I can only be honest with you — I have no fucking idea why Kristonfest was like, ‘Hey, we’ll put an Obelisk logo on our poster.’ Anyone with the kind of pull to put together a festival with the likes of Earthless, The Hellacopters, Dozer, Kadavar, Mondo Generator, Church of the Cosmic Skull, Arabrot and Turbowolf needs me like they need a hole in the head. It’s there, the round one next to the memento mori skull at the bottom, and I’m proud as hell of it. But yeah, I don’t deserve that. Here’s a festival in Madrid that will have at least six years of history behind it by the time it comes around in May, and I’m some schlub sitting at my laptop. Something there doesn’t make sense. I’m honored, as the robot said: Does not compute.
Hey, thanks to Kristonfest 2019 for letting me be involved in the small way that I am. I was touched at the sentiment before, but now that the lineup is complete, that’s even more the case. If you can make it to Madrid, you should do that. I mean, you should do that anyway because traveling is amazing, but all the more so when an event of this caliber is involved. Thank you. And thank you for reading, because I’ll tell you outright the only reason anyone gives a shit about this site is because you read it. You will not find me deluding myself that it’s my charming personality and copious wordsmithery making the difference. It’s you. So thanks.
Here’s the final lineup announcement:
Kristonfest 2019
FRIDAY, MAY 10 | WARM UP PARTY KRISTONFEST 2019 SALA CARACOL (MADRID)
SATURDAY MAY 11 | KRISTONFEST 2019 SALA LA RIVIERA (MADRID)
For this 2019, the main novelty is that the next edition will be composed of 2 days: A first day framed in a Warm Up Party or party presentation in the Caracol Room and a second day in the usual La Riviera, both in Madrid.
The Hellacopters, Earthless, Dozer and Nick Oliveri’s Mondo Generator complete the poster of the next Kristonfest 2019, joining KADAVAR, Turbowolf, Church of the Cosmic Skull And Arabrot.
Posted in Features, Reviews on August 20th, 2018 by JJ Koczan
08.19.18 – Let’s call it midnight – Sunday night – Hotel room
Every time I walk down a long hotel hallway I think of John Goodman in Barton Fink toting his rifle and yelling about the life of the mind. “Look upon me!” and so on. That’s a fun association to have.
I had breakfast this morning at the kind-of diner here in the Hard Rock and it was the first meal I’d had in a while not made of a protein bar or granola and cereal. Not much time for that kind of thing, but I wasn’t sleeping and a little extra fortification seemed like the right idea for the final day of Psycho. No regrets.
Another busy day. There’s no letup here. Sets are full, and there are breaks between, but if you’re up for going, you can just keep going the whole day. It’s astounding. I’ve been doing my best to see as much as possible, but even that’s a fraction of the whole.
But, today was also the last day, so a bit of adrenaline to carry through is a fortunate happenstance. Flight’s early tomorrow, but that’s tomorrow’s problem.
Here’s today:
King Buffalo
It’s not like I’ve never seen King Buffalo, but I think they might’ve been my most-anticipated band of the weekend. Their upcoming album, Longing to be the Mountain, is a big step forward in their sound, and 2016’s Orion (review here) was already right up there with that year’s best offerings. They opened with the title-track of the new record and then “Repeater” from the 2018 EP of the same name (review here) before digging back to Orion for its own title-track and “Kerosene,” both of which were met with a relative uproar from the knowing Vinyl crowd. At one point early on someone in the audience shouted between songs, “Why are you opening?” and drummer Scott Donaldson answered, “I don’t know!” I don’t really know either, but Donaldson, guitarist/vocalist Sean McVay and bassist Dan Reynolds were a perfect start to the day, with the latter adding a wash of loops and psychedelic noise and transitional drones for between the songs, the build and fluidity of which were immersive in their totality. There was no moment that pulled one out of the atmosphere they set, and when the three of them locked into the heavier end of “Kerosene,” the room became a lake of nodding heads. I will consider myself lucky have seen them here. They made that room their own.
Indian
The Chicago four-piece — playing as a five-piece with Primitive Man‘s Ethan Lee McCarthy sitting in on noise and backing vocals — were probably the angriest act I’ve seen all weekend. Or, you know, ever. The assault factor extended not just to the brutality of what they played, the chest-vibrating volume at which they played it or the harsh noise and feedback that infected every single break between riff after punishing riff, but even unto the bright wash of white light under which they played. It was blinding to stare at the stage for any length of time. So it was a challenge on almost every level it could be short of them spraying skunk scent on the crowd or something like that. The rhythms of bassist Ron DeFries and drummer Noah Leger hit through a surge of low end and were punctuated by a kick drum that could almost turn the stomach, and the tortured, disaffected screams from guitarists Dylan O’Toole and Will Lindsay that cut through all that not-just-aggro-but-really-pissed-off morass were just one more level on which Indian‘s bleakness was conveyed. If King Buffalo were easing the crowd into the final day of Psycho Las Vegas 2018, Indian were making sure no one left without a scar. Menacing.
Coven
Legends, of course. What’re gonna do, not watch Coven? Of course not. Frontwoman Jinx Dawson arrived on stage in a draped coffin and was let out by robed minions, wearing a silver mask for the first song to obscure her face and underscore the theatrical cult rock vibe. Their 1969 debut, Witchcraft Destroys Minds and Reaps Souls is the stuff of cultish blueprint — the style simply wouldn’t exist in the same way without it — and Dawson and her also-robed backing band honored that legacy well. I’ve wondered as Coven have gotten back to the live performance sphere if they might ever do another record. I don’t know that they would or wouldn’t, or if they did what it would sound like — the band behind Dawson definitely brought a modern edge to those classic sounds — but it seems like a worthy pursuit. As it was, the crowd headbanged and took phone pictures at the same time and were no less into the revelry than Coven itself, which brought the atmosphere of ceremony in a way that reminded of the roots not just of cult rock, but black metal and doom and so much more besides. They’re a feelgood story for a band finally getting their due appreciation, or at least Dawson getting hers, but Coven on stage demonstrate the timeless vitality of what they did nearly 50 years go.
Black Mare
I had no idea what to expect from Black Mare, and I was still surprised. Was it just going to be Sera Timms singing over drones, or her and a drummer, or anything. I don’t even know. It was a full band. Timms, who’s probably best known at this point as the ethereal frontwoman of Ides of Gemini but who was also in Black Math Horseman and shared vocal duties with John Garcia in Zun — which I’m still hoping wasn’t a one-off — was joined by her Ides bandmate J. Bennett on bass, as well as a guitarist and drummer, and with a swell of volume behind her, she came out an held the entire Vinyl room rapt. There were moments between songs of actual silence. No talking, no nothing. People were just waiting to see what happened next. With a cloak and face mask that were both gradually discarded, Timms brought her otherworldly vocal approach to a kind of dark-psych lounge feel, almost like she was about to book a show at the bar in Twin Peaks. Atmosphere and tones alike were thick as this version of Black Mare called back to the project’s 2013 debut, Field of the Host (review here) to open with “Blind One” before “Low Crimes” from the split with Lycia (review here) and “Death by Desire” from last year’s Death Magick Mother (review here) seemed to move further and further into an alluring murk of melodies and ambience.
Enslaved
Well, Enslaved played “Ruun,” so really anything else that happened, basically ever, takes a back seat to that. It would be impossible for the Norwegian progressive black metal powerhouse to capture the entirety of their 14-album catalog and their 27-year career, and to their credit, they didn’t try. With “Isøders Dronning” and “Yggdrasil” from 1993’s Frost included for longtime fans or those who’ve dug in deep, they were free to explore some more recent material — opening with “Roots of the Mountain” from 2012’s Riitiir (review here) before “Ruun” and including “Sacred Horse” from 2017’s E (review here) in a showing of just how proggy they’ve become. This was my first time seeing Enslaved with keyboardist/vocalist Håkon Vinje — about whose relative youth bassist/vocalist Grutle Kjellson joked twice on stage — and he absolutely nailed new material and old. Wasn’t even a question. With him, Kjellson, guitarist/vocalist Ivar Bjørnson and guitarist Arve “Ice Dale” Isdal, who I don’t think even owns a shirt at all, was new drummer Iver Sandøy. I didn’t know Cato Bekkevold wasn’t with the band anymore after 15 years, but Sandøy made his presence felt on vocals as well and like Vinje, was right at home in the songs. I’ve never seen Enslaved that they didn’t totally deliver, and I’m happy to report that streak is still alive.
The Hellacopters
There are some serious fans of The Hellacopters walking around Psycho Las Vegas this year. Decked-out rockers, heavy-garage types, fucking classic drinkers, trouble through and through. Don’t fuck with those people. They’re the drunkard’s drunkards. Turbojugend jackets have abounded all weekend and it would seem to be The Hellacopters that brought them out. Fair enough. The Swedish rockers made The Joint get down like no one I’ve seen this weekend, and it was superlative. Superlative rock, as a genre. Lot of punk in there, lot of garage as well, but all of it was distilled down to the essence of rock and roll, and as guitarist/vocalist Nicke Andersson came out to soundcheck with the rest of the band, it was clear the room had been waiting for The Hellacopters to arrive. Andersson, keyboardist Anders “Boba” Lindström, guitarist/vocalist Andreas “Dregen” Svensson, bassist Sami Yaffa and drummer Robert Eriksson handed that same room its ass in short order. Good times, absolute forget-about-tomorrow-let’s-kill-it-tonight mentality, all-in, all-go, all-fire. Just right on. I’ve dug Hellacopters records and such as much as the next who’s like, “Yeah, that’s pretty cool, right on,” but seeing it live it’s much, much easier to understand why they have the cult following they do. It’s well earned.
Dreadnought
For everyone who could pull themselves away from The Hellacopters or for those to whom the straight-up rock wasn’t maddening enough, Denver’s Dreadnought offered an alternative in Vinyl. I’ve seen some impressive shit this weekend. It’s been a good fest, okay? Then I saw Dreadnought drummer Jordan Clancy one-hand cymbals while using his other hand to press the notes on the saxophone he was also playing at the same time. Dreadnought‘s 2017 album, A Wake in Sacred Waves (review here), was lush in its layers and as creative in its arrangements as it could be scathing in its blackened extremity, but I don’t think I’ve ever watched somebody drum and play sax at the same time. That’s a Psycho Las Vegas 2018 first for me. Guitarist/vocalist Kelly Schilling was playing a flute at the time as well, so he was in good company, and bassist Kevin Handlon and keyboardist/vocalist Lauren Vieira stood ready at a moment’s notice to take off into the next movement, be it Vieira and Schilling on a quick melodic duet, or strobe-accompanied blasting black metal, heads banging and screams utterly vicious. I didn’t stay the whole set, I’ll confess, but I was glad to catch what I did, and it only reinforced my opinion that they’re a band whose scope and execution are likewise admirable.
Sunn O)))
As it happened, I had a couple minutes to spare. As it also happened, drone/amp/riff-worship magnates Sunn O))) were going on in The Joint. Playing as just the duo of Stephen O’Malley and Greg Anderson, they were decked out in full grimmrobe regalia and surrounded of course by a henge of speaker cabinets. The floor shook, it was so loud. I hadn’t seen Sunn O))) in a very long time, and even longer with just the two of them — maybe never — so while the timing worked out for me to catch them because Vinyl was running late, it was a fortunate bit of happenstance working in my favor. There’s been so much said about the poetry of what Sunn O))) do that I’m in no way about to add any insight to the canon, but as far out as they’ve gone over the years and their intermittent studio albums, incorporating vocalist Attila Csihar and various other players throughout their time, seeing just Anderson and O’Malley together on stage, bathed in fog as ever (though the ventilation system was almost too good and the fog kept swirling away, needing immediate replenishment), reaffirmed the raw power that’s always been at the root of the band. Their project has outgrown being just the two of them, and I don’t think I’d trade the Sunn O))) discography for a hypothetical, but the force of rumble emanating from the stage said everything that needed saying.
Eight Bells
What a way to cap the festival. One more show in Vinyl, one more band I probably wouldn’t get to see otherwise. I was dragging to be perfectly honest, and as noted, Vinyl was running late, but screw it, I was already in, and Eight Bells were going to be worth the wait. The Portland-based space-psych-post-whatever four-piece vary in volume, meter, melody and rhythm, but are persistently spacious, and especially digging 2016’s Landless (review here), I was doubly interested to see Eight Bells since guitarist/vocalist Meylinda Jackson had a completely new lineup with her. Comprised now of Jackson, keyboardist/vocalist Melynda Amann, bassist Alyssa Maucere and drummer Brian Burke, the experimentalist side came out before the set even started in earnest, with Jackson taking some kind of voice box and running it through what seemed to be a host of effects to create a foundation of atmosphere. Drift was a factor, but Eight Bells were never actually out of control, and even for being a new group working together, what they played seemed well-honed and there was none of that awkward everybody-in-their-own-sonic-space-on-stage thing you get when a band is recently formed or revamped. I don’t have anything to compare it to in terms of Eight Bells, never having seen them before, but they held together a ranging heavy psychedelia that seems to be individualized no matter who’s playing it at the time.
—
I fly out of Las Vegas in about eight hours. It’ll be brutal, but I’m pretty sure I’ll make it, and if not, well, there’s always ‘wandering the earth’ to try. I hear good things.
Tomorrow’s pretty much all travel, so unless I have space on the plane to open my laptop — which I sincerely doubt I will — I expect it’ll be Tuesday before I get a proper thanks-everybody post up to wrap up this coverage, so with pictures still to sort through and packing to be done, I’ll just bow out and say thanks for reading and more pics after the jump.
So… thanks for reading and there are more pics after the jump. Ha:
Posted in Whathaveyou on February 23rd, 2018 by JJ Koczan
It’s only taken a few years for Psycho Las Vegas to establish itself as the premier underground festival in the US. All well and good. With 2018’s lineup, though, it’s time to start thinking of Psycho among the best in the world.
Sounds like too much? Consider Godflesh and Dimmu Borgir sharing a stage, both for exclusive West Coast appearances. Think of Sweden’s Witchcraft playing one of the two shows they’ll do in the US at Psycho, and ditto that for Japanese riff-madmen Church of Misery. Think of US exclusives from Lee Dorrian’s With the Dead, or Lucifer, whose Johanna Sadonis will also DJ the Center Bar. The commitment to up and coming underground acts local, domestic and foreign like Temple of Void, King Buffalo, Dreadnought, The Munsens and DVNE. Picture yourself watching Wolves in the Throne Room headline a pre-fest pool party with Elder, Young and in the Way, Dengue Fever, Fireball Ministry and Toke.
2018 is the year Psycho Las Vegas outclasses even itself and pushes further than it ever has in terms of stylistic reach (Integrity walks by and waves… at Boris) and the sheer power of its construction. If you’re looking for the future, you’ll find it in scumbag paradise.
Here’s the lineup:
Psycho Las Vegas 2018
Hard Rock Hotel and Casino Las Vegas 4455 Paradise Rd, Las Vegas, Nevada 89169
PSYCHO LAS VEGAS 2018 lineup: DIMMU BORGIR (west of chicago exclusive) HELLACOPTERS (one of two shows to be played in the USA in 2018) SUNN 0))) GODFLESH (west of chicago exclusive) WITCHCRAFT (one of two shows to be played in the USA in 2018) ENSLAVED AMERICAN NIGHTMARE HIGH ON FIRE ROCKET FROM THE CRYPT RED FANG ZAKK SABBATH CHURCH OF MISERY (usa exclusive 2018 with exception to one other show in San Diego) TINARIWEN GOBLIN CKY VENOM INC EYEHATEGOD VOIVOD BORIS COVEN INTEGRITY PALLBEARER WITH THE DEAD (USA exclusive 2018) MONOLORD LUCIFER (USA exclusive 2018) ACID WITCH SURVIVE DOPETHRONE BIG BUSINESS UNEARTHLY TRANCE MUTOID MAN TODAY IS THE DAY HELMS ALEE SPIRIT ADRIFT BATUSHKA PRIMITIVE MAN DVNE ALL PIGS MUST DIE EIGHT BELLS WORMWITCH INDIAN NECROT HOMEWRECKER BRAIN TENTACLES CLOAK BLACK MARE MAGIC SWORD UADA TEMPLE OF VOID DREADNOUGHT WOLVHAMMER ASEETHE DISASTROID FORMING THE VOID VENOMOUS MAXIMUS GHASTLY SOUND HOWLING GIANT KING BUFFALO NIGHT HORSE THE MUNSENS GLAARE
Paradise Pool Pre Party
August 16th
WOLVES IN THE THRONE ROOM ELDER YOUNG AND IN THE WAY DENGUE FEVER FIREBALL MINISTRY TOKE
Center Bar DJ’s Andrew W.K. Nicke Andersson (Entombed/Hellacopters) Johanna Sadonis (Lucifer)
