Afternoon – Before Show

“Freelance Fiend” stuck in my head. I’ll talk about why tomorrow. You could do so much worse, though. Eternally.

Tonight is the apex of Planet Desert Rock Weekend V. Six bands, front-to-back with Green Desert Water opening, Omega Sun, Solace, The Watchers, Sergeant Thunderhoof and Mos Generator. A thing to look forward to, and I have been since the day-splits were announced. As has been the case over the last two nights, there will be ties between one set and the next, I expect, and I’m curious how it will all play out, though however it goes, holy mackerel, it’s gonna rock.

It’s also a venue switch, moving from Count’s Vamp’d, where nights one (review here) and two (review here) went down, to The Usual Place, which I know John Gist — of Vegas Rock Revolution; this is his fest — has done a bunch of stuff at, including as part of past PDRWs. I came here trusting it was going to be a good experience, expecting to have a good time, and it has exceeded that. I am fortunate to be here. Happy to be here. If I’ve mentioned that before, it’s worth repeating. Tattoo it in block letters on my forearm.

The room itself is bigger than Vamp’d — I’m not sure I can call it that having only been there twice, but I’m gonna throw it out there and see if I get in trouble — and it’s another cool spot; would expect no less. Gorgeous desert sky on the way in, with impossible blues and oranges and such like something off a non-denomonational-but-definitely-‘inspirational’ wall calendar. At the same time, it was probably as close as I’ve come to what people think of when you say you’re in Las Vegas, still at reasonable remove from the Strip itself, but a fun juxtaposition either way. Yes, I was good and stoned.

It was a relatively early start for club shows and still unlike the bulk of fests worldwide for its manageability, 6:30 or so, and there was some technical issue requiring a new bass head, but two minutes and a fog machine blast later, here’s how it went:

Green Desert Water

Downright electric was the heavy boogie blues and fuzz roller energy wrought by Spain’s Green Desert Water to open the night. It seemed early to bring the house down, but the three-piece called everyone up to the stage to party for Saturday, and I couldn’t help but wonder if the running theme for the evening hadn’t just revealed itself. I don’t know about you, but I dug the gosh darn heck out of the band’s 2021 LP, Black Harvest (review here), and they opened with the title-track, meeting old-soul vibes with not-old-yet energy, guitarist/vocalist Kiké Sanchis a frontman of classic leading-a-trio presence, impeccably suited to the songs, which are class in the leads and shuffle in the bass of Juan Arias García and drummer Dani Barcena, the latter of whom also backed Sanchis on vocals. They mellowed out mid-set and the bass held it with warmth while the guitar went stepping and every molecule coming out of that fog machine felt earned. They were here in 2019, so maybe it’s no surprised they were so comfortable on the stage now, but at a certain point, chemistry is chemistry. Green Desert Water were duly fluid, but what made them perfect to start was the fact that they were electric on stage. Engaging the crowd, thanking Scott from Small Stone Records (who’s here and I haven’t seen him in like 12 years and I got to hug him and it was wonderful), locking in a succession of monster blues nods and changing it up when it served the song, modern in spirit but coming from a classic place in influences. Plus soulful shred and thick low end. Sounds killer, right? They absolutely were. “The Whirl” was a highlight, but speaking as someone who’s had “Freelance Fiend” in his head all day, the strut in “Shelter” was no less suited to cap their set than they were to start the night.

Solace

I did not write one word during Solace. Not one. First time in three days I wasn’t writing during the set. That’s who Solace are to me. Tell your friends you love them. They’ve been on the road since last week. Their tour was over as of the end of the set, and though apparently two-fifths of the band were sick, they brought it as only Solace could, their stoner metal, hardcore intensity and ’90s tonal crunch still so much its own blend. A band able to be joyous while punching you in the face, and not in like some schlock Joker kind of way, I mean the music is a joy even at its hardest hitting — often especially at its hardest hitting — and while I’m not going to pretend I’m impartial about Solace. I have memories with those songs going back over 20 years, even aside from the Jersey connection, doing shows together, and so on. Just as a fan. Whether a club show or a fest, Solace was always the band who played last and blew it out. To have them play second — I thought Omega Sun were on after Green Desert Water; have not yet found out what happened there or if I was just wrong; you can imagine which is more likely — was different in my mind, but as with Green Desert Water, Solace did in fact blow out, they just started doing so before 8PM. Fair fucking enough. Accuse me of playing favorites if you want; you’re absolutely right and that’s the point. As long as Solace are a band forever we’re fine.

The Watchers

Definitely we’re working with the blowout as the narrative. The Watchers, whom I’ve never seen, carried forward a bit of Solace’s ’90s crunch in their dudely heavy grooves, and put it to a classic heavy swing with a thick charge. They went back to the band’s beginnings with “Today,” and gave a showing to the more metallic side of last year’s Nyctophilia (review here). John Gist, again, the guy throwing the party, likes a frontman. Doesn’t necessarily have to be a standalone singer like Goins from Solace or Tim Narducci from The Watchers, but someone with presence and a voice. At least that’s what comes through in the curation to me. I’ve always kind of been on the fence with the band, if we’re being honest, but there was no question going into the set they’d bring it, and they’re songwriters, so you know the songs by the end whether you know the record or not. I bet it was warm up there in a leather jacket, but The Watchers not only held their own after Solace, they brought the momentum of the webbing evening forward with force. They made it a party and closed out with “Sabbath Highway,” because duh. And I’m still hoping Omega Sun will show up sooner or later.

Sergeant Thunderhoof

Come over from the UK hot on the heels of last year’s The Ghost of Badon Hill (review here), Sergeant Thunderhoof brought Desertfest vibes to Planet Desert Rock Weekend V, and in the melody and presence, they were both a logical follow-up to The Watchers and in the role of adding texture to the night in a way that, granted, is less psych-based and more solidified as heavy rock/prog, felt like kin in purpose to JIRM last night or MR.BISON the night before. Sergeant Thunderhoof’s name isn’t all-caps, but their sound has a breadth and range, and the vibe is that much richer for what they’re bringing to it. They did “Blood Moon” and “Salvation for the Soul” (catchy catchy catchy and they nailed it; harmonies on point) from the new album, but they’ve got a catalog to draw from at this point and they’ve never been here before, so it makes sense they’d want to represent more than just the latest LP, which they did anyway. Some metal-feeling roots came through for sure, but they weren’t lacking for swing despite the push and sprawl and purpose behind each of their turns. The singer wrapping himself in a US flag near the end left me cold, but such are the times we live in. I have to wonder if they won’t be back in the US before too long.

Mos Generator

I was talking to someone earlier this evening about oldschool bands, second-gen stoner if we’re on the fourth now, maybe, not getting their due. Hi, Mos Generator. Draw that line right to Fireball Ministry headlining as well. My first time seeing the Mk. I lineup of the Port Orchard, Washington-based stalwart heavy rockers, with Shawn Johnson drumming and Scooter Haslip on bass, Tony Reed of course holding down guitar and vocals. Special band, and no, they’ve never really gotten their due. Their latest work, with the new lineup — Jono Garrett on drums, Sean Booth on bass — leans more into prog and is more introspective in spirit, but onstage they dove in hard. Reed: “I feel like boogieing, you feel like boogieing?” And then they go ripshit on “Breaker” from Electric Mountain Majesty (review here) — “Don’t waste your time trying to save my life/ I’m dying now the way I want to” — and even as dark as that sentiment is, that song just moves and moves. They followed it with the roll of “Step Up” and jammed out the solo a bit, which ruled, and then before I knew it they were wrapping up saying they needed to immediately drive 24 hours straight to get I’m not quite sure where and split. Get in, kick ass, get out. They could give a shit for getting their due. Places to go.

Omega Sun

Found them! Turns out the Slovenian trio were closing out in a post-headliner position. They appeared lower on the poster, hence my confusion. In any case, they held a fair amount of people in the room and the songs left no question why. This is their second time here, but my first, and they brought big-groove riffs in classic desert rock fashion. Nothing too fancy — bassist/vocalist Igor Kukanja, guitarist Aris Demirović, drummer Sebastian Vrbnjak — but they’ve got riffs, melody, hooks and volume and they know what they’re doing with them. Their second full-length, Roadkill (review here), came out in 2023, and though it was late by the time they were done, the showing they gave was righteous. If you’re in this for more than five minutes, you know that desert rock outgrew Californian geographic exclusivity decades ago, so a Slovenian desert band isn’t super-crazy, but you sure don’t get to see one kill it as Omega Sun did every day, even if you’re entrenched in the country’s native underground. They shouted they last song out to John, as will happen, and hit into a drive that was both of-genre and their own chemistry, stamp and tone. One last big-riff finish, and it was over, a final emphasis for the day on the idea of community; people from different places coming together to share common interest and experience. In that, they were no less suited to cap than Green Desert Water had been to open, and the flow of the night in sound, style, idea and logistics was ideal, right unto the thanks and goodnight. They bought a $100 Epiphone guitar to play their tour and gave it away when they were done.

—

This was a really, really good day.

I still kind of have “Freelance Fiend” in my head, but I’m too tired to strut. More pics after the jump, and more words tomorrow as Planet Desert Rock Weekend V moves back to Count’s Vamp’d to close out.

Thank you for reading.

Read more »

No strangers to rollercoasters, last week, Solace lost their original frontman Jason. Next week, they’ll embark on a tour headed westward to appear at Planet Desert Rock Weekend in Las Vegas, playing Virginia, Georgia, Louisiana, Texas and Arizona with a parade of killer supporting acts. I guess that makes this week the time to announce the band has signed to Magnetic Eye Records and will reissue their debut album, 2000’s Further (discussed here), in honor of its 25th anniversary, as well as hit the studio to record a follow-up to late-2019’s The Brink (review here) for release later this year.

That’s the plan, I guess. Plans change, but the prospect of new music from Solace is enticing, even as the band are mourning their recent loss. And for a holdover, a revisit to the first record is nothing to complain about. I’m stoked to see these guys in Vegas. It’s been too long. And this announcement might amount to paperwork since Solace released their last album on Blues Funeral Recordings and the first two through MeteorCity and so have worked with Jadd Shickler on releases for their entire career through different labels, but I’m happy for the excuse to put Further on again and remind you that the band uploaded all their records to YouTube (not the EPs/live stuff yet, so far as I know) for your streaming enjoyment. The Brink is at the bottom of the post as well, just to cover all sides.

A quarter-century on from Solace‘s first LP, here’s looking forward:

SOLACE sign with Magnetic Eye Records!

American metal stalwarts SOLACE have signed a multi-album contract with Magnetic Eye Records. The five-piece originally from Asbury Park, New Jersey will issue an expanded edition of their debut album “Further” in celebration of its 25th anniversary this summer, along with their upcoming fifth full-length also via the label in the last quarter of 2025.

SOLACE have already announced US live dates for early 2025. The roadtrip through the South and Southwest kicks off on January 23 at Bandito’s in Richmond, VA. Please see below for all currently confirmed shows.

SOLACE comment: “Solace are happy to announce our signing to Magnetic Eye Records, a label we respect and more importantly who respects us”, guitarist Justin Daniels writes on behalf of the band. “We’re looking forward to an awesome partnership that lets us get more of our dirt metal out to the world.”

Daniels continues: “This announcement is bittersweet in coming just a week after the passing of our original singer Jason. If nothing else, Solace perseveres as long as we can lift guitars and switch on amps. We move through sadness and look forward to honoring Jason’s legacy and our own with this newest chapter of the band.”

Jadd Shickler adds: “I had the privilege to sign Solace in 1999”, the Magnetic Eye director adds. “They were the best band my first label ever signed, and they still are. Through different incarnations and numerous line-ups, I’ve dedicated countless years to making sure as many people as possible saw and heard their greatness, and I’m more than ready for Magnetic Eye Records to ram Solace’s music down throats for countless more years to come.”

SOLACE Live 2025:
1/23 Richmond, VA – Bandito’s w/ Book of Wyrms + Hagstone
1/24 Atlanta, GA – Star Bar w/ Hot Ram + Brood of Mockers
1/25 New Orleans, LA – Siberia w/ Wizard Dick, So Awful + Burial Gift
1/27 Houston, TX – Black Magic Social Club w/ Grim Trophies + Mr Plow
1/28 Arlington, TX – Growl Records w/ Sons of Gulliver + King Otter
1/29 Austin, TX – Valhalla w/ Crimson Devils + Ungrieved
1/30 Tempe, AZ – Yucca Tap Room w/ Jupiter Cyclops + Weapon of Pride
2/1 Las Vegas, NV – The Usual Place, Planet Desert Rock Weekend

Tour event page: https://www.facebook.com/events/606276371903208/

SOLACE are celebrated veterans of the American metal scene. Hailing from Asbury Park, New Jersey at the windswept shore of the Western Atlantic, the band was founded in 1996. Built on a solid foundation of classic metal, early doom and punk ethic, the original four-piece infused a healthy dose of hardcore fury into grooving, grinding sludge.

Debut full-length “Further” garnered immediate attention for SOLACE on both sides of the Atlantic at the turn of the millennia. Three years later, the sophomore album “13” (2003) witnessed the Americans expanding and solidifying their style by highlighting the epic side of their songwriting. In the wake of this album, the band was invited twice to perform at the prestigious Roadburn Festival in 2006 and 2009, which further endeared them to an international audience.

Following a string of singles and EPs, the shoremen returned with acclaimed third album “A.D.” in 2010. Although the release was again well received, a hiatus followed during which SOLACE implemented some changes in their line-up. This maneuver got the heavy ship afloat again, and the remarkable full-length number four, “The Brink” made landfall in 2019. This album has been described as a glorious trek through churning riffage, weighty doom power and drunken sea shanties, while the massive use of NWOBHM dual-guitar attack was also gladly noted.

SOLACE call their amalgamation of doom and heavy metal with hardcore elements dirt metal, while elsewhere it has been somewhat tongue-in-cheekly dubbed shorecore. Others file the New Jersey five-piece under stoner metal – and in truth, all these descriptions fit to an extent.

SOLACE aim to release their upcoming fifth full-length via Magnetic Eye Records by the end of 2025.

P.S.: In January 2025, original SOLACE singer Jason L. sadly passed away, just as the band prepare to honour their classic debut album (and the first to feature Jason’s vocals) as an expanded new edition this summer. Raise a glass to his legacy and everything he brought to the band during his formative years as their tortured and brilliant frontman.

Line-up:
Justin Daniels – guitar
Justin Goins – keyboard, vocals
Tim Schoenleber – drums
Mike Sica – bass
Tommy Southard – guitar

https://www.facebook.com/SolaceBand/
https://diedrunk.bandcamp.com/
https://solace-merch.printify.me/products

http://store.merhq.com
http://magneticeyerecords.com/
https://www.facebook.com/MagneticEyeRecords
https://www.instagram.com/magneticeyerecords/

Solace, The Brink (2019)

Solace, Further (2000)

For some reason, I don’t usually put music with an obituary or a remembrance for someone who’s passed away. In this case, that’s extra ridiculous. So much of what you ever knew about Jason — and it was only Jason; his last name was Limpantsis, but you never saw it printed on their records, promo materials or anything else, and if you asked, they’d give you the runaround; he was just Jason — was his voice. When I read last night that he’d died, this song immediately started to play in my head:

A tear, listening to the arrival of that culmination. That scream, gutted out and no put-on from the throat. His whole body is in it. “From Below” closes Solace’s 2010 third album, A.D. (review here), and is both the most elaborate/grandiose and the most heartwrenchingly raw vocal arrangement I ever heard Jason record. There are six or more layers blasting at you full intensity and it still carries even more weight in the emotional expression than in the impact of the song itself — this was a person with an exceedingly rare gift, a sweet heart and a deep shadow.

I don’t remember when I met Jason for the first time — Brighton Bar? some show? — but the last time I saw him socially (I would see him on stage again) was at Solace guitarist Tommy Southard’s wedding in Oct. 2011. Dave Sherman (R.I.P. 2022) was there too. Solace played as I recall and we were all as drunken gods. The revelry. It was Asbury Lanes, so also, bowling. Anyhow, I’d been writing about the band at that point for the better part of a decade and had done shows opening for them in the band I was in, and at one point in the evening, a markedly intoxicated Jason came up to wherever I was sitting, kind of cornered me, and let me have it.

Dude went on. Mostly about the writing. How much he appreciated what I’d said about him, especially about A.D., for which I retain the softest of soft spots, and that he’d been affected by the work I’d done related to Solace. It was a humbling experience. I won’t go too much into it, but in the social pecking order, nobody’s holding up music journo-types as paragons. Nobody remembers who wrote the review that inspired them to hear an album. They remember the album, and reasonably so. Same with me. So you get somewhat used to people talking smack about lazy reviewers or people getting things wrong, being on a low rung of the social pecking order, whatever. This was the opposite of that, and though liquid courage was an element in making it happen in the first place — because even semi-sober Jason would’ve been far too reserved for that kind of thing — he wasn’t any sloppier than all of us at the time, and it was his quiet sincerity that hit me hardest.

Somehow the same is true of “From Below.”

But with no reason to beyond the fact that he could, Jason took time to be kind. He was famously inconsistent, and I’d imagine at times infuriating to be in a band with. Stories abound of his unreliability, and by all accounts much of the reason Solace took eight years to make A.D. after their debut, 1999’s Further (discussed here), and their 2002 follow-up, 13 (discussed here), was attributable to his taking so long to finish the vocals. I’m not saying this to air dirty laundry at all; it was part of who he was. But when he got on stage and opened his mouth, you stopped and you listened. He had the look, charisma, the voice — of all the frontmen I shared a stage with, I envied his voice most — and the depth of soul behind it.

I know he struggled. As forceful as he could be singing, he was wounded, somehow. Like he felt smaller in himself than he was. We hadn’t spoken since that night when Tommy married Jenn, and he wasn’t the type to keep in touch after his time with the band was done. The last words he said to me were kind. I think he was often alone, I’m sad he’s gone, and I’ll treasure his work all the more for the rest of my days for having known him for the time I did. Rest in peace.

—

Thank you for reading. This is going to be it to close out the week, i.e. no Friday Full-Length. Follow one of the links above and listen to Solace instead. That’s always why I put them there, but more so in this case. Either way, have a great and safe weekend. Tell someone you love them.

Look. I’m not gonna fart around here. This is Solace we’re talking about. It’s not just another oh-hey-band-who-tours-all-the-time-is-announcing-a-tour sort of announcement. This is a different thing. The New Jersey stalwarts, in defiance of science, any and all gods, and general common sense, will in January embark on a rare-these-days stretch of dates outside the Garden State, making their way to Las Vegas to leave a bruise on Planet Desert Rock Weekend V alongside the likes of Mos Generator, Sergeant Thunderhoof, Unida, and so on. I’ll be honest, I’m looking at flights for it. I don’t know that it’s something I can make happen — finding a place to crash will be a crucial determining factor — but if I end up going, Solace will be a big part of why.

The tour launches Jan. 24 in Richmond, Virginia, after a Jan. 3 show in Atlantic City celebrating the birthday of one of the two members in the band named Justin, and if you’ll notice, there are still a couple TBD dates as they make their way through Texas and into the Southwest. They’ve got Dallas, Austin and Phoenix listed, so if you’re in any of those places and can help out, do. Not only is it good karma sure to be repaid by the universe in some manner, but you’re also bound to reap a sick payday from the insurance when Solace blow the roof off whatever room you put them in. Book the gig and get ready to make a claim. I’ve seen them any number of times in any number of situations and they have never, ever, ever, not delivered.

Bonus that they’ll have new material to work out on the road. Their last record was 2019’s The Brink (review here) on Blues Funeral, and 2025 would be as good a time as any for a foll0w-up. But Solace don’t owe anyone anything, so whatever they do and whenever they do it, it’s a thing to be treasured.

From the PR wire:

SOLACE will be hitting the road January 2025 on our way out to Vegas for Planet Desert Rock Fest.

We are thrilled that we’re finally going to play a few cities that we haven’t had the chance to visit.

Right now we’re polishing up new material and plan to get into the studio next spring for the follow-up to The Brink. We’ll be playing some of this on the road for sure as well as a few “classics” from our earlier years.

Solace live:
-Fri Jan. 3rd Atlantic City, NJ @ Anchor Rock Club, Justin’s Birthday Bash w/ Michael Rudolph Cummings & Johnny Pipe, Featuring “Master of Ceremonies” BRIAN O’HALLORAN
-Thurs Jan. 23rd Richmond, VA @ Bandito’s w/ Book of Wyrms
-Fri Jan. 24th Atlanta, GA @ Star Bar w/ Hot Ram
-Sat Jan. 25th New Orleans, LA @ Siberia
-Mon Jan. 27th Houston, TX @ Black Magic Social Club
-Tues Jan. 28th TBD, Dallas
-Wed Jan. 29th TBD, Austin
-Fri Jan. 31st TBD, Phoenix
-Sat Feb. 1st Las Vegas, NV @ Planet Desert Rock Fest
-Fri March 28 Baltimore, MD @ The Depot
-Sat March 29 Columbus, OH @ Ace Of Cups

https://www.facebook.com/SolaceBand/
https://diedrunk.bandcamp.com/
https://solace-merch.printify.me/products

https://www.facebook.com/bluesfuneral/
https://www.instagram.com/blues.funeral/
https://bluesfuneralrecordings.bandcamp.com/
bluesfuneral.com

Solace, The Brink (2019)

The riff-mad scourge of the Jersey Shore, Solace made their full-length debut in 2000 through MeteorCity with the somewhat counterintuitively titled Further. What was then the four-piece of guitarist Tommy Southard, bassist Rob Hultz (now of Trouble), drummer Bill “Bixby” Belford and the vocalist I only ever knew by his first name, Jason. Southard and Hultz had been in punk bands together before their heavier post-grunge outfit Godspeed — whose lineup also featured Chris Kosnik pre-The Atomic Bitchwax and current Solace drummer Tim Schoenleber — were snagged in a major label cull by Atlantic Records (see also: Core) following the emergence of Monster Magnet. In 1994, they released their lone LP, Ride, toured with Black Sabbath and Cathedral, and collaborated with Bruce Dickinson of Iron Maiden on the Nativity in Black tribute album. It was quite a time.

Solace was a different animal. And very definitely an animal. Further was preceded by the Jersey Devils EP (discussed here), which came out in 1999 through MeteorCity and Freebird Records as a split with fellow Garden Staters Solarized, as well as a demo tape (yes, a tape) and a two-songer 7″, but obviously its 53-plus minutes were the first deeper look at what they were about. Mostly volatility.

Were they punk? Hardcore? Metal? They could be righteously aggressive and noisy, roll on a riff for however long, or twist their way through polar shifts within the span of a song like “Black Unholy Ground” or charge through the scorching “Whistle Pig” before turning to acoustic-led melancholia on “Hungry Mother.” Further was likewise chaotic and dynamic, but it all somehow held together. Southard would prove to be the madman behind the madcap, but taken as a whole, Further feels untamed and willful, and when they hit it, the force of their delivery remains unto itself. I’m not going to pretend to be impartial about the band or this record, but after I don’t even want to guess how many times I’ve heard it, I’m still blindsided almost every time.

The seven-minutes-each “Mandog” and “Black Holy Ground” open, and “Followed,” which follows (ha.), tops eight, so by the time you’re three songs into it, it’s been about 25 minutes. And from the first punch of Hultz‘s bass as “Mandog” kicks in to the manic careening circa five minutes in, the shred and the way they seem to throw the song down the stairs as they enter the fade, it remains a signature piece. “Black Holy Ground” is tense in the drums and finds Jason brooding in the first verse, but malleable enough as a singer to carry that melody and move to a shoutier approach as the proceedings grow more intense. It all ends in a wash of noise, but before that, there’s that-era-Clutch-worthy nod and hardcore-punk forward thrust, and 24 years later you’re still kind of left wondering how it all holds together.

Because with some bands, it’s the bass or the drums keeping a central rhythm while the guitar goes off and does it’s thing. You hear that a lot. It’s the classic power trio modus. With Further, it’s not that Solace aren’t tight — if they weren’t, the album probably wouldn’t exist — but that it’s all-in on all-out. Everybody’s in on it. Maybe that applies to the vocals to a lesser extent, but even over the course of “Followed,” Jason ends up in a much different place than he began in topping the build first with subdued, low-mouth singing and barking out later for “Some semblance of self/Some semblance of love” before the cymbal wash leads into the finish. “Whistle Pig” and the later “Suspicious Tower” are shorter and more direct, but still dare the listener to keep up if they can, and on the other side of “Hungry Mother” awaits the tense plod of “Angels Dreaming,” which spends its first four minutes holding itself back tempo-wise before finally breaking free with what in a lot of contexts would be boogie but in Solace‘s hands becomes a sledge. And of course the solo nudges in on psychedelic territory before the big slowdown, because how could it not?

It’s not that Solace, even at this point, were ever lazy in songwriting or haphazard stylistically. Rest assured, they’ve always known precisely what they’re about; it’s who they are. And Further was cohesive — it’s not that Solace got pissed off, hit record and that was it. The record makes its own kind of sense, and its refusal to do otherwise or to compromise in persona or spirit is palpable, whether it’s “Hungry Mother” or “Suspicious Tower,” which starts with a sample from the 1962 sci-fi flick The Creation of the Humanoids, or the 11-minute “Heavy Birth/2-Fisted,” for which my brain still does a “holy shit here we go” every time it comes on. Aggro groove, a trippy middle with toms thudding away behind paid off by shred and a cacophonous but controlled assault to end its extended, sweeping course. I’m not sure how many other bands could even turn that into a song, let alone that one.

Tumult be thy name. Different editions of Further have bonus covers of Iron Maiden‘s “Another Life” and Misfits‘ “We Bite,” the latter of which feels like a better fit but both of which are thoroughly brought into Solace‘s own sound. And maybe that’s not such a surprise now, nearly a quarter-century after the fact with however many microgenres branched off from the core of heavy rock and roll, but the punk-metal Solace wrought on Further would remain a definitive presence in their subsequent work, whether it was 2003’s 13 (discussed here), the 2004 split with Greatdayforup that introduced Justin Daniels on yes-we-need-more guitar, or the fraught-in-the-making 2010 third album, A.D. (review here), after which they actually disbanded until coming back with a new lineup for the 2017 EP, Bird of Ill Omen (review here) and ensuing fourth full-length, The Brink (review here), which in all honesty I’ll tell you was something I didn’t imagine would ever actually happen until late-2019 when it did.

And what could be more Solace than that? The very definition of ‘you never know.’ Now fronted by Justin “Has a Surname” Goins, with Southard and Daniels on guitar, the aforementioned Schoenleber on drums and bassist Mike Sica, Solace are slated to play next year’s Planet Desert Rock Weekend in Las Vegas, and whether it’s there or some dive in Asbury — they were the kings of Long Branch’s The Brighton Bar, sadly closed — I would encourage you heartily to witness first-hand what they bring to the stage when the opportunity presents itself. Fury like no other.

As always, I hope you enjoy. The band have been putting songs up one at a time through their catalog on their YouTube, if you want to hit that up.

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How ’bout that Quarterly Review, huh? It’s a doozy, and if you missed it the other however-many times I said so, it’s only halfway over. 50 more reviews will roll out next Monday to Friday, so sit tight. Plenty more to come.

Tonight is the variety show for The Pecan’s school. It’s at the high school auditorium, kind of a big deal to the kids, blah blah. She’s doing a stand-up routine of math jokes. Killed at dress rehearsal. Brave, all that. Fine. It’s at 6PM, which because I’m in my 40s feels like a decent time for a show to start.

The Zelda saga continues in our home. We borrowed my nephew’s old GameCube so we could play The Wind Walker this week. Between The Patient Mrs. and I, I’m pretty sure someone has gotten hit in Zelda-related incidents the last three days in a row, so you can see how that’s going. Last night I got hit — hard — for falling in lava in whatever early-game dungeon it was, and just kind of shut down for the night. The Patient Mrs., prone to taking it all on herself anyway, stepped in and got the grappling hook, but yeah. Broadly speaking, it sucked. We had a good first night with it on Sunday, but then, the new thing is always an easy day.

Parenting.

We’re also shit-broke, so that’s a fun additional layer of stress. Turns out the impending Budapest trip cost all the money forever. Yay.

Have a great and safe weekend. I’m gonna shower after dropoff, throw in a load of laundry and try to find some kind of breakfast that isn’t binge-eating cheese or almond/pecan butter. I’ll start setting up the next QR post for Monday and maybe do some listening, but the break is what I’m after, so the sooner I’m in it the better. Though the shower is imperative there as well.

Thanks for reading.

No merch up right now, but FRM anyway.

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Not that there was any reason to doubt the curated spirit of Las Vegas’ Planet Desert Rock Weekend V with thus-far announcements for the likes of JIRM, Mos Generator, Sergeant Thunderhoof, and so on, but bringing in New Jersey’s Solace and Kansas’ Godzillionaire — the latter of which boasts former Paw vocalist Mark Hennessy in its lineup — only offers reassurance in my mind. Three bands out from the lineup being complete, the possibilities feel all the more open amid intersecting geographies, generations, and styles.

Solace in 2025 will be a quarter-century out from their 2000 debut, Further, as well as six from their most recent LP, 2019’s The Brink (review here), but their volatility continues to precede them along with their penchant for leveling whatever stage they happen to be on. And as regards Godzillionaire, they’re new to me, but in addition to its striking title, the 2021 single “30 Days Same as Cash, Motherfucker” digs into punk-rooted heavy with a shuffling groove behind Hennessy‘s bluesy bellow, a ripper of a layered solo, thoughtful lyric and sharp finish. I went right from it to their preceding 2020 full-length, Negative Balance, which I always take as a good sign.

The full international assemblage can be seen on the poster below — righteous, yes — and fest producer John Gist sent the following down the PR wire:

Planet Desert Rock Weekend V — Jan. 30 – Feb. 1

Tickets: https://www.eventbrite.com/e/planet-desert-rock-weekend-v-in-las-vegas-jan-30-31-feb-1-2025-tickets-873750791137

FB event: https://facebook.com/events/s/planet-desert-rock-weekend-v-j/1399556780734695/

Solace

Solace is a band I have admired for years and the chance to have them as part of Planet Desert Rock Weekend is super exciting! These guys have been killing it on stage since around 1996 and have produced a signature sound that is part metal and part heavy rock. Their two guitar attack and strong vocals drives their style. Solace has played all over Europe including the Roadburn Festival and toured with Orange Goblin but have never played shows out west. We are excited to have these New Jersey legends coming out to join the Planet Desert Rock Weekend V festivities!

Godzillionaire

Godzillionaire is a heavy rock band out of Lawrence Kansas that features frontman Mark Hennessy formerly of the 90s band Paw! Paw rose to popularity with the album “Dragline” and their track “Jessie” has over 2,500,000 listens on Spotify! Their most recent album “Negative Balance” made a strong ripple in the scene with its creative textures and strong vocals by Mark. A new album is likely to be out by the time PDRW V happens. This will be a rare show for Godzillionaire outside of Kansas and their region. We will have this super cool group kick off one of the nights!

We have just 3 bands left to announce, and it may be a little while before these final groups are unveiled. We really appreciate all the amazing support from many of our former fest goers and we fully expect PDRW V to be the biggest yet! Thank you!
-John

https://www.facebook.com/VRRProductions/
https://www.facebook.com/vegasrockrevolution/

Solace, The Brink (2019)

Godzillionaire, “30 Days Same as Cash, Motherfucker” (2021)

Planet Desert Rock Weekend V preview playlist

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: REZN

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How do you define what you do and how did you come to do it?

Whatever we’re doing is just a culmination of all of our musical tastes and creative energies. We love the atmosphere of cinematic and psychedelic music, but we wanted to add more of an edge to it. At the beginning, it was just Rob and Phil jamming together with the intention of making a blend of heavy and cosmic music. When Patrick and Spencer were brought into the mix, our combined writing styles and personal musical goals gave REZN a backbone that was stronger than all of us could’ve imagined. It’s very much based around an organic friendship that glues us all together.

Describe your first musical memory.

We all grew up digging through our parent’s record collection and their music taste, which was mainly just a mix of classic rock and country music. It seems like the one common thread we all shared was listening to Pink Floyd from a very early age. Who would’ve thought?

Describe your best musical memory to date.

This is impossible to answer, but playing our ‘Live at Ohmstead” collaboration record with Lume live on stage at The Empty Bottle was up there as our favorite. Simultaneously, there were two drummers, two guitar players, two bassists, two vocalists, and the sax and synth just swirling everything into a sonic milkshake. Transforming simple melodies into colossal walls of sound with the people that we love was unforgettable, not to mention the feeling of playing it live. The Bottle was the perfect finale to that tour we did with Lume, and the energy in the room that night was very, very good. Here’s a video taken by our good friend Austin that gives you a glimpse into that performance: https://youtu.be/0qT00rnLGZ4

When was a time when a firmly held belief was tested?

We come in conflict with our own independence quite a lot, mainly because we’re a small team and have very limited outside help as a band. Although that comes with its own set of challenges, it has allowed us to act and change whenever and however we want. As with other bands, our biggest challenge was getting through the pandemic with our sanity and ambition intact. We still managed to release a record during that time, and although we weren’t able to tour it like we would have wanted, we realized that our independence is what fulfills us as musicians. So even when the responsibilities and band tasks can become overwhelming between the four of us, we can appreciate those moments because they’re founded on an independence that has allowed us to grow in our own direction as a band and as people.

Where do you feel artistic progression leads?

We don’t necessarily think artistic progression is a linear process. We believe our music grows with our own life paths. That includes our influences and what we continue to learn in regard to writing, our style, and what is going on in our lives while we are creating new art. One major tenant of ours is to try to not make the same record twice, so we always focus our efforts to reshape and reinvent how we make music as REZN.

How do you define success?

In the context of our band, we would love to keep being able to write music we are proud of and perform it in front of the world. As long as we can continue to do that, we would consider ourselves successful.

What is something you have seen that you wish you hadn’t?

We wish we never saw the black mold on that guy’s carpet floor we slept on after a show one time. We also wish we never saw the uncensored cover of The Origin of the Feces… so we could see it for the first time all over again.

Describe something you haven’t created yet that you’d like to create.

We would love to make a dark ambient noise record. It’s something we are all interested in, and it would be fun to see where our vision for it leads us. We would also like to help create a space in the music scene where heavy music can continue to be fused and transformed by other genres and sounds. If someone can hear our hybrid blend of “psychedelic doom” and take it further, then we know we’ve done something meaningful.

What do you believe is the most essential function of art?

We believe it’s a connection between the creator and the observer. It’s a force that gathers, motivates, inspires, and provides pure enjoyment of life.

Something non-musical that you’re looking forward to?

Disc golfing season. Everyone except Patrick loves it. Also excited to experience Chicago while Lori Lightfoot is no longer mayor. Lastly, we’re looking forward to camping and relaxing outdoors as much as possible once we’re done touring.

facebook.com/reznhits
instagram.com/rezzzn
rezzzn.bandcamp.com

Rezn, Solace (2023)

[Click play above to stream REZN’s Solace in its entirety. Album is tomorrow, March 8. US tour dates here.]

Serenity in and through heft, exploration of space and a space, creation of a parabolic world movement, and a bit of The Tempest to keep things classy; the fourth album from Chicago’s REZN, not coincidentally titled Solace, is revelatory as regards the band’s blend of cosmic doom, experimentalist ambience, drone and that-which-is-riffed-big. It is their most accomplished offering to-date. Though they’ve done between-LP releases before, collaborations, live records, etc. — and they’ll have more to come in a full-length PostWax collab with Mexico City instrumentalists Vinnum Sabbathi sometime later this year — it’s been three years since the four-piece of guitarist/vocalist Rob McWilliams, bassist Phil Cangelosi (also rainstick), drummer Patrick Dunn and synthesist, flutist, pianist and saxophonist Spencer Ouellette (aka Catechism) — who shines throughout Solace in ‘secret weapon’ style whether it’s the flourish of synth after a minute into “Possession” or the sax in the penultimate “Faded and Fleeting” — offered their sprawling, hour-plus-long third full-length, Chaotic Divine (review here), and while the comparatively tidy six-track/40-minute Solace doesn’t spread itself across two 12″ platters the same way, its consuming tonality, patient but methodical execution and overarching music-as-narrative procession are both more pointed and more engrossing.

Recorded and mixed in 2021 by Matt Russell, who mixed Chaotic Divine, with an abiding lushness of tone and psychedelic, headphone-filling fullness, mastered by Zach Weeks and topped off with cover art by rightly-revered Oregonian painter Adam Burke, the album plays out across three discernible stages that run through and between the songs themselves, and quickly benefits from perhaps the most crucial decision REZN made in its construction, which is to open instrumental. “Allured by Feverish Visions” is by no means the longest cut on the album — four of the six tracks are between seven-and-a-half and eight minutes long, including the leadoff — but its transcendental sensibility is pivotal to setting the mood and atmosphere for everything that follows.

It is the point from which the band branch out, unfolding gradually with gentle ride cymbal taps, ethereal wisps of flute, solidified bass underneath prefacing the roll to come, and standout shimmers of guitar, likewise soothing and hypnotic. In addition to beginning Solace as a whole, it marks the start of the first of the three stages, chapters, parts, movements, etc., of the record as a whole, growing heavier as it nears five minutes with deeper distortion and feedback, calling to mind the drone-heavy triumph of Mühr (who roundabout begat Temple Fang and is not a comparison I make lightly) a decade ago.

This relatively peaceful, gorgeous, molten and meditative beginning continues as the guitar and synth ring out on a fade into silence ahead of the more active beginning of “Possession,” more immediate in the kick drum and bassline, guitar soon joining. McWilliams‘ first vocals arrive shortly after, echoing, gently melodic, unforced and soulful as they shift from channel to channel with each line, and the temperament of “Allured by Feverish Visions” is maintained, and that’s the key.

In some ways, Solace feels less about the individual splits between songs — though pieces like “Stasis,” “Possession” “Reversal,” and even the spoken word-inclusive closer “Webbed Roots” have their standalone impressions as well — than the whole-album spirit that seems to have been so purposefully harnessed and toward the emphasis of which those individual songs seem placed. As “Possession” unfolds and builds, the second verse becomes more of a call and response and they sound like they’re still moving slow but they’re not, and when they let go, that’s the beginning of the next stage. There’s a break four minutes into “Possession.” The drums cut short, Dunn‘s hand muting the cymbal, some residual guitar is maintained for ambience, and when they sweep in at 4:16 with the heaviest riff they’ve yet brought, that’s the start of Solace‘s second phase.

Had REZN been writing strictly for bombast, chances are they would’ve called the record something else, but Solace at its heaviest — which is in this second movement across the middle of the record starting in the latter part of “Possession” and moving through “Reversal” and until about 5:30 into “Stasis” — wants neither for crunch, as the bass chugging in the march of “Possession” demonstrates before crashing into the amp hum and feedback from whence the ready-to-go lurch of “Reversal” picks up, nor mass, as said lurch offers in plenty. With synth again peppering and enriching the totality, the initial roll breaks to make way for the first verse, McWilliams again turning an otherwise inconspicuous moment into a soft-touch highlight à la Sean Lennon, but will return as the low-end volume surge after three minutes takes hold, this time met by the vocals (in at least two layers) in a kind of chorus preceding a spread-out guitar solo and whale-song synth/effects that leads the way back to the quieter verse.

But the tension is there where it hadn’t been until “Possession” established it, and through a willfully meandering stretch of echoing almost Morricone-style guitar, through the subsequent verse, stop and final plucks, it’s still there in the drums, waiting for payoff not in itself but to come with the rolling “Stasis,” which follows. I’ll put this in bold because it’s important: This interaction is what it’s all about. It’s not just the songs; it’s the way the material converses with itself, the way the songs interact and complement each other. On the vinyl, “Stasis” is the start of side B, but even as they capitulate to the needs of format, REZN maintain the linear trajectory begun with “Allured by Feverish Visions,” which “Stasis” brings to its most outwardly intense point.

One might liken its celebration of nod to Monolord, but “Stasis” is consistent atmospherically and speaks to Ufomammut‘s Eve in its larger-than-some-of-parts aspect. More forward vocally and swirling its heaviness as it goes, “Stasis” is a slow careen until nearly four minutes into its total 7:40, when it moves to a stretch of calmer guitar and verse that begins “Feels like I’ve been here before…,” and fairly enough so, but it’s something of a misdirect since at 4:54 the full brunt of the distortion lands punctuated by the thud of the drums, and all else seems to stop. It is the darkest moment of Solace and the topmost point of its whole-album parabolic sequence, with a light guitar strum and bright-shine of keyboard announcing the arrival at the third stage, which begins with the comparatively minimalist ambient guitar-and-keys-together-into-drone-oblivion end of “Stasis” and into and through the penultimate “Faded and Fleeting,” also the shortest single piece here at 3:32, and beyond, to “Webbed Roots” at the finish.

But just as “Allured by Feverish Visions” was more substantial than an intro, so too is “Faded and Fleeting” more than an interlude. For the moment at about 1:40 alone with McWilliams‘ voice and Ouellette‘s sax transition from one to the other on the same note alone, it is a high point of REZN‘s career to-date, and its mellow-heavy acid flow, feeling all the more there and gone for its relatively brief runtime, encapsulates the fluidity of Solace‘s entire articulation.

This third and final-with-an-asterisk movement of Solace concludes as “Webbed Roots” begins with a foreboding current of distorted drone beneath the floating figure of guitar, the drums pushing along and the bass tense. Over the first three-plus minutes, “Webbed Roots” follows a linear build, and gives it due crescendo with the synth-topped heft of the riff that emerges, but the feedback gives way to otherworldly drone and the drums announce the redirect about to take place with a quick fill, so that when Marie Davidson begins the recitation of Prospero’s monologue/soliloquy from Act V of The Tempest — “we are such stuff as dreams are made on,” etc. — and McWilliams returns for a last verse leading to a final heavy surge, the sense of arrival is palpable.

They’re at the end and REZN unrepentantly give the occasion its due, following an ascending heavy nodder progression to a logical peak and then stopping, leaving just an epilogue of standalone guitar to mirror “Allured by Feverish Visions” as the final element to depart.

In part because of that last stretch of guitar, “Webbed Roots” most makes sense in thee context of Solace as a whole, but that’s precisely the point. I don’t know when it was composed in relation to the rest of the album — the band has said that “Reversal” was one of the earliest written, so perhaps they worked from the middle out in terms of the movements across the span — but its intent as closer is as much to cap as to summarize the depth of what’s come before, and the incorporation or Shakespeare near the end feels as much like an underscoring of the record’s play-in-three-acts structure (despite the fact that The Tempest had five; similar shape, different application) as a suitable conclusion for this particular midwinter night’s dream.

It is further evidence to support Solace as intended to be taken in full, and invariably positions REZN among the US’ most resonant purveyors heavy psychedelia. In every turn and contemplation, it is ‘next level’ craft, concept and performance — no minor achievement, considering their first three long-players — and offers a progressive stylistic path forward that others hopefully will follow, using heft and repetition and scope and melody as tools toward the greater purpose of its expression, rewarding those who take it on through the internalization of its magnitude and the comfort complete panorama.

Solace wants to become a part of you. Let it.

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REZN on Bandcamp