Posted in Whathaveyou on July 10th, 2026 by JJ Koczan
The Devil and the Almighty Blues released their self-titled debut (review here) in 2015 through Blues for the Red Sun Records. The Norwegian dug-in swinging heavy blues rockers were announced about a year ago as signing to Ripple Music and the reissue of their first album will be their first release through the US label. You’ll note that the reissue comes after the band made their first US appearance this past January at Planet Desert Rock Weekend (review here), around which they also unveiled the new single “Lied To” (premiered here).
So, new material is also in the works, is the takeaway there. If you’re also looking forward to how The Devil and the Almighty Blues will follow 2019’s Tre (review here), get on that single, which is at the bottom of this post along with the Ripple stream of the self-titled, which will be released Sept. 4. If you don’t know the record, it will make your life better, and I’m glad it’s coming out again, because the more people who hear it the better. No word on reissues for Tre or 2017’s II (review here) yet, but hearing ‘Spring 2027’ as a release target for their next record is certainly encouraging.
Get stoked:
Norwegian heavy blues rockers THE DEVIL AND THE ALMIGHTY BLUES to reissue self-titled debut album on September 4th via Ripple Music!
Norway’s premium heavy blues rockers The Devil And The Almighty Blues announce a special LP and CD reissue for their acclaimed self-titled debut album on September 4th through Ripple Music.
Nine years after it first rumbled out of Oslo’s underground, the self-titled debut from The Devil and The Almighty Blues is bringing its monolithic, slow-burning blues back to life for a new generation of riff worshippers thanks to a special Ripple Music reissue.
Initially released in 2015 on Norwegian label Blues For The Red Sun, the six sprawling, hypnotic tracks on The Devil And The Almighty Blues feel like hitting a true crossroads where Heavy meets Soul, and Doom shakes hands with the Delta. “We came together as a band in 2012 with one simple intention: to play slow, heavy blues. At our very first rehearsal, we started playing an old Son House song, Grinnin’ In Your Face, and instantly knew we had found our direction. That same rehearsal also gave birth to two of the songs that ended up on this album. To finally hold this record on vinyl again means the world to us. We’re incredibly grateful to everyone who has supported us and been part of our journey over the years. We’re excited to continue this journey with Ripple Music, creating new music and taking it on the road for many years to come,” the band says.
The debut album reissue marks the first step in The Devil and The Almighty Blues’ collaboration with American label Ripple Music, leading up to their anticipated new album release in the spring of 2027.
THE DEVIL AND THE ALMIGHTY BLUES “The Devil And The Almighty Blues” LP & CD reissue Out September 4th on Ripple Music
Tracklisting: 1. The Ghosts of Charlie Barracuda 2. Distance 3. Storm Coming Down 4. Root to Root 5. Never Darken My Door 6. Tired Old Dog
TDATAB on tour Sep 26 – Leeuwarden (NL) – Into The Void Festival Oct 01 – Paris (FR) – Backstage by The Mill * Oct 02 – Lille (FR) – La Bulle Café * Oct 03 – Karlsruhe (DE) – Alter Schlachthof * Oct 04 – Pratteln (CH) – Z7 * Oct 05 – Cologne (DE) – Club Volta * Oct 06 – Bielefeld (DE) – Forum * Oct 07 – Hannover (DE) – Café Glocksee * Oct 08 – Leipzig (DE) – Hellraiser * Oct 09 – Erlangen (DE) – E-Werk * Oct 10 – Munich (DE) – Backstage * w/ Skyjoggers *
Posted in audiObelisk on April 21st, 2026 by JJ Koczan
Greetings my friends and have we got a treat today, for you and me both. To hear them tell it, Norway’s The Devil and the Almighty Blues won’t be releasing their next album — the awaited follow-up to 2019’s Tre (review here) for about another year. That’s the bad news. The good news is they’re starting their ‘Tour of the Seasons’ this week in Prague ahead of a corresponding Fall run through festivals in the company of countrymen spaceheads Skyjoggers. The even better news is they’re releasing a single April 22 to mark the occasion, and premiering it today here right now holy crap that’s awesome.
And if you, like me, enjoy a long single, something that can set an atmosphere, take its time, and really give you a sense of where the band are at, as opposed to a generic ‘thing is happening’ teaser — those are fun too sometimes, but it’s a more frustrating kind of fun — then the 10-minute “Lied To” will almost certainly be the thing. With an open-spaced verse and a swampy riff like Creedence Clearwater Revival protesting the Vietnam War except it’s everything, old soul and old tone and the lyrical hook of the title line put through a range of subjects — I, you, we, they, have all been lied to; true, invariably — lead into a lonelier chorus (lyrically) to remind that “No one’s there when you hit the wall,” and so on through a build fostered by a groove so slick you can only really call it a signature element of the band, because very much that’s what it is.
Subtly, “Lied To” is a build. As noted, The Devil and the Almighty Blues aren’t in any rush to get where they’re going, but that doesn’t mean the song is stagnant, just that it develops organically over its time. It’s not 10 minutes long because they have a verse and a chorus and then spend eight minutes jamming, is what I’m saying. A deceptively loose swing is a longstanding characteristic of the five-piece’s style, and it’s a vintage-heavy-era-rooted take that’s part of what lets them be a heavy blues rock band without being the chestbeating dudebro caricature that so, so much of blues-based anything is, and they keep it classy as the fuzz enters past the end of the chorus on the other side of the seven-minute mark to carry into the evocative breadth of the solo section and instrumental finish. It’s the payoff of the build, but even there The Devil and the Almighty Blues don’t lose the plot.
That is as it should be, both for a band who’ve been around somewhere in the neighborhood of 15 years and one who’ve established such a niche approach to genre. “Lied To” is the first of three intended singles to be issued between now and the end of the year, to be followed by the album, presumably titled some variation on the idea of ‘four’ given their past sequencing of LPs, which will be their label debut for Ripple Music.
Just a quick note about the tours before I turn you over to the song. I’ve been fortunate enough to see The Devil and the Almighty Blues a few times over the last years, most recently at the end of January at Planet Desert Rock Weekend in Las Vegas (review here), and I know that if you’re not in an area where a tour is going, it can seem like an abstract thing. What I’ll tell you is that even if neither of these tours is hitting where you are in Europe, or if you’re in Australia or the US or Japan, China, South America or Africa or Antarctica, the same applies: see this band when and if the opportunity presents itself. It’s not a thing you will regret, because the soul that’s put into their music so vividly across “Lied To” is no less resonant in-person. If you can make being there happen, you should. That’s all I want to say.
Have to figure another single will arrive to coincide with the Fall tour. I’ll keep an eye out but probably won’t be premiering it when the time comes (I’d do a series for sure, but somehow that seems like not the best route for the band do go, promotion-wise; gotta spread these things around), and I hope you’ll agree after making your way through “Lied To” that indeed the next one is something to anticipate.
Please enjoy:
The Devil and the Almighty Blues, “Lied To” single premiere
THE DEVIL AND THE ALMIGHTY BLUES – LIED TO
Lurking at the darker edges of heavy blues, The Devil And The Almighty Blues return with a new single, “Lied To”.
After years of relentless touring across Europe, the band now unveils new material. The release marks the first of three singles arriving throughout 2026, leading up to a new album set for spring 2027.
“Lied To” is released on April 22, the day before the band kicks off their upcoming European tour in Prague. This is the first leg of their “Tour Of The Seasons”, spanning both spring and autumn 2026.
It is unmistakably The Devil And The Almighty Blues, yet it also marks the beginning of a new phase. Built on a slow, driving groove, the track pairs a strong, melodic chorus with the almighty heavy foundation. With the addition of guitarist Markus Berntzen, the band brings in a fresh dynamic, pushing and stretching their heavy blues foundation into new territory.
EUROPE 2026 – “TOUR OF THE SEASONS”
23.04 – Prague, CZ – Sub Zero 24.04 – Berlin, DE – Neue Zukunft 25.04 – Copenhagen, DK – Spillestedet Stengade 26.04 – Aalborg, DK – 1000Fryd (w/ Bogwife) 27.04 – Hamburg, DE – Knust 28.04 – Wuppertal, DE – Live Club Barmen 29.04 – Münster, DE – Rare Guitar Bar 30.04 – Eindhoven, NL – Effenaar 01.05 – Deventer, NL – Burgerweeshuis (w/ Shalalees) 02.05 – Izegem, BE – De Leest (Headbanger’s Ball Fest) 03.05 – Aachen, DE – Musikbunker 04.05 – Neunkirchen, DE – Stummsche Reithalle 05.05 – Stuttgart, DE – Goldmark’s 06.05 – Wiesbaden, DE – Schlachthof (w/ The Delayed) 07.05 – Jena, DE – KuBa (w/ Jara) 08.05 – Dresden, DE – Beatpol 09.05 – Siegen, DE – Vortex Surfer Musikclub
26.09 – Leeuwarden, NL – Into The Void Festival 01.10 – Paris, FR – Backstage by The Mill (w/ Skyjoggers) 02.10 – Lille, FR – La Bulle Café (w/ Skyjoggers) 03.10 – Karlsruhe, DE – Alter Schlachthof (PsyKA Festival Vol. 6) 04.10 – Pratteln, CH – Z7 (Up In Smoke Festival) 05.10 – Cologne, DE – Club Volta (w/ Skyjoggers) 06.10 – Bielefeld, DE – Forum (w/ Skyjoggers) 07.10 – Hannover, DE – Café Glocksee (w/ Skyjoggers) 08.10 – Leipzig, DE – Hellraiser (w/ Skyjoggers) 09.10 – Erlangen, DE – E-Werk (w/ Skyjoggers) 10.10 – Munich, DE – Backstage (Keep It Low Festival) – Booking by Sound Of Liberation
Following this first single, future releases will be issued through Ripple Music, purveyors of psych, doom, stoner and heavy rock. The band is proud to join the Ripple family, and excited for what this new chapter will bring.
Posted in Reviews on January 31st, 2026 by JJ Koczan
Before Show
Did some driving around in the afternoon. Adam took me up and out of town into the mountains where the views were insane. I’m an idiot for that kind of stuff. It was jawdropping. Back east, all of our mountains are water-weathered. Here it’s wind erosion, and younger plate-tectonics, and it’s a totally different thing. All of a sudden there’s just a billion-year-old layer of rock jutting up out of the ground, and it’s a novelty for me, so yeah, I dug the ride.
Side note: listened to most of the last Queens of the Stone Age record on the way back, and didn’t hate it.
Tonight’s show is the Ripple Music showcase. Five bands — Kaiser, Wolftooth, Freedom Hawk, The Devil and the Almighty Blues headlining, and Paralyzed closing the night — all of whom, of course, are signed to the label. Like last night, it’s majority haven’t-seen-before for me, as I’ve yet to catch Kaiser, Wolftooth or Paralyzed, but I’ll tell you that knowing what’s coming from both Freedom Hawk and The Devil and the Almighty Blues does not lessen my anticipation for their sets. It’s gonna be a good night.
I was pretty done by the time The Quill were yesterday, and part of that I think was because I played it dumb on food. Today will be better, and by that I mean I brought a protein bar to the venue so I’ll have something to consume beyond calm-the-fuck-down-why-are-you-terrified-of-everything weed gummies, gum, and the free water that is so graciously available with little paper cones and everything at either side of the bar at The Usual Place. Will it make all the difference? I guess we’ll see when Paralyzed are finished how I feel about the prospect of sorting photos before bed. I am less tired than I was yesterday. O, that fresh mountain air.
I was in time for The Devil and the Almighty Blues’ soundcheck — I love a soundcheck lately — and thusly was gifted prescience of groove to come, which naturally I appreciated. A quiet tension in the room, then loud volume. More water in paper cones. Heck yes, thank you.
Follows here the night, as it happened from wherever I was standing, be it figuratively or literally. Or sitting, if we want to be honest. The caveats on typos (I’ll fix them sometime in the next however-many years; I fixed one from 2011 today) and flexible tenses apply. Time is weird when you’re thinking of a thing after it’s happened while it’s still happening. That processing in the moment. Anyway, onward:
Kaiser
One of my most anticipated bands of the fest, and I don’t think I was alone. They pulled an early crowd that knew what it was coming for, and delivered with vigor and tone, launching a groove that may indeed roll through the rest of the evening. Their soundcheck had also been killer, but they hit it harder in the set, as one would, and they put them over the top in my mind. Fest auteur John Gist had them out here in the Beforetimes, but I’m not that cool so wasn’t here for that, though it felt pretty cool to be here for this anyway. “Is Vegas awake?” We are now, man. They came all the way from Finland just to put boot to ass. Volume and force, and I guess I haven’t seen live video of them yet because they had more energy than I was knew was coming, which I’m not complaining about, but the nod was also elephantine, so the fact that they were making it move and moving with it made them all the more infectious, before you get to the good time they seemed to be having and the songs being right on. Not hard to see why John would bring them back, or how they would end up on Ripple. It’s by being really good, in case that wasn’t clear.
Wolftooth
Signed to Ripple for last Fall’s Wizard’s Light, Indiana’s Wolftooth brought together heavy tones with metallic precision and spot on vocal melody; that thread from last night for sure continues this evening, and it was all the more enjoyable to watch Wolftooth unite decades of rock and metal for it. “Valhalla” was a highlight, and some of the newer songs had me kicking myself for having not yet reviewed the album, but more than my punk rock guilt, what Wolftooth’s set underscored was the band’s utter mastery of their approach. And part of why I persist in thinking of them as a metal band is because their execution is so precise and their sound so crafted and hammered out feeling. Also the gallop. Also Iron Maiden. The guitar and bass tones were warmer live, but they don’t strike as a band who are leaving things to chance onstage or off. They hit it like pros, with chemistry and dynamic, soaring vocals and thrust to match. It’s debatable whether they’ll be the fastest band of the weekend — you’d have to sit down and take bpm averages against The Atomic Bitchwax, amd I have neither the technology nor time — but they’ve got the songs to change it up, as “Wizard’s Light” did, and the room was accordingly swept into it.
Freedom Hawk
The Virginian contingent never disappoint. I don’t know how many times I’ve seen Freedom Hawk over the years, but let’s have fun and call it “several-plus,” and they’ve never not satisfied. Consistent, and they made sense coming off of Wolftooth, since they also have a penchant for classic metal, though the balance is different. But that’s part of what Planet Desert Rock Weekend does so well, is bring together a lineup that is more than an assemblage of cool names or whoever has a new record out (nothing against that, mind you) but that has a narrative to the flow created from band to band, elements that tie together and/or distinguish, like Freedom Hawk. How’re you gonna come up against “Blood Red Sky?” “Solid Gold?” “Indian Summer?” Why would you? I didn’t know this but it’s their 20th anniversary this year and I think month, which is wild to conceive, but fair enough. Like Wolftooth, they knew what the fuckles they were doing, and while they sounded bigger than I’ve ever heard them coming through The Usual Place’s P.A., and it suited them well. I have probably said this before, but Freedom Hawk is a band you could watch any night of the week and they’ll make your day better. They tore it up for Friday night at Planet Desert Rock Weekend VI, and I was right during Kaiser; groove is the thread for the night. Somebody farted just as they were starting “Indian Summer.” Real life, folks. Stay tuned for more gritty reportage.
The Devil and the Almighty Blues
What to do when the band’s soundcheck was already a high point of the night? Well, you stick around for the set, dumbass. Pretty easy answer, actually. And The Devil and the Almighty Blues were very much the answer. Truth be told, I was already looking forward to this when I saw them last summer at Freak Valley in Germany (review here). That was a considerably larger space than this one, with the Rockpalast cameras going and such, and this is the most intimate setting for me yet. That they would take ownership of the stage wasn’t in question, as the Norwegian five-piece have done that every time I’ve seen them (this is my fourth; no, that doesn’t make me cool, but it has made me a fan), but I was curious how some of the moodier moments would go over with a crowd that’s been partying for the four hours prior. Turns out a party where sometimes you feel feelings is still a party. I’m pleased to report they did just fine, but which I mean the set was incredible, thanks. Like Freedom Hawk, they had volume on their side, and their tones, so classy and warm, lost none of their heart for it. Vocalist Arnt O. Andersen managed to find — or maybe he brought one from an extensive wardrobe thereof — a robe in which to cloak himself, and with rare charisma, he held down center stage while the band recast the history of heavy blues in their image. It felt like they were doing the genre favors. Very much a headliner set. I expected no less, got more than I expected.
Paralyzed
German rockers Paralyzed were supposed to open the show according to the original plan for the evening, but they wound up closing owing to a canceled flight or somesuch. The point is they made it, and people were glad to see them setting up gear. Classic rock carried over from The Devil and the Almighty Blues like Freedom Hawk carried over metal from Wolftooth, like Kaiser setting a high bar early and everyone holding up their end of the bargain while each doing something of their own. My first time seeing Paralyzed, but I had high hopes nonetheless. Their records have always had such an aspect of performance to them, but of course persona comes through bigger live. They had the classic rock, but they also had blues, and they were still their own thing. That’s what I’m talking about. The whole night has a flow from one to the next, and sometimes it’s blatant and sometimes you have to squint a little but it’s always there. I think about Paralyzed if they had started the night as intended — Kaiser would’ve inherited ‘brash’ — and it would’ve flowed differently, but the way it’s ended up, with Paralyzed using travel frustration as fuel, capping the show with a current of energy that would’ve certainly worked at the start of the night, makes a whole lot of sense too. So I suppose what I’m trying to tell you is I’m lucky to be in this room, to spend my time the way I do — here and at home — and it feels really good to know that while my head is being blasted out by Paralyzed’s next hard boogie strut. Thanks John Gist.
After Show
Man, night two went down smooth. From Kaiser on, not a dud set in the bunch. Paralyzed making it at the end was the perfect finish. A welcome reminder that sometimes things work out. God damn I needed this trip.
Can I tell you I thought I’d hate that Queens record? It was hyper-produced, as it would have to be, but I wasn’t mad about it. The one before was so forgettable. I’ll have to give it a real shot, which I guess means close a week with it at some point.
I stayed till the end tonight too. The crowd thins out — reasonable; it’s late and I don’t know the average age in the room, but would guess conservatively it’s north of 30 — but the bands still bring it. If these were full-day events, no way would I be able to hang out until 1AM. As it is here, it’s doable. It works.
Night two, just about everybody who’s gonna know each other does, and folks are way friendly. I’m pretty sure I’m the biggest asshole in the photo pit.
And speaking of, I could probably do it tonight, but I’m still leaving photo sorting for the morning. Good night. Thanks for reading.
Posted in Whathaveyou on December 9th, 2025 by JJ Koczan
You’ll pardon me if I spare myself looking back to see I’ve probably said the same thing every year for the last decade or so, but Keep it Low is always a very particular kind of daydream. First of all, it’s the kind that usually includes Colour Haze, and that’s an autowin as the Munich-based heavy psych progenitors have a tendency to do the hometown party. But second, among all the busy times happening around Europe each and every October, Keep it Low has always stood out to me in having vibe as part of the mission from the go. Like it’s not just about you and the bands in the room, but how that space is being shared.
I’ve never been, which is kind of a bummer, and I’m not expecting to go anytime soon, but it’s a pleasure to see who’s going to be there and wonder at the implications for who might be on the road next Fall between the likes of 1000mods and Spirit Mother, etc. I’m pretty sure this is the first October-weekend fest announcement I’ve seen — you have to admit, it’s early — but the low-key-killer first announcement below is part and parcel to why I’ve lost so many minutes over the years wondering what it would be like to actually be at this thing.
From social media:
KEEP IT LOW #12 – ⚡️FIRST ANNOUNCEMENT IS HERE⚡️
Keep It Low Festival returns to Munich in 2026 — heavier, louder and fuzzier than ever.
📍 Backstage München 🗓️ 09 – 10 October 2026
We’re kicking things off with a massive first wave of bands:
1000MODS THE DEVIL AND THE ALMIGHTY BLUES DEATHCHANT SPIRIT MOTHER FOMIES SUCK SKYJOGGERS KOMBYNAT ROBOTRON LEBER & MANY MORE TO COME!
Two full days of heavy rock, doom, sludge & psych. Two stages, an outdoor beergarden, and all the vibes you need to get lost in the low end.
Posted in Whathaveyou on October 29th, 2025 by JJ Koczan
You know, it’s been six years since Norway’s The Devil and the Almighty Blues put out their third record, Tre (review here), and between the length of that span of time and the fact of their signing to Ripple Musicthis July after a spring and early summer of fests — I got to see them at Freak Valley (review here) and be reminded of their formidable stage presence; note that this tour finishes in Siegen, Germany, near where that festival is held — I don’t think you’d be out of line asking if the advent of a Spring 2026 European tour like the below ‘Tour of the Season’ might coincide with the release of their awaited next LP. Actually, by the time they get there, the next album is supposed to have been out already.
When word of the Ripple pickup came through, it was stated that their previously-announced appearance for Planet Desert Rock Weekend next January would be the album’s far-from-home release show. That’s about three months out from now, end of January, and so one would expect word pretty much any day with some concrete information about the offering to come. I haven’t seen anything, and not to toot my own horn, but I probably would between the PR wire and the social media algorithm that put these tour dates in front of my eyes, but there’s still time for the promo cycle to rev up. Until then, some things are worth being impatient over.
To the tour dates:
The Devil and the Almighty Blues – Tour of the Season 2026
This will be a wild one! Poster artwork by Subterranean Prints
Posted in Whathaveyou on July 18th, 2025 by JJ Koczan
I’ll admit, I started to get suspicious last year and earlier this year when Norway’s The Devil and the Almighty Blues started getting announced for fests after a few years of relative inactivity. In 2025, so far they’ve toured in May and played Desertfest London and Desertfest Berlin, Sonic Whip, Freak Valley (review here), in addition to being confirmed for Planet Desert Rock Weekend VI in Las Vegas next January.
The latter especially can be seen in a new light as a result of their signing with California’s Ripple Music, as surely the signing will be a thing to celebrate, but with word of a new record to come at the start of 2026 — if not earlier — the context of that celebration widens even further. The last The Devil and the Almighty Blues album was 2019’s still-definitely-got-it Tre (review here), and it continued the band’s moody, atmospheric and heavy take on the blues of their moniker, swinging and swaggering to be sure, but avoidant of the hyper-dudely chestbeating that far too often comes with blues-based anything. These guys nestle into a groove like nobody else. It’s like they were born in the pocket. With stage presence and songs besides, they remain one of the Euro underground’s well-kept secrets. For now.
Look for “new music and reissues,” which probably means Ripple will stand behind editions of at least the first two The Devil and the Almighty Blues records, 2017’s II (review here) and their 2015 self-titled debut (review here), if not all three, and put out the band’s fourth record that’s I-don’t-kn0w-where in terms of the writing/recording/manufacturing process.
Let’s start the morning off with a bang, shall we. Please welcome to the Ripple Family … The Devil and the Almighty Blues ! Arnt Andersen and I have been plotting both new music and reissues. Look for the first of the new releases to make its debut when the band comes to America to storm the stage of Planet Desert Rock Weekend down in Vegas . Shall also be the album release party. Stay tuned for more details.
Slept as best I could and took a long shower, but stopped short of blowdrying my beard, which for some reason feels like apex self-indulgence. It was the last day of Freak Valley 2025, and that’s always bittersweet. This place and these people are so special, and I’ve made really good memories here the last four years that I’ve been lucky enough to take part in FVF. It is an honor, and I do not take it for granted.
Made it to the AWO grounds well in time for yoga. That was probably the most direct sunlight I was in on Friday (my days and dates are so screwed up), but the last day of Freak Valley was the solstice too, and for sure there would be sun. The kind of heat that kills old people. A father and his 12-year-old played frisbee on the grass. A small street sweeper went by on the back walking path. The drum riser came out on stage. Sitting in the no-smokers-yet smoking tent for the shade, it was idyllic.
The yoga session was once again fantastic — I even got to sneak in a little boat pose, and you know I’m on board for some shavasana — even without snaily taking part. It finished a couple minutes earlier than the day before, so I didn’t have to run over after hearing Volker Fröhmer’s standard band-intro beginning, a hearty and voluminous “liebe freunde” that is as much a staple of this festival as the word “freak.” I played for a minute in the sprinkler accordingly.
But soon enough, the concluding day of Freak Valley Festival was underway, and I seem to recall it went something like this:
Lurch
The straight-up riff rock aspect of Lurch’s sound took me back to turn-of-the-century European heavy rock, instrumental and otherwise. Thinking ’99-’03 or thereabouts, and all those bands who weren’t shy about having numbers in their monikers. Part of what they did was jam, or at least jam-based — at one point, the bassist threw in the theme from Super Mario Bros., which I’ve had steadily on repeat in my head for the last 40-ish years; if we’ve met and I’ve invariably forgotten your name, it’s because my brain is occupied with doo doo doo do-do doot on an endless loop; I’m not kidding, sometimes it’s torture, but it was cool in the mid-song context — but there was structure there even apart from the one or two songs that had vocals. From Austria, Lurch were unknown to me previously, but they’re playing Hoflärm as well in August and they’ve got a slew of releases that seem pretty dug in and exploratory — and by that I mean you might get a five-minute song or a 39-minute song, depending on the record. Some of that variety made its way into the set as well, and the lesson was quickly learned as they went, pushing into psych with grounded, terrestrial riffing at the forefront. Not the first time I’m writing a note to myself this weekend about a good band. I cannot begin to tell you the value that has for me, though I’ve been trying for a few years now, I guess.
Bushfire
Schedule change! Scott Hepple and the Sun Band were supposed to play second, and Bushfire were to do two mini-sets on the small stage later on, but there was van trouble, so the Darmstadters took the slot and, as frontman Bill Brown told the crowd, “once again Bushfire are the heroes of the universe.” They were playing their new album, Snakes Bites Tales, for its release, and the gritty riffing hit just right. I’m not going to feign impartiality on this one. I consider Bill not just a friend, but a good friend who I’ve known over a decade, and whenever in the day it was happening, I was excited to see his band for the first time. The burl of their records was in full effect, but came through with a fragility live, and as Bill told his tales from the stage between songs, whether it was about drinking and drugs, writing the lyrics on the backs of posters backstage 45 minutes earlier when they were informed of the switch, or it being the end of side A before they turned to “Die Trying” (they would do side B on the small stage later), the crowd filled in on the sun-beat grass and groove was had in abundance. No question dude is a presence on stage, but the two guitars stood up to the throaty vocals and the solos came through with due punch before the drums and bass turned out around back to the verse again. Bushfire have never been about reinventing the wheel of heavy rock, but they roll that wheel in a way that’s expressive and their own, and I didn’t even realize how much I needed that kick in the ass, so thanks. Don’t look for it tomorrow, but I’ll have a review of the album here sooner or later. Honestly, this was more about appreciating the chance to witness a friend kill it in the band’s native habitat, which I was fortunate to do.
Kombynat Robotron
I hit the spritzcannon hard before their set. Had to happen. You could see a rainbow in the spray. I wasn’t quite soaked, but it was worth putting my bag down and standing there for an earth-minute or two, though soon enough it was back at it for Kombynat Robotron. The ascendant heavy space/cosmic rockers are set to issue their new album, AANK, next month — more homework to put in my notes file; not complaining — and if they wanted to put this set out too, that’d be just fine by me. They got the combination of push and swing just right in terms of pace, where you could feel the physical urging of the music within the abiding nod, coming through in a wash of wah with miraculous clarity of intent for something that was so noisy and open-feeling. They had some bliss on offer as well, but once the forward momentum was locked in, so pretty much immediately, it held for the duration. I’d been too in my own head the day before. Getting lost in Kombynat Robotron for a while was refreshing in a different way than having droplets of water launched at my person, but refreshing just the same to stop measuring time in planetary terms. I’m not sure if I enjoyed more the raw moments in Kombynat Robotron — because for sure there are riffs in there — or the tonal wash into which they sometimes veered during the set, but fortunately, there’s zero need for me to choose between them. They were dead on, and I came away with a better understanding of how they work as a group. Total win of a bend for reality.
Highway Child
The heavy underground has a long memory, and though Denmark’s Highway Child broke up 14 years ago in 2011 after the release of their self-titled third album, the heavy underground also loves a redemption story, so Highway Child were here and are at a couple other spots this summer. It’s not the five-week comeback tour or anything, but though there’s been a generational turnover since, they would play to an audience who knew and appreciated their work. So far as I know, that’s is the ideal when you’re doing something like this. They put out two records on Elektrohasch, 2008’s On the Old Kings Road (review here, discussed here) and 2009’s Sanctuary Come (review here), right as the label was starting to hit its arguable peak, so yes, I remembered them too, though I’d never seen them before. Rooted in heavy blues, with a swagger that’s apparently been lying in wait for the better part of a decade and a half, they had folks dancing in the sun out front and were a party all on their own on stage as well. Not a band I ever thought I’d see, and not one I’d be likely to catch otherwise. Figures I’d get all emotional on the last day of the fest. Hard not to.
Travo
Let the party continue. From Portugal, Travo turned heads with late-2023’s Astromorph God (review here) and have been spreading the word live since. The KEXP session earlier this year probably helped in that regard too, feather in their collective cap as it was. Even the line check was brash, but that was nothing compared to once they got going. Leaning more into space rock — I’d say neospace, as I do sometimes, but it didn’t feel quite right, despite all the rampant modernity of the wash they set above the classic pulsations of the drums — they had a solid foundation of heavy tone on which to dance, and set themselves to doing exactly that. If you’ve been reading this site for a while, or even a day, you probably already know there’s little I enjoy more than agreeing with myself. Also disagreeing! But man, I was so right to be excited to see Travo. I may not have been able to hang in the sun, but I found a spot for the whole set after taking pictures and set up camp by which I mean put my bag down, for the duration and they hit hard, digging in with all-go energy and a succession of rad effects-topped builds, voice intermittently punching its way through all the shove surrounding. They made me want me coffee, dared to mellow a bit, and ended with the biggest big-rock-finish I’ve caught here so far.
Wucan
With a new album due in August titled Axioms — it’ll be the Dresden four-piece’s fifth LP — Wucan took the stage to herald the release with due veteranly confidence, and held off breaking out either the flute or the theremin (both firsts) until after the first song, which seems classy somehow. A strong thread of heavy ’10s boogie running through their songwriting, but like many who took that path, Wucan are less about vintageism than broadening a palette of classic, heavy and progressive rock. I’ll admit it’s been a while since I last heard them, but the vibe was sleek and the crowd ate it up as perhaps they inevitably would. The longest day of the year still had plenty of sunshine left in it, but the lawn was packed, somebody had an inflatable flying V, which was fun, and Wucan made sticking it out worthwhile, strut or shuffle or twist. The political complexities of stage outfits notwithstanding, Wucan were an unmitigated good time, with melodies and groove they reached out directly to the crowd and hooked people in. I was curious how much of what they played was new as they touched on space rock about halfway through the set, but this too was fair game for the expanded reach of their sound. I’ll be interested to hear where the album goes.
The Devil and the Almighty Blues
This was my third time seeing Norway’s The Devil and the Almighty Blues, after Høstsabbat in Oslo in 2019 (the before-time) and in 2017 at Roadburn in the Netherlands. In January, if all goes according to my evil plans, I’ll see them again at Planet Desert Rock Weekend in Las Vegas. Good thing they rule. The 2019 show was in support of what’s still their most recent record, Tre (review here), and to their credit, vocalist Arnt O. Andersen still came out fully robed like a misfit drunkard priest, even in the heat of the lingering day. Much respect for that, never mind that they opened with “Salt the Earth.” While I might’ve known what to expect going in, unlike with so many of the bands this weekend who’ve been new to me (life bonus to learn), that didn’t make the going any less satisfying. Their self-titled debut (review here) turns 10 this year, but they wear the years easily in the fluidity of their groove, the way they’re both reverent and transgressive of the (almighty) blues, as well as classic heavy rock and probably three or four other microgenres. I could go on about that characteristic nuance — might be fun — but was content to bask in the comedowns and the pickups and follow where they led. To bottom-line it for you, if you’re somewhere this band is, ever, you want to see them. It’s as simple as that, and I’m grateful for the chances I’ve had (and will have) to do so. They capped with a crescendo of dually shredding guitar solos from Peter Svee and Torgeir Waldemar Engen, then still turned it back to the verse to get a couple last lines in. See them.
Scott Hepple and the Sun Band
Their name started appearing in fest announcements last Fall, and not that I’ve heard of every band who plays a given festival — obviously; seeing new bands was the thing all weekend — but there was definitely a curiosity there. They put out two self-released LPs before getting picked up by Rise Above/Popclaw, and if there’s ever been an ear you could trust, it’s Lee Dorrian’s. They’re young, steeped in garage rock and some sweet proto-heavy shuffle. Thick enough in tone to call heavy, but fleet in being able to keep things moving. The fact that the van has broken down, delaying their arrival here and relocating their set from the main stage to the smaller one earned them some sympathy points, but the truth is they didn’t need them. They pulled the crowd over from the (other) lawn and packed the small stage area where I’ve been hiding in the shade the whole day. I’m sure they sold some records after the set, and hopefully they can keep momentum on their side.
Dead Meadow
When you absolutely need to mellow the vibe, accept no substitutes. Dead Meadow, also fresh off releasing Voyager to Voyager (review here) this Spring on Heavy Psych Sounds, lost bassist Steve Kille to cancer last year. With founding principle Jason Simon on guitar/vocals and I’m pretty sure Mark Laughlin on drums, they did indeed have bass, but I don’t know who was providing it. The sound was there though, that warmth of bottom end that puts your brain in a bathtub. And Simon’s strum, fuzz, quiet-voiced delivery were as immersive as one would hope, so although Kille contributed to the new record, and regularly recorded the band as well, they sound like they’ll continue, which I take as good news. There’s still more day to go, but the chill was infectious, even at their most active. They’re not the inventors of heavygaze, but they might as well be, and frankly, the world needs the kind of drift they bring. So much of this era is intensity, furious, raging. Algorithms. Fascism. Dead Meadow fit just right by going the other way completely, and with Lance Gordon of Mad Alchemy’s oil lightshow, the psychedelia in their sound came through as a multi-sensory experience. They’re still a thrill to watch live, but it’s a quiet thrill. I was quietly thrilled accordingly.
Bushfire
Look, I already reviewed Bushfire once, but having seen and heard half the new record earlier in the day, I wasn’t about to miss the other half, not the least as it includes “Valley of the Freak,” which is about this fest and the people here. Bushfire played the first however-many years of Freak Valley, were a staple of those lineups, but kind of stepped back. Having them present their new full-length, even in two halves, felt fitting. They had a screen in front of the stage before they went on with an animated ouroboros, but took the screen away before they actually started. The projection stayed on and the effect worked. I assume some of those standing by me over by the craftbierhaus and the stage had seen Bushfire before, but I hadn’t until today.
The Sword
I could not tell you when the last time I saw The Sword was, but the prevailing memory I have of them live is wandering into a Relapse Records showcase at SXSW in their hometown of Austin, Texas, and watching a demo riff band lay waste to a show that I’m pretty sure featured Cephalic Carnage later on, but don’t quote me on that, because I was drunk and the only thing I remember for sure was The Sword throwing down a gauntlet for what was then the next generation of heavy rock. The ensuing 21 years and a breakup later (hooray for me, being old), The Sword have returned and claimed their place once again among headlining acts. Their evolution can be charted across their records, but on stage it was more about them being back, good times, and so on. Again, I didn’t stick around (I fly out early tomorrow afternoon and it’s two hours to Frankfurt airport), but I got to hear “Freya,” and that’s always a blast, and I put on the Rockpalast stream when I got back to the room to watch the end, and zero regrets. They seemed to be picking up where they left off, maybe a little more into it for the time away — to wit, they didn’t sound like they were about to break up — and definitely appreciative of the crowd. The Sword are among the most revered US heavy rock bands of the last 25 years, easily, and it’s a boon to the genre that they’re back at it.
—
I can’t believe how fucking ridiculously fortunate I am. It is beyond silly. Like I said once already, or like 10 times, I don’t know, it was an early flight in the morning, so I crashed out as quick as I could in order to be up at seven to shower, finish packing, etc. I may or may not have time for a full wrap-up post, but if I end up saying thanks to Jens, Alex, Marcus, Jara, Basti, Volker, Pete, Bill, Judith, Ralf, and all in the backstage for making me feel so welcome.
It’s a long year till FVF 2026 and one never knows what the future will bring, but if you take anything away from the glut of words that have shown up in this space over the previous three days, take that Freak Valley is something very, very special, and it’s not at all a coincidence that it sells out every year as soon as tickets go on sale. And it’s the people that make it. I’m pretty sure Bill said that in “Valley of the Freak.”
So, if I do or don’t have time for a proper epilogue, we’ll see, but as always, thank you to my wife, The Patient Mrs., for making this and everything else possible for me. Thank you to my mother, and to my sister, as always, for their unending, unconditional support.
And thank you for reading. Won’t be the last time this week I say it.
Posted in Whathaveyou on March 28th, 2025 by JJ Koczan
As somebody who’s been lucky enough to see the Olso-based troupe on stage, The Devil and the Almighty Blues are dead on. The groove, the bluesy vibe. Absolutely stellar pick on the part of Planet Desert Rock Weekend. Salt the frickin’ earth. They’re gonna kill it, whatever stage they’re on. Fingers crossed it’s Count’s Vamp’d, but I’ll take it either way. And yeah, I do have every intention of being back in Vegas next January for Planet Desert Rock Weekend VI.
In what would be an astonishing circumstance at nearly every other US heavyfest, The Devil and the Almighty Blues aren’t the only Norwegian band on this bill, as Saint Karloff were previously confirmed, and they’re paired in this announcement with Bone Church, from Connecticut. As it’s been five years since the classic metal/heavy rockers issued their Acid Communion LP, one can’t help but wonder if they’ll have a record between now and early next year — though honestly, with PDRW, it might just be a case of festival director John Gist digging the band. It’s not always about promoting the thing (whatever ‘the thing’ is) at PDRW, and I like that about it.
To wit, I would not expect a The Devil and the Almighty Blues record in 2025 — though I’ll say it’s not impossible in case one happens, just to cover my ass — but I’ll be goddamned if they won’t be a highlight of 2026’s edition.
From the PR wire:
Planet Desert Rock Weekend is happy to announce two more bands for next year’s Planet Desert Rock Weekend VI! For those that have kept up some with the PDRW VI lineup you can see we have quite a few international bands announced so far with many of which will be coming over for the 1st time to the USA. With that being said we have the righteous band The Devil & The Almighty Blues from Norway joining us! They blend an obvious blues rock base with some heavy psych and some doom/stoner. Their 3 albums have all been immensely received leaving folks wanting more… Stay tuned for that as word has it some news on the horizon possibly. The band has played a slew of festivals in Europe including Roadburn, Sonic Blast, Desertfest London/Berlin/Oslo and the upcoming Freak Valley Fest along with others. We can’t wait to have the guys over to rock our world!
Of course, at PDRW we like to deliver really good bands that are at times a bit under the radar currently. We believe strongly that the music matters the most and songs are important. With the abundance of bands out there we hand select bands we believe in that if more folks hear them that they will resonate with many of our super cool rockers that attend Planet Desert Rock. Next year one such band is Bone Church out of Connecticut. Truth be told from very early on I have championed the band. A few years back Todd Severin and Ripple Music snagged them, they delivered a follow up to their very good debut with a super strong album. After seeing them at the 1st Ripplefest Texas, I was simply blown away by their performance. This is one of the semi rare bands that has a pure frontman who only sings and damn if he doesn’t kill it live. The whole band sounded fantastic and the memory of that performance still is one of a tight set and full-on energy. Their Sabbath drenched sounded is melded with other influences to create songs that will ear worm ya if you aren’t careful. I have previewed some new tracks and it’s so good!
We wanted also to thank everyone who snagged the early bird tickets and did so in record time. We have the tier 2 pricing ticket still available for now until we go to final pricing. Also there will be a special 4 night ticket to snag that includes Night 4/ Last Call. The lineup as you see so far will be spread out among the 4 nights so if you have the initial 3 night package… You may want to snag the Last Call as well if you can pull it off. In the works are a couple bigger bands (no not Clutch and that size) that we are hopeful to have come aboard along with a bit of a supergroup of sorts that could happen. Stay tuned as we have just 5 left to announce. We so appreciate all the interest we have received from bands for our intimate 4 night weekender of heavy rock and continue to be humbled by everyone’s support!
