I wanted to make a point to cover the music first, and bring out as much positive as I possibly could regarding who played, what stood out to me, etc. I think this part if very important for people that are heading out to see a show or festival, don’t know a band, and decide after reading a review to check one of the bands I discussed out. With this said, I hate writing negative things about artists, or their music, I’d rather focus on the positive, and what I enjoyed, however I can’t say that the overall experience as an attendee of Sonisphere Spain gave the me the same sensation.
The event was a huge success; Last Tour International put the festival together, and has been organizing it since its initial inception four years ago. They run several other festivals here in Spain, and bring a lot of the big name acts to this country. I must say that this was the most poorly run festival I have ever attended, bar none. Up until a few weeks ago the festival was going to be held at another location (also on the outskirts of Madrid in Getafe) where the previous two Sonispheres were held. The problem with this location was that you were basically in a dust bowl during the shows. At the end of the night you were covered in dust, and the Red Cross had to tend to scores of people that could not breath correctly as a result. So Last Tour boasted how the festival would return to the Auditorio John Lennan, where they held the now defunct Electric Weekend which also had METALLICA as its headliner. Now pay close attention because when this information came out, they mentioned (and this is still on their website) how this new location held up to 40,000 people. Ok, so on Sunday a day after the festival wrapped they mentioned that day 1 had over 38,000 people attend while day 2 had over 54,000! So how can a location that could hold up to 40,000 people hold 14,000 more? When I interviewed John Schaffer of ICED EARTH a few months back he mentioned how the music industry mostly about illusion, and the music actually came second. I mentioned this because it seems like either someone doesn’t have their facts straight, or just lying. In the end they’re trying to sell certain illusion. The kicker is that the food court per say was nowhere near being full at any point during the festival.
So I get to Getafe, there are no signs regarding where the Sonisphere is taking place, until you’re practically on the festival grounds. I can’t tell you how many people stopped me for directions, or mentioned they drove around for an hour and a half until they found it. What I did was follow all of the people with the black hard rock and metal t-shirts! Once I got there I followed the signs to the parking lot, which I discovered was already full by the time the gates had opened. I circled for a bit, and saw the droves of people walking from all directions, so I drove until I found a spot. As I mentioned previously 2km away, more or less a mile and a half, which isn’t that big of a deal if it wasn’t that they boasted about the parking situation! Not only that but as customary with Last Tour’s festivals, they offer free camping, provided you show them your ticket. What they don’t allow you to do is drop your things off anywhere near the camping area. So get this, I had a mile and a half walk, with my tent, cloths, food, drinks, sleeping bag, etc. I walked for about two minutes, turned around, and took a relative up on their offer to stay with them in Madrid. That said, I had plenty of friends that made the trek to the camp grounds. Once there they were lucky if they found a spot to camp. Tents were less than half an inch away from each other, if they could somehow squeeze in. A lot of people camped on the side of the road, or slept in their cars. Someone working the event (who chose to remain anonymous) copped to the fact that they only had camping for about 10,000 people. So you’re putting on a show in an area that holds 40,000 people, and you only have an area large enough for 10,000 people? No provisions could have been made to either setup parking or camping somewhere off location and have people bussed to the site? The same organizers do this at other festivals, why not here? It really seems as if Last Tour really did not plan well, or they just flat out don’t care about the state or wellbeing of the attendees to one of their premier events.
I went to the festival given the impression that I would be able to interview four bands, so I took my netbook with me, I usually write questions down at home, and use the netbook during interviews to rattle off my questions. So after walking for 20 minutes I got to festival site. I went through the first security check point, then through the booths where I received the festival bracelet, and then through one last check point where I was denied access into the festival. I was told that a laptop was not permitted. I mentioned why I had the device on me, and was told that unless I had a pass specifically for it, that I would not be allowed in. The person next to me was denied entry because they had an old digital camera the guards mistook for a professional reflex camera, what a joke. I was very annoyed to say the least, given the debacle with the parking, camping, and now this? So I collected myself, calmed down, walked 20 minutes back to my car, and then 20 minutes back to the festival where I was finally let in. Ok, but check this out, a laptop isn’t allowed, but handcuffs, iPads, a motorcycle helmet with horns, someone with a gas mask that had three inch spikes coming out of the sides, and last but not least a rubber Thor hammer, were all allowed in. Sure it’s just a toy, but imagine if someone gets drunk and pissed off and decides to smash someone in the side of the head with it? So anyway, I could really see how my netbook is much more dangerous than any of those objects. I could also see how an iPad varies a considerable amount from the netbook. What did they say to get it in, “hey it’s only a big phone?” Speaking of phones, there was little to no phone service, no 3G or internet anywhere. You want this to be considered a major festival, you need these amenities.
Once inside you would have found bathrooms to your left, stage 1 to your far left, the token booths, various bars, the DJ tent, stage two in front, and the food court to the right. With regards to the food court a lot of people bitched about the prices; I didn’t find them to be that bad. All festivals or shows have over priced food and beverages, it is what it is. The problem with the food stands was that the lines were unorganized, food was handled with bear hands, some venders refused to give you change, and there was dust and dirt everywhere. They mentioned this wouldn’t take place, but the dust was still ever present. You paid using tokens, they were either picks that represented 1€ or paper bills that represented 3€ and 8€. Why those amounts is beside me. But more than one person mentioned that while paying with the paper bills, the vendor refused to tender them change. So they’re essentially ripping you off. Food and beverages was not sold together, so after waiting an hour for a sandwich (which was my case), I then had to go to a bar on the other side of the grounds to buy something to drink. Is it too much to ask to have the same people sell some sort of drinks? What about having a beverage stand in the same area?
As far as bathrooms are concerned, ok, so you always have your usually filth, excrement, and urine all over the place in the bathrooms. Whenever you get that many people together, you’re bound to find a few hundred slobs. If they’re drunk to boot, well you can just imagine. The worst thing that I saw was that they have portable standing stalls for the men, and for the first time ever there some that were not accessible because they were overflowing or leaking urine from the bottom. Funny thing is Last Tour promised more bathrooms and showers at their new and improved location. This wouldn’t be an issue if this was in fact the case, or if things had been planned accordingly.
Would this festival be allowed to take place in another country? What about if there was some sort of health inspection that took place? I would imagine that the answer would be no.
With regards to the overall sound, stage 2 sounded great, stage 1 (the main stage) was terrible. There was one spot where stage 1 did sound great, they had a giant screen behind the sound tower that had its own speakers. Everything was perfect there, but if I’m at a festival I want to see the band in person, not have to watch a screen as if I was at home. For that I’ll stay home and put a DVD on. No reason why the sound could not be as good in front of the main stage.
With regards to the security team, I saw one very alarming trend taking place, and no I’m not talking about my netbook debacle. KYUSS LIVES! was on the second stage, and their die-hards were going nuts. Some people got up on people’s shoulders, and were immediately told to get down, I thought this was odd, but ok, I guess it’s a precaution. What was far worse was if you crowd surfed, security jumped into the crowd, and pulled you out, jamming people’s arms up behind them as if they were going to be handcuffed! I was in shock, this for crowd surfing? Was the security team privy to what takes place at a concert? The security also wore black padded gloves that are not needed, unless your intentions are to pound on someone. I was appalled, were they there to preserve the safety of the crowd, or were they there to be a goon squad? Someone must have mentioned this because on day 2 I saw a different demeanor from the security team. Still no reason for them to act this way to begin with.
They had a “black hole” on day 1 and “snake pit” on day two. In other words if you paid more (not sure on the exact amount), you had the right to be upfront and dead center for all of the acts on the main stage. No big deal as I’m used to attending shows in the states, and seeing this. But at a festival? Sort of doesn’t make sense. I do have to say that if the area was not filled a few songs into someone’s set, they would let anyone in. I did witness one incident were security was allowing a group of females into the “black hole”. A gentleman came along and was denied access, while wearing the designated bracelet for the area! Another member of security noticed what had taken place, and he ran over and let the guard know about his error. The second guard apologized to the livid fan that told him that he didn’t pay extra to not be allowed in and worse yet, see someone deny him entry while trying to chase tail.
As they say inZombieland it’s the little things that count, so many little things could have been done to make the experience so much better. Why not come up with a plan to make sure you have enough parking and on site camping for everyone that will attend? Ok so you switched plans to have the festival at this location, but I’m assuming that even with a few weeks’ notice you could work something out? What about assuring that the food vendors aren’t ripping people off? Or making sure that they’re properly handling food? How about allowing beverages to be sold in the food court? What about the bathroom areas, you couldn’t double what you had to ensure there was nothing overflowing? How about cell phone coverage, I’m shocked that in a city that has repeatedly tried to obtain the Olympics doesn’t have adequate service for all of those that attend a festival within the city. I’m sure that when Real Madrid plays in their home stadium (Santiago Bernabeu) you don’t have these issues, and that stadium holds over 85,000 people, almost the combined total for both days.
I do have to say that they got one thing right, moving the festival to late May, which gave us very mild weather, and perfect for the event.
From a reviewer/journalist standpoint, I’d like to do further homework on who is asking for press passes. What good does it do if you’re randomly giving them out? That’s the reason I was given as to why I was not given a press pass, something I find hard to believe. Also, if you’re only going to allow the national media to have a 10 second blurt on METALLICA, don’t you think everyone that wants to and can go see them is already there? If you want this to be an internationally recognized festival you need to expand, allow people with coverage in the states (hello it was Memorial Day weekend and Madrid was full of Americans!) and the UK to have access, and not just the same old same old top 40, or network TV access for hopes that maybe one additional person goes. In the end they need to think quality not quantity. Do those outlets provide you more viewers? Sure, but are those viewers going to turn into concert goers at a metal festival? Chances are no.
All in all I have to say that if the music on day 2 wasn’t as good as it was the festival would have been a total disaster. Not for the organizers as they broke all types of records for attendance, and were more than likely swimming in money on Sunday morning. What I would like to see is that take into consideration how crappy of an experience the event was for those that attended. Have some sort of backup plan if things don’t work out, or alternatives to make sure concert goers receive the best experience possible. After all, they’re the ones that guarantee that your festival stays alive for another year. If not go back and see why some of your own festivals no longer exist. Learn from your mistakes; don’t try getting away with them until someone calls you on them. One can hope they will for next year’s edition.
My review of Sonisphere will be done in three parts, the first two dealing with the music, and then a third part dealing with the experience as a whole. The Sonisphere in Spain is held in Getafe, which is on the outskirts of Madrid. This year’s edition was held at the Auditorio John Lennon, which is essentially right next to a military base. Due to my commitments as a father, I left home for Madrid later than expected, but got down there right as Lauren Harris’ new band SIX HOUR SUNDOWN hit the stage (made it down in four hours). Now by reading this, you might think I actually got to see her band. I listened to them while in traffic. See I got there and the abundance of parking that was promised was non-existent, as a result I had to park 2 kilometers (almost a mile and a half) away and walk with thousands of others that had been thrust into the same situation by the promoters. All of us were struggling to find the parking lot, when we got there, we found it was full. So if you didn’t get into that lot you had to drive in circles till you found parking on the street, 2 kilometers away! Anyway, more on this in part three, there is plenty to discuss. Now to the music.
By the time I got into the actual festival SIX HOUR SUNDOWN, SKINDRED, KOBRA AND THE LOTUS, RISE TO REMAIN, CORROSION OF CONFORMITY, and SONATA ARTICA had already played. By the time I did get in, LIMP BIZKIT was on stage playing “Break Stuff”, and proceeded to play just hits, “My Generation”, “Take A Look Around”, etc. Due to the fact that I got in mid-set there were tens of thousands of people in front of me, so I decided to go to the second stage and wait for KYUSS LIVES! The organizers (Last Tour International) had the brilliant idea that for the first time in the festival’s existence they would have bands overlap one another. So even before LIMP BIZKIT was done KYUSS LIVES! hit the stage. John Garcia, lead singer of the band remarked the fact that it was odd they were playing at the same exact time; he wasn’t the only one to do so during the course of the two days. The band tore through stoner classics that included “Gardenia”, “Supa Scoopa And Mighty Scoop”, and of course “Green Machine”.
Next up was SOUNDGARDEN, I got to see them on Lollapalooza 96 with METALLICA, they were one of many other bands that stopped existing shortly after the tour, RAMONES, and SCREAMING TREES, being the others. I can’t consider myself a die-hard fan of the band, although I enjoy a lot of their material. I either really enjoy their music, or it bores me. That said, I know a lot of SOUNDGARDEN die-hards that were a step away from doing the O face during the band’s performance. Stand out tracks for me included “Jesus Christ Pose”, “The Day I Tried To Live”, “Outshined”, “Rusty Cage” and “Slaves & Bulldozers”. Their set was good, but for me, it was as if some of their tracks broke up the flow of the festival. It was like hitting the breaks all of a sudden, and dragging (the operative word) to a halt. Still a good set, just not someone I’d set out to specifically see.
Here is a little tidbit about the festival culture here in Spain, the headliner isn’t the last band to go on, this is something Burton C. Bell of FEAR FACTORY mentioned at the close of day 2. SOUNDGARDEN were the headliners of day 1. MACHINE HEAD hit the stage next, and if I mentioned that the SOUNDGARDEN die-hards were elated to see their band, the MACHINE HEAD faithful were down right pissed. You know all of this nonsense that Bruce Dickenson says about American crowds, and how in Europe they’re just happy to see you and celebrate? How they don’t care if you only play a greatest hits set? I think you had several thousand people really angry at MACHINE HEAD that would beg to differ. Why you ask? They played 7 tracks, and 5 came from their latest album Unto The Locust. “Imperium” and the closer “Halo” were the only two to not come off of the album. So now you’re thinking wait, they closed with “Halo”? And “Imperium” was the only other song that wasn’t. Where’s “Davidian”? The DJ that came on two hours later emphatically launched into his set and proclaimed “here’s the one MACHINE HEAD forgot” as you can hear Kris Kontos legendary intro. So, I understand both sides of the coin here, if I’m MACHINE HEAD, I’m proud of my latest album, and I want to play songs off of it, but I can also understand the fans, you’re playing seven tracks, and five come off of the new album? I didn’t hear one positive thing about the set afterwards. Spain has always been a strong hold for the band, even when the The Burning Red came out. A generation of Spanish metal heads have grown up in this country with MACHINE HEAD, SEPULTURA and PANTERA being their biggest inspirations. It was also surprising to many that with such a reduced set that Rob Flynn would take several minutes to intro “Darkness Within”. Personally I thought the set was alright, not as good as other times I’ve seen them, not as long either, and the sound was not that loud (more likely the organizer’s fault and not the bands.) I personally enjoyed the opener “I AM Hell (Sonata in C#)”, and the two classics I mentioned “Imperium” and “Halo”.
Once MACHINE HEAD wrapped up, it was off to see doom metallers ORANGE GOBLIN. They were the surprise of the day for me. Although I’ve know the name for a while, I can’t say that I know enough of their catalogue, and will definitely check them out more in the coming days. With this said I did enjoy “The Fog” which came off of their latest release A Eulogy For The Damned.
Letting the music of day one sit with me roughly 48 hours, I’d have to say the day was full of good bands, nothing great and nothing that was over the top memorable. THE OFFSPRING and ORANGE GOBLIN were by far the best acts of the first day.
For more years than they existed, KYUSS is a band that lived in the imagination of their fans. Even though the different members have gone on to other bands like QUEENS OF THE STONE AGE, FU MANCHU, SLO BURN and MONDO GENRATOR people have never really been satisfied by the mythological status the band has attained. When a chance encounter and jam at a European tour started the juices flowing again between Brant Bjork and John Garcia, the wheels for KYUSS LIVES! started to turn. It is not a an actual reunion, but this is as close as you will get to one for the time being. Still, the anticipation was high to see the participating members and hear these songs many only know as covers by others bands like THE MELVINS or TOOL.
MONSTRO is one of the best new bands of 2011.
The first band up on this night of heavy was MONSTRO from Atlanta, GA. The band has been one of the most impressive new collectives of late with their free swinging 70′s rock grooves and great songs. Although the band is known for some familiar names in rock and metal circles, it is singer guitarist Charlie Suarez. Charlie has a terrific singing voice, one that is sure to garner him high praise. Playing tracks off of their new self-titled such as “Fantasma”, “Concertina” and “Stallone” the band has an impressive stage show buoyed by bassist Kyle Sanders and Juan Montoya (TORCHE). Montoya ripped off some great leads during their set too. Next up was MILLIGRAM who reunited recently to play a few shows. The band is fronted by Jonah Jenkins (ONLY LIVING WITNESS) and led by guitarist extraordinaire Darryl Shepard (BLACKWOLFGOAT). The band was crushing it big time on a collection of tracks from their career including the standout This Is Class War album. Jonah does what he does best, wail on the vocals and deliver them with classy restraint and soul. The entire band was really great through the extended early set.
MILLIGRAM reuniting made this incredible bill even stronger.
THE SWORD was up next in the three-hole in the order and they were primed and ready to tear it up big time. They hit the stage with “How Heavy This Axe” and they were naturally on point and tight sounding too. Buoyed by their new drummer Santiago “Jimmy” Vela III they rocked out as they always have with their perfectly matched sound of stoner jams. JD Cronise sounded great as always with his fine voice and sweet skills on the six-string. Cronise and the entire band are all fine performers and always put on an exciting show. “Tres Brujas” followed and also was a smoking hot track. The middle section/breakdown is a pure 70s throwback groove. Kyle Shutt is also choice with his guitar playing too, shredding solos all over the place. He and Cronise make a terrific tandem sharing several harmony leads and breaks. I was impressed with how professional these relatively young guys approached their spot on the bill, choosing to talk little and let the music speak through them. “Bareal’s Blade” like all of the music from their hit Age of Winters always draws a roar from the crowd. The track is so righteous and soulful it is my favorite song by the band and my favorite of their set. Vela III really crushed the drums on the mighty “Freya” which was impressive to say the least. The song is another of their highlights with crushing grooves and riffs. Plowing through a few more songs they closed out with the epic 1-2 punch of “The Chronomancer II: Nemesis” and “Ebetheron”. It was a great set overall and the band proved again why they are one of the legit great groups of this sub-genre.
Kyle Shutt shreds a solo during his set with THE SWORD.
Set List:
How Heavy This Axe
Tres Brujas
Barael’s Blade
Sea Of Spears
Freya
Night City
The Chronomancer II: Nemesis
Ebethron
The entire night the opening bands played spartan back lines in the shadow of the massive 1970s motif KYUSS LIVES! banner. It was day-glo as fuck and reminded me of the polyester times of my childhood. I was really beside myself with excitement at the band took the stage one at time. As John Garcia strode out with purpose their was a loud cheer as the multicolored lights shone on the stage. They came on to a short recorded bit of “Spaceship Landing” but really began the set fully with the badassery of “Gardenia”. Garcia was stoic, but pushed almost of his emotions through his vocals with classy form. His beautifully restrained performance added the reverence the music deserves. Perfect. Drummer Brant Bjork with his headband and epic hair were an homage to John Bonham as was his balls out playing the entire show. Even though former guitarist Josh Homme is not participating, he is still a figure that looms large in the hearts and mind of the fans. Still, one must commend the job Bruno Fevery did the entire night, nailing every signature lick and solo flawlessly. “Hurricane” was next and short and sweet. Another top level riff machine of a track. Garcia wailed away on the emotive lyrics and again I was transfixed on him throughout the show. “One Inch Man” and Thumb” brought more intense and smokey grooves highlighted by the bass guitar work of Nick Oliveri. As always he put on an immense show as a performer, just rocking out the entire set. The surpemely trippy “Freedom Run” was next. Sultry guitar licks from Fevery rained down and the track just laid waste to the crowd with its cool heaviness. The band gave thanks to their loyal fans with deep cuts like “Supa Scoopa and Mighty Scoop” and ”Odessy”. Other cuts like “50 Million Year Trip” were so cool to finally hear live and my mind was blown. When they played thundering versions of “El Rodeo” and “100°” I thought it was the end of the show since the band was just jamming out and letting it all fly. Garcia was like a modern Jim Morrison, a charismatic conduit for the jammage to unfold.
John Garcia is the consummate rock vocalist.
The band left the stage, but the house lights did not come on for a full five minutes with the fans starting to foam at the mouth. KY-USS! KY-USS! was being chanted by the masses over and over. At last they walked back out and went to their instruments, Garcia to the microphone. Playing a fantastic encore of “Molten Universe”, “Allen’s Wrench” and the ever popular “Green Machine” was a great way to close the night. I was hoping to hear my favorite track, “Demon Cleaner”, but I understood the omission without Homme present. Here’s hoping KYUSS LIVES! keeps this music alive and smoking forever.
Brant Bjork is still a killer drummer.
Set List:
Gardenia
Hurricane
One Inch Man
Thumb
Freedom Run
Asteroid
Supa Scoopa and Mighty Scoop
Odyssey
50 Million Year Trip
El Rodeo
100°
Encore
Molten Universe
Allen’s Wrench
Green Machine
For twenty-five years Brant Bjork has been a looming figure in rock and metal. As a founding member of KYUSS, Bjork was an early progenitor of the “desert rock” style. In the late 1980s and 1990s they brought back to popularity a stoner and doom aesthetic to metal when other bands were piling products into their hair or switching to flannel shirts. He has also continued that legacy post- KYUSS with FU MANCHU, BRANT BJORK AND THE BROS and countless other solo projects. Metal Army America caught up with Brant during the recent American tour for KYUSS LIVES!
Brant Bjork crushes the drums during the recent KYUSS LIVES! US tour.
MAA: Please tell us how the KYUSS LIVES! project came together.
BB: Well to take it all the way back to its origin, I’d have to say it began with John. John Garcia decided to do a couple of tours in Europe tour under the name GARCIA PLAYS KYUSS in Europe with three European musicians. He was going out and playing a set of KYUSS songs every night. And he asked me if I wanted to tag along and open up the shows with my solo band. I thought that sounded cool and a lot of fun so I said sure. I was curious and excited to see John perform those songs as well. We went over to Europe and opened up two weeks of shows for them and that went fantastic. It was great! From the first night John asked me if I was interest in getting on stage with him every night and playing “Green Machine” on drums and I said ‘of course!’ And that turned into a nightly ritual for that tour and it was awesome. Ironically enough the last night of that tour was Hellfest in France and Nick Oliveri happened to be there with his band MONDO GENERATOR. A couple of hours prior to the show John asked Nick if he would get up on stage with us and do “Gardenia” and “Green Machine” and of course Nick was into it. We we all had a great time and rocked. It was just really exciting. Then just a few weeks after that John gave me a phone call.
MAA: Why do you think the name KYUSS still has an attraction for fans and other bands after twenty-five years?
BB: That’s a hard question to answer. That is a question that might be better directed more toward the fans. In my humble opinion I think people just see KYUSS as a very unique band. We’re very organic, unique and just very real. We’re a very real rock band and I think people have come to appreciate that. As individuals, we love to jam together. There is a tremendous amount of mystique around KYUSS as well just being from the Palm desert and all. It just kind of adds to the uniqueness of who we are and what we do. It’s just a big combo burrito, you know?
MAA: Are their plans for any new music from this group?
BB: Yeah! We quickly committed to making new music decided based on the chemistry of the band gelling really quick. We are actually beginning the writing process and we will go into the studio in February of next year to record new music.
MAA: That is amazing news!
BB: Thanks man.
KYUSS LIVES! will go into the studio early next year to make a new album.
MAA: How did guitarist Bruno Fevery get attached to the project?
BB: Bruno was the guitar player from John’s band, GARCIA PLAYS KYUSS. Anybody that is into the band understands how important the guitar sound and the guitar playing was to KYUSS. Bruno grew up inspired by KYUSS so he recognizes the importance of the KYUSS guitar sound. So he was directly influenced by the guitar sound of KYUSS. Bruno is a great guy. Really down to earth and an amazing guitar player. He’s just a great guy and a pleasure to be around. It really clears the air and removes any air of unnecessary power struggles or conflicts with egos. This time around it really makes the band be the pleasurable experience we always wanted it to be.
MAA: Scott Reeder played a few shows with you over the summer. Any chance Scott will participate in the new recording too?
BB: We’ve thought about that quite a bit. As of right now we haven’t made any ultimate decisions yet regarding that. Bruno and I are concentrating on working on some new stuff. We are fans of both Nick and Scott so it would be great to have both.
MAA: What else is going on with your solo projects, other bands or production work?
BB: Well I’m always working on my own material. I have quite a few recordings that are on the shelf right now that I would hope like to get out next year. I am very busy and committed to KYUSS for the time being so we’ll just have to wait and see. It may be as late as 2013 to see if I return to solo music. You never know! We’ll just have to see how things pan out.
Brant was straight channeling the great John Bonham visually and musically.
MAA: Do you follow any of the current bands that have given a nod to KYUSS musically?
BB: There is a band here in Los Angeles called SHRINE which is a great rock band. I think they have the potential to have a real impact on the rock scene. I respect and appreciate them. I’m sure there are many others as well, I just cant think of any at this moment. There are great bands all over the world right now, we hear them wherever we play. I just think in general the underground rock scene is really very inspired, and motivated. This is a very good time for rock music so I think we’re gonna be excited to see some of this rad shit happen.
MAA: Thanks for your time Brant. I’ll see you at the Worcester show.
BB: Awesome man, we’re looking forward to it as well!
(Special thanks to Brant Bjork, KYUSS LIVES! and Action PR)
It isn’t every day where we talk Serbian stoner rock here at Metal Army America, but this indeed seems to be our subject here with Sky Is High, the full length debut of Novi Sad’s Concete Sun.
Interestingly enough, Sky Is High doesn’t try to emulate late 80s Bay Area thrash-isms, nor does it take cultural Serb influences and attempt to meld them into some folk/pagan metal melting pot. Nope, instead Concrete Sun offer us some sun-baked, traditional riff-focused stoner rock in the vein of Blind-era COC and early Down.
The results? Pretty fuckin’ good, actually, due to the impressive guitar skills of Mijatovic Bojan and Zivkovic Budimir, both of whom dig deep into their bag of classic rock ‘n metal tricks to unleash riffs which sound legitimately inspired by the elders gods of doom ‘n gloom. Indeed, while opener “Just A Beginning” kicks things off in massive, booty shaking groove, “Euphoria” settles into a solid, gritty doom vibe reminiscent of a hyper-aggressive Trouble, filtered through Kyuss and Hermano’s worst, filthy nightmare.
The band’s singer Cerovina Strahinja also possesses a gritty, charismatic scream which serves his band well, leading the charge here on Sky Is High via an impeccable knack for driving verses and big time choruses. All in all, the Concrete Sun machine fires on all cylinders, releasing one HELL of a debut; an LP which stands as super impressive by anyone’s standards, foreign or domestic. Concrete Sun kill it, doing their countrymen proud by digging their heels and going toe-to-toe with us Yanks at our own dirty doom game. Get down with this one.
Although something tells me that the bald guy won’t be there, KYUSS LIVES! will be hitting the road for their first proper US tour since reuniting. They’ll be teaming up with Metal Army favorites MONSTRO and THE SWORD for most of the trek and are sure to sell out most of these nights, given that people have been clamoring to see KYUSS live for years now. I’m stoked to check them out when they come to NYC just so I can see what they sound like all this time later (and without Josh Homme).
Not only that, but KYUSS’ music is some of the most influential of the 90s so you would be stupid to sit out these shows for any reason. I will say that THE SWORD is a bit played out, in my opinion, but I am also very excited to see MONSTRO tear the roof off of the place. I saw them live in a small club in LA about two years ago and they are worth price of admission alone.
There you have it folks, save your money and buy a ticket to see this tour!
With MonstrO and one act TBA:
09/16 Toronto, ON – The Sound Academy
09/17 Guelph, ON – Guelph Concert Theatre
09/18 Montreal, QC – Olympia de Montréal
With The Sword & MonstrO:
09/20 Worcester, MA – The Palladium
09/21 Philadelphia, PA – The Trocadero
09/23 New York, NY – Terminal 5
09/24 Washington, DC – 9:30 Club
With MonstrO and one act TBA:
09/25 Asheville, NC – The Orange Peel
09/26 Atlanta, GA – The Masquerade
09/28 New Orleans, LA – House of Blues
With The Sword & MonstrO:
09/29 Houston, TX – Warehouse Live
10/01 Austin, TX – Stubb’s
10/02 Dallas, TX – South Side Music Hall
With MonstrO and one act TBA:
10/04 Denver, CO – The Summit Music Hall
With The Sword & MonstrO:
10/05 Santa Fe, NM – Santa Fe Brewing Company
10/06 Tempe, AZ – Marquee Theatre
10/07 Las Vegas, NV – House of Blues
10/08 Pomona, CA – The Fox Theater
Kyuss Lives! only:
11/09 Mexico City, MEX – El Circo Volador
11/11 Santiago, Chile – Teatro Teleton
11/12 Buenos Aires, ARG – Teatro Colegiales
11/13 Sao Paulo, BRA – Caricoa Club
11/17 San Diego, CA – House of Blues
11/19 San Francisco, CA – The Regency Ballroom
11/21 Portland, OR – Roseland Theatre
11/22 Seattle, WA – Showbox SODO
11/23 Vancouver, BC – Commodore Ballroom
11/26 Calgary, AB – Flames Central
11/27 Edmonton, AB – Edmonton Event Centre
11/29 Winnipeg, MB – Garrick Centre
11/30 Minneapolis, MN – First Avenue
12/01 Milwaukee, WI – Turner Hall Ballroom
12/02 Chicago, IL – Vic Theatre
12/03 Pontiac, MI – Crofoot Ballroom
12/05 Greensburg, PA – The Palace Theatre
12/06 Buffalo, NY – Town Ballroom