If you’ve already been, you don’t need me to tell you to go. If not yet, then go ahead and consider this encouragement. Nestled into its wooded riverside corner, a gorgeous setting with stages large and small, able to be correspondingly relaxing and intense, Bear Stone Festival 2026 has unveiled the first names for its lineup for next July. At the risk of getting personal, I was more than a bit heartbroken to miss the fest this year after attending in 2024, and with a lineup that includes Uncle Acid and the Deadbeats, Elder, My Sleeping Karma, Planet of Zeus, Travo, Ungraven, Saint Karloff, Ungraven, and more, including the continuing commitment to showcase homegrown Croatian acts, the four-dayer’s bill already highlights the growth underway for the festival itself. Progression, both in terms of stylistic outreach and getting bigger names. The art, the people, the sound, the lights, the place. I sincerely hope I get to go back.

Check out the 2025 aftermovie at the bottom of the post. It’s very much like that, only not slow motion. Here’s the announcement from the PR wire:

Bear Stone Festival 2026 – First Lineup Announcement

Bear Stone Festival proudly unveils the first wave of its 2026 lineup, showcasing a bold spectrum of heavy music and beyond.

From the occult-tinged psychedelia of Uncle Acid & The Deadbeats and the progressive power of Elder, to the meditative soundscapes of My Sleeping Karma, the high-voltage rock of Planet of Zeus, and the raw underground energy of acts like TRAVO, ŽEN, Otrovna Kristina, Wyatt E., and many more, the bill perfectly reflects Bear Stone Festival’s commitment to musical diversity.

This year’s lineup brings a rich palette of genres such as Doom, Psych, Stoner, Punk, Garage, Experimental Noise, and many more, all set to erupt across the three stages nestled in Bear Stone’s unique natural landscape.

Festival ticket link: https://eventix.shop/4zqx5eg8

UNCLE ACID & THE DEADBEATS (UK)
[Psychedelic Rock/Doom Metal]

The brainchild of Kevin Starrs, Uncle Acid & The Deadbeats have been crafting extraordinary music since 2009. Emerging from the British underground, they reshaped hard rock and downer blues with a deeply psychedelic and idiosyncratic edge. Fusing the playful melodies and harmonies of psychedelic pop with the dark thunder of proto-metal, Starrs conjures a sound that feels both eerily familiar and entirely new.

Resolutely individualist, Uncle Acid & The Deadbeats channel the spirit of heavy music’s past while remaining one of the most unique and electrifying live acts today.

ELDER (USA)
[Progressive Rock/Space Rock]

Elder are a genre-defying rock band blending heavy psychedelia, progressive intricacy, and expansive soundscapes into long-form compositions that push the boundaries of modern rock. Over the course of six albums and numerous EPs, they’ve evolved from the stoner/doom underground into one of the most distinctive voices in heavy, exploratory music.

In 2024, Elder brought their powerful live show to arenas across the U.S. as the main support for Tool, marking a milestone moment in their journey ahead of their next album in 2025.

MY SLEEPING KARMA (DE)
[Psychedelic Rock/Post-Rock]

My Sleeping Karma are a German instrumental quartet weaving psychedelic rock, stoner grooves, and post-rock atmospheres into cinematic sound journeys. After the tragic passing of longtime drummer Steffen Weigand in 2022, the band faced an uncertain future but ultimately found strength in continuing their path.

Their revival has reaffirmed them as one of Europe’s most powerful live acts, guiding audiences through immersive and emotional sonic explorations.

PLANET OF ZEUS (GR)
[Stoner Rock/Stoner Metal]

Planet of Zeus, hailing from Athens, Greece, deliver heavy rock thunder that fuses raw riff-driven power with melodic exploration and bluesy dynamics. Since their formation in 2000, they’ve built a reputation for intense, sincere, and ever-evolving live performances, earning a loyal following at home and abroad.

With their latest album Afterlife (2024), the band continue to push their sound forward while cementing their place as one of Europe’s most vital underground rock acts.

TRAVO (POR)
[Heavy Psych/Neo-Psych Rock]

TRAVO, from Braga, Portugal, are a four-piece force of heavy psych and garage rock, delivering a raw, high-octane sound that thrives on intensity and experimentation.

Renowned for volcanic live performances that blur the line between chaos and ecstasy, TRAVO stand as one of the most visceral and authentic voices in today’s psych rock scene.

WYATT E. (BE)
[Drone-Ambient/Antique Doom]

Wyatt E. are a boundary-pushing force in the modern doom scene, blending massive riffs with layered instrumentation and a fearless approach to sonic experimentation. Their music weaves heavy psychedelia, progressive structures, and eclectic influences into immersive compositions that balance crushing weight with cinematic detail.

With acclaimed albums, extensive touring, and a reputation for powerful live performances, they continue to redefine what doom can sound like on a global scale.

UNGRAVEN (UK)
[Doom Metal/Sludge Metal]

Ungraven is the brainchild of guitarist Jon Davis, now joined by David Perry on synths, organ, and piano, reshaping the project into a force of haunting, ambient heaviness. Abandoning the traditional rock-band setup, the duo crafts bleak and expansive soundscapes where slabs of crushing guitar collide with swirling synths in a sickening sonic duet.

Their music is both pummeling and introspective, channeling influences from Tangerine Dream to doom metal, forging a new chapter in their evolving tome of tone.

SAINT KARLOFF (NOR)
[Stoner Rock/Heavy Psych]

Saint Karloff are a Norwegian power trio channeling the spirit of 70’s heavy rock through fuzz-soaked riffs, doom-laden grooves, and psychedelic fire.

With albums like All Heed the Black God (2024) and the monolithic Interstellar Voodoo (2019), they’ve carved out a place in the stoner/doom underground as one of its most electrifying and uncompromising voices.

ŽEN (CRO)
[Indie-Psych/Shoegaze]

ŽEN are a Croatian trio weaving dreamy shoegaze, math-rock complexity, and psychedelic textures into an immersive and urgent sound.

Since forming in Zagreb in 2010, they’ve become a vital voice in Europe’s underground, carrying a strong feminist and DIY ethos that fuels both their music and their boundary-pushing live performances.

OTROVNA KRISTINA (CRO)
[Sonic-Psych Rock/Hard Rock]

Otrovna Kristina are a Croatian hard rock trio fusing Anglo-Saxon riff traditions with the raw energy of the Balkans, laced with psychedelic excursions and soaring harmonies.

In their decade-long journey, they positioned themselves as guardians of volume, groove, and wild underground rock ’n’ roll.

DRONE HUNTER (CRO)
[Stoner Rock/Groove Rock]

Drone Hunter are a Croatian instrumental trio delivering high-octane stoner rock driven by crushing riffs, heavy grooves, and relentless energy.

Since forming in 2012, they’ve built a reputation for powerful live performances and a raw, riff-worshipping sound that speaks louder than words.

GODZILLA WAS TOO DRUNK TO DESTROY TOKYO (ITA)
[Acid Rock/Doom Rock]

Godzilla Was Too Drunk to Destroy Tokyo are a chaotic, genre-smashing outfit blending sludge, noise, punk, and doom into an unpredictable wall of sound.

With unhinged energy and a tongue-in-cheek attitude, they deliver crushing riffs and anarchic live shows that feel as wild as their name suggests.

HRMULJA (CRO)
[Heavy Psych/Stoner Rock]

Hrmülja are a Croatian heavy psych/stoner rock band weaving fuzzed-out riffs, swirling grooves, and hypnotic atmospheres into their sonic brew.

They channel the spirit of the underground into thunderous and immersive live performances with raw energy and a taste for psychedelic exploration.

SUNTAN CLUB (AT)
[Neo-Psychedelic Surf/Garage Rock]

Suntan Club are a four-piece from Vienna blending neo-psychedelic surf and garage rock into sun-drenched, fuzz-heavy soundscapes that radiate warmth and hazy euphoria.

With their latest EP Too Much Fuzz, they’ve expanded their sound into something louder, richer, and hypnotic, pairing it with ecstatic and immersive live performances that pull audiences under like a tidal wave.

LINIJA 109 (CRO)
[Post-Rock/Shoegaze]

Linija 109 are a young all-girl band from Zagreb, formed in 2022, crafting original songs rooted in alt rock with influences of post-rock, shoegaze, and indie.

Through explosive live shows and an unapologetic youthful rebellion they managed to build a loyal underground following in a very short time.

In case you were wondering how our previous edition felt like, check out our official 2025 aftermovie.

Bear Stone Festival 2025 aftermovie

Before show

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.

More pics after the jump.

Read more »

Not to discount the three inclusions from Travo‘s 2023 full-length, Astromorph God (review here), that follow it, but new song “Sleeper” is for sure a draw to the Portuguese outfit’s newly unveiled session, recorded late last year at Trans Musicales in France, which has been released now through the influential Seattle-based radio station/outlet as a KEXP session. This is no minor feather in the cap for the band, and as you can read below, it’s a lesson in how putting yourself in the right place and time — having a killer album behind you helps too, of course — can make a difference and one thing can lead to the next.

In this case, the album release led to a spot at FOCUS Wales, which led to the Trans Musicales spot, which led to the four-song KEXP session posted below. Every time out, the same thing happened: somebody heard Travo‘s music and said, “Holy crap” (I’m paraphrasing), “more people need to hear this!” The energy they pour into “Sleeper” is a quick reminder why. From a solid foundation in heavy psych, the new cut takes off on a hypnotic and repetitive jam, linear in form but exciting in its cycles. From this vantage, and with the fleeting-if-you’re-me attention of the viewer duly hooked and five or six cameras moving around while they play, Travo launch the rest of their set, with “Faceless Ghoul, “Arrow of Motion” and “Turn to the Sun” backing “Sleeper” with the band’s neo-psych, deep-space vibing.

It’s a thing to see as they get down, and certainly if you’re planning on catching Travo at one of their upcoming fest appearances — I’ll consider myself lucky to be at Freak Valley, thanks — it argues in favor of putting yourself in front of a stage they’ll be playing on, which, go figure, is once again how we got here in the first place.

Enjoy the show:

Travo, Full Performance (Live on KEXP)”

TRAVO live on KEXP

Until today, Travo was Portugal’s best-kept secret. But then, what has changed? Well, a series of coincidences, more or less intentional, have led to the prestigious US radio station KEXP dropping today the spectacular live session the band recorded a few months ago. Travo is no longer just a rumor among the in-the-know; it’s a reality that, with just one click of play, will blow your mind. Don’t say we didn’t warn you!

“We’re incredibly excited to share with you that our live session for KEXP is finally here. We had an amazing time and felt right at home. We hope you enjoy it as much as we did.” – Travo

Hailing from the Portuguese city of Braga nearly a decade ago, the band, formed by Gonçalo Ferreira (guitar, vocals), Gonçalo Carneiro (guitar, synth), David Ferreira (bass) y Nuno Gonçalves (drum), began gaining recognition in the local indie scene with the release of their studio albums ‘Ano Luz’ in 2019 and ‘Sinking Creation’ in 2022. However, it wasn’t until the release of ‘Astromorph God’ in 2023 through gig.ROCKS! and Spinda Records that their name began to be mentioned in the editorial offices of international media publications and booking agencies of some of the most respected European festivals when it comes to psychedelia, stoner and progressive rock.

The band was selected to participate in the FOCUS Wales music fair and the Dutch festival Sonic Whip in May 2024. To make this happen, both gig.ROCKS! and La Novena Escena organized an entire European tour around these dates. This would lead them to present their music in countries such as Spain, France, Belgium, Portugal and, of course, the already mentioned Wales and the Netherlands. What was initially going to be a small concert for industry professionals at FOCUS Wales ended up giving them opportunity to perform for, among others, the organizer of the legendary French festival Trans Musicales, who quickly after the show invited them to participate in its next edition in December 2024.

And it was there, within the framework of the French festival, that Travo had the chance to record a live session for the influencial KEXP, which is now available on the Seattle station’s YouTube channel.

For this special occasion, Travo chose to perform the songs “Faceless Ghoul”, “Arrow of Motion” and “Turn to the Sun” from their recent album ‘Astromorph God’, as well as a new track titled “Sleeper”, which will presumably be part of their upcoming studio album. Just four songs are enough for the Portuguese band to make clear the intensity and fire of their live performances, which come packed with heavy psych, progressive rock and garage attitude, blurring the lines between reality and collective ecstasy.

Don’t miss it and make sure you play it extremely loud!

UPCOMING LIVE DATES
03 April | Porto (PT) @ Maus Habitos
19 April | Fafe (PT) @ Aniversário Malfeito
03 May | São João da Madeira (PT) @ Party Sleep Repeat
21 June | Netphen (DE) @ Freak Valley Festival
13 July Pleszew | (PO) @ Red Smoke Festival
23 August | Brussels (BE) @ Down The Hill Festival
+ to be announced

Travo:
Gonçalo Ferreira – Guitar, Vocals
Gonçalo Carneiro – Guitar, Synths
Nuno Gonçalves – Drums
David Ferreira – Bass

Travo, Astromorph God (2023)

Travo on Facebook

Travo on Instagram

Travo on Bandcamp

Spinda Records on Facebook

Spinda Records on Instagram

Spinda Records on Bandcamp

Spinda Records website

There are some powerful performers here between the likes of Croatian progonauts Seven That Spells, the fury-prone heavy rock/metal wrought by Godsleep and the classic classy class class class (plus charm) of watching The Bevis Frond on stage, but both that and the aural variety are to be expected from Down the Hill, which with this announcement reveals the first of its 2025 lineup. Set to take place over two days in Belgium this August, the festival has yet to give any word on who’ll be headlining this year’s edition, but with Swiss psych-prog instrumentalist mainstays Monkey3 and the aforementioned The Bevis Frond at the top of the poster-thus-far, you couldn’t really call the initial reveal lacking. Good on Travo getting out, too.

Early-bird tickets — as opposed to the super-early-birds, which, yes, were a thing, and I believe are sold out — go on sale as of today. The Frédéric Genêt poster (with more names to come) and announcement text follow here, as per the ol’ social medias:

A New Year and the First Wave of Bands!

The wait is over! We’re thrilled to unveil the first 10 bands that will electrify our stages. From psychedelic legends to rising stars, this year’s lineup promises an unforgettable mix of powerful performances, mind-blowing riffs, and immersive soundscapes. Whether you’re here for the heavy grooves or dreamy melodies, there’s something for everyone. Let’s dive into the first wave of confirmed acts:

monkey3

Prepare to be mesmerized by the Swiss masters of instrumental psychedelia. Monkey3 delivers immersive, cosmic journeys that blend stoner rock with progressive elements. A guaranteed mind-expanding experience you don’t want to miss!

The Bevis Frond

With over three decades of psychedelic rock brilliance, The Bevis Frond remains a cult favorite. Nick Saloman’s timeless melodies and fiery guitar work will transport you to another dimension. A must-see for fans of classic psych-rock.

Hemelbestormer

Belgium’s own post-metal titans, Hemelbestormer, craft massive, cinematic soundscapes that are equal parts heavy and atmospheric. Their live shows are an intense, hypnotic experience. Prepare to be overwhelmed in the best way possible.

Seven That Spells

Croatia’s psychedelic warriors, Seven That Spells, are known for their explosive and experimental live performances. With a fusion of krautrock, prog, and heavy psych, they deliver music that defies boundaries. Expect chaos, energy, and pure sonic magic.

Godsleep

Hailing from Greece, Godsleep brings thunderous stoner rock grooves infused with bluesy riffs and soulful vocals. Their high-energy performance will have the crowd moving from the first note to the last. Get ready to rock out!

Apex Ten

This up-and-coming band is a force to be reckoned with in the alternative rock scene. Apex Ten combines intricate melodies and dynamic arrangements for a fresh, modern sound. Don’t sleep on this rising star!

Wheel of Smoke

A hidden gem from Belgium’s underground rock scene, Wheel Of Smoke delivers a unique blend of space rock and psychedelia. Their atmospheric jams and groovy rhythms will take you on a sonic journey. Let them light your fire!

Travo

Travo’s gritty, blues-infused rock ‘n’ roll is raw, intense, and utterly captivating. Their sound pays homage to classic rock while carving out its own rebellious identity. A perfect addition to this year’s lineup.

MOTOR!K

Dive into the hypnotic world of Motor!k, a Belgian band that channels the spirit of krautrock legends. Pulsating rhythms, repetitive grooves, and a touch of modern flair create an entrancing live experience. Perfect for fans of Neu! and Can.

Capitan

This promising new act is making waves with their fresh take on alternative rock. Capitan blends catchy hooks, introspective lyrics, and powerful instrumentation to create a sound that sticks. A band to watch as they rise to the top!

Stay tuned for more lineup announcements, and grab your tickets tomorrow at 5PM!

www.downthehill.be/tickets

It’s going to be a weekend to remember.

We’re thrilled to unveil our 2025 artwork, crafted by the incredibly talented Frédéric Genêt! 🎨✨ His unique style and impeccable attention to detail bring our vision to life in the most stunning way.

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Monkey3, Welcome to the Machine (2024)

First names are out for Freak Valley 2025, and though I wouldn’t take the invitation for granted, it does warm my heart to think of The Devil and the Almighty Blues bringing their heavy preach to the AWO grounds in Netphen, standing on that stage, introduced by the esteemed Volker Fröhmer with a hearty “viel spaß!” or seeing the horn-laced shenanigans of Pendejo, the classic doom metal roll of Early Moods or the cosmic futurism of Kombynat Robotron, Travo who I never thought I’d ever see, ever, but whose record I very much dug, and Zig Zags, Wedge, Lurch and Scott Hepple and the Sun Band.

Richmond, Virginia’s Windhand — who just released a demo collection on Creep Purple called Songs From the Satan House and whose bassist, Parker Chandler (also Cough), quit the band about a week ago with some less than complimentary things to say about his experience — are the top name thus far on the bill, and aside from their needing new low end representation, it seems likely they’ll be at Freak Valley as part of a tour. Could Early Moods or Zig Zags join? It’s possible but not definite. Seems likely The Devil and the Almighty Blues will be on the road as well from their home in Norway, as they’ve also been confirmed for Desertfest London and Desertfest Berlin 2025, as well as Sonic Whip 2025, after playing Desertfest Oslo and others this year.

If they end up filling the dates between fests with club shows, that’s a fair amount of touring without a new record, so maybe Spring will bring news of a new The Devil and the Almighty Blues as well, or maybe those guys have just hit the point where they can show up for whatever reason and there’s a slot for them. If you’ve ever seen them live, that’s wholly justified.

Either way, a lot to like here in the variety, in the names themselves, and in the thought of taking in another wonderful weekend standing in the grass at Freak Valley, which is starting to feel an awful lot like a home when I get back each year. Hopefully that includes 2025 as well. Here’s the announcement, which I would usually have written, but I whiffed on because of the Quarterly Review. I’ll try and catch the next one if they’ll let me. Text and poster hit socials on Friday:

🌵 Get ready, Freaks! 🌵

The countdown to Freak Valley Festival 2025 has officially begun, and we’re beyond stoked to announce the first wave of bands set to blow your minds and melt your faces!

Brace yourselves for the crushing doom of Windhand, the blues-drenched heaviness of The Devil and the Almighty Blues, and the psychedelic thunder of Wucan! If that wasn’t enough, we’re cranking up the intensity with the raw power of. ¡Pendejo! , the crushing riffs of Early Moods, and the punk/metal chaos of Zig Zags.

But that’s just the beginning! Prepare to lose yourself in the cosmic grooves of Kombynat Robotron, get wild with the retro rock of Wedge, and let Travo, Lurch, and Scott Hepple and The Sun Band take you on mind-bending sonic journeys.

This is just the start, so get ready for more epic announcements soon. Mark your calendars, tune your ears, and prepare for the freakiest weekend of the year. Freak Valley 2025 is coming… and it’s going to be legendary!

See you in the valley! 🤘

Regular Tickets will first be available 14.October at Die Tintenpatrone in Siegen-Weidenau

15. October 18:00 / 6pm CET at online @ https://fvf.ticket.io/

Your Rock Freaks

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Wucan, Live at Deutschlandfunk (2023)

I’ve been trying to post this for like a week. This happens to me now. I’ll be sitting on the couch at like 7PM or some such — well past what I consider ‘Obelisk time’ in my feeble brainclock — and see some relevant item on my phone. I haven’t covered Krach am Bach much in years past, so I probably said something like, “Oh shit right on, I can post about something new,” and started to put the thing together. I don’t remember if I squared the poster image or the fest did — probably them. But then I get in the actual back end of the site and there are like 50 other things and then I’m already late and blah blah fucking blah here I am with another festival lineup post. I’m sure by now the lineup has been completed and the festival — which is set for Aug. 2-3 — has already taken place. Because time would bend over backwards just to screw me up, and I say that as the voice of experience.

But the lineup. Seems likely The Devil and the Almighty Blues will be out on tour, ditto A Place to Bury Strangers, Wine Lips, Deathchant, El Perro. You’ll notice Elder-offshoot Delving among the confirmations, which might mean another studio offering from that project is on the way, and I’ll go to bat for each of Karkara, Humulus, Travo and Black Helium being worth your time based solely on my experience with their recorded output. There’s more to come here, but I’m not sure how much more you really need.

Check it:

+++ First announcements || Tickets available +++

In case you’re wondering about some news for the 29. Krach am Bach Festival, we’ve got the finest selection for a ride through heavy, fuzz-drowned and hypnotic space trips.

Orange Goblin |UK
A Place To Bury Strangers |US
The Devil And The Almighty Blues |Norway
Wine Lips |Canada
Tuber |Greece
Deathchant |US
El Perro |US
Madmess |Portugal
delving |US
Verstärker |US
KARKARA |France
Humulus |Italy
TRAVO |Portugal
Black Helium |UK
ᴉGeRaldᴉ |France

More bands to be announced soon!
+++
Get your tickets here: https://shop.paylogic.com/604ee181fd7d4834aa24ee0a0c0c10a6

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Orange Goblin, Live at Freak Valley 2023

Portuguese heavy psychblasters Travo will release their second full-length, Astromorph God, this Friday through gig.rocks! and Spinda Records, furthering a regional/generational sonic emergence on the Iberian Peninsula that you neglect at your peril. Marked early by synthesizer sci-fi grandiosity, it is a cosmos-revelry vision of psychedelia that proliferates from post-intro opener “You Won’t See Me,” which picks up from the minute-long “Omens” and shreds, shreds, shreds the skies above it over the course of its five-minute run, a steady push of bass and some Roky Erickson/George Harrison stuff happening there too amid the frenetic kosmiche rock that will come even more forward in the howls and twists and thrust of “Arrow of Motion,” a far-out space boogie that’s as much now as then between Slift and Hawkwind but thankfully has plenty enough shine to realize the track’s supernova payoff. Taking that arrow, aiming it at the center of the universe, letting fly.

What could be better for a scorched earth than barnburner psych? “Arrow of Motion” boasts ‘go’ worthy of comparison to Ecstatic Vision and I’m sure if you’re on the whole King Gizzard/Pigsx7 end of modern psychedelia there’s a lot here for you as well. “Faceless Ghoul” shoves open the doors of perception with broad leads and echoing, chant-ish vocals calling to mind some of Iberia’s melodic proggers, shades of the recently disbanded Atavismo or Viaje a 800 at their weirdest, but has both structure and direction, so is not a hodgepodge or any sloppier sounding than it should be — I mean, it’s a star-forming nebula of hydrogen and helium coming together with enough gravity to ignite nuclear fusion; you’re gonna break a few eggs — however unhinged its jam sounds before they Sabbath crash shortly before six minutes in and spend the remainder of the song’s total 7:31 in a drone before “Turn to the Sun” restarts the dance-to-this-you-freaks physical urging of “Arrow of Motion” with perhaps more lean into the chorus and a shred seems to melt the track after about a minute and a half, and it’s nearly another minute before they’re back in the verse, undaunted.

Backed by the 15-minute closing title-cut, “Turn to the Sun” is penultimate on Astromorph God and it straddles the line between psychedelic shove and harsh noise, with the guitar meting out furious pulsations of noise as Travo propel themselves toward its finish. And as regards “Astromorph God,” buckle up. The four-piece seem to know at the outset they’re in for a longer ride, and while I wouldn’t call it patient exactly, like Sun Voyager on their most recent outing, Travo find a pocket in the verse in which to catch their breath before the next wormhole opens and sucks band and listener alike through to another change. To the band’s credit, they use nearly every second of “Astromorph God”‘s 15:16, and they don’t depart from the intensity — even the jammier end is dizzying — but they do account for the sprawl of longform work in repetitions and the exploration of the parts of the song itself, breaking to quiet after 10 minutes to start the last build in making the garage rock of an alternate dimension.

Euphoric and lysergic, Astromorph God positions Travo within the sphere of modern heavy underground psychedelia, and while Europe has always been somewhat tribalist in its designation of hotspots — Germany, Sweden, UK — it would be interesting to see Portugal and Spain force their way onto the map this decade as Greece did the last with a variety of acts and corresponding swath of sounds. I’m not saying Travo are leading that charge, but someone would need to and they certainly seem to have the energy for it if the music is anything to go by. A lot will come down to how much they tour, where and when, festivals, blah blah, but the spirit of victory resounds through this second Travo full-length, and it’s hard to imagine it not being embraced readily by those among the converted who take it on and maybe even a few heads out there who didn’t know they were weirdos to start with. Yeah, think of Astromorph God like a litmus test. “Must be this out of place on Earth to relate.” Little cardboard hand like you’re trying to get on the roller coaster.

Enjoy your ride. More info follows, including the preorder link, as per the PR wire:

It’s said that Travo is one of Portugal’s best kept secrets and it’s looks like it’s true. They’re young; they’ve already published two albums and one EP (and a the new one ‘Astromorph God’ which is on its way); and their live shows a real joy of head-banging, crowd-surfing and mosh pits. In their music you can find a fusion of heavy psych, progressive rock and trash-metal, with a significant garage attitude, without any type of filter. Yes, Europe is about to explode, with bands such as Slift, Maragda, Gator The Alligator, Kamggarn and, of course, Travo. It’s clear that on this side of the Atlantic Ocean there are thousands of fans of bands such as King Gizzard And The Lizard Wizard, Osees, Psychedelic Porn Crumpets, Elder, Wine Lips and Frankie And The Witch Fingers.

And although this new album by David Ferreira (bass, guitar), Gonçalo Carneiro (guitars, synths, percussion), Nuno Gonçalves (drums, percussion) y Gonçalo Ferreira (vocals, guitars, percussion, piano) won’t see the light until 17 November, it can be pre-ordered on both compact disc and vinyl editions through Spinda Records and gig.Rocks!, Spanish-Portuguese alliance under which this album will be out.

‘Astromorph God’ will be available on November 17 on digital, compact disc and on a double edition on vinyl, limited to 150 copies in turquoise color and 150 copies in standard black color, both with gatefold cover.

PRE-ORDER ‘ASTROMORPH GOD’: https://spindarecords.com/product/travo-astromorph-god/

On October 4 ‘Astromorph God’ Iberian tour kicks off. So far gigs at Uma Noite Irreversível, Festival NOVO and Sevilla Monkey Week have been announced already.

Travo live:
Nov 18 | Évora (PT) @ Black Bass Festival
Nov 25 | Seville (SP) @ Monkey Week
Dec 02 | Porto (PT) @ Woodstock 69

MORE ABOUT ‘ASTROMORPH GOD’
Track-list:
1. Omen
2. You won’t see me
3. Arrow of motion
4. Faceless ghoul
5. Turn to the sun
6. Astromorph God

Credits:
Produced by Travo and Budda Guedes
Recorded and mixed by Budda Guedes at Moby Dick Studios (Portugal)
Mastered by Clara Araujo at Arda Recorders (Portugal)
Artwork and layout by IMUNE
Published and distributed by Spinda Records and gig.Rocks!

Travo on Facebook

Travo on Instagram

Travo on Bandcamp

Spinda Records on Facebook

Spinda Records on Instagram

Spinda Records on Bandcamp

Spinda Records website

Spinda Records has announced picking up two bands in the last 40-or-so hours, sending word down the PR wire that Argentina’s Fin del Mundo and Portugal’s Travo have signed to the label — the latter also a collaboration with Portuguese imprint Gig.Rocks — with new releases coming soon. I’ve heard the new Travo and it’s right on modern heavy psych, sounding like it’s from another galaxy. I don’t know the status of Fin del Mundo‘s next offering, but if Spinda wanted to do a pressing for their pastoral 2022 second EP, La Ciudad Que Dejamos, hearing it for the first time following word of their signing, I’d hardly argue.

The record is righteously heavy in the bass and has a bit of post-rock float in the vocals and guitar, a kind of heavy-indie psych-gaze, melodically focused and flowing. It’s only four songs, so perhaps it might be paired with their similarly-constructed 2020 self-titled across a compiled 12″? Just tossing out ideas, here. Either way, “El Incendio” sounds like The Cure in a way that sits well alongside Travo‘s more blasted cosmic rock.

Details are sparse but follow here in not-really-organized-looking-but-organized-in-my-head-and-it’s-my-site-so-bite-me fashion, along with audio and video from both acts:

FIN DEL MUNDO – NEW BAND!!!

Post-rock & shoegaze band FIN DEL MUNDO from Argentina joins Spinda Records. Some exciting news are coming… but in the meantime please enjoy their live session for the KEXP, with nearly 900.000 views in 8 months!

FIN DEL MUNDO:
Julieta Heredia – guitarra
Julieta Limia – batería
Lucía Masnatta – guitarra y voz
Yanina Silva – bajo y coros

TRAVO – NEW BAND!!!

We’ve some awesome news to share with y’all. TRAVO’s upcoming second studio album ‘Astromoporh God’ is fully ready, sounds amazing and is coming out in Autumn through an Iberian collaboration between Gig.Rocks and Spinda Records. Keep an eye as both album pre-order and live dates are just behind the corner. (#128247#) Francisco Gaspar

Enjoy this live video from their gig at Sonic Blast 2022!

TRAVO:
David Ferreira – Bass
Gonçalo Carneiro – Electric Guitar, Synthesizer
Gonçalo Ferreira – Vocals, Electric Guitar, Synthesizer, Percussion, Organ, Piano
Nuno Gonçalves – Drums

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https://www.instagram.com/lasfindelmundo/
https://findelmundo.bandcamp.com/
https://linktr.ee/FinDelMundo

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https://travoband.bandcamp.com/
https://linktr.ee/travo_band

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https://spindarecords.bandcamp.com/
https://www.spindarecords.com/

Fin Del Mundo, Live on KEXP

Fin Del Mundo, La Ciudad Que Dejamos (2022)

Travo, “The Beast/Sinking Creation” live at SonicBlast Fest 2022

Travo, Sinking Creation (2022)