Hail hail rock and roll on a Saturday night, and all concordant rituals. After a busy week of building steam, to be sure I was ready to blow some off, and a four-act night at Factory Records — two Jersey homegrowns, two imports — would be just enough volume to do the trick. The record store is located in Dover, just a couple exits on I-80 West from where they had all the sinkholes that were big news in NJ and nowhere else earlier this year.

Tennessee doom rockers WyndRider and Ohio fuzz-riffing stalwarts Valley of the Sun were at the top of the bill, while The Crooked Skulls and the recently-seen Heavy Flow opened. It had been a minute since I was last at Factory Records, but the room with the stage and P.A. was much the same: cozy, intimate, loud. Old rugs and couches and treasure chests and the odd bit of well-lived-in antiquity. So yes, familiar from last time.

I rolled in circa doors and found a couch spot to sit and write that I guessed would be homebase for the evening. There have been at least three heavy shows in Northern New Jersey this year, in the county where I live, and this was one of them. I’ve yet to hit one that was packed to the rafters, but I’m not kidding when I say that not traveling to a show, having gigs somewhere I can just go and then go home — my house, also pretty close to Rt. 80 — and having that level of convenience, is a new experience for me. I like it. I finally understand why people feel compelled to complain when tours are skipping their town. It’s way easier when bands come to you.

When originally announced, this show was supposed to happen at Stanhope House, but apparently not so much. They may have closed? I only know what I’m told and am too lazy to find out for myself. In any case, Factory Records is a decent spot, and I had the feeling the bands would sound huge in that room, all exposed concrete on the walls and such. By the time The Crooked Skulls were done line checking, I knew I was right.

And we all know there’s nothing I enjoy more than agreeing with myself, so all the better. Here’s how the night went:

The Crooked Skulls

It was my first time seeing the Garden State’s own The Crooked Skulls, who hit the stage fresh from releasing their new single “Iron Smile,” on which Fu Manchu’s Bob Balch sits in on guitar. They played that song last, and fair enough, but it wasn’t the only highlight of their set, along with “Buried” just before. Their sound is a reasonably straightforward proposition — guitar, bass, drums, with vocals shared between guitarist Pete Koretzky (lead) and bassist Dave Van Auken (backing mostly, some lead), drummer Chuck Snyder bashing away behind — following riffs with metal at their foundation and a burl in the tone that carries extra impact for the chug, which at this stage is a big part of the structure of their riffs. That hint of aggro comes tempered by the pacing, which is in it purely for the groove. If shows in this area are going to be a thing — and golly that would be nice, even at such a pace as I’ve seen them this year — I suspect it won’t be the last time I see them. So much the better for the path of growth on which they’ve set themselves. I had been wondering what their plan was for a first release and was fortunate enough to get clarity on that after they played.

Heavy Flow

My second time seeing Rahway’s Heavy Flow, the two-piece who reminded me rather quickly of why I thought they were such a blast last time. Because they are (remember what I said about agreeing with myself?). Gravelly vovals with a bluesy tinge meld to suit riffs that are classic in a variety of ’90s-based senses, plus hooks and hooks and hooks and personality to back it, whether you’re watching somewhat-introverted-but-still-engaged-like-when-the-slackers-roamed-the-earth guitarist/vocalist James Matheson and more-outwardly-all-in-on-the-notion-of-play-as-playing drummer/vocalist Matt Weisser, or, better, both, since it’s how well they work together that makes it work. Granted it hasn’t been that long, but I took remembering songs from last time as a good sign. It almost always is. But the grunge, some shoegaze fuzz, the jangly strut, “hands in pockets,” as they put it. Cool band, man.

Valley of the Sun

I have a concern for Valley of the Sun being underappreciated that I can only describe as “oddly motherly.” Don’t tell them. Just you and me talking. But the truth of the matter is they’ve been kicking ass for a good while now and I guess I think of them as not hyped enough. Seriously, for all the Bandcamp-flavor-of-until-this-riff-ends bands that have come and gone in the time Valley of the Sun have made themselves into one of the most reliably killer heavy rock live acts this country has to offer, I feel like there’s more respect due. That’s all. They played a short set — guitarist/vocalist Ryan Ferrier said they were “in the neighborhood,” recording a new album to follow-up 2024’s Quintessence (review here), which is an enticing thought — but nothing new was aired. Still, I’ll take a run through a few classics alongside new burners, the last of which was the title-track of Quintessence, written somewhat differently on bassist Chris Sweeney’s setlist, a highlight well worthy of the greatest hits set out it rounded out. This was my second time watching Valley of the Sun this year after Planet Desert Rock Weekend V (review here), and when I shouted out for them to play a new one — followed by a “c’mon” that I issued as a gift on behalf of the state of New Jersey for them to take with them — Ferrier said to go to Brooklyn tomorrow for soundcheck. Tempting proposition.

WyndRider

“These songs are about satan, sluts and speed,” informed guitarist Robbie Willis right before WyndRider kicked into their set. Willis didn’t share vocals with singer Chloe Gould, but the mic was there mostly for shit-talking purposes, and that was reason enough. This was my first time seeing WyndRider, and they simultaneously, inevitably reminded me of the heyday of Southern sludge in some of their riffing, and had that air of Electric Wizardly cult nod as well. They were on tour through much of August and had just picked back up the night before in Richmond, but if they were rusty after like a week of not playing I wouldn’t be the one to know it. Their set — Willis and bassist Joshuwah Herald had their setlists written on porno-mag tearouts; I remember seeing Lo-Pan do that like 17 years ago and tee-heeing — did bring a new song, or one that, as Willis noted, wasn’t really new but wasn’t on an album yet, called “Crawlspace,” and along with “Motorcycle Witches,” their debut single “Electrophilia” and their encore of “Remember the Sabbath” made for highlights as they capped the evening. The latter they said they wrote after somebody called them “Sabbath worship” in a review as a pejorative. It wasn’t me. I think I’ve only ever used that phrase as a compliment. But anyhow, “Remember the Sabbath” underscored the point, with drummer Chase Karczewski (Ponddigger) doing the “Black Sabbath” toms in the quiet parts and everything. I was tired by then because I’m an old man and I wake up early, but that one last lurching groove — the product of a couple “one more song!” shouts from the crowd — was a welcome way to close it out. As a personal ethic, I rarely wear a shirt for a band I haven’t seen live, but I’ve had a WyndRider shirt in regular rotation for a while. Not a purchase I regret in the slightest.

Then I went home and did the dishes. True, except for the fact that I’m out of Cascade. But you know what? That’s Tomorrow-Me’s problem and I’ll leave it in his woefully incapable hands to deal with on my behalf. Thanks in advance, jerk.

And thanks to you for reading. You’re not a jerk.

More pics after the jump.

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I saw Valley of the Sun in January. Man, what a good time that was. And I guess I bring it up because the Cincinnati trio are about to undertake a full-US tour with The Dead Deads, doing the support-slot thing, hopefully exposing themselves to a new audience of rock and rollers beyond, well, dudes like me who could tell you where they were the first time they heard “Riding the Dunes.” This is a good thing. As I understand it, touring in the States, like everything in the States, is expensive and kind of shitty, so good on Valley of the Sun for figuring a way to get out.

A likewise comprehensive European tour is set to follow next month. This will carry the band through festivals and club dates, the Sound of Liberation anniversary party and the legendary Stoned From the Underground, with more gigs than I care to count let alone type out. One would not accuse Valley of the Sun of skipping out on putting their work in as they support 2024’s self-released Quintessence (review here). They’re about to have a busy summer, and by no means is it their first. Somewhat undervalued — I think maybe a little taken for granted — they’ve been resoundingly consistent in work ethic and songcraft alike.

I won’t see them on either of these tours, but the Euro one is newly-announced, so that poster is below. The US poster is there too, should you want a look at those dates. Behold:

⚡VALLEY OF THE SUN – EUROPE 2025⚡

Heavy-hitting power trio Valley of the Sun is back on the road soon! 🔥
Don’t miss out. Tickets on sale now! 🎫

COMING BACK TO EUROPE!!!
More dates to be added!

Valley of the Sun are:
Ryan Ferrier – guitars and vocals
Chris Sweeney – bass, keys, and additional guitars
Johnny Kathman – drums, percussion, and additional guitars

https://www.facebook.com/valleyofthesun/
https://www.instagram.com/valleyofthesunband/
http://valleyofthesun.bandcamp.com/

Valley of the Sun, Quintessence (2024)

With no Desertfest New York this year (and, let’s face it, maybe not next year either), I don’t have the luxury I’ve enjoyed throughout the 2020s thus far of consoling myself at missing Ripplefest Texas by seeing some of the same acts coming through without having to fly out to do it. Not so much this year. In unveiling its full lineup for this September, Ripplefest Texas 2025 lays out an absolute dream of a bill — from Weedeater to Suplecs to Mothership to Author and Punisher (new record by then?) to Sundrifter and Mr. frickin’ Plow and Lake Lake — it’s the most imperative US festival lineup I’ve seen pretty much since Ripplefest Texas last year.

I’ve never been to Ripplefest Texas and it’s been over 15 years since the last time I set foot in Austin, but I’d be there in a hot minute for this one. Gonna start a GoFundMe for the flight and lodging (more likely, beg my wife). If you get there, congratulations on your life.

Check out the new adds and the full lineup below. It’s a beautiful thing:

The best family reunion of the year is back! The lineup for RippleFest Texas 2025 is now complete and you will not want to miss your chance to see the best music at the friendliest festival in the world. Lick of My Spoon Productions brings you the only open air festival in the US with ABSOLUTELY ZERO BAND OVERLAPPING! New bands added to an already stacked lineup are ASG, Author & Punisher, Mondo Generator, High Desert Queen, Bronco, Rainbows Are Free, The Absurd, Volume, Gran Moreno, Karma Vulture, and Desert Suns.

The festival will once again be held at The Far Out Lounge and Sagebrush in Austin, TX on September 18-21, 2025. Get your tickets now at www.lickofmyspoon.com.

Full List of Bands:
Weedeater
Whores.
Mothership
Author & Punisher
Mondo Generator
ASG
Unida
Wo Fat
Valley of the Sun
Left Lane Cruiser
High Desert Queen
Mos Generator
Telekinetic Yeti
Human Impact
Mountain of Smoke
Thunder Horse
Suplecs
Kind
Bronco
Sundrifter
Rainbows Are Free
Fostermother
Mr. Plow
Kupa Pities
Luna Sol
Shun
Gran Moreno
Stone Nomads
Volume
The Absurd
Desert Suns
Karma Vulture
Lake Lake
Sons of Gulliver

https://www.facebook.com/theripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

https://www.facebook.com/LOMSProductions
https://www.instagram.com/LOMSProductions/
http://www.lickofmyspoon.com/
https://linktr.ee/Lickofmyspoon

Author & Punisher, Krüller (2022)

Afternoon — Before Show

Took a drive out to the desert for a bit this afternoon, looking at old rock formations and listening to tunes. The Samavayo guys had stayed over also at Adam from Sonolith’s house where I’m crashing, and it was good to hang out with them a bit this morning as well. I was up early, showered and finished the review, fest-mode, etc., but got my shit done and could hang out for a bit once the rest of the house was awake. Shockingly, balance has never been a strong suit.

It’s another burner tonight: Fireball Ministry headlining, with JIRM from Sweden, Valley of the Sun, Fire Down Below from Belgium and Godzillionaire opening. After last night unfurled with such a clear, and clearly intentional, narrative thread — each of the four bands adding something to the one before it, building to the headliner blowout of Unida — I’m curious and eager to find out how tonight’s acts might also complement each other.

Also I have a lot of friends here and people are very nice. I’m lucky to be here. I spent a decent portion of last night hanging around with Todd from Ripple Music, Scott from Clean and Sober Stoner, and John Gist, who’s the one behind the festival and far and away the fiercest promoter I know. I met Dave Angstrom from Hermano. I saw old friends I haven’t seen in a decade minimum and I’ll see more over the course of the next three nights. Don’t look now, but I think this might be awesome.

Earlier start to accommodate the fifth band in the Ripple Music showcase. Here’s the night:

Godzillionaire

My first time seeing Godzillionaire, from Kansas, whose new album, Diminishing Returns, came out I think two weeks ago now as their Ripple debut. Solid band. They didn’t sound like their sound was a settled issue, but they did sound like that was by choice. Kind of a mix of influences in noise rock, fuzz, weirdo grunge stylizations and frontman Mark Hennessy’s punk-poet vibes, but they’re pretty clearly chasing the organic more than trying to play to genre, and I found that as the set went on, the scope broadened around that central notion. I admit I’m at a deficit for not knowing Hennessy’s prior work in Paw — I missed out on a lot of cool shit in the ’90s; also other decades — but Godzillionaire were fluid in changing up the mood, getting in some sense of immersion and dynamic. I haven’t reviewed the album yet or I’d have linked it, but by the time they were done, I felt like I wanted to know the songs more, so I’ll say they acquitted themselves well on a first impression. That they — the band is completed by bassist Mike Dye, who doubles as the guy at the merch table with the afro, as mentioned onstage, guitarist and low-key secret tonal weapon Ben White and drummer Cody Romaine, who shut off the snare during the quiet parts for extra class — seemed so comfortable up there speaks to their experience, sure, but it also kind of tied the scope together, made it feel like there was a sure hand guiding you. I’m gonna go back to that record at some point.

Fire Down Below

The Belgian contingent coming in hot, which I guess makes sense, and with grunge and songwriting as threads carried. They’ve been around for a bit, I know, but this is my first time seeing them as well — my first time here, despite how welcoming the experience has been thus far — and they were on point desert-style as one would expect from their records, the latest of which, 2023’s Low Desert Surf Club (review here), and they were a ready reminder of the richness of thy Euro underground, how a band like this can grow their approach over time and find out who they are. Fire Down Below are very much the sing-along hook in “California” — to which, as was noted from the stage, they’ve reportedly never been so close — and are the kind of band you’d play to explain to someone the appeal of this kind of music. The kind of band who could win a listener over with a song. They were all about engaging the crowd, were likewise generous in their thanks and their on-point riffs, and the vocal melody cut through while still letting the guitar sound powerful, early Kyuss style. Which, if you’re going to do it, is an advisable course. It’s good living on Planet Desert Rock, is what I’m learning.

Valley of the Sun

If ever there was a brand you could trust, it’s Ohio stalwarts Valley of the Sun, whose shit is bordering in classic in my mind, and somehow that includes the new stuff? Anyhow, ferociously reliable as they are, I was nonetheless curious to see and hear them as a trio live. Turns out single-guitar Valley of the Sun is still Valley of the Sun, which should be taken as a relief. Their songs still had that distinctive energy and force-of-groove. And the songs are undeniable. They’re a pull away from the grunge that was shared between the first two bands, but Valley of the Sun drew out as a logical extension of the desert mood Fire Down Below were working in, and when they hit the big riff, it hit correspondingly hard. I’d been hanging out, was a little in my own brain before they went on, but Valley of the Sun started off with “Hearts Aflame” as a slap back to a better headspace and that is no small thing to appreciate. From last year’s staggered-release LP, Quintessence (review here), they treated the room to “Graviton,” “The Late Heavy Bombardment,” and “Palus Somni,” the latter of which closed out the set with a punch to counteract the song before and a shove better suited to fire emojis than fucking anything I could ever hope to come up with. Airtight.

JIRM

And then, of course, Sweden’s JIRM came and took the desert from Valley of the Sun and launched the fuzz into space. And further, their doing so adds another dimension to the arc of the fest, following suit from what MR.BISON brought last night. Interweaving plot threads drawn out across band sets on multiple nights? Do you understand how much fun that is for me? I’d seen JIRM before, but that was before they put out The Tunnel, the Well and Holy Bedlam (review here), and so they were among my anticipated bands of the weekend — I don’t mind telling you and I also told the band we were listening to that album this afternoon — and so I was excited to do so again. They mixed in some stuff from the Jeremy Irons and the Ratgang Malibus days, and the vibe opened up: they could get heavy or trip it out, slow roll or hit harder, and they did it with professionalism and fluidity. It all meshed, which, I mean, is what you’d expect. It isn’t like The Tunnel, the Well and Holy Bedlam reinvented their sound, but it was a deeper dive into atmospherics and sonic progressivism than they’d made before — on the most basic level, I’d float it as their best with to-date — but if there was an incongruous moment, I couldn’t tell you where. I felt justified in how much I’d been looking forward to seeing them. If you’re ever in a position where you can, do. I have to tell you, though. I heard a nasty rumor they don’t pronounce it “germ,” but instead J-I-R-M like the acronym it admittedly is, and I immediately set about outlining a 500-word essay (which I might actually write just for fun) on why they should.

Fireball Ministry

Hell yes again to the what-it’s-all-about headliner. Fireball Ministry rocked heavy before it was cool. Bleed it. Jim Rota and the esteemed Emily J. Burton sharing guitar and vocal duties, a pair of humans who have spent a goodly portion of their lives living for their instrument. They had Johny Chow, who’s been m the band before and played with Cavalera Conspiracy and a host of others, on bass, and he sat well in the groove with drummer John Oreshnick, but one would expect no less from Fireball Ministry, who remain legends of the Southern California heavy underground while always having been a bit removed from desert rock, more straight up heavy, lumped in with stoner in the ’90s because I guess every band didn’t have their own genre yet, but always coming from a classic place and unrepentantly sweet in the melody. In other words, they’ve been themselves for a long time, musically speaking, and their material is timeless in part because it never really fit. Some older songs — “from the Johny Chow era,” as Rota put it — were warmly received, and while their stuff was a departure from the thread to a point, Fireball Ministry are a celebration of heavy songwriting. They’re always gonna fit. I stood up front for a while, just to sort of soak in the sound, and no regrets. As with Unida, it was an extended headlining set, and Fireball Ministry pulled it off with motor riffs to spare.

—

I have been doing a lot of hanging out. I met a dude named DJ who told me I was his best friend. He was pretty serious, kind of intense about it. I teared up a little, gave a big hug. Shit, I’ll be friends with DJ. Fucking a right.

Said a few goodnights and had a good talk with Ryan from Valley of the Sun, who kind of nailed me down as I was on my way by saying safe travels. You know what my problem is? Somewhere a scroll just unfurled a list, but specifically I worry about disappointing people meeting them in-person. Someone comes up to you and they know you from what you do, they might have an idea of who you are based on that. There’s little more important to me than being honest in my voice in this space, but still, if someone’s saying hi, I don’t know their expectations and I hate the thought of bringing someone down who’s just been kind enough to tell me they see value in this project. So I’m awkward. But I’m trying. It was a nice chat with Ryan. I’ve had more than a few really good hangs over the last couple days, old and new friends, bands coming through, and so on. I am lucky to be here.

Was up until about three, crashed till a few minutes before an 8AM alarm. I have lunch plans, I think, and then it’s a venue change to The Usual Place for tonight’s six-band (!) festival crescendo. Looking forward to it. More pics after the jump in the meantime.

Read more »

True, the first SOL Sonic Ride (info here) hasn’t happened yet, as European heavy booking company Sound of Liberation mark their 20th anniversary with a growing series of all-dayers, but this June in Wiesbaden, Germany, SOL Sonic Ride Part II will bring a fine sampling of touring acts to the proceedings, including King Buffalo, Brant Bjork Trio, the resurgent My Sleeping Karma, Valley of the Sun, Daily Thompson, The Machine and Einseinseins. Wait, that’s everybody. Well I guess it’s a pretty solid bill then.

Note that if you’re dividing the year into quarters — which is something I do around here every now and again; every couple months — this still only covers half of 2025. I wouldn’t be at all surprised if there’s more to come before the year’s out. 20 years, especially 20 years booking heavy music in a time that’s seen the rise of the internet, a global pandemic, and unprecedented instability generally, is a triumph. They should have a party every weekend if that’s what they want. If it ends up being four throughout the rest of the year, well fucking earned.

From socials:

⚡️20 YEARS OF SOUND OF LIBERATION – SOL SONIC RIDE PART ll⚡️

Hey friends,

The celebration continues! 🪩

Join us for SOL SONIC RIDE PART II on June 28, 2025, as we mark two decades of heavy riffs with another epic festival day!

Expect mind-blowing performances from a killer lineup, including:

KING BUFFALO • BRANT BJORK TRIO
MY SLEEPING KARMA • VALLEY OF THE SUN
DAILY THOMPSON • THE MACHINE • EINSEINSEINS
& more to be announced soon!

This time, we’re taking over Schlachthof Wiesbaden for a day packed with electrifying energy.

Get your tickets online at www.sol-tickets.com.🎫

Hardtickets are also available via www.sol-records.de.🎫

🗓️June 28, 2025
📍Schlachthof Wiesbaden
Wiesbaden, Germany

Let’s ride the sonic wave once more! 🖤

Cheers,
Your Sound of Liberation Crew

Artwork by @branca_studio

https://www.facebook.com/Soundofliberation/
https://www.instagram.com/soundofliberation/
https://www.soundofliberation.com/
http://www.sol-tickets.com

King Buffalo, “Cerberus” live in Queens, NY, 01.17.25

Okay, so here’s the deal. Last year, I found myself wanting to keep up with Ripplefest Texas‘ lineup additions and couldn’t really do anything coverage-wise because they were happening daily and that kind of turns the site into a one-subject show in a way that doesn’t really help. Took me a year to figure it out, but I’m going to do Friday updates like this one — a roundup of what’s been coming out every day from the fest since the last announcement — for as long as they go with the daily adds. I don’t know when that will be, how many bands are playing — 2024 was huge, I’d expect 2025 to be correspondingly proportioned — or what time your flight needs to get into Austin for you to get there in time for the start on Sept. 18. I’m low on insight. But this is a party that’s becoming central to the year here in the US, so I want to cover it as much as I can.

The fest had quite a week. This is in order from oldest to newest, so Weedeater were the first added, etc. Here you go:

RIPPLEFEST TEXAS 2025 – NEW BAND ANNOUNCEMENT: WEEDEATER

Those infamous sludge outlaws WEEDEATER bring their own branded “weed-metal” to RippleFest Texas. Their style marks the crossroads where true Southern rock and metal meet raw humour, old religion, as well as weed and whiskey.

If you’ve seen them live before then you know what a great show they put on! If you haven’t seen them then you are in for a treat! Get your eardrums and your livers ready!

—

NEW BAND ANNOUNCEMENT: LUNA SOL

Denver’s high mountain stoner blues rock band, LUNA SOL, is fronted by singer and lead guitarist DAVID ANGSTROM, known from Hermano, Supafuzz, Black Cat Bone, and Asylum On The Hill. Celebrating their 14th year, they released an epic album, VITA MORS, on September 20, 2024, via Todd Severin’s kickass Ripple Music label.

On VITA MORS, Angstrom collaborates with drummer ZETH PEDULLA and bassist DOUG TACKETT, creating a unique chemistry that inspired them to capture the raw energy of their sessions. VITA MORS delivers a live sound, immersing listeners in an atmosphere reminiscent of a dive bar with heavy riffs and vivid Southern Kentucky roots. The album embodies a mix of fury and delicacy, providing a perfect backdrop for Angstrom’s powerful storytelling.

Following 2015’s “Blood Moon” and 2017’s “Below The Deep,” VITA MORS spans 50+ minutes, exploring themes of betrayal, love, murder, and heartache. It features contributions from friends across various bands, continuing LUNA SOL’s tradition of collaboration. Angstrom noted, “The riffs were flowing, the tones were massive …and the fun continues.”

LUNA SOL is currently scheduling various US dates + an EU 2025 tour. The band’s live show is always impressive and delivers a fistful of full frontal riffs and immense power from a wall of vintage amps …and beer. There’s always a lot of beer.

—

NEW BAND ANNOUNCEMENT: SHUN

Shun is a four-piece heavy, atmospheric post-rock band from the Western Carolinas (Greenville, SC / Asheville, NC) comprised of Matt Whitehead (Throttlerod), Rob Elzey, Jeff Baucom, and Bo Leslie (ex Throttlerod). Shun’s debut album was self-recorded during pandemic isolation, mixed by J Robbins (Clutch, The Sword, Coliseum, and so many more), and released on Small Stone Records. With styles ranging from melodic noise rock and heavy riffs to atmospheric largesse with contemplative, patient contraction, Shun emerged from the pandemic and began playing regional shows with bands like Shiner and Spotlights.

In 2024, Shun reteamed Small Stone and with J Robbins for their follow-up record, Dismantle, this time recording at J’s Magpie Cage studio in Baltimore, Maryland. Dismantle continues several crucial threads from the self-titled in terms of songwriting, while expanding their scope with a more refined crunch and drifting, ethereal outreach. It is heavier and paints a broader landscape in Matt Whitehead’s vocal and guitar melodies and reshapes it as the backdrop for weighted post-rock while refusing to sap its own vitality in service to shoegazey posturing.

Dismantle is able to push, pull, crash down loud or recede into float as Shun wills. That they’d wield such command in their craft likely won’t be a surprise to those who took on the self-titled, but among the things Dismantle undoes, it strips the listener of expectations and replaces them with its unflinching creativity and refreshingly forward-looking take.

—

NEW BAND ANNOUNCEMENT: TELEKINETIC YETI

Based out of Iowa, Telekinetic Yeti is a two-man band that delivers sonic brutality melded with psychedelic doom wizardry, forged by the worship of the almighty riff and honed by relentless touring and dedication to their craft.

Creating music as cryptically enchanting as it is heavy, you wouldn’t guess that the impressive cacophony pouring out of the speakers like molten, metal syrup is being produced by only two people. Founder and guitarist Alex Baumann explains, “Originally I decided not to have a bass player purely for logistical reasons, it was just another schedule to work around, another person who’s boss could tell us we can’t tour, but then I started seeing it as a challenge, like let’s see how heavy we can make it with just two people.”

After having Telekinetic Yeti 2 years ago at RippleFest Texas, we couldn’t wait to have them back!

—

NEW BAND ANNOUNCEMENT: WHORES.

Formed in 2010 in Atlanta, Georgia, the trio has established themselves as one of the most successful and motivated bands in the genre today. Elements of Helmet, Melvins, and the Amphetamine Reptile roster can be heard throughout their catalog, but Whores are no regurgitated throwback act. Through intense, cathartic live performances and the perfected aggressive tenacity present on their recordings, the band has gained a fervent following sure to do nothing but grow in the years to come.

—

NEW BAND ANNOUNCEMENT: HUMAN IMPACT

Human Impact, the New York-based outfit founded by Chris Spencer (Unsane) and Jim Coleman (Cop Shoot Cop), who recently released their sophomore album, Gone Dark (Oct. 4, Ipecac Recordings).

The Human Impact arsenal is more formidable than ever thanks to the addition of two more noise-rock veterans: bassist Eric Cooper (Made Out of Babies, Bad Powers) and drummer Jon Syverson (Daughters). Spencer had spent the 2020 COVID lockdown working on a cabin in the East Texas woods and would travel into Austin for informal jam sessions with the pair in the Cooper’s garage. Friendly blasts through vintage Unsane songs ultimately resulted in the rhythm section being fully absorbed into Human Impact.

—

NEW BAND ANNOUNCEMENT: VALLEY OF THE SUN

After fourteen years of rocking and rolling across the world, Valley of the Sun released their fifth lp, “Quintessence”, which explores new sonic dimensions for the band, who is once again in a three piece format. Over the years they have graced the stages of clubs and festivals alike, including Hellfest, Palp Festival, Keep It Low, Tabernas, Lazy Bones, Motocultor, and Desertfests New York, Berlin, London, and Belgium. Hellbent on dominating the world with their unique, unapologetic twist on stoner-grunge, they finally bring the show to Ripplefest Texas.

There is no greater family reunion than RippleFest Texas, so get your tickets now and get your eardrums and bodies ready for lots of crushing music and warm hugs!

Get Tix at: www.lickofmyspoon.com

https://www.facebook.com/theripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

https://www.facebook.com/LOMSProductions
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Mothership, Live at Ripplefest Texas 2022

After the reveal of the poster and lineup for night one last week, Planet Desert Rock Weekend V presses its argument with a Ripple Music showcase on its second evening’s bill. With label-newcomers Godzillionaire opening — their album, Diminishing Returns, is out Jan. 17, as announced two days ago — and a bill that includes two import acts in Belgium’s Fire Down Below and Sweden’s JIRM, the sure guidance to grooving glory that is Ohio’s Valley of the Sun between them and no less than Fireball Ministry headlining, it’s another another killer night carved from a killer overall bill.

So what do we know so far? Plenty. Planet Desert Rock Weekend V will almost certainly have Joey Rudell posters for night three and its ‘Last Call’ Feb. 2 show too, and fest honcho John Gist notes there’s another announcement for night three coming, but now that night two is out, a rough estimate can be pieced together of what to expect for the day splits. Here’s how it looks:

Night one: Unida, MR.BISON, Sons of Arrakis, Samavayo (confirmed here)

Night two: Fireball Ministry, JIRM, Valley of the Sun, Fire Down Below, Godzillionaire (confirmed below)

Night three: Mos Generator, Solace, Sergeant Thunderhoof,
Omega Sun, Green Desert Water, (plus one more TBA)

Night four (Last Call): Duel, BoneHawk, Luna Sol, Iota, Jason Walker’s Badmotorfinger (confirmed here)

In other words, it looks pretty sweet. Looking forward to seeing who’s the last one to join the bill, probably next week.

From the PR wire:

PDRW V – Night Two – Friday January 31st – Ripple Music Showcase

For Night 2 of Planet Desert Rock Weekend V we are proud to announce this as a Ripple Music Showcase evening! Since the beginnings of Vegas Rock Revolution, we have had strong ties to Ripple Music and their amazing roster of bands. From the early days of VRR we had Salem’s Bend, Void Vator , Rare Breed and Mothership play shows in the 1st year of our booking events. From there we had such Ripple bands as Freedom Hawk (PDRW ), Wo-Fat (PDRW), The Obsessed, 1000mods, The Watchers, Steak(PDRW) , High Desert Queen (PDRW), Sun Crow (PDRW) ,Blackwulf (PDRW), Wino(PDRW), War Cloud (PDRW), High Priestess, Ape Machine (PDRW),. Shotgun Sawyer (PDRW), Rifflord (PDRW), Horseburner, HTSOB and more!

Plus from Planet Desert Rock Weekend v2 we had 4 international bands that eventually would be part of the Ripple Split Series “Turned to Stone”. Mr. Bison (Italy), Saturna (Spain), Captain Caravan (Norway) and Kaiser (Finland) with 3 of them being curated by VRR’s John Gist.

So it only made sense as we were coming up with the roster for PDRW V that we do a night dedicated to such a fantastic label as Ripple Music. Headlining the evening with be Fireball Ministry who has been in a bit of a hibernating mode but has awaken with the re-release of their classic album “Their Rock is Not Our Rock” on Ripple Music. We have two amazing international bands playing exclusive USA shows with JIRM from Sweden and Fire Down Below out of Belgium. The thought of JIRM’s massive epic sound being heard in one of the best rock clubs sound wise at Count’s Vamp’d was more of a dream than anything. This will be a very special set and with Fire Down Below, we get to see a very hot Ripple band play their debut show in America. Long time heavy rockers Valley of the Sun whose Ripple Music release “The Chariot” landed on many people’s end of the year lists will be returning to Planet Desert Rock Weekend after playing the 1st one back in 2018.

And kicking off the evening is new Ripple band Godzillionaire that features Mark Hennesey who was also frontman for 90s grunge era band Paw. They have their new album “Diminishing Returns” being released in January 2025. Their debut album “Negative Balance” grabbed the attention early on from John Gist at Vegas Rock Revolution and Leanne Ridgeway of Mettle Media that helped get the momentum going for this album excellent band out of Kansas.

Night two event page: https://www.facebook.com/events/931143599075635/

Artwork is by Fuzz Evil’s Joey Rudell and we are excited to see what else he has in store for us on the remaining shows!

Saturday’s full lineup will be released soon and will include the final band announcement!

We are truly humbled by the response to Planet Desert Rock Weekend V! We will put a cap on how many tickets we sell as we want it to be a cool and comfortable weekender with your friends from around the world!

Cheers,
John
Vegas Rock Revolution / Planet Desert Rock Weekend

Event page: https://www.facebook.com/events/901571638307182/

Tickets for PDRW Last Call: https://www.eventbrite.com/e/1022254108557

Tickets for PDRW V: https://www.eventbrite.com/e/873750791137

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

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

Planet Desert Rock Weekend V preview playlist

This past Spring, Cincinnati, Ohio-based heavy rockers Valley of the Sun posted up the first five songs of their Quintessence LP as Quintessence Pt. 1, heralding their fourth album to come and subverting the general expectation of a single here, a single there ahead of a release date in favor of doing things their own way. Recorded with John Naclerio at Nada Recording Studio — with whom they’ve worked before, notably on 2011’s The Sayings of the Seers EP (review here, discussed here) and the band’s 2014 debut, Electric Talons of the Thunderhawk (review here); Naclerio also adds guitar to “I’ll See Them Burn” here — in April, Quintessence arrives some two years after the band’s third full-length, 2022’s The Chariot (review here), and finds the lineup shifted from a double-guitar four-piece to a trio with guitarist/vocalist Ryan Ferrier, bassist/keyboardist Chris Sweeney and drummer Johnny Kathman, self-releasing after a stretch with Fuzzorama Records and Ripple Music.

While the title seems to speak to some sense of an archetype, the album has been touted by the band as a departure, and in some ways it is. More likely the title refers to the fifth element of space alongside the traditional earth, air, fire and water; song titles like that of opener “Terra Luna Sol,” “Graviton,” “The Late Heavy Bombardment,” “Red Shift,” “Palus Somni” (located on the moon), “Theia” and “Aurora” speak to a spacey theme at least in terms of outward presentation, and the narrative (blessings and peace upon it) holds that this emerged from the fact that they were recording during the total solar eclipse (depicted on the Jarrod Warf cover art) earlier this year. Either way, much of what one has come to expect from a Valley of the Sun outing remains intact, and considering the quality of their craft over the better part of the last 15 years, that should be read as a compliment. “The Late Heavy Bombardment” opens to a fuzzy nodder of a hook that stands alongside a swath of compatriots from their discography, while “I’ll See Them Burn” shoves forward in the later going of Quintessence with a particularly aggressive movement and a sub-three-minute runtime ahead of the ambient interlude “Aurora” and the closing title-track, which stretches over seven minutes as it heads into a long fade following what feels like a duly-weighted, riff-propelled culmination for what the rest of the record has offered up to that point.

As to that, much of the departure seems to be in the overarching feel rather than the structure of what Ferrier, Sweeney and Kathman are playing. Quintessence is still very identifiably a Valley of the Sun album, and benefits from the distinctive fullness of tone and spaciousness the band bring to desert-style heavy. If something is missing from the transition from four players to three, it doesn’t show on the record, though part of that might owe to the fact that in addition to Naclerio and Pete Koretzky, who plays guitar on the early slowdown “Where’s This Place?” (shortened from its original title “Where’s This Place I Roam?”) and their respective bass and drum duties, Sweeney and Kathman also contribute guitar alongside Ferrier‘s own. Fair enough. But “Where’s This Place?” is part of what’s different as well, as it sees the band more willing to throttle back the stage-ready energy that has characterized them up to this point in new ways, offering more complexity of mood. There’s bombast a-plenty in the crashing second half of “Graviton” and a fuzzed-to-the-gills sprawl set forth in “Theia,” but even the latter uses atmospherics in a more patient way, trading back and forth in volume, while “Aurora” and the corresponding side A interlude “Red Shift” deepen the contemplative impression and thus shift the context of Quintessence as a whole.

Is it a stark, radical contrast to the band Valley of the Sun have worked diligently to establish themselves as being for the last decade-plus? No. But neither does it feel like it’s trying to be. “Terra Luna Sol” sets out with a charge that reminds of earlier Solace, while “Palus Somni” pairs hard stops with more straight-ahead verse riffing, and even as Ferrier changes up around his central belt-it-out vocal approach in the early going of “Theia,” or “Palus Somni” and “Where’s This Place?,” he pushes his register on “Quintessence” in a way that is familiar even as it carries the adrenaline of that moment to another level entirely. Ultimately, it is the blend of the recognizable and the new — the proggy flourish of keyboard around the winding guitar in the first half of “Theia,” etc. — that gives Quintessence its distinguishing features, but for those who’ve followed the band, there’s little in the construction that would put one off; Valley of the Sun remain accessible and “Palus Somni” still sounds like it was composed to be played on stage. The difference is there’s more depth to the listening experience and the songs try some new ideas. Continued growth on the part of the band is not going to be a detriment to the audience hearing them, and sure enough, it isn’t as Quintessence unfolds.

It might be a little sadder than one expects Valley of the Sun to be, but I’ll allow that could also be reading into the evocations of “Red Shift” and “Aurora,” and that the album doesn’t just do one thing. That is, if “Where’s This Place?” and “Palus Somni” dare a bit of melancholy, the prevailing spirit of Quintessence is still electric, in both of those songs as well as “I’ll See Them Burn,” “Graviton,” “Terra Luna Sol,” and so on. And if it’s a question of one or the other — mind you I’m not sure it is — Quintessence adds much more to the scope of what Valley of the Sun do musically than it takes away, such that the title-track is given a due sense of arrival for the dynamic they’ve fostered throughout the preceding span. I don’t know what the band’s next chapter might be — they’re on tour now supporting Heavy Temple, which is a hell of a show to see if you can; they’re headlining in Europe this Fall — what the configuration of their lineup might be when they get there, or what it might have to say in building on the expression here, but four albums on, Valley of the Sun are evolving in their maturity while holding to the songwriting that’s been a major strength through their whole run to this point. There’s no level on which that isn’t a win, either conceptually or in execution.

Valley of the Sun, Quintessence (2024)

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