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.

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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 »

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

https://www.facebook.com/freakvalley
https://www.instagram.com/freakvalleyfestival/
https://twitter.com/FreakValley
http://www.rockfreaks.de/
http://www.freakvalley.de/

Wucan, Live at Deutschlandfunk (2023)

Yo, not for nothing, but you could go see Incantation and Bongripper and Naxatras on the same lineup if you go to Antwerp. Or how about Alunah, Gozu and Suma? Cities of Mars and Stygian Bough? Slomatics and Somali Yacht Club and Polymoon? Sasquatch and Weedpecker? God damn.

If I had cash and time, I — well, I’d do a lot of things — but I’d be at this one. I know sometimes in the grand scheme of things looking at a bunch of names on a poster your eyes can glaze over, but if you can stop that from happening here, it’s worth looking at the stylistic sprawl that’ll take place over the course of the weekend. It is far more in terms of aural landscaping than simply desert, which has been true of the various Desertfest-branded events over the last, I don’t know, six years-plus, but is only emphasized here.

Plus, just about anytime Slomatics do anything it makes me happy. Those guys are great.

From the PR wire:

DF 2022 ANTWERP: WEEDPECKER, WUCAN, SLOMATICS, AND MORE!

This is the final batch of names that completes the DF Antwerp line-up, and we’ve definitely saved up some fine morsels for last. All sizes and shapes is the name of the game, so get hyped and dig in.

For those of you who like their stoner music to truly widen the senses, WEEDPECKER and SOMALI YACHT CLUB definitely fit the bill. Both incorporate many psychedelic influences in their jams, taking you on a killer trip.

On the more brutal side of things, we welcome New York’s death metal pioneers INCANTATION who come to celebrate their ‘Tricennial of Blasphemy’. With SLOMATICS, we present you with the heaviest of heavy in sludge doom. No messing about – just pummelling wall-to-wall riffage.

WUCAN and ROSY FINCH enrich our line-up with two kick-ass women that deal in idiosyncratic and highly original rock. Wucan’s Francis Tobolsky still rocks a flute like nobody’s business, and speaking of unconventional instruments in stoner bands: meet MY DILIGENCE who traded their bass player for a Moog keyboard!

As an unfortunate side-note: we have been mercifully spared of cancellations this year.. until now. We are sad to let you know that MOTHERSHIP will not be appearing at this year’s Desertfest Belgium. Their slot has already been filled in above, but still… it’s a bummer.

But hey! We’re still looking at one seriously sumofagun line-up for three days of delicious fuzztastic wreckage… So if it wasn’t before NOW is the time to secure your tickets. Especially because those Reduced Price Combi Tickets are going fast and be gone before you know it.. Don’t let it happen! Don’t do it! By which we mean: do it!

DF ANTWERP & GHENT REDUCED COMBI: 149 Euros
(valid 4 days: 14-16/10 – Antwerp & 30/10 – Ghent)

DF ANTWERP ONLY REDUCED COMBI: 120 Euros
(valid 3 days: 14-16/10 – Antwerp)

DF ANTWERP ONLY REDUCED DAY TICKET: 58 Euros
(valid 1 day: 14, 15 or 16/10 – Antwerp)

DF GHENT ONLY REDUCED DAY TICKET: 52 Euros
(valid 1 day: 30/10 – Ghent)

http://www.desertfest.be/
https://www.facebook.com/desertfestbelgium/
https://www.instagram.com/desertfest_belgium/

Round five of the Fall 2017 Quarterly Review begins now. After dealing with the technical issues this week and changing hosts and having the site down for – well, as I write this, it’s still down, so I don’t really have a finished count yet, though obviously by the time you’re reading it it’ll be back up – yeah, it’s made putting together a batch of 10 reviews a day seem like a breeze. “Oh, you mean you’re only writing 10 reviews today? Well now this is happening.” That kind of thing. Didn’t I say something earlier this week about a piano falling on my head? Prescient.

Plan is to finish the QR on Monday and then get back to what passes for normalcy around here. Still plenty of good stuff to come between now and then though, so let’s dive in.

Quarterly Review #41-50:

Wucan, Reap the Storm

Bilingual heavy blues rockers Wucan offer their second full-length, Reap the Storm, through MIG Music, and with it showcase a stunning range of songwriting. The album is set up as a 2LP and runs eight songs/73 minutes from the Dresden, Germany, four-piece of vocalist Francis Tobolsky (also flute, guitar, theremin, sitar and percussion), guitarist/keyboardist Tim George, bassist Patrik Dröge and drummer Philip Knöfel, and from the expansive jamming of 10-minute opener “Wie Die Welt Sich Dreht,” it solidifies into the classic-prog-meets-heavy-boogie of “Ebb and Flute/The Eternal Groove” and nestles into driving semi-psychedelic rock on “Out of Sight out of Mind” to lead the charge on a side B marked out by the organ in “I’m Gonna Leave You,” the interplay of trippy/soulful vocals and flute on “The Rat Catcher” and the quiet, German-language post-Zeppelin acoustic folk of “Falkenlied.” Okay. Already your head’s spinning. Then Wucan dive into “Aging Ten Years in Two Seconds” and “Cosmic Guilt,” which together comprise the second of the two LPs, the former running 21:05 and the latter 18:04, and basically between them represent another album entirely, tying all of the elements previously listed together into one richly complex, progressive-but-still-warm delivery. Their breadth is met by an overarching organic feel – the flute and Tobolsky’s vocals help greatly in this – and though the results are somewhat unmanageable, Wucan remain impressively cohesive throughout the many twists and turns.

Wucan on Thee Facebooks

MIG Music website

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Lucifer in the Sky with Diamonds, Silent Echo

The new single “Silent Echo” is an awaited return from Moscow progressive heavy rockers Lucifer in the Sky with Diamonds, who showed up with an encouraging debut, The Shining One (review here), in 2014. In the rhythmic push and balance of melody and hook, “Silent Echo” reaffirms the appeal of that album and presses it forward, and the band – now comprised of guitarist/bassist/vocalist Oleg Sakharov, guitarist Sergey Starykh, drummer Ramis Cervantes and backing vocalist Alexey Fedotov – hold fast to the underlying proggy sensibilities that fall so well in line with the crispness of their production and the clarity of intent in their songcraft. If they were German or Swedish, they’d already be signed. After three years, a new album would be welcome, but perhaps “Silent Echo” is a harbinger of things to come, and if indeed the six-minute track is all we’re getting for now, it’s got resonance enough behind it to last at least for a while. Hard to hear it though and not want more from these guys.

Lucifer in the Sky with Diamonds on Thee Facebooks

Lucifer in the Sky with Diamonds on Bandcamp

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Thera Roya, Masterful Universe

Tracked a year ago in North Carolina, Thera Roya’s Masterful Universe two-songer follows behind their earlier-2017 debut long-player, Stone and Skin (review here), and continues their headfirst dive into noise-laden riotousness across the seven-minute “Static Transmission” (I’m sorry, but are those monkey sounds around the three-minute mark?) and five-minute “Confused Population,” which starts out with a sample of the bomb-riding end sequence of Dr. Strangelove, because I guess the Brooklyn/NJ trio of drummer/vocalist Ryan Smith, guitarist Christopher Eustaquio and bassist Jonny Cohn are feeling topical. Fair enough. That song pushes into cleaner vocals, almost drone-chants, for a particularly experimental feel, and keeps samples as a running theme (at least until the blackened cave-echo screams at the end), where “Static Transmission” is more scathingly aggressive at its core, but in both tracks, the message of Thera Roya getting weirder and weirder comes through clearly, and that only works to their benefit on this short but consuming offering. Run with it, dudes.

Thera Roya on Thee Facebooks

Thera Roya on Bandcamp

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Ojos Rojos, Sons of Love and Death

It’s been seven years since California-based heavy psych rockers Ojos Rojos made their debut with the full-length Disappear (review here), but you’d hardly know it from the vibrancy of their new five-song/26-minute Sons of Love and Death EP, which from its opening title-track – also the longest here (immediate points) – through the rightly spacious “Atmosphere” and smoothly rolling centerpiece “Say Goodbye” affects desert-hued shoegaze engagement that asks little of the listener more than to drift along with its easy path. “A Hole Inside” (pun sense tingling) brings especially satisfying fuzz in the guitar and a swirling couple leads to complement like stars overhead, and closer “So Free” doesn’t at all let the fact that it’s so darn laid back let it stop it from strutting its start-stop groove with such swagger. All told, Sons of Love and Death is a work of drippingly lysergic vibe, reminiscent of Dead Meadow at their most languid, but it comes across neither as staid nor redundant. Be it in the rhythmic push of “Atmosphere” or the final crashes of “So Free,” Ojos Rojos find the means to portray an active ecosystem in something that, from the surface, seems still and peaceful.

Ojos Rojos on Thee Facebooks

Ojos Rojos on Bandcamp

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Ett Rop På Hjälp, Sans och Balans

Ett Rop På Hjälp, quite simply, deserve a higher profile than they’ve got for their second album, Sans och Balans. The Gothenburg natives are a half-decade removed from their 2012 debut, Hur Svårt Kan Det Vara? (review here), on Transubstans, and the new collection is a more than worthy follow-up, offering classic-style boogie rollout on cuts like “En Djavuls Falla” and the later solo work on “Blanka Eftermiddagen,” while “Defenestration” (the only English title present, though it’s still sung in Swedish), highlights organ/keys alongside its low end depth and catchy movement, shifting at its midpoint to an instrumental jam that carries it into the bluesy build and harmonies of “Snomannen.” The penultimate “Leker Med Karlek” is particularly heavy ‘70s, but skirts the trap of sounding like Graveyard, Witchcraft or most others of that vintage ilk, and the finish in “Slutat Tro” prefaces its payoff with a subtle heft that comes to the fore late, manifesting a proto-doom working well to contrast the sweetness of the earlier vocal melody. It may be harder for those who don’t speak Swedish to grasp the verses and howling chorus of “Folkhemsdesperado” and the other inclusions here, but Sans och Balans is nothing if not worth that effort and clearly a record that earns more attention than it’s getting.

Ett Rop På Hjälp on Thee Facebooks

Sans och Balans on Spotify

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BongCauldron, Binge

Leeds trio BongCauldron have been kicking around the UK’s fertile heavy underground for the last five-plus years since their self-titled EP, issuing a series of shorter releases and splits and gradually readying themselves for a larger attack. That arrives as their eight-song/40-minute debut full-length, Binge, which sludge-bludgeons (yes, it sludgeons) its listener into submission with thickened nod, growls and an attitude that’s best represented perhaps in the title of second cut “Bury Your Axe in the Crania of Lesser Men.” Yeah, it’s like that. “68” and closer “Yorkshire Born” offer a Motörhead/High on Fire-style gallop, but the larger impression Binge makes comes from the pairing of the title-track and “Bigfoot Reigns” in the middle of the album. These two longest tracks, back to back, pummel their viscous onslaught, and even when the latter swaps out its faster first half for the massive slowdown of its second, its shift is purely from one extreme to the other. Feels like it’s been a while in the making, and maybe it has, but BongCauldron’s first long-player has nastiness a-plenty to make up for any and all lost time.

BongCauldron on Thee Facebooks

APF Records on Thee Facebooks

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Nomadic Rituals, Marking the Day

Marking the Day builds from minimalist drone over the first couple minutes of “From Nothing” into a maddeningly heavy, grueling, hour-long slog of noise-soaked and extremist post-sludge. It is the second album from Belfast, Northern Ireland, three-piece Nomadic Rituals, and its cosmically-themed lumber is utterly vicious as it plays out across six tracks, the shortest of which, “Expansion,” is just under eight minutes long. Over the course of this creation-to-destruction journey, guitarist/vocalist Peter Hunter, bassist/vocalist Craig Carson and drummer Mark Smyth (all three also contribute noise and/or synth) take listeners “From Nothing” and leave them “Face Down in the Sea of Oblivion,” and it’s that 14-minute finale and specifically the tumultuous, pushed-even-further apex thereof, that is intended to capture the grand undoing of everything. One imagines when the end comes it won’t actually sound quite so glorious, but an interpretive representation, Nomadic Rituals give brutal portrayal that seems to fit the onslaught of chaos, and the final amp hum reminds that every ending is likewise a new beginning, even one so mammoth and consuming as this.

Nomadic Rituals on Thee Facebooks

Nomadic Rituals on Bandcamp

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Mental Tremors, Mental Tremors

A duo who manage to sound like a full band on a studio album is nothing new at this point, between layering and tonal heft and whatever else might be at play in a given act’s aesthetic. Fortunately, Melbourne two-piece Mental Tremors don’t need to rely on novelty. In the fuzz of songs like “Bastard Son” and “Violently” – that’s a riff you should hear – their self-titled debut long-player offers legit chops in craft and performance, yes, sounding full, but still natural as it makes its way through the weirdo-psych nod of the six-minute “Patient Man,” solidifying as it goes, and seeming to turn the classic LP dynamic of straightforward A and more expansive B sides on its head as it rounds out with “Hunters” and “The Fevering,” individualizing catchy, post-Queens of the Stone Age impulses and hairy riff-led raucousness. Initially self-released earlier this year, Mental Tremors was picked up for a vinyl pressing by Cursed Tongue Records, and whether it’s the clarion groove of opener “Like a Broken Town” or the nods and echoes that pervade “The Cascade,” there’s no question it earns that preservation that only physical media can provide.

Mental Tremors on Thee Facebooks

Cursed Tongue Records webstore

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Gin Lady, Electric Earth

Modern enough in its production, Gin Lady’s fourth album, Electric Earth (on Kozmik Artifactz) is nonetheless in pretty direct conversation with the ‘60s, whether it’s “I’m Your Friend” chatting it up with Paul McCartney circa Rubber Soul or the acoustic/piano stomp of “Mercy” in a back and forth with The Rolling Stones, even going so far as to reference “Satisfaction” in the lyrics. These pop-minded textures are met with some heavier rock vibes, but at its loudest, Electric Earth still sticks to a pretty serene feel, starting off at a dancey clip with “Flower People” and capping with the quick Lennonism of “Running No More,” while in between, the four-piece of vocalist Magnus Kamebro, guitarist/vocalist Joakim Karlsson, bassist/vocalist Anthon Johansson and drummer Fredrik Normark gracefully capture bygone vibes on the wistful “The Things You Used to Do,” the jammy “Brothers of the Canyon” and the crisp, clear “Water and Sunshine,” the hook of which could’ve easily come from a lost single from 1965. It’s a niche not everyone’s playing toward at this point, but still instantly familiar and engagingly, efficiently done.

Gin Lady on Thee Facebooks

Electric Earth at Kozmik Artifactz

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Swanmay, Stoner Circus

Unabashed stoner rock riff-led ideology persists throughout Stoner Circus, the hard-driving debut full-length from Linz, Austria, three-piece Swanmay. Working from a center of dense but not overblown fuzz, the rockers cast forth a clear-in-its-purposes nine tracks highlighted by “Lake on Fire,” which one can only wonder if whether or not was written in homage to the Austrian annual festival of the same name. In any case, that hook is one of several that feel particularly engaging throughout Stoner Circus, and the depth of tone on the instrumental “Dopechild” is enough to make that song memorable despite a lack of lyrics. Far from revolutionary, ultimately, but clearly not trying to be either, Swanmay’s first LP preaches its post-Kyussism on “Dharma” and in the Lowrider-style roll of “Sylvan” earlier on, but there’s an aggressive edge to it as well that comes to the fore on “Padawan” ahead of closer “Shiva,” which rounds out with a satisfying-if-telegraphed slowdown to make the point one more time about putting the groove first. So be it. As a debut, Stoner Circus gives Swanmay something to build on and already shows promise in songwriting and its well-honed execution of genre tenets.

Swanmay on Thee Facebooks

Swanmay on Bandcamp

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Starting tomorrow, the next three weeks are absolutely stupid with new albums. Over-the-top, ridiculous. An immediately-go-broke amount of music. Nothing less than an onslaught. We’re under attack.

Far be it from me to tell you how to spend your money — also far be it from me not to — but there’s some really killer stuff in here. As to why it’s all landing now? Some of it of course has to do with the timing of when it was recorded, bands hitting the studio in Spring before heading out on the road over the summer, but Fall releases also line up nicely for tours in October and November, heading into the holiday season, when the music industry basically shuts down. This is the last chance for releases to come out in 2017 and be considered for best-of-year lists.

I doubt the likes of Chelsea Wolfe or Godspeed You! Black Emperor or even Kadavar would cop to that as a motivating factor, instead pointing to the timing of Fall touring and so on, but these things are rarely coincidental. You know how there aren’t any blockbusters in January but every movie feels like it’s trying to win an Oscar? Same kind of deal.

Nonetheless, 2017 is laying it on particularly thick these next couple weeks, and as you can see in the lists below, if you’ve got cash to spend, you can pretty much choose your rock and roll adventure. I’ll add to this as need be as well, so keep an eye for changes:

Sept. 22:

Alcest, Souveinirs d’un Autre Monde (10th Anniversary Edition)
Brant Bjork, Europe ’16
Chelsea Wolfe, Hiss Spun
Epitaph, Claws
Faces of the Bog, Ego Death
The Flying Eyes, Burning of the Season
Fvzz Popvli, Fvzz Dei
Godspeed You! Black Emperor, Luciferian Towers
Jarboe & Father Murphy, Jarboe & Father Murphy
Monarch, Never Forever
Nibiru, Qaal Babalon
Process of Guilt, Black Earth
Satyricon, Deep Calleth Upon Deep
Spelljammer, Inches from the Sun (Reissue)
Thonian Horde, Inconnu
Trash Titan, Welcome to the Banana Party
Ufomammut, 8
With the Dead, Love from With the Dead
Wolves in the Throne Room, Thrice Woven

Sept. 29:

Cities of Mars, Temporal Rifts
Deadsmoke, Mountain Legacy
A Devil’s Din, One Hallucination Under God
Disastroid, Missiles
Jim Healey, Just a Minute More (Sept. 26)
Idylls, The Barn
Kadavar, Rough Times
Lucifer’s Chalice, The Pact
Monolord, Rust
Outsideinside, Sniff a Hot Rock
Radio Moscow, New Beginnings
Scream of the Butterfly, Ignition
Tronald, Tronald (Sept. 30)
Unsane, Sterilize
Wucan, Reap the Storm

Oct. 6:

Elder Druid, Carmina Satanae
Fireball Ministry, Remember the Story
Frank Sabbath, Are You Waiting? (Oct. 2)
Himmellegeme, Myth of Earth
House of Broken Promises, Twisted EP
O.R.B., Naturality
Primitive Man, Caustic
Spirit Adrift, Curse of Conception
Spotlights, Seismic
Sumokem, The Guardian of Yosemite
Torso, Limbs
White Manna, Bleeding Eyes

Also:

Oct. 13: Enslaved, Firebreather, I Klatus, R.I.P., Uncle Acid and the Deadbeats (reissue), Weird Owl, etc.

Oct. 20: Iron Monkey, Spectral Haze, Bell Witch, The Spacelords, etc.

Something I forgot?

Invariably, right? If you know of something not seen above that should be, then by all means, please leave a comment letting me know. My only ask is that you keep it civil and not call me a fucking idiot or anything like that. I write these posts very early in the day, and if something has been neglected, I assure you it’s not on purpose and I’m happy to correct any and all oversights.

Thanks for reading and happy shopping. Support local record stores.

Flute-laden Dresden four-piece Wucan have spent the last couple years kicking around various Desertfests — they did London and Berlin in 2017, Belgium in 2015, and were at Up in Smoke last year — in support of their 2015 debut album, Sow the Wind. On Sept. 29, they’ll follow that outing with the similarly-titled Reap the Storm through MIG Music, leaving one to wonder what the relationship between the two records is, beyond the simple fact of the one preceding the other. Just curious. Maybe they’re working on a theme of harvesting weather. I don’t know.

No audio yet, but art and tracks and word from the band themselves, who indeed have a slew of live dates booked for this Fall. I haven’t seen their name in festival updates as yet, but that doesn’t mean it won’t wind up there over the next couple months. Still plenty of time, and when I hear whatever I hear, I’ll post. You know the drill.

Here’s what they had to say about Reap the Storm:

Wucan – ‘Reap The Storm’ Double LP out Sep 29th 2017

Dear Dopetrotters,

After we have spent months in the studios developing, recording and mixing the new record, we are beyond stoked to finally tell you that our 80 minutes Double LP ‘Reap The Storm’ will be out on Sep 29th 2017 via MIG music. Yup, it’s a lot of music we have coming up for you!

Francis: “With this record we took what musically developed and just became apparent on our first LP ‘Sow The Wind’ to the next level. ‘Reap The Storm’ is not just a snapshot of our own personal and emotional state at this point, but the logical follow up to all our previous work.”

And damn, we are excited for you to hear the outcome! This time we’ll have two German songs, one of them being an acoustic ballad, one a politically/ socially critical piece and two songs longer than 15 minutes, that’ll take you on an adventurous trip through the fields of Psychedelic and Progressive Rock. Plus the Heavy Flute Rock tunes that shaped our style in the past.

Title List:

Side A
Wie Die Welt Sich Dreht
Ebb And Flute/ The Eternal Groove
Out Of Sight, Out Of Mind

Side B
I’m Gonna Leave You
The Rat Catcher
Falkenlied

Side C
Aging Ten Years in Two Seconds

Side D
Cosmic Guilt

We truly hope you guys will enjoy the results of our and our team’s hard work! More details on pre-order etc. to come asap.

Yours truly,
Wucan

Produced and Recorded by Nene “Porco Dio” Baratto
Mixed by Charlie Paschen
Mastered by Andreas “Lupo” Lubich
Cover Art by Daniel Stolle
Layout and Inner Design by Burning Moon
Photo by Martin Becker

Wucan live:
Sep 07 Zeche Bochum, Germany
Sep 20 Reeperbahn Festival Hamburg, Germany
Sep 21 Mephisto, Faust Hannover, Germany
Sep 23 Scheune Kulturzentrum Dresden, Germany
Oct 05 Das Bach Vienna, Austria
Oct 14 Merleyn Nijmegen, Netherlands
Oct 19 Das Bett Frankfurt, Germany
Oct 28 Jovel Club Münster, Germany
Nov 02 Club, Backstage Munich, Germany

https://www.facebook.com/wucanmusic/
http://www.wucan-music.de
https://www.facebook.com/migmusic.de/
http://www.mig-music.de/
http://www.mig-music-shop.com/

Wucan, Sow the Wind (2015)

I have no problem admitting to feeling overwhelmed looking at the full lineup and individual day splits for Desertfest London 2017. I mean, seriously. Look at that poster. What a way to spend a weekend.

Likewise, I have few grand reflections to offer in light of that overwhelming feeling, except perhaps to take a step back and be massively impressed at how much this event has grown in just six incarnations. Along with Desertfest Berlin, the London edition has become an anchor not only for the UK heavy rock underground — which is well represented here as ever in Elephant Tree, Black Spiders, Stubb, Vodun, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Terminal Cheesecake, Chubby Thunderous Bad Kush Masters, Mammoth Weed Wizard Bastard, and so on — but for bands from abroad as well. You’ll note the three headliners: two American, one Norwegian, and the next line down on the poster is two Swedish, one American. Desertfest London 2017’s reach feels wider than ever. Staring at the final lineup, it’s clear just how much of a big fucking deal this festival has become.

Wish I could be there to see it.

Here’s the announcement of the individual day lineups from their website:

DESERTFEST 2017 DAY SPLITS AND DAY TICKETS ARE HERE!

Finally, the Desertfest 2017 day and stage splits are here, along with individual day tickets. It’s the point of the year where you can start planning the weekend, you can imagine the sets in your head and you can curse those god damned clashes.

Last things first, let’s get straight to that insane Sunday main-stage. To celebrate The Roundhouse joining the Desertfest family, we made their debut appearance something special. Not only will stoner doom icons Sleep be topping the bill, but the Roundhouse hosts a full bill of huge acts. Candlemass, with over three decades of underground acclaim to their name, bring the epic doom metal. USA’s Wolves in the Throne Room bring the atmospheric black metal. Traditional doom metal stalwarts Saint Vitus bring the classic riffs. And how about this for a ‘curtain jerker’? Bongzilla bring the raw weed metal for their second show of the weekend; more on the first later.

It’s not just about the Sunday though. Friday’s stage at the Electric Ballroom is headlined by returning heroes Slo Burn whose short run in the mid 90s furthered the then fledgling stoner rock scene. One band they surely had an impact on is Lowrider, who play Europe’s finest stoner rock alongside them. Ukraine’s Stoned Jesus celebrate their resonant album Seven Thunders Roar, and 1000Mods and Pontiak round up the main stage on the Friday.

The Electric Ballroom on Saturday will be swarming with Turbojugends as death-punk grandmasters Turbonegro turn Camden into party central. John Garcia sticks around for a solo show, sure to feature classics from his years of nonstop mastery in the stoner rock scene. Sheffield’s rock and roll five piece Black Spiders visit London for one last time on their farewell tour, with Satan’s Satyrs and Avon rounding up the main stage.

As ever though, it doesn’t stop at the main stages. Our regular partners have delivered three stages with diverse lineups. Human_Disease_Promo and When Planets Collide take over The Underworld on Saturday in a bill headlined by Bongzilla with a special set celebrating the band’s early work. The Quietus stage is led by synth wavers Zombi, and Nightshift Promotions bring an eclectic mix led by Hungary’s Apey & the Pea. To be honest, just stick a pin in the lineup poster and you’re guaranteed a good time.

For those who can’t make the full weekend, we have a limited number of individual day tickets. Priced at £40 for Friday tickets, £40 for Saturday tickets and £45 for Sunday tickets, links are below.

So there we have it. Our final lineup for Desertfest 2017. We hope you’re as excited as we are to get back to Camden this April and riff London to the ground.

DESERTFEST LONDON 2017 Final Lineup:
SLEEP
SLO BURN
TURBONEGRO
CANDLEMASS
WOLVES IN THE THRONE ROOM
SAINT VITUS
JOHN GARCIA BAND
BONGZILLA
LOWRIDER
SCISSORFIGHT
BLACK SPIDERS
SAMSARA BLUES EXPERIMENT
THE PICTUREBOOKS
STONED JESUS
SATAN’S SATYRS
INTER ARMA
WEAR YOUR WOUNDS
1000MODS
STEAK
AVON
DEATH ALLEY
DEAD LORD
BOSS KELOID
PONTIAK
YURI GAGARIN
HARK
VODUN
CHRON GOBLIN
PIGS PIGS PIGS PIGS PIGS PIGS PIGS
THE WELL
MAMMOTH STORM
CELESTE
STUBB
MONOLITHIAN
WUCAN
VENOMOUS MAXIMUS
BRUME
APEY & THE PEA
ELEPHANT TREE
GRAVE LINES
IRON WITCH
EARTH SHIP
BACKWOODS PAYBACK
WIZARD FIGHT
BRULE
CLOSET DISCO QUEEN
GRAND MAMMOTH
CHUBBY THUNDEROUS BAD KUSH MASTERS
MAMMOTH WEED WIZARD BASTARD
SAMAVAYO
WELCOME BACK DELTA
DEAD LETTUCE
MONSTERTONE
LEDFOOT
ZOMBI
TERMINAL CHEESECAKE
KHÜNNT
BASK
BRUXA MARIA

http://www.desertfest.co.uk/#tickets-section
https://www.eventbrite.co.uk/e/desertfest-2017-tickets-27305267791
http://www.desertfest.co.uk/
https://www.facebook.com/DesertfestLondon
https://twitter.com/DesertFest
https://www.instagram.com/desertfest_london/

Dead Lettuce, Booze and Blues EP (2015)

Let’s get one thing straight: I really want to go to Desertfest Berlin 2017. For one thing, I’ve never been, and quite frankly I’m more than a little ashamed of it at this point. I spent about two days in Berlin over a decade ago, and aside from the raging jetlag — one did not know at the time to simply stay in one’s own timezone; also I was drunk like the entire trip — found the city to be beautiful, a little sad in the way cool cities are, and welcoming.

But even putting the palce itself aside, Desertfest Berlin has been going on for years now and it’s always been just out of my reach, right there on the horizon. I’ve been to the London incarnation of the festival and wouldn’t mind getting back there either, but to cross this one off my list would be big, especially since as this lineup continues to come together it’s looking more and more admirable. The chance to see Samsara Blues Experiment on their home turf? Come on.

Five bands added in the second lineup announcement, as the PR wire informs:

Desertfest Berlin 2017 – 5 new Names on the Bill (Mars Red Sky, Samsara Blues Experiment, Tuber, Wucan, The Well)

DESERTFEST BERLIN 2017 – APRIL 28-29-30

Hey everybody! We are glad to get back to you today with a new batch of bands to announce for our 2017 edition of DESERTFEST BERLIN! Alongside previously confirmed LOWRIDER, TOUNDRA, ECSTATIC VISION, THE COSMIC DEAD and SATAN’S SATYRS, we are thrilled to welcome aboard five new stunning acts:

MARS RED SKY (FR)
We are stoked to have Mars Red Sky back for next year DESERTFEST! The Bordeaux three-piece played the very first edition of our festival in 2012 when they were just promoting their self-titled debut album. They always showed “a penchant for 60s space rock filled with doomy tones and tempos, accentuated with pop sensibilities” (The Sludgelord), and 4 years later, after touring relentlessly, they pushed boundaries further into a colossal heavy sound by releasing their third full-length, “Apex III (Praise for the Burning Soul),” an album that represents the most significant sonic progression the band has made so far, forging grandiose and hypnotizing thickly produced songs. Their show is going to be a crazy psychedelic trip and Mars Red Sky will be your tour guide!

SAMSARA BLUES EXPERIMENT (D)
It is always a pleasure to have Samsara Blues Experiment at DESERTFEST BERLIN. Founded in 2007 by guitarist/singer Christian Peters and completed by bassplayer Hans Eiselt and drummer Thomas Vedder, they are one of Berlin underground scene’s pride, and a household name in the “stoner scene” in general. Playing a mixture of stoner rock, psychedelic blues, Indian raga, thrash metal and traditional folk, the trio is currently working one a new album, their long-awaited fourth one, which should be released around next spring… “Good tunes come to those who wait” guys!

TUBER (GR)
Tuber is an instrumental band from Greece blending post, stoner, desert and space rock with a sublime psych edge. They recorded their first self-titled EP in 2011 and their stunning debut album “Desert Overcrowded” in December 2013. Two and a half years removed from the release of this full-length, but having built a steady following all the while (and after traveling in 2015 to play Freak Valley), Tuber hit the European roads for the very first time this past spring and clearly made an impression! So if you guys want to enjoy some rock aesthetic flirting with psychedelic atmosphere and a touch of romantic mood, do not miss them!

WUCAN (D)
The Saxonian band Wucan entered the German Rock Scene with a splash by releasing their first EP “Vikarma” in the fall of 2014 and their full-length debut “Sow the Wind” in August 2015, to excellent critical acclaim. Deeply rooted in the 70s, the band’s fresh sounding kaleidoscopic Rock Fusion of groovy Funk, Psychedelic, Hard Rock and Kraut Rock, and enigmatic live performances have proven that the band is capable to hypnotize a receptive audience and take it onto a journey into a rockworld of it’s own creation. The band is currently writing their follow-up second album (tentatively titled “Reap the Storm”) scheduled for a spring release…

THE WELL (US)
Austin-based power trio The Well redefine heavy rock by merging massive riffs with sophisticated melodies. Their progressive sound stems from a nostalgic desire to blend different musical styles as diversified as Joy Division to Blue Cheer. As fans of cult horror films, they embrace the sinister, revel in dark themes and find inspiration in haunting echoes. Thet have created a sound that reflects doom, punk and horror all rolled together in a ghostly rock soundtrack. After releasing their debut album “Samsara” in 2014 and toured on it relentlessly, they dropped a furiously strong sophomore effort “Pagan Science” last month, and can’t wait to share it with the European crowd!

There are still 20 more acts to be unveiled, including all our headliners, so stay tuned! Next announcement will be on Friday 2nd of December. Meanwhile do not miss your chance to be part of the amazing DESERTFEST BERLIN experience… Check out our Website to get your tickets, or the links below in this release! We were sold out last year in February, so better be quick!

Let’s turn all the DESERTFEST BERLIN 2017 into another milestone when it comes to Berlin and festivals!

http://www.desertfest.de/tickets
https://www.facebook.com/DesertfestBerlin
http://woolheads.com/shop-2/festivalmerchandise/desertfest-berlin-2016-early-bird-ticket-action-1/
https://shop3.ticketscript.com/channel/html/get-products/rid/4MGC3S6H/eid/327518/validity/any_day/language/en

Samsara Blues Experiment, Waiting for the Flood (2013)