Desertfest Belgium has been an unquestionable household name in the European stoner scene for ten years now. As a birthday cake, the Antwerp promoters invited some of the biggest names to join the party: Russian Circles, Fu Manchu and Monster Magnet. The stoner rock godfathers also had something to celebrate, with a 35th-anniversary European tour stopping by the festival. The rest is history: Dave Wyndorf’s health issues forced the band to fly back home amid the tour. Therefore, speculations were being shared a few days before the festival (for want of any announcement) and we kicked off the weekend without knowing who would headline on the third day. Luckily, the eclectic line-up offered enough to quench our thirst with no less than 45 bands over 3 days, spanning the entire spectrum of heavy and psychedelic music. (TEXT: Yannick K. / Lord Pierro / Sylvain Golvet – PHOTOS: Sylvain Golvet)
On the edge of doom and gloom
When it comes to heavy, slow and lumbering grooves, Desertfest always has it covered. European doom favorites Monolord were supposed to crush the crowd like never before, thanks to the recent addition of second guitarist Per Wiberg. But what a waste: the latter stays on his side of the stage and we can barely hear him play. “Empress Rising” still does the job, but the performance is far from jaw-dropping. You actually had to know our running order and wisely jump from one stage to another and unearth the lineup’s many hidden jewels. On the tiny Vulture Stage, Kortrijk’s own Divided unleashed their sonic violence insofar that it comes as a revelation: Belgium is an underestimated breeding ground for post-hardcore goodness!
Forewarned doomhead is forearmed, so we literally set camp on the Vulture Stage’s front row to welcome Poland’s Spaceslug, who are all too rare outside their homeland (or on any stage at all). Their powerful performances interspersed with their trademark atmospheric lulls are the perfect vehicle for frontman Bartosz’s rage.
We also stick around the Vulture for Daevar, only to fully acknowledge that the German trio is not just about some brilliant Windhand-worship. With “Amber Eyes”, they drift away from their obvious influences, and all the while showing her support for Iranian women, Pardis Latifi bewitches us. In the meantime, Caspar Orfgen’s soaring solos hit the spot every time. Another high expectation on the bill, Norna should have been the aural smackdown of this edition yet the absence of FOH vocals ruins our experience despite an outstanding musicianship — what a huge disappointment not to be able to appreciate their music as it should!
Let’s remember the true definition of heaviness with Conan. The Brits have been delivering their chaos-inducing caveman doom for quite some time now and today’s performance is no exception. Jon Davis acts as an evil shaman while their mesmerizing footage is displayed in the background. We’re forcefully pulled from reality and thrown into a parallel universe where everything is slowed down and crushing. A black mass for the masses, all at the feet of the barbarian. But the prize for Sonic Apocalypse goes to US band Morne. Blending brutal, razor-sharp post-metal with gloomy atmospheres, their music is truly gut-gripping. Violently and cathartically roaring in our faces, we get overwhelmed to the point of exhaustion, so much so that the intensity of their music compares to a devastated landscape. It’s a strange feeling to come out of a show as worn but happy, which makes it one of our top discoveries in the love and happiness department.
We couldn’t close the dark chapter of the 2024 edition without mentioning the one and only Wolvennest and Messa. Many Desertfesters are already won to the occult tea-time rituals of our Brussels neighbours. Candles, candlesticks, daggers and other satanic artifacts make for an esoteric setting, and it works: seeing all six members appearing in a cloud of reddish smoke and bogeyman dress-up hits its mark. Their heavy hypnotic riffs and gloomy tones perfectly fit the mainstream black ceremony vibe. The other Sunday cult is Messa, whose melancholy and delicacy remarkably soften the mood. When priestess Sara intones the first verses of “Babalon”, ever. The Canyon Stage has never been so quiet, fully absorbed by the singer’s imposing voice. Respect. The confident Italians take the audience on an emotional rollercoaster between virtuoso solos and spellbinding vocals. A moment out of time, between dark beauty and doom shimmer.
A new sonic realm opens its doors
While some want to bury themselves under six feet of heaviness, others can rise through the air or liquefy in sonic acid. The Vulture Stage plays tricks on us again, as we arrive too late to enjoy the Japanese experimental prog and psychedelic rock sensation Green Milk From The Planet Orange, especially as the trio had the brilliant idea of playing while sitting.
While Elder has never shied away from more complex and varied songcraft, Nick DiSalvo needed Delving to indulge his more prog and kraut leanings, delighting a packed Canyon Stage room. Despite our qualms about his last album’s production, the live performance offers some epic buildups and we can really feel the shared happiness between these talented musicians tonight.
Hardly stingy in its varied sonic topography, Russian Circles had all the assets to take us on a journey into tumultuous, heart-rending territory. “Harper Lewis” spins the perpetual motion machine and synth loops float above. Their distinctive sound is so crystal-clear and powerful, it brings the whole room into such resonance that we even wonder if we aren’t beholding an electronic music set. The songcraft is unparalleled and thrilling but tonight’s rendition is sadly devoid of any organic asperity. It’s a shame.
Hailing from warmer lands, Child treats us to their heavy blues jams in soul-stirring fashion. The Canyon Stage’s size is perfect for such communion and their performance operates as a time machine, with the Delorean counter stuck in 1970 back when Blue Cheer and Cactus Jimi pacified America through electric ecstasy. Another Australian act skyrockets us into space with their sound from another age: half-funky, half-bluesy, Seedy Jeezus resurrects the spirit of Band of Gypsys. As if Jimi Hendrix crossed swords with Eddie Hazell to build blazes of electricity and then extinguish them with their liquid riffs. Oh, wonderful Australia!
The saxophone was definitely in the spotlight this year. The likes of tribal space rockers Red Scalp and avant-garde metallers Five The Hierophant treat us to feverish sax solos, but REZN certainly delivers the most heart-rending of them. The psychedelic doom sensation lives up to its reputation, as these riff contortionists set their Middle Eastern inspirations ablaze before dragging us into the depths of a dark black hole.
We wonder what could have happened in the pink city to make it the new epicenter of cosmic rock: is Toulouse the capital of the French aerospace industry and space rock? Neither Slift nor Karkara will tell you otherwise. Even if the latter’s destiny remains closely linked to the former, right down to certain artistic choices, Karkara was keen to prove that their mad escapism nevertheless follows a different trajectory, enriched by oriental-sounding patterns. We get teleported to Arrakis alongside the Fremen, and the trio would be our supersonic Muad’Dib. The bewitched and enchanted audience keeps chanting long after the Toulousans’ frenzied set has come to an end.
The Saturday afternoon keeps delivering in terms of all things astral psych, for Causa Sui effortlessly transports us into their kaleidoscopic realm. To all you curious people out there: this is what sonic synaesthesia sounds like. Notes become chromatic palettes, riffs are paintbrushes sketching out sonic rainbows. On “El Fuego”, Causa Sui proves to be heavy yet peaceful, powerful yet vulnerable, ecstatic yet reflective. Rubbing shoulders with perfection, that is…
And fuzz reigned supreme
In the stoner and fuzz-friendly department, there was plenty to look forward to (even if our main headliner had to pull off). Polish scene torchbearers Red Scalp prove that you can deal with the cosmos and pow-wow helped with some healthy Sabbath worship and saxophone. Valley Of The Sun has the heavy task of opening the Desert Stage on Saturday, yet their albums’ punchy, groovy sound fails at making an impression due to a huge lack of communication and energy on stage.
The cancellation of Monster Magnet turned everything upside down right down to the timetable. We consequently get treated to an expanded version of Stoned Jesus, as they take the headliner slot on Sunday. Although it’s not the party many spacelord motherfuckers expected, the Ukrainians get the job done. Starting and closing their set with two songs from “Seven Thunders Roar” proves just how much this album is the cornerstone of their 15-year career. The stage is awash in blue and yellow, and we can even make donations to help their Ukrainian friends on the battlefield. Despite the circumstances, the band is in a great mood and we truly enjoy this lovely moment in their company.
Black Rainbows are kings when it comes to setting stages on fire with their infectious good vibes. A few technical problems delay the ignition, but the band revs up as soon as their high-octane cover of MC5’s “Black To Comm” gets blasted, followed by a sweet debauchery of fuzz with tracks from their latest album “Superskull”. If we had to point out one lack of taste: no one should wear their own band’s merch, goddammit! With the East Coast stoner gods missing from the bill, the Californian pillars had no other choice than to blow our minds. Even if Fu Manchu has a perfect sound and an impeccable attitude, seeing them on stage feels like watching a game replay: we already know the outcome and it dramatically lacks any surprise or variation, and the three new songs don’t even disrupt that same old setlist, including the encore on autopilot.
Fortunately, Your Highness proves that you don’t have to be a veteran to support your (killer!) new album with the required intensity. Their stoner metal plunges the audience into a swampy fog that isolates thoughts and lets our spirits wander freely. A feverish ending allows us to cut loose and celebrate these local heroes as they should. But the award for the most rock’n’roll concert of the weekend goes to Tangled Horns. Their well-crafted stoner grunge propelled them to the top of our bucket list, and the absentees definitely missed out. Fronted by an absolute showman in the name of Tim Van de Plas, who keeps clowning around, stage diving and having the time of his life, the music does not get overshadowed. It’s fat and juicy, well-written and masterfully performed, giving the Antwerp band all the cards they need to go further.
Fancy a headbutt?
If you wanted to sweat it all out, you had to catch the furious and explosive Brits of Raging Speedhorn. 25 years have passed since we met in a London bar. The line-up may have changed, but the intensity and energy are as boundless as ever. Acting as a true UFO (Unidentified Fiery Object) on the line-up, the two frontmen don’t leave us any respite. The set opener “Motorhead” shows us that things are about to escalate quickly, and we aren’t disappointed. They unleashed their full fury, breaking havoc in a Canyon room on the brink of explosion. What a thrill to see these lads on the Old Continent — we hope they’ll be back soon to present their new album due out in early 2025.
With such a quality and varied lineup, it’s hard to say who the real headliner is. Anyway, Black Tusk truly dominated the “brutal punch in the face” part of the bill this weekend. Their rare European appearances make it quite an event, and the Savannah quartet doesn’t disappoint. The four-piece lineup has given the most hardcore punk-sludge band ever a new lease of life, and the songs from the latest outing destroy the overexcited audience as expected. No downtime, no bullshit: they give their all through this punishing set. The setlist hits all the right notes, demonstrating their immense quality as songwriters. Black Tusk came, crushed, and we’re asking for more!
Desertfest and risk-taking: it’s a match!
For some years now, Desertfest Antwerp has been opening up to other genres, whether it be anything beginning with post- or even death or black. This breath of fresh air increasingly allows for unexpected discoveries and more unconventional shows.
On the fringes of the lineup, Berlin’s Kara Delik blends a twisted post-punk sound with Anatolian vibes and raw punk energy. Their songs are unpredictable and that’s not the least of their appeal: the saz player’s smashing little hip sway makes this gig the perfect moment to practice our own hip moves between two punk blasts.
Live music is a dialogue between musicians and their audience, which (or whom) Coilguns are embracing fully. Frontman Louis Jucker is determined to prove it by establishing a physical connection with his front row. The interaction is kind-hearted and catches all eyes, while the Swiss relentlessly blast their chaotic post-hardcore on the Canyon Stage. Birds In Row‘s stirring performance on the Desert Stage is another highlight of the second day. Behind their sonic sense of urgency lies a heartfelt emotion between despair and hope, outrage and catharsis, all emphasized by the uncompromising trio’s will to play their latest album “Gris Klein” as loud as possible. And while atmospheric lulls can sometimes sound cliché in the post-punk/post-hardcore genre, theirs remain fragile but necessary. We also truly enjoy the sincerity of their speeches, as they deal with fraternity and ambient pessimism with a certain candor. The three songs “Noah”, “Cathedrals” and “Nympheas” left many in the audience (starting with Daevar’s drummer) astounded by emotion.
There is no doubt about it now: the Antwerp promoters purposely had Inter Arma close the festival to crush the last-standing sonic warriors of the weekend. The result: an insanely intense set during which the psych-death five-piece sails on sight (and whisky) and drops one bomb from their latest album after another, interweaving them with punishing Neil Young covers. Our bruised bodies can’t help but vibrate to that final energy boost, a grueling and transcendental experience that puts a smile on all our survivor faces.
Like every year, we get out of the Trix venue with ringing ears and our shins telling us to fuck off. As usual, our post-Desertfest comedown will be filled with newly found tokens in our pockets and a 72-hour playlist full of killer discoveries to make our journey back smoother. See you next year, Deserfest.
FRIDAY 18TH OCTOBER 2024
SATURDAY 19TH OCTOBER 2024
SUNDAY 20TH OCTOBER 2024
Last modified: 21 November 2024
