Posted in Whathaveyou on February 9th, 2026 by JJ Koczan
Maybe this won’t be surprising, but I like what I’m seeing from the second Bear Stone Festival announcement for 2026. The Croatian out-in-the-woods-by-the-side-of-the-river heavyfest is getting weirder and more psyched out, and from Greek kingpins Nightstalker to Netherlands-based Altın Gün to German murk-doomers Daevar to Philadelphian instrumentalist doomjazz legends Stinking Lizaveta, the evidence for that comes from multiple angles and geographic centers. There are a few acts in here I’ve never heard — Karma Sheen, The Cyclist Conspiracy, Ambra — and relative newcomers like Upupayāma and Scott Hepple and the Sun Band speak to Bear Stone‘s forward thinking approach to curating.
Couple this with Uncle Acid, Elder, My Sleeping Karma, Planet of Zeus, Travo, Ungraven and others from the first announcement — everybody thus far unveiled is on the poster below — and you get a striking, vibe-heavy picture of what’s going to be taking place those four days by the riverside just outside Slunj. And if you feel like you’re not getting that picture, hit the 2025 aftermovie below for inspiring slo-mo glories.
From the PR wire:
Bear Stone Festival 2026 – Second Lineup Announcement
Bear Stone Festival’s second lineup announcement levels up with Altın Gün, bringing their irresistible blend of Turkish Psychedelic Folk-Rock, a hypnotic collision of deep Anatolian grooves and modern Psych energy.
Joining them are Austin TV with cinematic instrumental Post-Rock, Nightstalker delivering riff-heavy Greek Stoner Rock power and Daevar unleashing crushing, atmospheric Doom-laden Stoner Rock intensity alongside with many other names!
With a rich palette spanning Doom, Psych, Stoner, Punk, Garage, Experimental Noise and beyond, the lineup is set to erupt across three stages nestled in Bear Stone’s one-of-a-kind natural landscape, where discovery, volume, and atmosphere collide into the complete festival experience.
Altın Gün are an Amsterdam-based Psychedelic quintet at the forefront of the modern revival of Turkish-influenced grooves, fusing Anatolian Folk melodies with hypnotic basslines, fuzzed-out guitars, vintage organs, and an ever-evolving palette of synths and rhythms.
Drawing inspiration from 70’s Anatolian Psych-Funk, 80’s Synth-Pop, global Folk traditions, and modern Indie experimentation, their sound moves fluidly between driving dancefloor energy and mind-expanding atmospheres.
Their upcoming fifth album Garip distils that lineage into a focused tribute to Turkish folk legend Neşet Ertaş while revealing a subtler, more exploratory side of the band.
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AUSTIN TV (MEX) [Instrumental Post Rock/Indie-Prog]
Austin TV are a cult Mexican instrumental Post-Rock band known for powerful, cinematic songs that move from delicate build-ups to explosive, cathartic climaxes. Blending shimmering melodies with mathy rhythms and progressive dynamics, they create a sound that feels emotional, dramatic, and unpredictable like a film unfolding .
With their mysterious masked aesthetic and reputation for immersive live shows, Austin TV have become one of Latin America’s most distinctive instrumental Rock exports.
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NIGHTSTALKER (GR) [Stoner Rock/Desert Rock]
Nightstalker are Greek Stoner Rock pioneers from Athens, widely credited as one of the key bands that helped shape and export the Heavy Rock sound of the Mediterranean underground.
Built on towering fuzz riffs, Blues-drenched rhythms, and streetwise swagger, their music bridges Classic Hard Rock weight with a gritty modern bite.
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DAEVAR (DE) [Doom Rock/Atmospheric Sludge]
Daevar are a rising German Stoner Doom trio forging a sound that’s equal parts crushing weight and hypnotic atmosphere. Their songs are a combination of fuzz-saturated stomps, and melodic haze, balancing Doom heaviness with a modern, driving edge.
Their fierce momentum and thick-toned delivery have made them a must-watch name in the new wave of European Heavy Rock.
—
UPUPAYĀMA (ITA) [Psych Kraut/Cosmic Fuzz]
Upupayāma are an Italian Psychedelic Acid-Folk project blending pastoral melodies with blown-out fuzz and trance-inducing vibes.
Expect music that feels both earthy and otherworldly, equal parts campfire ritual and full-volume psych trip.
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VOLCANOVA (ISL) [Stoner Metal/Volcanic Groove]
Iceland’s very own Volcanova hit with a fierce, high-voltage blend of aggressive grooves, sharp hooks, and relentless momentum. Their sound balances heavy punch with dark, modern textures built for sweat-soaked pits and shouted choruses.
Loud, fast, and unapologetically intense, Volcanova are pure adrenaline from the first note to the last.
—
ROADKILLSODA (RO) [Boogie Punk/Garage Rock]
RoadkillSoda bring a loud, no-frills blast of gritty Hard Rock energy-packed with punchy riffs, swagger, and hooks that hit fast and stick. Their sound rides the line between dirty Garage Rock and sharp modern drive, built for shouting along with a drink in hand.
Raw, rowdy, and insanely fun live, RoadkillSoda turn every set into a full-throttle party.
—
SCOTT HEPPLE AND THE SUN BAND (UK) [Psych Rock/Acid Rock]
Scott Hepple and The Sun Band deliver a warm, groovy blend of feel-good Soul, Funk, and sunlit Rock built on tight musicianship and infectious rhythms. Their sound is equal parts smooth and punchy, with bright melodies, crisp horns/keys energy, and vocals that keep the room smiling.
Cinematic, addictive, and deeply melodic, Scott Hepple and The Sun Band are built for singalongs under strobe lights.
—
KARMA SHEEN (UK) [Psych Raga/Fuzz Rock]
Karma Sheen are a UK band forging a striking fusion of Psychedelic Rock and Hindustani classical raga, where hypnotic riffs meet drone, chant, and spiralling melodic improvisation.
Their sound draws on Sufi mysticism and South Asian classical tradition while still hitting with the punch and swagger of fuzzed-out 60’s Psych. Live, it feels less like a gig than a trip: mesmeric, ecstatic, and totally singular.
Stinking Lizaveta are a ferocious instrumental powerhouse, fusing crushing Rock heft with the wild freedom of Jazz and the precision of Prog. Their sound is all jagged riffs, thunderous atmosphere, and fearless improvisation that’s tight one moment and explodes the next.
Expect a set that shifts without warning: massive riffs, razor-tight interplay, and moments of pure musical freefall.
—
THE CYCLIST CONSPIRACY (RS) [Desert Psych/Folk Fusion]
The Cyclist Conspiracy fuse Saharan Desert-Blues spirit with Balkan grit, blending World Music grooves, Rock drive, and psychedelic guitar explorations into a hypnotic instrumental trip.
Their style grows wilder and heavier as it unfolds as an immersive trance-like therapy you’ll want to sink into with your eyes closed.
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HYPNOTIC FLOOR (AT) [Psych Rock/Hypnotic Rock]
Hypnotic Floor blend Progressive Rock, Folk, and Psychedelia into reverb-drenched, delay-soaked journeys moving from sprawling improvised jams to tighter, garage-leaning punch without losing their hypnotic edge.
On their latest album “The Friendly Moss Forest Creatures Lives Happily In Perpetual Twilight” they dive deeper into intricate melodies and polymetric rhythms, delivering raw, high-energy Psych Rock.
—
KLAUSTRO/FONIJA (CRO) [Psycho-Psych Rock/Post Punk Noise]
Klaustro/fonija are a Croatian Psychotic-Psychedelic Rock trio fusing Post-Punk, Noise, Experimental and Electro into a volatile, mind-bending sound.
Known for near-ritualistic live shows packed with vocal freakouts, pounding rhythms, and deep-fried guitars, they released their debut album “Rigged Phantasies” in 2025 via the North Macedonian label Mrtov Konj.
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AMBRA (SLO) [Post Punk/Stoner Prog]
Ambra from Slovenia deliver a heavyweight blend of Progressive Stoner Alt Metal, pairing thick, groove-driven riffs with expansive moods and sharp rhythmic turns.
They shift between hypnotic tension and explosive release that is dark, dynamic, and built for big stages where every breakdown hits like a wave.
Posted in Whathaveyou on October 8th, 2025 by JJ Koczan
If you’ve already been, you don’t need me to tell you to go. If not yet, then go ahead and consider this encouragement. Nestled into its wooded riverside corner, a gorgeous setting with stages large and small, able to be correspondingly relaxing and intense, Bear Stone Festival 2026 has unveiled the first names for its lineup for next July. At the risk of getting personal, I was more than a bit heartbroken to miss the fest this year after attending in 2024, and with a lineup that includes Uncle Acid and the Deadbeats, Elder, My Sleeping Karma, Planet of Zeus, Travo, Ungraven, Saint Karloff, Ungraven, and more, including the continuing commitment to showcase homegrown Croatian acts, the four-dayer’s bill already highlights the growth underway for the festival itself. Progression, both in terms of stylistic outreach and getting bigger names. The art, the people, the sound, the lights, the place. I sincerely hope I get to go back.
Check out the 2025 aftermovie at the bottom of the post. It’s very much like that, only not slow motion. Here’s the announcement from the PR wire:
Bear Stone Festival 2026 – First Lineup Announcement
Bear Stone Festival proudly unveils the first wave of its 2026 lineup, showcasing a bold spectrum of heavy music and beyond.
From the occult-tinged psychedelia of Uncle Acid & The Deadbeats and the progressive power of Elder, to the meditative soundscapes of My Sleeping Karma, the high-voltage rock of Planet of Zeus, and the raw underground energy of acts like TRAVO, ŽEN, Otrovna Kristina, Wyatt E., and many more, the bill perfectly reflects Bear Stone Festival’s commitment to musical diversity.
This year’s lineup brings a rich palette of genres such as Doom, Psych, Stoner, Punk, Garage, Experimental Noise, and many more, all set to erupt across the three stages nestled in Bear Stone’s unique natural landscape.
UNCLE ACID & THE DEADBEATS (UK) [Psychedelic Rock/Doom Metal]
The brainchild of Kevin Starrs, Uncle Acid & The Deadbeats have been crafting extraordinary music since 2009. Emerging from the British underground, they reshaped hard rock and downer blues with a deeply psychedelic and idiosyncratic edge. Fusing the playful melodies and harmonies of psychedelic pop with the dark thunder of proto-metal, Starrs conjures a sound that feels both eerily familiar and entirely new.
Resolutely individualist, Uncle Acid & The Deadbeats channel the spirit of heavy music’s past while remaining one of the most unique and electrifying live acts today.
ELDER (USA) [Progressive Rock/Space Rock]
Elder are a genre-defying rock band blending heavy psychedelia, progressive intricacy, and expansive soundscapes into long-form compositions that push the boundaries of modern rock. Over the course of six albums and numerous EPs, they’ve evolved from the stoner/doom underground into one of the most distinctive voices in heavy, exploratory music.
In 2024, Elder brought their powerful live show to arenas across the U.S. as the main support for Tool, marking a milestone moment in their journey ahead of their next album in 2025.
MY SLEEPING KARMA (DE) [Psychedelic Rock/Post-Rock]
My Sleeping Karma are a German instrumental quartet weaving psychedelic rock, stoner grooves, and post-rock atmospheres into cinematic sound journeys. After the tragic passing of longtime drummer Steffen Weigand in 2022, the band faced an uncertain future but ultimately found strength in continuing their path.
Their revival has reaffirmed them as one of Europe’s most powerful live acts, guiding audiences through immersive and emotional sonic explorations.
PLANET OF ZEUS (GR) [Stoner Rock/Stoner Metal]
Planet of Zeus, hailing from Athens, Greece, deliver heavy rock thunder that fuses raw riff-driven power with melodic exploration and bluesy dynamics. Since their formation in 2000, they’ve built a reputation for intense, sincere, and ever-evolving live performances, earning a loyal following at home and abroad.
With their latest album Afterlife (2024), the band continue to push their sound forward while cementing their place as one of Europe’s most vital underground rock acts.
TRAVO (POR) [Heavy Psych/Neo-Psych Rock]
TRAVO, from Braga, Portugal, are a four-piece force of heavy psych and garage rock, delivering a raw, high-octane sound that thrives on intensity and experimentation.
Renowned for volcanic live performances that blur the line between chaos and ecstasy, TRAVO stand as one of the most visceral and authentic voices in today’s psych rock scene.
WYATT E. (BE) [Drone-Ambient/Antique Doom]
Wyatt E. are a boundary-pushing force in the modern doom scene, blending massive riffs with layered instrumentation and a fearless approach to sonic experimentation. Their music weaves heavy psychedelia, progressive structures, and eclectic influences into immersive compositions that balance crushing weight with cinematic detail.
With acclaimed albums, extensive touring, and a reputation for powerful live performances, they continue to redefine what doom can sound like on a global scale.
UNGRAVEN (UK) [Doom Metal/Sludge Metal]
Ungraven is the brainchild of guitarist Jon Davis, now joined by David Perry on synths, organ, and piano, reshaping the project into a force of haunting, ambient heaviness. Abandoning the traditional rock-band setup, the duo crafts bleak and expansive soundscapes where slabs of crushing guitar collide with swirling synths in a sickening sonic duet.
Their music is both pummeling and introspective, channeling influences from Tangerine Dream to doom metal, forging a new chapter in their evolving tome of tone.
SAINT KARLOFF (NOR) [Stoner Rock/Heavy Psych]
Saint Karloff are a Norwegian power trio channeling the spirit of 70’s heavy rock through fuzz-soaked riffs, doom-laden grooves, and psychedelic fire.
With albums like All Heed the Black God (2024) and the monolithic Interstellar Voodoo (2019), they’ve carved out a place in the stoner/doom underground as one of its most electrifying and uncompromising voices.
ŽEN (CRO) [Indie-Psych/Shoegaze]
ŽEN are a Croatian trio weaving dreamy shoegaze, math-rock complexity, and psychedelic textures into an immersive and urgent sound.
Since forming in Zagreb in 2010, they’ve become a vital voice in Europe’s underground, carrying a strong feminist and DIY ethos that fuels both their music and their boundary-pushing live performances.
Otrovna Kristina are a Croatian hard rock trio fusing Anglo-Saxon riff traditions with the raw energy of the Balkans, laced with psychedelic excursions and soaring harmonies.
In their decade-long journey, they positioned themselves as guardians of volume, groove, and wild underground rock ’n’ roll.
DRONE HUNTER (CRO) [Stoner Rock/Groove Rock]
Drone Hunter are a Croatian instrumental trio delivering high-octane stoner rock driven by crushing riffs, heavy grooves, and relentless energy.
Since forming in 2012, they’ve built a reputation for powerful live performances and a raw, riff-worshipping sound that speaks louder than words.
GODZILLA WAS TOO DRUNK TO DESTROY TOKYO (ITA) [Acid Rock/Doom Rock]
Godzilla Was Too Drunk to Destroy Tokyo are a chaotic, genre-smashing outfit blending sludge, noise, punk, and doom into an unpredictable wall of sound.
With unhinged energy and a tongue-in-cheek attitude, they deliver crushing riffs and anarchic live shows that feel as wild as their name suggests.
HRMULJA (CRO) [Heavy Psych/Stoner Rock]
Hrmülja are a Croatian heavy psych/stoner rock band weaving fuzzed-out riffs, swirling grooves, and hypnotic atmospheres into their sonic brew.
They channel the spirit of the underground into thunderous and immersive live performances with raw energy and a taste for psychedelic exploration.
SUNTAN CLUB (AT) [Neo-Psychedelic Surf/Garage Rock]
Suntan Club are a four-piece from Vienna blending neo-psychedelic surf and garage rock into sun-drenched, fuzz-heavy soundscapes that radiate warmth and hazy euphoria.
With their latest EP Too Much Fuzz, they’ve expanded their sound into something louder, richer, and hypnotic, pairing it with ecstatic and immersive live performances that pull audiences under like a tidal wave.
LINIJA 109 (CRO) [Post-Rock/Shoegaze]
Linija 109 are a young all-girl band from Zagreb, formed in 2022, crafting original songs rooted in alt rock with influences of post-rock, shoegaze, and indie.
Through explosive live shows and an unapologetic youthful rebellion they managed to build a loyal underground following in a very short time.
In case you were wondering how our previous edition felt like, check out our official 2025 aftermovie.
Posted in Whathaveyou on May 21st, 2025 by JJ Koczan
You can see the growth happening in real-time. Or at least on a per-announcement basis. Croatia’s Bear Stone Festival last time around added a slew of electronic artists to expand the horizons of campers hanging out late each night, and now the fest has brought in Festival Buke, which is a thing I’d probably have heard of if I was Croatian and into noise rock, to curate a day at the Mill Stage to specifically highlight up and coming Croatian bands. The styles range as you can see below, but each of the four acts listed represents the local underground in a way that Bear Stone is intent on having as part of what it offers to those attending.
The fest is July 3-6 just outside of Slunj, Croatia. And if you’re like, ‘Well I’ve never been to Croatia,’ I hadn’t until last year either and I promise you’re a more competent traveler than I am. You’ll be fine. Sick lineup gets sicker:
Bear Stone Festival & Festival Buke – Amplifying the Future of the Regional Heavy Scene
Bear Stone Festival is proud to announce a collaboration with Festival Buke (Festival of Noise), a program dedicated to supporting the next generation of artists within the alternative and heavy music scenes.
On Saturday, July 05 the Mill Stage will be fully taken over by Festival Buke, bringing a dynamic mix of young, uncompromising bands and seasoned underground veterans all ready to deliver raw, high-energy performances that echo the spirit of the scene.
The aim is simple: to use the opportunity to shine a spotlight on emerging artists, strengthen connections within the regional music community, and offer our festivalgoers a powerful sonic experience.
Join us as we turn up the volume and celebrate the bold voices shaping the future of Heavy music.
LORD DRUNKALOT (CRO)
Lord Drunkalot came out of Zagreb’s “Thrashnjevka” district swinging like a wrecking ball made of molten fuzz and heavy groove. Doom, Thrash and Psychedelia all locked in, dialed up, and aimed straight at your solar plexus. Massive riffs? Check. Epic hooks? Absolutely. A rhythm section that doesn’t let up and vocals that bite. These guys don’t play, they strike.
After leveling stages alongside titans like Ufomammut and 1000mods and dropping their acclaimed LP “Heads & Spirits” in 2021, they’re now locking in the crosshairs for their next release and you’ll hear it live. Don’t say you weren’t warned.
SHELL (CRO)
Shell are a three-piece band from Zagreb, Croatia and they ain’t here to play nice. They mix Post-Hardcore and Sludge like it’s a secret family recipe, then sprinkle in some Noise, Post-Metal, and Math Rock just to keep your ears guessing.
Their sound? Heavy. Dynamic. Unpredictable. Like a sermon that starts soft, then lights the whole room on fire. They released their debut EP “Throes” in 2023. And now? They’re cookin’ up a full-length album that’s gonna shake the ground you walk on.
10KRE (CRO)
10KRE are a Stoner-Sludge trio from Zagreb. They formed in the summer of 2023, just a bunch of guys getting together and jamming, nothing fancy. But what came out of it was something solid, heavy, and raw.
Their sound? Think Heavy Blues with grit and aggression. Riffs that hit you like a ton of bricks, vocals that demand your attention. They get up on stage, and it’s not just a show. It’s an experience. You feel the energy, you remember it.
EXTROFT (CRO)
Extroft are a young Alt-Metal band from Valpovo, Croatia. They don’t play games, they bring the energy. Their sound? It’s a mix of Groove, Psychedelia, Grunge, and Classic Heavy Metal. You put those together, you get something that punches through the noise.
Since they formed in 2020, they’ve been taking over big stages and festivals across the region. Places like InMusic, Tvornica Kulture, and Vintage Industrial Bar. They dropped their debut EP, and now they’re working on something even bigger, building their name, one track at a time.
LINEUP UPDATE
Unfortunately for reasons beyond our control, El Perro is forced to cancel their performance at Bear Stone Festival. Introducing legendary Italian Doom giants TONS as their replacement.
TONS, the Italian Doom Metal band, are on a mission to crush everything in their path with riffs that hit like a sledgehammer. From their debut album to their upcoming work, these guys have a signature sound that is heavy, thick, and oozes atmosphere like a cloud of smoke. When they take the stage, they bring the heat, and their raw energy leaves a mark you won’t forget.
Posted in Whathaveyou on April 23rd, 2025 by JJ Koczan
I’m not going to lie to you, there have been many times in the months since I left Croatia that my mind has wandered back to the misty banks of the Mrežnica River, where Bear Stone Festival has come to be held. I was there for the first time in 2024 and am very much hoping to be back this summer (I need space on the credit card to book a flight; it’s a whole thing but if I can make it happen I want to), not the least because they seem to be growing and that’s cool to witness.
If it seems like a surprise that Bear Stone‘s interest in heavy of more traditional and rocking styles would extend to outfits like ABOP, who cross over into more electronic and techo-based ideas, I’ll note that Bear Stone shares a team and locale with the acid techno festival MO:DEM, and so seems like fair enough ground for crossover and some uniting of worlds. Those shows will be late — they’re calling it ‘The Ripple’; no relation to Ripple Music — but it’s perfect for those camping out, and I don’t know if that was most attendees last year or not, but it was definitely a lot of people. A significant portion of the crowd.
There are also pre-made tent options linked below to facilitate camping if, like me, you’re way more into hanging out indoors and talking to yourself while you type out words on your laptop than you are ‘rugged’ in any sense of the word, but perhaps want to be adventurous. Or, if you’re traveling and don’t want to take a tent on a plane/train/etc., it’s one to think about.
From the PR wire:
New Festival Segment: The Ripple + Festival Timetable
Just as objects of all shapes and sizes create the same ripples when thrown into water, The Ripple at Bear Stone Festival embodies the diverse styles of music that share the same powerful energy, no matter how different.
From psychedelic tones to high-energy beats, each performance sends waves of intensity that resonate with the crowd, creating an electrifying experience that flows through the night.
Following the final echoes from the Stone Stage, The Ripple takes over the Jam Stage as an after-dark surge of sound curated with handpicked acts. Different waves, but the same current flowing deep into the night.
ABOP (CRO)
ABOP (After is Better than the Party) is a Croatian electronic band known for transforming the dancefloor into a full-blown rave without a DJ. Blending acid house, techno, electro, and live instrumentation, the band delivers high-energy performances driven by dual drummers on a single kit, analog synths, and immersive visuals.
Critically acclaimed and award-winning, ABOP has built a reputation as one of the most electrifying live acts in the region and beyond.
OIL X GAS (LV)
OIL X GAS is a synth-rock duo known for their explosive blend of roaring synths and thunderous drums, fusing the intensity of a rock show with the pulse of a techno club. Their commanding live energy turns every stage into a high-voltage experience, captivating audiences with raw power and precision.
In their breakout year, they released a trio of live videos, including sessions at Joe Barresi’s legendary LA studio and Third Man Records’ iconic Blue Basement in London.
BAMWISE (CRO)
Bamwise is a six-piece electronic dub band from Zagreb blending live instruments, heavy bass, and rich synth textures with immersive visual projections. Rooted in Jamaican dub and reggae, their sound fuses analog warmth with modern electronic influences, inspired by UK and French dub scenes.
Known for their powerful live shows, they released their debut album “Soundproof” via PDV records and are currently working on their next release.
ISKRA (MK)
ISKRA is a Skopje-based audiovisual collective blending music and animation to deliver a futuristic narrative set in the year 2088/89. With a sound and vision forged from a “decoded chip from the future”, the four members creatively explore themes of dystopia, resistance, and digital rebellion.
Their genre-bending project has earned acclaim through striking live performances and two concept albums, most recently “Mother Earth Mother Board” released via Diehard Records.
BEAR STONE FESTIVAL TIMETABLE
Presenting the festival timetable for our 2025 edition.
Over 40 bands will take the stages of Bear Stone Festival from July 03 to 06. The festival kicks off on Thursday with performances on the Mill and Jam Stages, giving early arrivals plenty of time to settle in.
On Friday and Saturday, all three stages will run without any overlapping sets, so you won’t miss a single act.
Sunday offers a more relaxed finale, with four bands alternating between the Mill and Jam Stages, peaking with the thunderous Lazarvs set in the afternoon.
Those that need to head home early can still make it back in time, while those that want to enjoy one last riverside evening can wind down with the soothing sounds of the Mrežnica river.
PRE-PITCHED TENTS AND AIRPORT SHUTTLE
Don’t forget that our limited-time offer for the shuttle between Zagreb Airport and Bear Stone Festival, as well as pre-pitched tents and camping accessories, is available only until May 01!
Posted in Whathaveyou on February 12th, 2025 by JJ Koczan
There are a few acts down toward the bottom here that I’ve never heard before, and I like that a lot. Always up for a challenging round of googling, I looked up Monica and found who I’m assuming are the right band, from Belgrade, Serbia. The release I put below came out last Fall — it’s a three-songer and is raw as nails until it spaces way out before you realize it. Cool vibe. How on earth I might go about finding D. is a mystery, but this isn’t my first day on the internet so I’ll get there.
More to the point, Bear Stone Festival looks so god damned good. A Place to Bury Strangers are gonna wreck up the place, to be sure, and whatever’s left will be Monolord‘s to flatten. I am very, very much hoping to be in the crowd for this one — remember hat, remember water, remember… the alamo — and if you see me by that riverside, please be sure to say hey. I gotta get that flight confirmed. Too much daydreaming, but can you blame me?
From the PR wire:
Bear Stone Festival 2025: Second Lineup Announcement
The long awaited second lineup announcement for Bear Stone Festival 2025 is finally here!
Below you will find brand new 16 bands which brings the total number of bands that have been announced so far to 33. We still have 8 more surprises for you that we’ll announce as we get closer to the festival.
A Place To Bury Strangers, led by Oliver Ackermann, has been pushing sonic boundaries for nearly two decades, fusing Post-Punk, Noise-Rock, Shoegaze, and Psychedelia into an electrifying and unpredictable experience.
With a refreshed lineup featuring John and Sandra Fedowitz and their own label, Dedstrange, the band continues to evolve, delivering their most dynamic and melodically daring work yet. With their latest album, “Synthesizer” (2024), the band continues to explore different fusions on a wide array of genres confirming once again their legendary status in the underground scene.
MONOLORD
Swedish trio Monolord have carved out a dominant place in the Doom Metal scene with their crushingly heavy riffs, hypnotic grooves, and haunting melodies. Since their 2014 debut “Empress Rising”, they have continued to push the boundaries of modern doom, blending psychedelic textures with bone-rattling low-end.
With a reputation for thunderous live performances and critically acclaimed releases like “No Comfort” (2019) and “Your Time to Shine” (2021), Monolord remains a powerhouse of immersive, slow-burning heaviness.
BRANT BJORK TRIO
Brant Bjork Trio is the latest project led by the legendary Brant Bjork, a pioneer of Desert Rock and a founding member of Kyuss and Fu Manchu. Joined by musicians Mario Lalli and Mike Amster, the trio delivers a raw, groove-heavy blend of Stoner Rock, Funk, and Psychedelic sounds. Known for their dynamic live performances and Brant’s signature laid-back vibe, the trio continues to push the boundaries of the Desert Rock genre.
MAIDAVALE
Swedish Psych Rock band MaidaVale captivates audiences for over a decade with their spirited energy and eclectic blend of Neo-Psychedelia, Krautrock, and influences from Post-Punk, Funkadelia, and North African Blues. Their acclaimed debut album “Tales of the Wicked West” (2016) established them on major European rock stages, while their sophomore release “Madness is Too Pure” (2018) solidified their place in the Psych Rock scene with its bold, experimental sound. MaidaVale continues to push boundaries with their latest album “Sun Dog” earning recognition as one of Europe’s most innovative Psych Rock acts.
CIŚNIENIE
Founded in 2017, Ciśnienie (Polish for “pressure”) combines Post-Rock, orchestral music, and Jazz to create intense, mind-bending musical climaxes. Drawing inspiration from Swans, Fire! Orchestra, Mogwai, Arvo Pärt, and H.M. Górecki, their sound blends baritone sax, violin, and piano with distorted bass and frantic drumming, producing dynamic soundscapes ranging from Ambient Psychedelia to rhythm-driven walls of sound. Having performed over 100 concerts across Europe, the band released their latest live-recorded album, “Zwierzakom” in late 2023.
WEDGE
Wedge, a Berlin-based trio, has been a driving force in the European underground Rock scene since 2014, blending Classic Rock, Kraut Rock, 60’s Garage, and Heavy Psychedelia into their high-energy “Fuzz ‘N’ Roll” sound. Known for their dynamic live performances, they’ve played over 350 shows across Europe, gaining a solid reputation and critical acclaim for albums like “Killing Tongue” (2018) and “Like No Tomorrow” (2021).
ACID ROW
Acid Row is a Prague-based Stoner Rock trio known for fusing Punk energy with elements of Doom Metal, Psychedelic Rock, Noise Rock, and ’90s Grunge. Since their formation in 2012, they have undergone several lineup changes but have stayed true to their rebellious spirit. Inspired by the haunting Blues roots of legends like Robert Johnson, Acid Row carries the torch of Rock and Heavy Metal legacies with raw intensity.
EARTH TONGUE
Earth Tongue is a New Zealand-based duo consisting of guitarist/vocalist Gussie Larkin and drummer/vocalist Ezra Simons, known for their raw, fuzz-drenched sound and unconventional song structures. Drawing inspiration from early Psychedelic Rock and Heavy Garage, their music blends heavy riffs, dual vocal harmonies, and a DIY aesthetic that captures the spirit of 70’s Sci-Fi. With captivating live performances and releases like their debut album “Floating Being” (2019), Earth Tongue has earned a reputation as one of the most exciting acts in the underground Psych scene.
SAUTRUS
Sautrus, formed in 2010 in northern Poland, is a Heavy Psychedelic Rock band known for their unique blend of Psychedelic, Stoner Rock, and ritualistic trance, evoking the sound of the 1970’s. With six releases to their name, including the upcoming album “Lazarus Dilemma” (2024), they have performed at numerous festivals and shared stages with iconic acts like Uriah Heep and Wishbone Ash.
WOLVES OF SATURN
Wolves Of Saturn from Dresden, Germany, are a Desert Rock band known for their immersive sound, featuring fuzz-laden guitars and an array of effects like Plasma Coil and Wahs. Their debut LP, “The Deserts Echo and the Peyote Delusion”, born during the pandemic in a WWII bunker, was released on April 01, 2023 and captures the essence of their unique creative process, blending themes of isolation and freedom into a mesmerising sonic journey.
IAH
IAH is an Instrumental Rock band formed in 2016 in Córdoba, Argentina, consisting of guitarist Mauricio Condon, bassist Juan Pablo Lucco Borlera, and drummer José Landín. Blending atmospheric Post-Rock with the heavy, hypnotic riffs of Post-Metal, their versatile sound defies genre categorization, and they have released five studio albums, including their latest, “V” (2023).
THE FLUKES OF SENDINGTON
All the way from Byron Bay, Australia, The Flukes of Sendington deliver a visceral and cathartic blend of Garage Rock, Funk, Psych, and Indie sounds. Formed in 2024, the band quickly gained momentum with a successful DIY European tour, captivating audiences at festivals like Vierdaagsefeesten Nijmegen and Munich Summer Sessions. With their debut album set for release in 2025 and another tour on the horizon, The Flukes of Sendington are a rising force of unforgettable energy.
FROM ANOTHER MOTHER
Blending Prog Rock, Punk Fusion, and Post-Hardcore, this energetic trio creates total madness at their gigs, blurring the line between audience and band in a whirlwind of controlled chaos. With over 200 live shows and a month-long Balkan tour in 2023, they’ve been spreading love and joy across Europe for more than a decade. Their discography includes two EPs and two albums: “Bratebra”, “Epileptir”, “ATATOA” (Kapitän Platte), and “Zest” (Jeboton).
UMOR
Umor emerges from the depths with low tunings, diminished keys, and a sound steeped in sonic doom, crafting a haunting blend of heavy, atmospheric music. Their music resonates like an apocalyptic hymn, weaving verses of despair, salvation, and inevitable darkness into crushing soundscapes. Umor invites listeners into their realm, where The Sound becomes a cleansing force, vibrating through the core and slowing the beat to an otherworldly stillness.
D.
D. is a three-piece band from Zagreb formed in 2022. Their music blends influences from various eras and genres, ranging from 1950’s Jazz to modern acts like King Gizzard & the Lizard Wizard. Their energetic live performances are characterized by spontaneous jam sessions, creating a vibrant and immersive atmosphere.
MONICA
Monica is a band that captures the raw, emotional essence of desert landscapes, blending the sound of a dying engine with moments of unexpected speed and steady rhythm. Their music evokes the melancholic beauty of a desert rainstorm, where moments of dryness are interrupted by a cloud that brings refreshing, lively change. With their unique blend of melancholic and energetic sounds, Monica creates an immersive experience that resonates with both the harshness and serenity of nature’s unpredictable rhythms.
Posted in Whathaveyou on November 6th, 2024 by JJ Koczan
I swear to you that as I stood in front of the main stage at this past summer’s Bear Stone Festival, I had the actual thought-in-my-brain, “King Buffalo would be incredible here.” And so they will. The Rochester forerunners of US heavy psych join Graveyard, Motorpsycho, The Vintage Caravan, El Perro and a cast of others in the first lineup for Bear Stone 2025, which will be held July 3-6. I don’t have a flight yet or anything, but it’s very much on my calendar in fingers-crossed-golly-I-hope-this-happens fashion, and if you want to take that as a recommendation for a place to try to put yourself if you can, do. This was an unhindered highlight of my 2024, and the 2025 edition already looks like it’s going to be even bigger.
I had the same thought about Ufomammut, by the way…
As with last year’s bill, the 2025 Bear Stone Festival pays particular attention to the regional underground. Representing Croatia are Killed a Fox, Peglica i Komandos, Portman, Bizon and Dark Tree Bark, while Lazarvs come from neighboring Hungary, Marcel Gidote’s Holy Crab are from the Czech Republic, and Savanah are from Austria. There’s also French psych rockers Karkara, and Atomic Mold and Oreyeon from Italy, and US garage rockers The Darts. Don’t worry Germany, I’m sure you’ll get a band in there soon.
It’s an impressive assemblage already and this is probably… a third? of the acts who’ll comprise the final lineup. Here’s official word from the PR wire:
Bear Stone Festival 2025: First Lineup Announced + Early Bear Tickets Now on Sale!
Bear Stone Festival 2025 marks a bold step forward in expanding the diverse range of genres we celebrate. While we remain rooted in the classics—Stoner Rock, Psychedelic Rock, and Doom Metal, along with everything in between—our 2024 edition teased an exciting exploration of modern subgenres that are oriented towards a modern fusion of Neo-Psychedelia dipped in Acid Rock that we’ll continue to explore in the future. Join us in our ever-lasting quest of musical exploration.
Even though we’re not big on statistics, we are particularly proud that 12 out of 17 bands that are forming the first part of our lineup were formed after 2012 and 8 out of 12 foreign bands will be coming to Croatia for the very first time!
Without further ado, we’re introducing the first 17 bands that will grace our stages in the upcoming edition.
Since forming in 2006 in Gothenburg, Sweden, Graveyard has carved out a distinct niche in the rock world with their gritty blend of Hard Rock, Psychedelia, and Blues, led by the powerful vocals and guitar of Joakim Nilsson. Rising to prominence after their self-titled debut in 2007, they quickly earned a reputation for raw, authentic rock with a dark, soulful edge.
After five acclaimed records and years of relentless touring, Graveyard’s latest album, “6”, continues their journey, adding introspective depth to their already renowned, riff-heavy sound.
KING BUFFALO (USA)
King Buffalo is a Rochester, New York-based Heavy Psych trio consisting of Sean McVay (vocals/guitar), Dan Reynolds (bass), and Scott Donaldson (drums). Since forming in 2013, they have earned recognition through numerous releases and extensive touring with bands like Clutch, Uncle Acid & the Deadbeats, and Elder.
Their latest album, “Regenerator” (September 2nd, 2022), is the third in their pandemic trilogy and further solidifies their sonic identity, establishing them as one of the brightest lights in underground Rock today.
MOTORPSYCHO (NOR)
Motorpsycho is a Norwegian band that fuses elements of Grunge, Heavy Metal, and Indie Rock with experimental, progressive soundscapes. Known for their genre-defying approach, they continuously push the boundaries of modern Rock with complex arrangements and sonic exploration.
THE VINTAGE CARAVAN (ISL)
The Vintage Caravan is an Icelandic trio that blends modern Prog Rock with Classic Rock influences, known for their energetic performances and skilled musicianship. Their latest album “Monuments” (2021) showcases their unique fusion of ’70s-inspired guitar work with fresh, Psychedelic, and Progressive Rock elements, solidifying their place as one of Europe’s standout rock acts.
LAZARVS (HU)
Budapest-based Lazarvs is a three-piece heavy rock band fronted by guitarist and songwriter Aron Andras, known for their raw energy and aggressive live performances. With a strong presence in Hungary and beyond, they have shared the stage with legends like Saint Vitus and Crowbar, and in 2023, they released their 5th studio album Blackest, showcasing their darkest and most refined sound yet, which they will continue to promote on their upcoming 2024 European and UK tour.
KARKARA (FR)
Karkara, a Psychedelic Rock trio from Toulouse, France, was formed in 2019 by Karim Rihani (guitar/vocals), Hugo Olive (bass/synth), and Maxime Marouani (drums/vocals). Drawing influence from bands like The Oh Sees, King Gizzard, and Black Sabbath, their sound is a hypnotic blend of Psych Rock, Stoner, and Krautrock, infused with Mediterranean elements. Known for their explosive live shows, they returned in 2024 with their third album, “All Is Dust”, a post-apocalyptic concept record.
THE DARTS (USA)
The Darts, an all-female Garage Rock band formed in 2016, blend Vintage Punk energy with modern Garage Rock grit. Known for their high-energy performances and bold sound, they’ve toured extensively across the US and Europe, earning praise from fans and media alike, with their latest album “Snake Oil” (2023) receiving rave reviews and sold-out shows.
KILLED A FOX (CRO)
Formed in 2006 in Zagreb, Croatia, Killed a Fox is a band known for blending heavy, rhythmic grooves with Psychedelic Rock influences and an electrifying live presence. With three albums under their belt, including the acclaimed “Crown Shyness” from 2019, they’ve become a fixture in the Croatian underground scene, sharing stages with bands like Alice in Chains and Orange Goblin. Currently, the band is working on their highly anticipated fourth album, slated for release in 2025.
EL PERRO (USA)
El Perro, led by Parker Griggs (Radio Moscow) and former Blues Pills guitarist Dorian Sorriaux, is a Heavy Psych supergroup blending Psychedelic Funk Rock with elements of Latin Rock, Soul, and Psych. Their fresh sound showcases blistering guitar work and high-energy Rock, while retaining the signature cranked guitar energy fans know from Griggs’ previous work.
PEGLICA I KOMANDOS (CRO)
Peglica i Komandos is a rock band from Zagreb, Croatia, that emerged from the Jeboton collective in 2014. Known for their psychedelic, progressive, and humour-laced Blues Rock, they’ve released two studio albums and one live album, captivating audiences with introspective yet often humorous lyrics and extended instrumental solos that make their live shows particularly engaging.
PORTMAN (CRO)
Portman is an instrumental band formed in 2004, known for blending Post-Rock with elements of Math Rock and ambient passages to create airy, atmospheric soundscapes. After releasing their debut “Pereskesije” in 2009 and “The Man Who Carries a Light” in 2013, the band has toured extensively and released their latest album, “Stamina” in July 2024.
OREYEON (ITA)
Formed in 2014 by members of bands like Woodwall and Mexican Mud, Oreyeon quickly made a mark on the Heavy Rock scene with their debut album “Builders of Cosmos” (2016). Drawing inspiration from the heavy music genre, especially Black Sabbath and Stoner Rock icons like The Sword, they deliver monolithic guitars, powerful bass, and intricate vocals that captivate fans of Classic and Stoner Rock alike.
SAVANAH (AT)
Hailing from Graz, Austria, Savanah is a Heavy Rock band that burst onto the scene in 2015 with their acclaimed debut “Deep Shades”. Known for their intricate improvisation and progressive sound, they deliver powerful riffs and mesmerising melodies, as showcased in their latest album “Olympus Mons” (2021), which reflects their evolution as musicians and has earned widespread acclaim.
BIZON (CRO)
Bizon is an instrumental rock duo from Split, Croatia, formed in 2012 by guitarist Luka Krstulović and drummer Dragan Ðokić. Known for their complex rhythms, distorted guitar riffs, and powerful soundscapes, Bizon released their latest album “Garnizon” on vinyl in 2023, drawing listeners into intense, looping sonic journeys filled with dissonant climaxes and expertly crafted effects.
MARCEL GIDOTE’S HOLY CRAB (CZ)
Established in 2019, Marcel Gidote’s Holy Crab is a Czech Psychedelic band known for their unique blend of Rock, Kraut, and Jazz influences, characterised by a modern sound. They gained recognition with their debut EP “Bay Of Roots” in 2020 and their self-produced album “Humidity Breaking Limits” in 2021, showcasing a more complex musical expression. Their latest album, “Farm Alarm”, highlights vocal harmonies and acoustic instrumentation while addressing the climate crisis, solidifying their status as one of the most progressive Psychedelic acts in the Czech Republic.
DARK TREE BARK (CRO)
Dark Tree Bark is a five-piece band from Zagreb, founded by guitarist and vocalist Josip Šustić, who gathered the current lineup in 2023. Blending Progressive Rock with elements of Post-Rock, Math Rock, Krautrock, and Jazz Rock, their debut album “Kameni spavač”, released in 2024, on Geenger Records, uses analog equipment to craft a rich, conceptual narrative that invites listener interpretation.
ATOMIC MOLD (ITA)
Atomic Mold, formed in 2014 in Italy, is a powerful instrumental band blending Psychedelic Stoner and Doom elements. Known for their visceral soundscapes and intense live performances, they’ve released several albums, including “Hybrid Slow Flood” and a split with Chilean band Arteaga, all while evolving through lineup changes and expanding their musical horizons.
Hard not to chuckle at the river-rafting group coming down the rocks and being surprised by the jolt of speed, especially when they’re laughing so hard themselves. This place. The clear water, the sound of it rolling, the rocks around, trees, vines, moss for the tardigrades, dirt, bugs, birdsong during the day, peeper-frogs trying to get laid at night; life. Some clouds today, which is perfect. The van came early — 12:15PM for a 4:15 show start — but it’s a pleasure just to be here and sit, smell the water, drink my coffee and feel a little bit of spray to take the edge off the heat. Today I remembered my hat. Stuffed it in the camera bag last night to be sure.
I got back to the room last night, charged the camera batteries, dumped the photos off the memory card, and almost finished wrapping up the writing for the review of yesterday before sleep shut me down. Some sentences require an overnight, apparently. Getting all the photos sorted was a task, but so it goes. I screwed up naming them — fucking Windows 11 is the worst; been considering wiping the machine clean and downgrading, but it would take more time than I’ve got — and WordPress got all dumb about it with replacing band images with the wrong ones, but my hope is that at some point today or sorts itself out. It’s right in the html, so I’ve done my best. I’ll check it later when I get back to the room.
The Patient Mrs., The Pecan and Tillydog are doing well in Zagreb, as affirmed on a video call shortly before coming here. They’ve done a lot of riding the blue trams, it seems, and sightseeing around the city. I told The Pecan she would have to be my tour guide for the city since I haven’t been there yet and she got all excited. She likes me much better when I’m not there. Reasonable. I’m also markedly more fond of myself in concept than reality.
Only four bands today — Vukojarac, Misery Crown, Rens Argoa and Zolle. No jam stage, but maybe a secret set (?), which adds to the mellow afternoon. But even getting here early it was by no means empty, with campers having breakfast and/or beers and bumming around as one does. Existing, which is a worthwhile endeavor. I went a little up the river with Sander van den Driessche from Echoes and Dust, whom I’ve known for years at this point and consider a friend, and found a bench to sit on. He’s got a book, I’ve got my phone to write on, and neither of us minds the quiet. Easy win.
I may or may not get the chance to say it properly again, so thank you to Bear Stone Festival for having me, for letting me come here for these busy, incredible days, seeing and hearing things that I otherwise never would in a setting/context that is unto itself.
Specifically, thanks to Marin Lalič for making it happen. It is amazing and surely not a little bit of work to get such stunning results. To say I’ve never experienced anything like it fails to encompass how fulfilling it has been. I wouldn’t presume being invited back for 2025, but wouldn’t hesitate if that email came in. Either way, it will be fun to watch Bear Stone grow in the years to come.
As always, thank you to The Patient Mrs., who on every level is the universe in which I am a speck of dust (also gas). I am loved, supported, and cared for and about in ways I could never hope to justify.
Thank you to the press contingent with whom I did much of the back and forth — Sander of course, James from the UK, Gabriel and Anya from Switzerland, Kate and Tom, Ewu (great to finally chat). And from the very fabric of my being, thank you to Nelly and Elias for the kindness, the conversation, the rides at the end of the night and a spiritually-refreshing generosity that went well beyond the food. I don’t know that they’ll read this, but if so, don’t be surprised when I show up at your door in Bulgaria.
Something going on the Jam Stage now — that secret set, I assume; someone from Seven That Spells? — but I’m content to let it drift over on the air. Tempting to walk over, put the batteries in the camera, do the thing, but in the free spirit of Bear Stone, I’m going to take it as it is rather than force something. My own aspirations toward the organic, manifest in laziness, trying to turn fatigue into art on some level. Some intensity to be had with industrial ticks and bass wub, but that’s cool.
I’ll need a water refill soon, which means the fleeting moment is on its way to gone, but that is okay too. There’s no shortage of spots to be in for a while, so I’m going to put my phone down for a couple minutes and stare out. Still plenty of time before the bands start, but I brought more writing to work on as well, and if I spent three hours — or two, at this point — taking pictures of plants, insects, rocks and people’s dogs, I wouldn’t be wrong. I would, however, probably be even sweatier than I already am.
—
The first notes and snare hits of line check waft from the Mill Stage as I sit again and watch the churning water just below this bench on the small cliff. It’s about 45 minutes before the day starts, and I’m up for it, despite reveling in this spot, appreciating the time, the little spinning circle of water-plants that has me wanting to dive for a korok seed, and the sound of the river.
But if the message of today is the finity of all things, I’m fortunate to be here now, while looking forward to what comes next.
What comes next, as it happens, is the show. Thanks for reading.
—
Vukojarac
Even their line check was among the nastier of the tones emitted this weekend, and under an appropriately clouded sky with a suitable humidity at ground level, Vukojarac’s set proved likewise dank, if less punishing initially than expected from that short preview as the drummer and bassist (who played an electric/acoustic, presumably for resonance) shared lead vocal roles and both swapped between gutturalisms and morose, cleaner melodies. In combination with the heft of the riffing, flashes of more extreme aspects — I hope someone will correct me if I’m wrong about theirs being the first blastbeats of the weekend, if not the first double-kick — and the occasional bellow echoing out down the river, Vukojarac were still well in aggro territory, but I got more depression than anger in terms of mood. Dark, in any case, but able to roll out a stoner riff or speedier progression and transpose it to their purpose, as they did more than once while the sun dared show its face for a quick minute before again receding, only to return in force before they were done. Have I told you I’m thinking of founding a religion based on modern sun worship and astrophysics? As to what makes it a religion? Five bucks to join (digital transfer accepted, cash-in-envelope preferred). Might make patches too. Anyhow, something clicked and Vukojarac got rawer as they went on, and for sure there was burl to spare, but by then, that was adding to the character of their sound rather than defining it, and while it got mean, they kept up the roll and the now-full pavilion matched it with synchronous nod. One more on the list of bands I’d probably never be able to see if I wasn’t here.
Misery Crown
Low-slow groove saturation. I saw Misery Crown walk up when they got here just before Vukojarac got started, and one of their two guitarists had a Down shirt on, while their bassist/lead vocalist wore one for Pantera’s “Drag the Waters,” and my impression of them couldn’t helped be defined in part by that, though they were more metal altogether. Both six-stringers added backing vocals throughout (the one in the Down shirt changed to A Gram Trip; fair enough), and in keeping with Vukojarac, they switched between clean singing in a Southern, low-mouth style and growls to go with some but not all of their bigger riffs. More double-kick from the drums was a decent fit with the brood and periodic pace-upping, and as they pushed into a building chorus, they were all the more able to serve the song with the vocal dynamic. I split in the middle – empty water bottle would not do with the sun out – but made it back in time to see theirs last couple songs, and no regrets, even if it’s probably not the kind of thing I’d put on for a given afternoon reading to my daughter or playing board games. And considering what Misery Crown were going for sound-wise, they should probably take that as a compliment. That works for me. I had some reservations about themes, notions of things lost being regained, and so on, but I wouldn’t judge one way or the other without reading actual lyrics. They finished upbeat with “10 Years of Misery,” which was aiming catchier (and getting there) more than most of their material, and backed that with due punch to reinforce the point.
Rens Argoa
Dudes in the front tried to get a “hey! hey! hey!” going during one of Rens Argoa’s songs but couldn’t quite find the time signature. I was ready for a change in vibe and the trio brought that with a more technical and quirky approach to heavy instrumentalism, the return of the funk bass, and an edge of shenanigans that manifest as well in the guitarist and bassist swapping instruments after the first song. Adventurous, with some shimmer of psychedelia running throughout, but whoever was doing whatever after that charming initial misdirect in the strong section, the core was urgent heavy prog, and they were just as likely to math out as to bounce on a more straight-ahead riff. When they eventually won me over was the quieter song — I’m sorry, I don’t know where in the set it was and I can’t look it up — that built up gradually around an emotional current in the guitar. I’m a sucker, I guess. They were back to the jabs and bops on the head soon enough, no worries, but the more they played, the more depth their was to hear in their sound, and while the balance was pushed toward the dizzying, that was a wakeup people needed. I’d like to go on record and say I wasn’t the one shouting for English when the guitar player — who started on bass — was talking between songs. Speak your language, dude. Unless you’re telling me my foot is on fire — and it’s not; I just checked — it’s all good. To end, they paired a flowing heavy roll with more spacious lead guitar, and I guess I wasn’t the only one digging it, because the pavilion went off when they were done.
Zolle
Italian duo Zolle had pink balloons on their cymbal stands with hearts on them, most likely in honor of their new album, Rosa. The day had been pretty subdued up to here, but all signs pointed to a blowout to bring Bear Stone to its finish, and the anticipated high-impact fuckery was delivered. Dudes in the crowd were dancing even before the two-piece walked up through the crowd to fanfare and the ringing of churchbells. Energy-wise, they were up there with Melvins at their most coked, and arranged next to each other in the front of the stage area, with stops for beer from the stand in front of them, Zolle let the Mill Stage have it with a party rock born as much of heavy punk as sped up AC/DC’s school o’ riffing. I acknowledge those two might be the same thing when you do the math. The drummer sat on a chair instead of a stool, and that seemed like a good move given how much time he spent standing on it egging on the audience for sing-alongs to parts that very clearly were written for singalongs, which worked, and they kept it up. Not at all the same kind of unrelenting as High on Fire, but a shot of adrenaline just the same and ready and willing to be silly and fun. They finished with more sampled fanfare and were mobbed by clearly established fans and new ones alike. No argument from me. They were a total blast.
—
That was it. I took the bus (van) back to the rooms with a crew of press after saying goodnight and last thanks to Marin and his wife Ivana for having me here. It has been an incredible time, and I’m well enough asskicked, but even in such a state I had to stop and get the camera out for a picture of the sunset sky over the mist of the river. Unfathomably cool.
I don’t want to get into some trite diatribe about how lucky I am, but as I swatted the odd fly off my dome, I’ve also been scratching my head at how I got here. I spend a lot of my time sort of bringing myself down, and sometimes anyone else who happens to be in the room, including my family who I could never hope to deserve. Being able to do this, to travel and see things I’ve never seen, meet people and hear great music, makes me understand in a different way how special my life is and how fortunate I am to live it. With more gratitude to my wife for keeping me alive all these years, I’ll leave it at that.
And finally, once more, thank you for reading. None of this happens otherwise.
Me and my silly ADHD brain left my bucket hat back at Rooms Daniela. Big mistake. Also no sunblock anywhere in my luggage, which I feel like is even dumber now that I’m here. There’s no definition of “adult” that doesn’t apply to me. I should be better at this stuff by now.
That will make finding and staying in shade all the more urgent, and my pale form will burn as though torched like the cosmos by Pigs Pigs Pigs Pigs Pigs Pigs Pigs themselves, but cancer is later-me’s problem, and he’ll deal with burns, tumors and such as need be. But yeah, might spend more time in the press area today, which is covered. There are also a couple clouds here and there to provide periodic relief. I’ll do my best, but it is sweat-while-stationary hot. More water. It will be okay. The music will start. Night will come.
Took a ride back into town with friends during Mother Vulture yesterday, as I mentioned near the end of that post, but I didn’t actually get to sleep until around 5AM. I was caught up sorting photos, which on my not-that-new-anymore laptop is less efficient than it used to be, and then just couldn’t quite key down. I guess the adrenaline that carried me through had a half-life. So it goes. I got up at 10AM, so not entirely sleepless, but yeah. The second long festival day here is going to be a trip, I think.
You could see the Milky Way banded across the sky as I made my way out last night, which was perhaps all the more valued as I missed out on stargazing during my recent Southwest US jaunt. A stirring reminder that we are all gas and dust revolving at however many hundreds of thousands of miles of hour around a supermassive black hole, which I feel like is worth keeping in mind anytime you might be tempted to think a thing matters or has any kind of permanence as humanity sits one EM pulse away from the Stone Ages. I could go on here, but it doesn’t seem in the spirit of things to be comforted by hopelessness. If nothing matters, you understand, it’s okay that I forgot my hat.
It is impossible to ignore the idyllic nature of this space; a forested canyon carved out by the Mrežnica, if I have it right, and the swimmers, canoers, kayakers, campers, and lawn-layers are correct to take advantage of the river, the trees, the grass, all of it. I’m a little too in my own head for that kind of whatnot, but that doesn’t stop me from seeing the pricelessness of the physical location and layout both for the attendees now and as Bear Stone continues to build on its to-date accomplishments, as one hopes it will.
However cool it will look in the aftermovie and all the posts people will put on Instagram once they’re back where there’s cell signal, the character of this spot is more perfect than a single sensory media can capture. I could do with fewer dudes urinating in random corners — I get it, bro, you’re drunk and you love nature, but the portajohn is two meters that way and the composting toilet is another five beyond that; you don’t need to pee in the river either — but you take the bad with the good, and as regards this place and this fest, it’s an easy trade to make.
Time to start this thing. Here we go.
—
Azutmaga
I’ve false-started on writing about Azutmaga three times now, which I guess means I’ve had enough coffee. The Hungarian instrumental two-piece — I’m pretty sure the guitarist said they were from Hungary; magyarok vannak, szerintem — got started quietly and kept a subdued, meditative vibe throughout, despite getting fairly heavy at times. They have a new album, which I will want to chase down hearing after seeing them play. Put it in my notes to remember. Just guitar and drums, though there were more effects pedals on the floor than some entire bands had, so perhaps an expansive sound isn’t a shock, but the languid groove hit me with the right kind of soothe, and in my shady stairs spot, maybe 10 steps up of the total a-whole-bunch, I watched as the pavilion likewise casually packed out, the comings and goings. A sprig from one of the trees above me fell into my lap and I stuck it behind my ear. It didn’t last, but I mention it because it seemed like a fitting thing to do as Azutmaga played, delving into some slower nod as they emerged from a wandering drift, apparently playing their new record — I’m sorry, I didn’t catch the name and can’t look it up; I assure you I mean no disrespect — and exploring through one fluid jam into the next, no pretense about it but ready to build it into a fuller nod, patiently. The guitar player spent most of the set facing the drummer head on, turned away from the crowd — one imagines them on a differently arranged stage set up next to each other, though I have no idea if they actually do that — but it didn’t matter. The focus was on trance, immersion, and I was grateful for the chance to let go of some of the anxious buzz for a bit.
Rifftree
As pure riff and volume worship as I’ve yet seen at Bear Stone from the weekend’s second duo — and right in a row; a duology of duos –Rifftree had guitar and bass tones dialed in through separate amps to maximize volume and depth, and it worked well. They were more about rolling largesse than Azutmaga initially, and both the bass player and the drummer offered rough-edged vocal shouts, but it was the way the low and high ends of the riffs were arranged that made it work so well for me. One or the other would click off, guitar or bass sound, then snap back in a manner no less satisfying for being so clearly telegraphed. They sped up and slowed down, more High on Fire here, more Sleep there, as will happen, but the dirty tone was vivid and central, with some raw feedback for extra scathe on the sludge and pummel. It was a threat that lingered when they drew back the onslaught for a nod-out, and the set was more effective for that. Not the first time I’ve said this this weekend, I know, but I swear I heard a Kyuss riff in there somewhere. Fair use in the building of such stonerly shrines. They capped with a welcome insistence of chug and shove brought to a sudden halt, and I have to think that if they were called Bong-anything, you’d already have heard of them.
I walked back over to the Sviraj!Jam and caught a few seconds of Colour Haze soundchecking. They weren’t even playing songs yet, though that would come after Rifftree finished and could be heard over by the pavilion for the Mill Stage, but I could still sit for hours and just listen to that band meander. Gladly.
Acidsitter
Throbbing heavy psych rockers Acidsitter, whose slogan “make acid great again” — it’s also the name of their record — just kind of feels tragic coming from the States, where this notion of greatness apparently translates to christofascism, were a good time. The performative elements of their two guitarists’ stage costumes were contrasted by the bassist who mostly sat on an amp case, but the vibe was potent either way. They wove between drift and thrust, synthy flourish for a touch of prog but not much more than that as their priorities were clear from the outset. They would enact a full-tone nod topped with a duly classic-style solo, but they didn’t dwell in any one place for so long as to sacrifice volatility, and wherever they went, they continued to serve the song or the moment they were in, whether that was vocal effects, a guitar played with a wisk, or a sudden turn to garage-ier push. More bass on the synth was the request, which brought about a worthy rumble to match the bass on — wait for it — the bass, and in true acid rock fashion, they felt punk-born even in the calmest parts. I’m not sure which side of their approach was druggier, but after a while it all kind of forms a haze anyway. People caught on as the set played out, and though there was a near-heroic dose of chicanery, Acidsitter held together around the rhythm section and the close-your-eyes-and-go groove thereof. Another record in the notes.
Kayleth
Kayleth on the Mill Stage. I know their stuff, had an idea what was coming, so wasn’t caught off guard when they space-blasted desert riffing with synth and theremin during “We Are Aliens.” Headlining the Mill Stage puts the five-piece in a tight space, but there’s something cool about that too, right? I don’t get to European club shows every decade, so the chance to experience a band in a smaller setting works for me. I’ve heard a few complaints about how the Mill Stage and the Jam Stage should switch, and maybe that would work, but at least with the bands who’ve played it this far, I don’t think it’s held anyone back. Just the opposite, and that goes for Kayleth as well. I can’t always hang in a crowd press — okay, I never can — but I know that’s not the case for everyone or nobody would ever go to gigs, which I’m told people still do sometimes. Kayleth were easily worth showing up for, and I don’t honestly know if they usually do bigger or smaller shows, but they owned that space easily, like veterans, and put on a show that was fueled as much by heart as by the tone of the guitar. Of course the synthesizer expanded their dynamic, but it wasn’t by any means alone in that between the backing vocals, loud/quiet and tempo trades. A lot to dig, so I dug.
Nemeček
A deeply pleasant surprise were Nemeček, whose style brought together pieces of soulful Eastern European folk, progressive rock and post-metal, space rock, electronic noise and probably six or seven other styles I’m not cool enough to know about. They had given a few short teases during soundcheck, playing half of this or that song, and even from that it was clear something equal parts divergent and special was about to take place. I knew nothing about them prior other than they’d be here, but consider myself fortunate to have seen them. All three members sat, though the keyboardist did get up regularly as well, and the acoustic guitar (or something to it; pardon my ignorance if I’m wrong) still tapped deep into a sense of heavy that was about more than sound in terms of atmosphere, though when they hit a pulse coming out of a melodic contemplation, they had power behind it. That made their set that much richer, but again, that wasn’t something they were leaning on, just part of a more encompassing whole. I wonder how it comes across on record — like a lot of things, the production would matter — but even from the photo pit, the textures they unfurled were unlike anything I’ve seen in the last three days, and they spoke to traditionalism in a way that only enhanced their individual impression. I hear they’re local. In any case, Nemeček is a band I am glad to have seen. Now I know.
Blitzpop
Aptly named, if you take the blitz as signaling the energy with which Blitzpop took and commanded the stage and ‘pop’ to mean hooks, of which the four-piece brought plenty enough for everyone and generously offered them in with boogie as a bonus. Classic in a ’70s via ’90s way, they were for sure a turn from the more severe persona cast by Nemeček — perhaps that doesn’t apply to the catchy chorus that went “Kill that motherfucker” — but even that they made fun, though I wouldn’t want to be the motherfucker in question, as their argument was pretty convincing if you count the tempo kick later in the song. A quick plug for merch, then back to the hook. They were another one about whom I knew squat, but they did a bit of “woo! woo! woo!” and ululating to bring the crowd with them and locked soon enough into a groove that at least to my ears sounded like Rage Against the Machine, not that they were at risk at that point in the set — a little more than halfway through, probably — of only doing one thing. They toyed with funk, but never lost track of where a song was headed, and as the direct sun beat down on the Main Stage, they kept the momentum up. In the back, in the shade, where I was, people ate and drank and chatted and dogs played chasing each other around as Blitzpop closed out with a Blur-style “woo hoo” that I have no doubt I’ll still be hearing on repeat in my head when I’m trying to sleep tonight. Hazards of the trade.
I ate. This part is mostly for my wife, to whom I’ve not spoken in an actual day — not unheard of if I’m off somewhere, but rare even so — but it was such a joy that I don’t mind sharing. It was a local cheese that tasted to me like sheep’s milk and was divine, and tomato stuffed with cheese, garlic and truffle flanked with greens — greens! — that was whatever the next step up from divine is. Transcendent? Probably. Not my first experience with the sustaining nature of sustenance, but after nothing but nuts for the last three days, it was a pretty amazing moment in my life that I’d like to remember. It was so good. I finished those, but have more for later. Still a lot of day left, but the sun has started to recede, which is something else I’m thankful for.
Them Moose Rush
Weren’t the band I thought they were, but were way funkier than that band, so I’ll take it. Distinguished by a tendency toward unexpected pivots, you could probably hear as much noise as punk or heavy rock in what they were doing, but it seemed clear in the intention to get bodies moving in the crowd, which it did through the course of their hour-long set, and with a notable range from their guitarist’s vocals, they immediately felt like a standout. Again, not what I had been expecting, but better. I’ll admit I’m having trouble getting over how good the bass sounds here, echoing around as it does, but Them Moose Rush were as much about the subtly mathy twists as the heavier stretches to which they alternately did and didn’t lead, and that coupled with the rampant falsetto and vocal reach, the badass bass, the ready-when-you-are drumming made for another shift on the Main Stage, but a natural one coming off of Blitzpop, who also used heavy rock as a starting point for their own purposes in craft. They went hard a couple times, and had now-we-riff-big there when they needed it, but they were just as likely to find themselves in head-down push or someplace else entirely. I’ve heard a lot of rock and roll this weekend, so if I’m repeating myself, I’m sorry, but the bottom line is they made their own kind of sense stylistically and seemed to work from the ethic of conforming genre to them rather than the other way around.
1000mods
I don’t know how much I have to say about 1000mods that I didn’t say when I saw them like a month ago, but hell, Greece’s foremost heavy rockers once more justified that title, taking the Bear Stone crowd on a ride that barely let up even when a guitar gave out and they had to fill the time with a sampled loop and cymbal wash. I had 1000mods tunes stuck in my head for weeks after Freak Valley, and if the same happens when I leave here, I won’t complain. They moved the festival into the portion of the night that’s basically three headliners back to back (to back), between themselves, Colour Haze and Kadavar, and I don’t know how you don’t get into them if you have any place in your heart for heavy rock. They’re pros; they take the stage and do their show. And if you’ve ever seen them, you know that means something. “Their show.” They got rolling again after the technical interruption like nothing had ever happened. It’s never a good time for that kind of thing, but if you have to deal with it, before “Vidage” is when you want to. The audience, clapping along to the drums — and with good fucking reason — sang along, put hands in the air and gave the band back the energy that burst from the stage, and whether I said it last time or not, it remains true: 1000mods are one of the best bands of their generation. And they’ve never done the same record twice, or given in to hackneyed songwriting or made any music other than that which they needed to make. Anytime you can see them, yes, do that.
Colour Haze
Speaking of generational bands, Colour Haze were soon to follow. I don’t like picking favorites, but I can’t think of anyone I’d rather see take a stage on a given night. They’re always finding a route, some new nuance, some turn or small improvisation or just some moment, to make it special. They made an hour and 15 minutes feel short, but it’s a festival set, so I’ll take what I can get. “Skydancer,” always a highlight. Jan Faszbender’s keys taking the spot where the horns go in “Transformation,” which closed. Mario Oberpucher playing the melody while Stefan Koglek takes a solo. And what on earth can you say about Manfred Merwald’s drumming. It had character, it’s intricate, tight on the guitar, but free-flowing, impactful when it needs to be. I don’t know how many times I’ve seen them, but I’m not exaggerating when I tell you that they’re part of the reason I do this in the first place. They’re inspiring, and only more so as they grow more progressive in sound and build on their foundation of heavy psychedelia, which itself set a path of influence so, so many bands have followed. Bands who at this point don’t even realize they’re influenced by Colour Haze because the bands they were trying to sound like were trying to sound like Colour Haze. That they were themselves is the highest compliment I can give them. They are my favorite band in the world.
Kadavar
Again, I caught them pretty recently, but I had cheesed out early on Kadavar’s set and lived to regret it last time, so I knew I wanted to make up for that to myself at Bear Stone. I know they’re long past the vintage thing, and I love those records too, but they have so much more room to grow now, and they have grown, and when they get on stage, the new and the old come together and it’s all united by the passion in the performance, the strut, the swing, vibrant. I love that they’re such a known quantity — they’re the last band tonight, third of the three headliners; people are familiar — but I have no idea what their next record will sound like beyond “it’ll probably have songs.” That’s the safer bet, anyhow. But whatever shape that takes, the fact of their delivery is that it’s encompassing of decades of heavy rock while remaining entirely their own. Onstage, they’re part glam, part hard-hitting, brazen rockers, never willing to settle artistically or stop pushing the parameters of their sound, but somehow so sure of what they do regardless of outside expectation or pressure. Of course the set was awesome. Kadavar were on a stage and the power didn’t go out. That’s a recipe for a winning way to close ab evening right there. I don’t know the status of the album they had been working on in the last however long, but it’s a no-brainer must-hear in my mind when the time comes. The same “duh, yes” principle applies to whenever the next opportunity to see them live might be.
—
Back at the room now, falling asleep at the keyboard a little bit. Long day, not enough sleep, blah blah you’ve heard it all before. I got a ride back from Nelly and Elias again this evening, and Nelly was the one who brought me food. She also gave me what she called “mishmash,” which was egg, roasted bell peppers, cheese and I think some tomato in there as well. I ate the last of it like five minutes ago and now I am ready for sleep.
Bear Stone’s second and final long day — tomorrow is back to just the Mill Stage — was a banger. You can see the potential all over this festival, and I’m too goddamned tired to see anything clearly right now. Thank you for reading, goodnight, and there are more photos after the read more thing. You know what I mean.
