Posted in Reviews on February 20th, 2024 by JJ Koczan
The Obsessed stand tall as the longest tenured band led by guitarist and vocalist Scott “Wino” Weinrich, and with Gilded Sorrow — their fifth full-length since 1990, first in seven years, first for Ripple Music, and first as a four-piece — they envision an update of a sound that can only be considered classic. Weinrich, who first brought The Obsessed back to appear at Roadburn 2012 (review here) after fronting a Saint Vitus reunion there in 2009. The path even just across the last 12 years has been winding, never mind that The Obsessed have been active intermittently since circa 1979 as Weinrich has evolved other projects and collaborations like Shine/Spirit Caravan, The Hidden Hand, Premonition 13, Shrinebuilder, Probot, and established himself as a solo performer. Weaving through an initial incarnation as Spirit Caravan, The Obsessed came into focus again in 2016, just in time to play Maryland Doom Fest, with drummer Brian Costantino holding position as one band rebranded as the other and The Obsessed set forth on a years-long course of touring around their comeback LP, Sacred (review here), issued by Relapse some 23 years after 1994’s The Church Within, which for a long time was their swansong.
It is in part with the memory of that, thinking of The Obsessed as a band who were gone, that Gilded Sorrow comes across as so vital. While it’s fair to say their sound has always been straightforward, punch-you-in-the-face, on-groove, riff-driven heavy, that pioneering doom rock feels fresh through its nine songs and 36 minutes, with Weinrich‘s riffing and soloing complemented by the guitar of Jason Taylor (Sierra), who joined in 2022 along with bassist Chris Angleberger — more trivia than anything, but Costantino joins Greg Rogers as the only drummer to feature on successive The Obsessed records — such that as the howling echoes of tone give over to the chugging riff of “Daughter of an Echo” that begins the record in earnest, there’s already a depth of atmosphere that is new to the band. In addition to this semi-revamped dynamic — if you’ve never seen him on stage, Taylor is no minor player, and the work he does here feels more substantial than a phrase like ‘second guitar’ or ‘rhythm guitar’ can really convey; his sound is part of the personality of these songs — “Daughter of an Echo” rolls with a rhythmic tension in its snare pops and twisting nod that emphasizes the seething sensibility that’s always been at the band’s core. That’s evident in a particularly up-front vocal from Weinrich as well, with the production of Frank Marchand capturing performances that feel raw and vital but want nothing for clarity.
“Daughter of an Echo” does crucial work in laying out the course of Gilded Sorrow, but it doesn’t necessarily encapsulate the entire album. “It’s Not OK,” which follows directly, does not shy away from physical threat in lyrics that make a hook of the chorus, “It’s not okay/To rip me off/Got your hand in my pocket on the sly/It’s not okay to say that you forgot/Stick a needle in your eye,” reserving the second verse for railing against journalists, “afraid to look me in the eye,” who nonetheless criticize Weinrich‘s outspoken political views; the line “you fucked up” is layered to underline the point. That initial salvo rounds out with uptempo redirect “Realize a Dream,” which offers due push, vocal reach, and a vibe in its open verse that touches on some of what was in Spirit Caravan‘s jug before “Gilded Sorrow” arrives to cap side A with a shift in focus toward atmosphere, a stately tempo and a structural course that feels purposeful in its contrast with its surroundings and justifies itself as the title-track in offering a new take on The Obsessed‘s genre-setting downer march. An effects treatment on Weinrich‘s voice gives a watery presence adjacent to psych but not really tipped over into it in the first half, while the last two minutes of the total 5:34 are dedicated to a slow, ambient instrumental devolution kept active around rumble, feedback, and distant shred, by Costantino‘s punctuating drums as it builds back in volume and foreboding one last time.
Positioned at the outset of side B, “Stoned Back to the Bomb Age” is the actual centerpiece, with an antiwar standpoint framed through governmental exploitation (fair enough) and a roll that meets “Gilded Sorrow” head on, leaving it to the first 36 seconds of “Wellspring/Dark Sunshine,” which follows, to reset the ambience before a snap of snare brings hard reality manifest in heavy riffs. Less verse/chorus than “It’s Not OK” or “Realize a Dream,” with bluesy swagger in its leads and a steamroller of churn that seems to want more volume no matter how much it’s given, “Wellspring/Dark Sunshine” supports the mood of the title-track without necessarily repeating it, pulling in a different direction than “Stoned Back to the Bomb Age” but not so much a contrast as to feel out of place. The subsequent “Jailene” tells a story of drugs, loss and, yes, imprisonment, with the speediest shove since “Realize a Dream,” and perhaps casts addiction as its titular character, feeling more tongue-in-cheek than melancholy or angry. In the end, “Jailene” rips him off, which the album already noted is not okay, but a Thin Lizzy-style verse seems to make everything alright in the end.
Longtime followers might recall “Yen Sleep” as the opener of the 1999 demos/rare tracks compilation Incarnate. Included here on side B before the outro “Lucky Free Nice Machine” wraps Gilded Sorrow with a last 60 seconds of lead-topped nod and march, it is a standout for its older-school crunch and solos that speak to the Lunar Womb era. I won’t claim to know what motivated the band to put “Yen Sleep” on Gilded Sorrow, but it’s a convenient reminder of where The Obsessed come from in terms of doom — i.e., the heart of it — and stripped down in a manner that “Gilded Sorrow,” “Wellspring/Dark Sunshine,” or even its own quick intro aren’t and show no sign of wanting to be. The Obsessed aren’t forgetting their past, but they’re not trying to relive it either, and that combined intent results in a sound that’s full, modern and dense when called for by the material, but able to convey spaciousness around that in new ways. As a generalization, some of it builds on places Sacred went, but with more years of touring ahead of its arrival and the solidification of the current lineup, Gilded Sorrow is a stronger statement of who The Obsessed are than the return-LP inherently could’ve been.
That is to say, if Sacred said The Obsessed were back, Gilded Sorrow is an expansion of who they are as a part of that. It admirably incorporates new ideas into the band’s signature approach and adds to one of American doom’s most essential legacies while refusing to compromise either in sound or the stands its takes lyrically in “It’s Not OK,” “Stoned Back to the Bomb Age,” and so on. I don’t agree with much of the album’s politics, though let’s-have-less-war is a decent common ground to start from, and in the spirit of the album itself I won’t shy away from mentioning it. If that kind of thing is a sticking point for you as a listener — the use of “snowflake” in “It’s Not OK,” or “young AI robots” in “Stoned Back to the Bomb Age,” etc. — then it matters. If not, it doesn’t. In either case, it’s a confrontationalism that’s part of who The Obsessed are at this stage in their career, and it’s been a part of Weinrich‘s persona for decades. What ultimately defines the record is the energy with which its songs, fast or slow, are wrought, and the clever and considered ways The Obsessed build on their history and recast their dynamic with an obvious goal to keep moving forward. If it even needs to be said, Gilded Sorrow is unquestionably among the most essential doom releases 2024 will bring.
Posted in Whathaveyou on February 19th, 2024 by JJ Koczan
Last year, at what was my first time attending SonicBlast Fest in Âncora, Portugal, where it’s been held the last several years since moving from Moledo, I had a great, great time. Really. When I think every single day in multiple contexts about how I never seem to let myself enjoy anything — a perspective to which this blog stands as ready testament against, what with all the salivating and hyperbole — my time at SonicBlast is among the first counterpoints that comes to mind. I met new friends, I met old friends, I hung out with Dr. Space for like three days, and that dude’s the best. I stood on stage and watched Dozer, singing along and rocking out alongside friendly, welcoming faces. A rare moment overcoming insecurity. The place, the weather, the beach, the people are beautiful. And the music is very loud. For the rest of my life, I get to say I saw Ruff Majik supporting Elektrik Ram. For this I am deeply lucky.
The shape of my 2024 is such that when SonicBlast happens this year –Aug. 8-10, with the pre-show Aug. 7 set to feature Saint Karloff from Norway among others still TBA — I’ll be traveling with family elsewhere. That’s kind of a result of there only being so much summer between school years and my wife’s teaching semesters, so I’m rolling with it. I wouldn’t be so arrogant as to assume I’d be invited back to SonicBlast anyhow, but if the weekend comes and you don’t see me covering the likes of High on Fire, Margarita Witch Cult (who I think I might need to see), The Obsessed, Tons, Slift, and so on, it’s not because I didn’t have a good time there last year or wouldn’t be interested in watching Brant Bjork, Graveyard, Colour Haze and/or 1000mods (who ruled at Desertfest NYC and are maybe recording?), Truckfighters and probably four or five surprisingly hardcore-influenced acts on that huge stage, when in fact I very much would. Last year’s edition was unrealistically good. The photo pit was big enough to dance in. They even had chairs. I’d be back there in a second if I could. Maybe 2025 if I’m lucky and the world doesn’t end (again).
Poster by Branca — to whom I wasn’t brave enough to say hi last year, sorry — and the announcement from the festival’s socials follow in blue, as well as links and the High on Fire single in case you don’t want to just scroll down the site to find it in its own post:
We’re so proud to announce 13 more bands that’ll burn down SonicBlast Fest’s 12th edition!
Welcome the great @highonfireband, who will release the first single from their upcoming album today, @gayesuakyol @sliftrock @thenightbeats @theobsessedofficial @coffin_aus @jjuujjuu @margaritawitchcult @skemer_official @tonsofweed666 @cobrafuma and @silvershark_boogie 🔥🔥🔥
We’re also so glad to announce the first name to our warm-up party, at the 7th august, @saintkarloff ⚡️
Unfortunately Sunami won’t be able to make it to SonicBlast Fest 2024.
Posted in Whathaveyou on January 9th, 2024 by JJ Koczan
As ever fronted by founding guitarist/vocalist Scott ‘Wino’ Weinrich — who makes ready to embark on a stint of solo acoustic shows in Europe even as their announcement arrives — The Obsessed have announced the first US run of headlining touring they’ll undertake to support the Feb. 16 release of their first album in seven years and first with the current lineup, Gilded Sorrow. Joining the doom legends in the endeavor are Boston’s Gozu and Nashville’s Howling Giant, who both issued their own stellar LPs in 2023, be it the former’s Remedy (review here) or the latter’s breakout, Glass Future (review here), which they’ve newly revamped their own lineup to support, adding a second guitarist to play as a four-piece.
The Obsessed, who for most of their decades have been a trio, have also been working with two guitars the last couple years, and it doesn’t seem to have hurt them any. They note below they’re about to put out a new single from Gilded Sorrow later this week, so that’ll be something to look out for, and you can find their comment, what Gozu and Howling Giant also had to say about it, and the dates, below, along with far too many links and videos from all involved parties, cobbled together from hither and yon across various social media outlets and so on. Who the hell doesn’t like a package tour?
Have at it:
Says The Obsessed: “Hitting the American highways with our friends Howling Giant and GOZU this March/April. Let’s see y’all out there! We will have our new record, Gilded Sorrow, on the merch table at all these shows. Stay tuned for another new single THIS FRIDAY!!”
Says Gozu: “2024 looking good! Who will we see?”
Says Howling Giant: “Back on the road we go! Very excited to be heading out with The Obsessed and GOZU this March/April. We’ve got James locked and loaded for a set chock full of tunes from Glass Future, we can’t wait to see everyone!”
3/13 Philadelphia, PA – Milk Boy 3/14 Baltimore, MD – Metro Gallery 3/15 Richmond, VA – Cobra Cabana 3/16 Wilmington, NC – Reggie’s 42nd Street Tavern 3/17 Asheville, NC – The Odd 3/19 Atlanta, GA – Boggs Social & Supply 3/20 New Orleans, LA – Siberia 3/22 Fort Worth, TX – Tulips 3/23 Austin, TX – The Lost Well 3/25 Albuquerque, NM – Launchpad 3/26 Mesa, AZ – The Nile Underground 3/27 Los Angeles, CA – Resident 3/28 Palmdale, CA – Transplants Brewing 3/29 San Diego, CA – Brick By Brick 3/30 Las Vegas, NV – The Usual Place 3/31 Salt Lake City, UT – Aces High Saloon 4/1 Denver, CO – Hi-Dive 4/3 Chicago, IL – Reggies 4/4 Lakewood, OH – The Foundry 4/5 New Kensington, PA – Preserving Underground 4/6 Rochester, NY – Montage Music Hall 4/7 Brattleboro, VT – The Stone Church 4/9 Cambridge, MA – Sonia 4/10 Portland, ME – Geno’s Rock Club 4/11 Hamden, CT – Space Ballroom 4/12 Brooklyn, NY – The Meadows
THE OBSESSED line-up: Chris Angleberger – bass and vocals Jason Taylor – guitar and vocals Brian Costantino – drums Scott “Wino” Weinrich – guitar and vocals
GOZU is: Marc Gaffney – guitar and vocals Joe Grotto – bass Doug Sherman – lead guitar Seth Botos – drums
Howling Giant are: Tom Polzine – Guitar and Vocals Zach Wheeler – Drums and Vocals Sebastian Baltes – Bass and Vocals James Sanderson – Guitar and Vocals
Posted in Whathaveyou on September 15th, 2023 by JJ Koczan
Doom legends The Obsessed are getting ready for a return to Europe at the end of this month, where they’ll play Up in Smoke, Demons Gate, Keep it Low, and, of course, Desertfest Belgium, which seems to be the epicenter of this Fall’s touring season on the continent. As they do, they’re also getting ready to start the release cycle for 2024’s Gilded Sorrow, which will be released next Feb. 16 through Ripple Music as the band’s first outing since 2017’s Sacred (review here). They’ve toured hard all the while — well, you know what I mean — and when I saw them this past June at Freak Valley, guitarist Scott “Wino” Weinrich qu0ted “It’s Not Okay” as the name of the album before playing a song of the same title. These things change sometimes. Gilded Sorrow is pretty doomed, so yeah, that’ll work nicely.
No music yet from the album — nor should there be, it’s five months away — but as noted, they’re already playing new material on the road, and hey, wouldn’t you know it, here’s a bunch of tour dates from the PR wire, previously announced but certainly relevant. Go figure:
Doom metal godfathers THE OBSESSED to release fifth studio album “Gilded Sorrow” on Ripple Music this February; European tour starts soon!
Iconic US doom and heavy metal veterans THE OBSESSED announce a February 16th, 2024 date for the anticipated release of their fifth studio full-length “Gilded Sorrow” on Ripple Music. The band is ready to embark on a month-long European tour this month, including appearances at Desertfest, Keep It Low, Up In Smoke and Demons Gate festivals.
Scott “Wino” Weinrich is a living legend. In a way, he is the American version of Lemmy and shares many traits with the late, much-beloved metal icon. He’s always been a rebel, loner and an outsider in an outsider scene, pursuing his music without regard for popularity or acceptance. In the process, he came to be considered one of the early pioneers of American doom. All of this began when he founded THE OBSESSED back in the 70s, then pursued through his many other outfits such as Saint Vitus or Spirit Caravan. As a key part of the 80s Washington/Maryland music scene, his music earned the respect of metal, punk and crossover fans alike while often being dubbed doom metal. Looking back, it was just gritty, street-wise American metal with a cynical bent and psychedelic flair, and this is what made him the unique and timeless heavy music icon he is today.
Now THE OBSESSED comes roaring back with their most rocking album of all time “Gilded Sorrow”, to be released on February 16th, 2024 through independent Californian label Ripple Music. Expanded to a 4-piece with the addition of Jason Taylor on guitar, the music is more aggressive, straightforward and downright mean than ever before. Wino comments: “Adding Jason Taylor as second guitarist was one of the best decisions I’ve made because he’s a virtuoso guitar player and I must say he contributed quite a bit of good stuff to this record.” About the new album, he adds: “I think it’s the heaviest thing I’ve ever done. Heavy in a sense as not just sludge heavy, but well-rounded. And it sounds fantastic. Everything I do with Frank Marchand gets better and better. He knows what the fuck he’s doing.”
“Gilded Sorrow” will be available in various limited vinyl editions, classic vinyl, CD and digital, with US preorders already available at this location. Stay tuned as the first single will be revealed soon!
THE OBSESSED Fall European tour 2023: – Tickets available at this location: https://www.new-terms.com/newterms/music 28.09 – Mannheim (DE) 7er Club 29.09 – Pratteln (CH) Up In Smoke Festival 30.09 – Athens (GR) Demons Gate Festival 03.10 – London (UK) The Underworld 04.10 – Manchester (UK) Rebellion 05.10 – Bristol (UK) The Exchange 07.10 – Munich (DE) Keep It Low Festival 08.10 – Berlin (DE) SO36** 09.10 – Essen (BE) Turock** 11.10 – Linköping (SE) The Crypt** 12.10 – Stockholm (SE) Slaktkyrkan** 14.10 – Helsinki (FIN) Kuudes Linja (first show)** 15.10 – Helsinki (FIN) Kuudes Linja (second show)** 16.10 – Tallin (EST) Paavli Kultuutivabrik 18.10 – Warsaw (PL) Hydrozagadka 19.10 – Krakow (PL) Zascianek 21.10 – Siegen (DE) Vortex 22.10 – Antwerp (BE) Desertfest Belgium** **with EyeHateGod
THE OBSESSED line-up: Chris Angleberger – bass and vocals Jason Taylor – guitar and vocals Brian Costantino – drums Scott “Wino” Weinrich – guitar and vocals
Posted in Whathaveyou on August 15th, 2023 by JJ Koczan
You would not accuse The Obsessed of skipping out on doing the work. The classic doomers and progenitors of Maryland doom — if you have The Obsessed and Pentagram, you’re off to a good start — will embark on their second European tour of 2023 next month, doing a stint that covers ground from Athens to Helsinki, diverting to the UK on the way and anchoring weekends with festivals like Up in Smoke, Demons Gate, and Keep it Low before wrapping at Desertfest Belgium in Antwerp. I’ve been waiting for a release announcement for their next album basically since seeing them in June at Freak Valley Festival in Germany (review here), and am sure it’ll show up on the PR wire probably five minutes after this goes live. Murphy’s law of doomblogging.
They’ve got dates with Eyehategod, which between Wino and Jimmy Bower is a meeting between two of the foremost US riffers of their generation — a feast of tone and disillusionment. Dates follow here, and when I get word of that record, I’ll post accordingly. Till then:
THE OBSESSED – European Tour 2023: Part Two
New countries and a run with our brothers EYEHATEGOD
28.09.2023 GER – Mannheim, 7er Club 29.09.2023 CH – Pratteln, Z7, UP IN SMOKE Festival 2023 30.09.2023 GR – Athens, Kyttaro Live Club, Demons Gate Festival 2023 01.10.2023 GR – Athens, Wino acoustic 03.10.2023 UK – London, The Underworld 04.10.2023 UK – Manchester, Rebellion 05.10.2023 UK – Bristol, The Fleece 07.10.2023 GER – Munich, Backstage, KEEP IT LOW Festival 2023 * with EYEHATEGOD 08.10.2023 GER – Berlin, SO36, * with EYEHATEGOD 09.10.2023 GER – Essen, Turock * with EYEHATEGOD 11.10.2023 SWE – Linköpping, The Crypt * with EYEHATEGOD 12.10.2023 SWE – Stockholm, Slaktkyrkan * with EYEHATEGOD 14.10.2023 FIN – Helsinki, Kuudes Linja (1st show) * with EYEHATEGOD 15.10.2023 FIN – Helsinki, Kuudes Linja (2nd show) * with EYEHATEGOD 16.10.2023 EST – Tallin, venue tba. 18.10.2023 PL – Warszawa, Hydrozagadka 19.10.2023 PL – Kraków, Zaścianek 21.10.2023 GER – Siegen, Vortex 22.10.2023 B – Antwerp, Trix, Desertfest 2023 * with EYEHATEGOD
Poster by Bill Kole
THE OBSESSED line-up: Chris Angleberger – bass and vocals Jason Taylor – guitar and vocals Brian Costantino – drums Scott “Wino” Weinrich – guitar and vocals
Posted in Whathaveyou on June 15th, 2023 by JJ Koczan
Quickie lineup update from Desertfest Belgium 2023 for Antwerp. Having previously confirmed the likes of Yawning Man, Shellac, The Ocean, Monkey3 — whose 39 Laps is about to be reissued on Sound of Liberation Records — Dopelord and King Buffalo, Ruff Majik, Siena Root, on and on, the venerable Belgian installation of the Desertfest brand has put forth word that North Carolinian original-era sludge chaosbringers Sourvein won’t be making the trip after all, but that New Orleans mainstays Eyehategod will, alongside The Obsessed, The Great Machine, ultra-crushers LLNN, as well as Moonstone and Apex Ten, the latter of whom are Belgian natives. Their Aashray (review here) album was released last month.
A little context here offers potentially crucial information. What the below announcement doesn’t say is how on-fire The Obsessed are right now or that they’re headed into a new album release this Fall — release date still forthcoming, but I’m pretty sure Wino said on stage at Freak Valley that the album is called It’s Not Okay — or the extent to which Israeli trio The Great Machine tear it up on (or potentially off) stage, which is something else I was lucky enough to find out for myself in Netphen. Knowing that, they become more than just another name on a bill or another act who put out a cool record this year, and if you haven’t seen them and are headed to Desertfest, they are indeed a sight to see. All the more because the tones and sings are so right on.
Here’s what the fest had to say:
We’re thrilled to add a couple of new names to our Desertfest congregation. Joining our bill for the best fest of the year are:
EYEHATEGOD – The Obsessed – The Great Machine – LLNN – Moonstone – Apex Ten
Unfortunately SOURVEIN won’t make it to the fest this year due to a contingency.
Get your pass to Desert Heaven with a Reduced Three Days Combi Ticket or a Day Ticket at our Ticket Page!
Feeling moderately asskicked when I woke up, I headed to the hotel breakfast quickly to grab coffee. They had scrambled eggs and I didn’t have any, which was the wrong choice. My stomach was a little iffy. So maybe pounding seven espressos out of the machine wasn’t a hot idea either. I’d call these rookie mistakes, but I’m no rookie. Just a dumbass who can’t handle basic nourishment when left to his own devices.
Some light nausea and a not-nap later, it was back to the festival grounds for me. Today is supposed to be hotter than yesterday, so I’ll keep to my routine of refilling the water bottle at least once per band. I am a firm believer in the power of hydration, which is good because I think that’s what’s going to get me through the day. You can’t always count on stumbling into a yoga class at just the right time, sadly.
Before I go up to take pics of the start of the 10-act final day here, I would like to reiterate my thanks to Freak Valley for having me back. The vibe here is intimate and friendly and there are still however many thousand people, so that’s saying something. I am honored to be here, to have been here, to have met people and made friends here and seen and heard things I never knew I would. If you told me 15 years ago that I’d be living this life, even on intermittent weekends spread throughout the year, I’d probably have been like, “Wow that sounds exhausting, sure hope I don’t blow out a knee or some shit,” but underneath I’d be flabbergasted. I remain so, loving it.
My phone autocorrected “living” at the end of that last sentence. I’m leaving it as is. Some mistakes are on purpose.
Thank you again. Here we go. Day three of three:
Reverend Beat-Man
Before the show actually started, the good Reverend was to be found one-man parading around the merch/food area with a mini amp and bullhorn, hand-delivering scummer blues as he went. I didn’t even have the battery in my camera yet, so the above pic is from my phone. I don’t know what car battery he was huffing before going onstage, but I’d gladly take a hit off it. Dude was full-on, exclusively, there on his own doing weirdo blower blues, put his clergy collar on during his purposefully laughably long intro. Distorted vocals, some looped cello for good measure, a real performance piece, complete with sleaze, “Jesus Christ Twist,” boogie like he was born to do it, merch sold on the honor system, and a fest-day’s worth of shenanigans packed into a set that had the early crowd shouting for one more song when it was over. A hoot in the grand tradition of hoots.
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Ritual King
Proper English heavy rock. You can hear aspects of original-era desert riffing, some Truckfighters as well in that rolling bass, but Ritual King’s 2020 self-titled debut (review here), issued through Ripple, had more progressive stretches too and that came through a bit in the shuffle jam amidst all the roll and richness of fuzz, the bass holding down the groove while the guitar trips out ever so slightly. It was almost like you could hear them growing as they played, and their first record was already a call to the converted. I’ll not go around making predictions, but they were tight, seemed to be just the right amount of not-sober to represent the UK ahead of Orange Goblin later, and made it clear that the next generation of heavy knows from whence it comes and is ready to make its own statement in the genre. That’s the hope, anyhow. They could break up tomorrow, you never know. If that happened, I’d be glad to have seen them today. Second record later this year. Don’t tell anybody. It’s a secret.
—
Food: With about 10 minutes before Gaupa went on, I very quickly inhaled the meat out of a sans-rice goulash, leaving most of the sauce, veggies, etc. Burned tongue for the effort. My self-imposed dietary restrictions at this point are laughable — I brought three (small, plastic) jars of almond butter with me, left the one I wanted to bring at the hotel, hence the improv. What my feelings on this matter tell me is I’m channeling other shit into disordered eating because it’s a way to exert control over some aspect of my life. Take care of your brain, kids.
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Gaupa
Burner. If I hadn’t seen them in December in their native Sweden, I’d likely be blown away both by the band’s performance and the response from the crowd, but while I knew what to expect, Gaupa still set a high standard on the stage. Hair flying all over the place, and vocalist Emma Näslund’s sort of hard-hippie dance moves putting emphasis on the band’s psychedelic side even as the actual tones are doomly thick and their riffs are high-class Euro stoner. They’re on their way, and the only question is how far they’ll push it. And they’re young, which is crucial. Last year’s Myriad (review here) featured heavily and it was immediately apparent that those assembled were familiar. They were an early pull for the crowd — all of a sudden, the grass was packed — and their delivery more than justified that.
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Tabernacle
All the way over from San Francisco, Tabernacle are a conceptual four-piece who make a point of only playing original arrangements of traditional English folk songs. And I guess on paper that kind of says covers, but that’s not quite the end of it. Technically, they’re songs that have been around and performed by many people — it’s fucking folk music; it’s for and of the folk — but the way they interpret the root material is their own, pairing ancient melodies with heavy warmth, languid, fluid nod. I guess the difference between Tabernacle and what I would generally think of as covers is the possibility of progressing in terms of sound. Their approach is open to growing, and between lead vocalist/synthesist Caira Paravel, bechapeaued guitarist/vocalist Walker Phillips, who are solo filk players as well, bassist Camilla Saufley (ex-Golden Void, The Assemble Head in Sunburst Sound, and a Freak Valley veteran) and drummer Adam Weaver (The Asteroid No. 4), they clearly have the range and reach to make that happen if they choose. They don’t have much out, just a few songs streaming, and so I think people didn’t know them that well — writing the announcement that they were playing here was how I learned about them too — but for a band writing around established foundations, they wanted nothing for originality. I’d listen to a record of this, happily.
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Hypnos 69
Hard for me to say enough how much I was looking forward to Hypnos 69. Not something I ever dreamed could happen, even before the band broke up like a decade ago. They’re a band whose music I’ve listened to for 20 years — and that by no means makes me groundfloor, so please don’t think I’m saying it does — and when I was first learning about underground rock, my initial immersion in different styles and bands from all over, they taught me so much about what heavy music could do, about what ‘progressive’ meant in terms of influence and presence, about atmosphere and about how music can seem to chase itself in circles forever and have fun doing it. I was nervous before they went on. What if they didn’t live up to the expectation in my head? What if they were jerks on stage? What if what if what if a piano fell out of the sky on my head two minutes before they went on? They were better than I could have hoped. I guess the phrase “bucket list band” applies, but really it was just something I’d reconciled myself to missing and never being able to see. I’ve lived with those records for so long, to hear and at them brought to life in front of me — along with new material, no less — felt like a landmark. I am so grateful. Thank you Hypnos 69, thank you Freak Valley. And please, if you’re seeing these words and you’ve never heard this band, I implore you to listen. Start with 2010’s Legacy (review here), and work back through 2006’s The Eclectic Measure (discussed here), 2004’s The Intrigue of Perception (discussed here) and 2002’s Timeline Traveller (rules but hasn’t closed a week yet; keeping it in my back pocket; it’s on their Bandcamp with all the rest). At least check it out if you haven’t. Please.
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The Obsessed
Dudes sounded great. More than 40 years on, The Obsessed came across with new life and brought the doom of the Chesapeake to this little alcove in Netphen with fervency and groove alike. Founding guitarist/vocalist Scott “Wino” Weinrich and drummer Brian Costantino have been playing together for about a decade straight at this point, and with Chris Angleberger on bass and Jason Taylor on guitar/backing vocals — last I saw them was 2019 in Boston with Reid Raley still on bass and just Wino on guitar; the more standard configuration as a trio through their history — they sounded more than ready to follow-up 2017’s Sacred (review here) and were locked in all the way with a trademark groove that has helped forge trad doom. There was a short rant between songs about biometric scans and money on bracelets and freedoms being taken away, but that’s who Wino is and is nothing new, even if the discourse around and promulgation of conspiracy theories has changed in the last 10 years. In any case, the songs sounded like I can only imagine riding a motorcycle feels, and that’s the idea when it comes to The Obsessed, so I’m calling it a win outright. New record later this year on Ripple, from which they aired “It’s Not Okay,” which was shouted out to “all these fucking keyboard warriors” typing all their words and something about showing up at their house with a baseball bat on a Sunday and having them run away. Fair enough.
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The Great Machine
Somehow they played fast even when they were playing slow, but either way, Israeli trio The Great Machine ran circles around the stage, and out in front for a bit too, and were a sight to behold as they made sure to get their cardio in while playing. Good fun, great energy, and their new album, Funrider (review here), while aptly named, is just a whiff of what they do live in terms of forward charge. But in addition to running around stage, the sound was also right on, roll and shove and even the odd quiet moment playing off each other with killer stoner roll and density that they made move almost as much as they did while playing. And even more, their set happened to coincide with the first break in the heat of this very, very sunny day, so all the conditions seemed to apply for them to kick ass, which they did with marked thoroughness. They’ve been here before, in 2017 (I looked it up; I know a good place for that kind of thing), and I have a hard time imagining they wouldn’t be invited back again. Rarely in my experience is heavy rock so much fun and still has so much to offer musically. They brought out a guest screamer toward the end of the set and continued to lap the vast majority of everything as they pummeled riff after riff. Hypnos 69 were the band I knew I was waiting for. The Great Machine were the band I didn’t know I was waiting for.
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Hällas
This wasn’t my first time encountering Swedish cosmic strutters Hällas — who rock proto-metallic ’70s space riffs and their capes with equal aplomb; not being sarcastic — but it was the melodies that got me this time. Such a smooth, classy style, between the up-to-three vocalists and the organ and guitars, giving them a sense of out-thereness in alignment with their stage presence. I don’t mind telling you I am beat. Truly. But the sun is on its way down as we head toward 21:30, and I’m happy to let “Star Rider” take me into the home stretch of Freak Valley 2023. Much like hope The Great Machine were more than just somebody’s ecercise video, so too were Hällas more than the sum of their stage costumes. I guess in terms of sound they’re vintage, but it’s retrofuturism if anything, and they’re masters of it at this point and reliable in that regard. And even if I was dragging ass — no yoga today, sadly, though I’ve done some stretching throughout and basic sustenance helped — they most certainly were not and they had people singing along, dancing, spontaneous clapping along, the whole thing. I found a not-quiet but also not-crowded spot to sit and watch, trying to soak in as much as I can of this festival because I know it’s going to be over soon. What a party it’s been. No wonder tickets sell out in like a day every year.
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Orange Goblin
On a planet marked by its paucity of guarantees, you can know in your heart that when Orange Goblin show up, it’s to destroy. Their second album, Time Travelling Blues (discussed here), was released in 1998 on Rise Above Records, which makes its 25th anniversary the occasion for playing it in full for the first time ever here, at Freak Valley, but I ask you in a spirit of friendship, would they really need an excuse? From fucking “Blue Snow” through the fucking title-track — god damn, that groove, and that ending — and fucking “Nuclear Guru,” that’s one of the best fucking sabbath rock records ever made to not actually be by Black Sabbath. The set was a celebration that felt like it applied to the whole weekend, and Orange Goblin absolutely hit that mark. Chris Turner on drums propulsive or swinging or both, Joe Hoare on guitar with blues shred, Harry Armstrong — the only member of the band now who wasn’t in it a quarter-century ago — with a stark reminder that ‘heavy’ lives in the bottom end, and Ben Ward jumping up and down and running point like the frontman he is, like a walking advertisement for his own sobriety and healthy living. Full of life. The night isn’t over yet, but this was a special set in more than just the songs being played. A highlight? Shit. These guys — and in no small part, this record — have inspired a generation and counting of English heavy. It is, and they are, a classic. And being here, with the trees lit up in back and the hey-hey-heys from the crowd almost as loud as the band itself, the band throwing in “Red Tide Rising” as a bonus track at the end. I hope I never forget it. Thank you.
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Slift
Do we need to talk about Ummon? That record (review here) carried entire legions of weirdos through the pandemic, and I felt like I was overdue for seeing Slift live. Not in a the-moment-has-passed way, because it hasn’t, but just in that way I’m perpetually late to any and all parties. They brought the drums down front and set up in a line, had a video protection behind, and you could feel the bass in your chest on that side of the stage even when they were warming up, speaking from personal experience. They lit the galaxy on fire. They blew up the fucking Death Star. Slayer meet Hawkwind. Didn’t know space thrash was a thing? It was tonight for sure, but that’s really just the launch point for the Andromeda-bound FTL groove that Slift emit. People were saying their goodnights, me too, but after a long and busy few days since I took off from Newark an entire dimension ago, I was only too happy to be disintegrated by the pulsations of their cosmic noise. I can’t believe I’m here. I can’t believe it’s ending. I can’t believe how ineffective my earplugs were in the face of their dizzying assault. I could go on, easily, about them ripping holes in space-time, or I could start using treknobabble, which might be fun, but I’m not sure that would capture the overwhelming physical presence of Slift at Freak Valley. I can’t remember the last time I so badly wanted a band to not be a fluke. They’ve got nearly impossible expectations to meet. But, that tension, you can feel in your blood. This band might be the real deal, and I know I’m not the first to say so. At least some of what they played was new, so that bodes well. I’m keeping my fingers crossed. I’m hopeful. Do you know how good that feels?
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Thank you again for reading. Thank you Freak Valley. Thank you Jens, Alex, Marcus, Felli, Roman, Juan, Pete Holland. I met friggin’ Komet Lulu! I was so nervous and awkward; totally embarrassed myself. Everybody who approached me to introduce themselves and say some words about this site or what I do. People are so impossibly kind. Friends I met last year and saw again. Sister Rainbow! I don’t think I knew how badly I needed this, but I bet The Patient Mrs. knew, and thanks to her most of all. Thank you, Wendy. I love you.
I wrote too much today. I took too many pictures. I guess some part of me was trying to cram in as much as I could while I could. No regrets. For mostly my own future reference, here’s the running order of the entire festival. I saw all of it.
More pics after the jump. You know the deal. Cheers from Freak Valley 2023, and all the love in the universe. I fly home tomorrow.
Posted in Whathaveyou on June 1st, 2023 by JJ Koczan
[EDIT: For future reference, these shows were later canceled.]
The Obsessed have certainly been kicking around on tour since revamping their lineup as a double-guitar four-piece, but as they hit Freak Valley Festival next week, that will be my first time seeing their current incarnation, with Jason Taylor on guitar/vocals and Chris Angleberger on bass/vocals alongside founding guitarist/vocalist Scott “Wino” Weinrich and by-now-long-ish-time drummer Brian Costantino. The band have new Canadian dates set for July, and it’s looking like they’ll be back in Europe this Fall, as they’ve already been confirmed for Keep it Low and Up in Smoke this October, after starting their current Euro tour at Desertfest Berlin and keeping it rolling until Hellfest in France on June 17. They go. They’re already gone.
Last December brought word that the seminal doomers had signed to Ripple Music for the follow-up to 2017’s Relapse-issued Sacred (review here), and I’ve basically been waiting for the release announcement ever since. No word on it yet, but I’d believe it for sure if they had a record coming timed to the Fall tour. Or next Spring’s tour. Or next Summer’s tour. Or next Fall’s tour. Or maybe a Winter run. You get the idea.
Playing with more good bands here:
THE OBSESSED Announce Canadian Invasion Tour Taking Place This July
THE OBSESSED are gearing up to embark on their Canadian Invasion Tour this July. The veteran doom metal quartet will be joined by WITCHROT and THE DEATH WHEELERS (along with HAZEHOUND in Montreal), a special presentation of Fuzzed and Buzzed, the disruptive record label from Toronto specializing in all things Doom.
“Hey Wino here. I just wanted to say, on behalf of myself and my band THE OBSESSED, we are excited and looking forward to our upcoming Canadian shows, July 26 through 29. I am proud to say also we have a new member Canadian guitarist Jason Taylor on second guitar. Having lived a short time in Ottawa as a youngster, the majestic beauty of Canada was imprinted on me forever.”
Tour Dates: July 26 – Quebec – L’ ANTI BAR July 27 – Montreal – PIRANHA BAR* (This show also features HAZEHOUND) July 28 – Ottawa – MAVERICKS BAR July 29 – Toronto – BOVINE SEX CLUB
THE OBSESSED line-up: Chris Angleberger – bass and vocals Jason Taylor – guitar and vocals Brian Costantino – drums Scott “Wino” Weinrich – guitar and vocals
