It’s spring bank holiday in the UK, which can mean only one thing; a long weekend of headbanging in London’s dingiest venues. 2019 marks the eighth edition of London’s Desertfest; a festival dedicated to the slow, the slower, and the heavy. With a healthy dose of bong and Satan worship thrown in for good measure. Continue reading
Desertfest London kicks off for their eighth edition today, taking place all weekend from 3rd May – 5th May 2019 in Camden, London UK. Tickets are still available at the link below. The fest is headed up by immense talents such as Om, Amenra, Fu Manchu, Electric Citizen, Black Tusk, Mondo Generator, Wovenhand, High Reeper, Kadavar, All Them Witches, The Skull and more! Get ready with our day by day list of must-see bands! Continue reading
Desertfest London is around the corner with just a month to go before the eighth edition. The fest had added the final dozen bands including an entire stage takeover from the incredible Black Deer festival! Their Sunday curation stage welcomes The Devonshire Arms, The Vanguards, The Fargo Railroad Co., The Southern Companion, The Outlaw Orchestra and more have been added such as Whoremoan, Cities of Mars, Orbital Junction, Drore, Årabrot, Vokonis, The Great Machine, and Wren. Desertfest takes over London 3rd May – 5th May 2019 | Camden, London UK. Tickets available at the link below. Continue reading
It’s the May Day bank holiday in London, which can only mean one thing; Deserfest! A weekend of avoiding the sun in the darkest and dingiest venues across Camden Town, listening to the darkest and dingiest stoner and doom music. Continue reading
London’s annual three-day festival to tune in, turn on and drop out: Desertfest is back this weekend. Ghost Cult will be on hand once again covering the fest which features headliners High On Fire, Graveyard, Warning, Eyehategod, Napalm Death, Weedeater, The Obsessed, Hawkwind, Church of Misery, Death Alley, Kind and more! We thought we would help all you heshers and hesherettes out with a fest preview of all the must-see bands, all the stage times, and other essential shit, which will give you all more time to find snacks, snake brews and find your missing rolling papers. They are in your hand, dude. Dig? Cool. Continue reading
There’s decent pedigree within the ranks of New England quartet Kind, and the filthy, leaden groove attacking the knees from the beginning of debut album Rocket Science (Ripple) bears that out. Yes, it’s Stoner but, initially at least, there’s more life in the plunking of the bass, the reverb of the whole sound and Craig Riggs’ vocal roar which, far from the emphysemic gargle usually expected, has a depth and resonance befitting the growling riffs and sedentary pace.
An atmospheric production further lifts the sound throughout, giving the lazy Blues-Rock of ‘Rabbit Astronaut’ a mystique which enhances both the smokiness of the riff and the frenetic lead. The tempo of ‘Fast Number One’ is aptly ramped up to near-NWOBHM, levels yet Tom Corino’s mellow bass notes and the subtle riff allow the track to breathe through Matthew Couto’s precise stickwork. Riggs’ delivery is a little ‘pubby’, however, manfully handling some pretty clunky lyrics.
Not unexpectedly there is a stodginess to certain elements. It takes a gradual quickening and more of Darryl Shepard’s howling leadplay to inject life into the somewhat dull and uninspired meanderings of the overlong ‘Hordeolum’: the powering riff and Psychedelic vocal gracing the last quarter showing what might have been. The grinding, dirty Funk of ‘Pastrami Blaster’, meanwhile, is reined by a sluggish torpor which prevents that hot undercurrent from exploding; again only fired to partial grandeur by more electrifying work from Shepard. When things do fire, however, they are both potent and infectious; the nasty, driving power of the standout ‘Grogan’ again given room to flex by a strong yet dextrous riff.
The fuzzed, mellow tones of closer ‘The Angry Undertaker’ are slightly affected by Riggs’ balladic croon which, although wondrous by the genre’s standards, still shows limits on occasion. It’s here, however, where the creativity and fire in the belly is really displayed – the brutal, barrelling riffs and subsequent screams duelling with steadily building and intricate, cosmic leads – and where the uncertainty of Kind’s goodie bag is finally dispelled. Despite brief flashes of the usual failings there is much to be positive about here.
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