instrumental outfit Secrets of Lost Empires — whose Joshua Mathus has done comic-style graphic work for Zac Crye of Hudu Akil, Desert Records, Stone Machine Electric and scores of others — will appear at the Temple show only.

The posters (by MontDoom), info, ticket links and such came down the PR wire:

Glory or Death Records Friends and Family Showcase Back-to-Back shows in Tempe and San Diego

Glory or Death Records Friends & Family Showcase

Tempe Date: June 7 at Yucca Tap Room

Featuring live solo loop performance by Kelley Juett; Secrets of Lost Empires, Tzimani, Phantom Hound, Hudu Akil, Formula 400, and Great Electric Quest

7:30 pm // 21 + // $12 adv $15 door

Event Link: https://facebook.com/events/s/glory-or-death-records-showcas/3750053211915097/

Ticket Link: https://www.ticketweb.com/event/the-great-electric-quest-formula-yucca-tap-room-tickets/13478144

San Diego Date: June 8 at Burning Beard Brewery

We will even be giving out free DIY Lightsabers! First come first serve. Kids first. We’ll start handing them out when the sun sets! Come hang!

June 8th 4-9pm All Ages!

Great Electric Quest (Oside)
Formula 400 (Vista)
Phantom Hound (Oakland)
Hudu Akil (PHX)
Tzimani (SD)
Kelley Juett (PHX)

Ticket Link: https://www.burningbeardbrewing.com/product/glory-or-death-records-friends-family-music-showcase/489

Flyer art by @montdoom

https://www.facebook.com/Gloryordeathrecords/
https://gloryordeathrecords.bandcamp.com/
https://www.gloryordeathrecords.com/shop/

Kelley Juett, “Mind Mirage”

I’ve got a fresh cup of coffee and 50 records that need to be reviewed, so it must be time for… constant distractions! Oh, no, wait, sorry. It must be time for the Quarterly Review. Yeah, there it is. I know there’s a global-pandemic-sized elephant in the room as a backdrop for the Spring 2020 Quarterly Review, but it seems to me that’s all the more reason to proceed as much as possible. Not to feign normality like people aren’t suffering physically, emotionally, and/or financially, but to give those for whom music is a comfort an opportunity to find more of that comfort and, frankly, to do the same for myself. I’ve said many times I need this more than you do, and I do.

So, you know the drill. 10 records a day, Monday to Friday through this week, 50 when we’re done. As Christopher Pike says, let’s hit it.

Quarterly Review #1-10:

Total Fucking Destruction, …To Be Alive at the End of the World

The long-running experimentalist grind trio Total Fucking Destruction remain a sonic presence unto themselves. Their strikingly apropos fifth LP, …To Be Alive at the End of the World, begins with the five-minute psychedelic wash of its unrepentantly pretty, somewhat mournful title-track and ends with a performance-art take on “The Star Spangled Banner” that shifts into eight or so minutes of drone and minimalist noise before reemerging in manipulated form, vocalist/drummer Richard Hoak (also the odd bit of flute and ocarina), bassist/vocalist Ryan Moll and guitarist Pingdum filling the between space with the blasts and jangles of “A Demonstration of Power,” the maddening twists of “Attack of the Supervirus 1138” and other mini-bursts of unbridled aggression like “Stone Bomb,” “Doctor Butcher” and the outright conceptual genius of “Yelling at Velcro,” which, indeed, is just 20 or so seconds of yelling ahead of the arrival of the closer. In an alternate future, Total Fucking Destruction‘s work will be added to the Library of Congress. In this future, we’re boned.

Total Fucking Destruction on Facebook

Translation Loss Records store

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Humulus, The Deep

For the six-song/51-minute The Deep, Italian three-piece Humulus somewhat depart the beer-rocking ways of 2017’s second LP, Reverently Heading into Nowhere (review here). Sure, the riff of “Gone Again” is pure Kyuss idolatry (not a complaint), and “Devil’s Peak (We Eventually Eluded Death)” brims with drunkard’s swagger, but factor in the wonderfully executed linear build that takes place across the eight-minute “Hajra,” the mellow emotionalism of the penultimate acoustic track “Lunar Queen,” and the two extended psychedelic bookends in opener “Into the Heart of the Volcano Sun” (14:48) and closer “Sanctuary III – The Deep” (14:59), and the narrative becomes decidedly more complex than just “they drink and play riffs.” These elements have been in Humulus‘ sound all along, but it’s plain to hear the band have actively worked to push themselves forward in scope, and the range suits them, the closer particularly filled with a theatricality that would seem to speak to further storytelling to come on subsequent releases. So be it. They called the album The Deep and have dived in accordingly.

Humulus on Facebook

Kozmik Artifactz website

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The River, Vessels into White Tides

An atmosphere of melancholy is quickly established on The River‘s third LP, Vessels into White Tides (on Nine Records), and for being the London four-piece’s first album 10 years, it takes place in a sense of unrushed melody, the band rolling out a morose feel born of but not directly aping the likes of My Dying Bride and Paradise Lost as the vocals of guitarist Jenny Newton (also strings, percussion) — joined in the band by guitarist Christian Leitch, bassist Stephen Morrissey and drummer Jason Ludwig — make their presence felt soon in opener “Vessels,” which unfolds gracefully with a crash and rumble fading into the beginning of the subsequent “Into White” (15:01) with the four-minute string-laced “Open” and the 9:44 shifting-into-intensity “Passing” preceding closer “Tides,” which is duly rolling in its progression and offers a sweet bit of release, if wistful, from some of the more grueling moments before it, capping not with a distorted blowout, but with layers of strings reinforcing the folkish underpinning that’s been there all along, in even the most tonally or emotionally weighted stretches.

The River on Facebook

Nine Records store

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Phantom Hound, Mountain Pass

Mountain Pass, which begins with “The Northern Face,” ends with “The Southern Face” and along the way treks through its on-theme title-track and the speedier “You Don’t Know Death,” catchy “Thunder I Am” and fairly-enough bluesy “Devil Blues,” has its foundations in oldschool metal and punk, but is a decidedly rock-based offering. It’s the debut from Oakland’s Phantom Hound, and its eight component tracks make no attempt to mask their origins or coat their material in unnecessary pretense — they are what they are; the album is what it is. The three-piece dip into acoustics on the instrumental “Grace of an Angel,” which shifts with a cymbal wash into the lead guitar at the outset of the eight-minute title-track — the stomp of which is perhaps more evocative of the mountain than the passing, but still works — but even this isn’t so far removed from the straightforward purposes of “Irons in the Fire,” which stakes its claim to dead-ahead metal and rock, barely stopping along the way to ask what else you could possibly need.

Phantom Hound on Facebook

Phantom Hound on Bandcamp

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Chang, Superlocomotodrive

Munich-based trio Chang, with clear, modern production behind them, present their debut EP release with the 29-minute Superlocomotodrive, and though it’s short, one is left wondering what else they might need to consider it an album. What’s missing? You’ve got the let’s-jam-outta-here in the six-minute opener and longest track (immediate points) “Mescalin,” and plenty of gruff riffing to back that up in “Old Rusty Car” and the later title-track, with a bit of Oliveri-era Queens of the Stone Age edge in the latter to boot, plus some psychedelic lead work in “Sterne,” some particularly German quirk in “Bottle Beach” and a massive buildup in tension in the finale “Bombs Whisper” that seems to arrive at its moment of payoff only to instead cut to silence and purposefully leave the listener hanging — an especially bold move for a first release. Yeah, it’s under half an hour long, but so what? The heavy rock terrain Chang are working in is familiar enough — right down to the less-than-P.C. lyrics of “Old Rusty Car” — but there’s no sense that Superlocomotodrive wants to be something it isn’t. It’s heavy rock celebrating heavy rock.

Chang on Facebook

Chang on Bandcamp

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The Dhaze, Deaf Dumb Blind

Though the grunge influence in the vocals of guitarist Simone Pennucci speak to more of a hard-rocking kind of sound, the basis of The Dhaze‘s sprawl across their ambitious 53-minute Sound Effect Records debut album, Deaf Dumb Blind, is more in line with progressive metal and heavy psychedelia. Bassist Vincenzo La Tegola backs Pennucci on vocals and locks in fluid mid-tempo grooves with drummer Lorenzo Manna, and makes a highlight of the low end in “Death Walks with Me” ahead of the titular trilogy, presented in the order of “Deaf,” “Blind” and “Dumb,” which flow together as one piece thanks in no small part to the synth work added by La Tegola and Pennucci together. Obviously comfortable in longer-form stretches like “Death Walks with Me” or the earlier “Neurosis,” both of which top nine minutes, the Napoli trio bring a fervent sense of variety to their work while leaving themselves open to future growth in terms of sound and playing with the balance between elements they establish here.

The Dhaze on Facebook

Sound Effect Records store

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Lost Psychonaut, Lost Psychonaut

Hailing — because metal bands hail, to be sure — from the Pittsburgh area, newcomers Lost Psychonaut boast in their ranks two former members of sludgers Vulture in guitarist/vocalist Justin Erb and bassist
Garrett Twardesky, who, together with drummer Tristan Triggs, run through a debut LP made up of five tracks that skirt the line between groove metal and heavy rock, tapping-like-flowing-kegs influences from the likes of ’90s-era C.O.C. and others such burl-laced groovers. Tales of day-to-day struggles make a fitting enough backdrop to the riff-led proceedings, which commence with the prior-issued single “My Time” and roll-groove their way into a duo of longer cuts at the end in “Restitution Day” (8:46) and “On a Down” (7:44). Frankly, any mention of the word “Down” at all in a song that feels so outwardly “buried in smoke” can hardly be coincidental, but that nod is well earned. With a couple years behind them, they know what they’re going for in this initial batch of songs, and the clearheaded nature of their approach only gives their songwriting more of a sense of command. There’s growth to be undertaken, but nothing to say they can’t get there.

Lost Psychonaut on Facebook

Lost Psychonaut on Bandcamp

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Liquido di Morte, IIII

I suppose you could, if so inclined, live up to Liquido di Morte‘s slogan, “We play music to take drugs to,” but you’d be shorting yourself on the experience of a lucid listen to their third long-player IIII. Issued in limited handmade packaging by the band, the Milan instrumentalists offer a stylistic take across the late-2019 five-tracker that stands somewhere between heavy post-rock and post-metal, but in that incorporates no shortage of thoughtful psychedelic meditations and even some kraut and space rock vibes. The primary impact is atmospheric, but there’s diversity in their approach such that the centerpiece “Tramonto Nucleare” begins cosmic, or maybe cataclysmic, and ends with an almost serene roll into the floating guitar at the outset of the subsequent “Rebus (6,5),” which is the longest inclusion at 13:40 and an encompassing, hypnotic srpawl that, whether you take drugs or not, seems destined to commune with expanded or expanding minds. The front-to-back journey ends with “The Fattening,” a cinematic run of synth after which a slaughter feels almost inevitable, even if it arrives as silence.

Liquido di Morte on Facebook

Liquido di Morte on Bandcamp

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Black Burned Blimp, Crash Overdrive

Bonus points to Netherlands four-piece Black Burned Blimp for including song titles like “What Doesn’t Kill You, Makes You Weirder” and “The Good, the Bad and the Fucking Horrific” and, at the start of “Desert Wizard,” the sample from Trailer Park Boys wherein Mr. Lahey declares, “I am the liquor” on their debut LP, Crash Overdrive. Native to a heavy rock legacy that includes acts like 13eaver, 35007, Astrosoniq and Celestial Season, among many others, the band hint toward melodic complexity while remaining focused on raw energy in their songwriting, such that even the drumless, harmonized and minute-long “Flock” seems to seethe with unstated tension for “Robo Erectus,” which follows, to pay off. It does, though perhaps with less of a tempo kick than one might expect — certainly less than the careening “The Good, the Bad and the Fucking Horrific” a few tracks later — but somehow, no matter what speed they’re actually playing, Black Burned Blimp seem to make it sound fast. Vitality will do that.

Black Burned Blimp on Facebook

Black Burned Blimp on Bandcamp

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Crimson Oak, Crimson Oak

Though their arrival comes amid a German heavy rock underground that’s nothing if not well populated, Fulda-based five-piece Crimson Oak present with their self-titled debut long-player a stylistic take that’s both modern and genuine sounding, finding solid ground in well-crafted songs drawing more from ’90s-era heavy and punk in “Danger Time,” which follows the contemplative “Of My Youth,” the bulk of what surrounds expressing a similar level of self-awareness, up to and including the nine-minute side B opener “Brother of Sleep,” which sets psychedelic guitar against some of the album’s biggest riffs (and melodies). There’s middle ground to be had in cuts like “Displace” and “Sunset Embrace” still to come and “Fulda Gap” earlier, but Crimson Oak seem to touch that middle ground mostly en route to whichever end of the spectrum next piques their interest. At seven songs and 42 minutes, it’s not an insubstantial LP, but they hold their own with confidence and a poise that speaks to the fact that some of this material showed up on prior EPs. That experience with it shows but does not hold the band or songs back.

Crimson Oak on Facebook

Crimson Oak on Bandcamp

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