Here’s the confirmation from Sound of Liberation of Greenleaf‘s slot in Berlin:

Alright Desertfest Folks, a couple of news from the headquarters. We will announce more great bands during this week, so stay tuned for some acts you surely don’t expect. Anyhow, today we are delighted to confirm the presence of Swedish Super Stonerrockers from Greenleaf to the lineup!

Featuring a revolving cast of fellow musicians who share a love of heavy fuzz rock, Greenleaf has consistently defined what rock ‘n’ roll was, is, and should be, and they will prove it to you at Desertfest Berlin on Thursday 19 April 2012 !!!!!

This time, guitarist Tommi Holappa (Dozer) and bassist Bengt Bäcke are joined by Oskar Cedermalm (Truckfighters) on vocals, and Erik Bäckwall (ex-Dozer drummer) on drums.

Take note: this is what rock bands should sound like — a righteous kick in the ass and a testament to the almighty riff!

It’s basic and self-directed drunken cruelty that has me closing out this week with an awesome Swedish band that will likely never come to the States. I don’t really feel like getting into it, but the short version is I applied for a Fulbright to go to Sweden and write about rock bands and didn’t get it. Wait. No. That’s the long version. The short version is I’m going to live in New Jersey forever. There you go.

Ugh. What a week.

I didn’t even get to post the Black Pyramid interview. I’ll do that Monday. White Hills is playing Manhattan on Tuesday, but I don’t know if I’m actually going to make it out. They’re the Eastern Seaboard’s Farflung and all, but still, they might be too cool for me. Feeling awfully outclassed by life lately. Not sure if it’s the being old, the balding or the fat, but something’s doing it. At least I finally wrote on that Uncle Acid and the Deadbeats record. Great to be part of the crowd on that one.

Reviewing Alcest this week and I don’t know what else. Packages came in today from Electric Moon and Bushfire, so maybe them, but I’ve got a backlog of stuff and a bunch of digital-type promos that need organizing. Every CD I get is appreciated. Links less so. It’s a hard truth, but there it is. I can have 30 folders on my desktop from bands who want their shit written on, but if I can look at a cover like on The Hedons‘ disc, I’m gonna reach for that every time. Effort is met with effort. That’s science.

I’ve also decided to stop bolding place-names as of right now. Tired of seeing “Brooklyn” in bold on this site, and I’m pretty sure when I say “UK” people know I’m talking about the United Kingdom and it doesn’t need to be bold to get the point across. Either way, I’m sure you were very concerned about my fucking stylistic decisions.

New music this week from Brokaw (a full album stream on Monday) and something very special for Wino Wednesday that I’m not even gonna say yet because I don’t want to jinx it. It’s going to be really cool though, so tune in for it.

And the week after this one coming, if all goes to plan, I’ll be premiering a series of new columns written by people who aren’t me. More on that to come.

Alright, enjoy the weekend and be safe. See you on the forum and back here Monday for more Jersey-based hopelessness.

Steineck and Maciejewski (also responsible for the documentary Lo Sound Desert) don’t insert themselves into the actual film, instead leaving it to the band to talk about their lives in and out of Truckfighters, touring, recording, family, etc., with additional setup from Cockrell’s narration at the start of each chapter and at various points in between. Live footage features heavily, as one might expect, and since Truckfighters put on such an energetic show, it adds to the classic rock feel of the movie. At home, though, it’s quiet, and that’s where we start. Following an opening narration from Cockrell – who seemed to have in mind what Sam Elliott brought to The Big Lebowski as The Stranger in his reading voice — the film first shows us vocalist/bassist Oskar “Ozo” Cedermalm going to work at a ski shop in what looks like a cold Swedish winter. Chapter one is called “Common,” and it’s not long before guitarist Niklas “Dango” Källgren is seen in the studio recording a local hardcore band from Örebro, also Truckfighters’ hometown backdrop, which they discuss as boring and Ozo compares to The Matrix even as they splice in footage from a show with Witchcraft and Graveyard. It’s not until chapter two, “How to Get Things Done,” that drummer Oscar “Pezo” Johansson is introduced as being perpetually late, and the band’s shaky relationship with him is made apparent for the first time. He winds up being sympathetic and likeable, as do both Ozo and Dango over the ensuing two contradictory chapters, “Road” and “Home.” Stylized live footage and discussion of the hardships of van travel for touring should be pretty familiar to anyone who’s seen this kind of band-based documentary before, but a timeline montage takes us quickly through the history of Truckfighters and the past members of the band, Fredo and Paco – the latter who came in as a replacement for Pezo, whose drug problem, leaving the band and subsequent return and conversion to Christianity is touched on but never really explored deeply; although later we do see him discuss prayer as the band warms up for a show – and proves necessary for anyone who might not have followed them over the course of their years together and their three albums, Gravity X (2005), Phi (2007) and Mania (2009).

It turns out to be the making of the latter that Truckfighters is chronicling in part. We see the band in their Studio Bombshelter at various points recording, later on dealing with Pezo’s lack of dedication to the project and the band as a whole. Some of the most compelling footage, however is in the “Home” chapter. We meet Ozo’s and Dango’s sons and find out Ozo is a single dad. Dango’s son is an infant he calls “Mini-Dango,” and as we watch them cooking, doing dishes, cleaning up holiday wrapping paper – there’s even a shot of Pezo vacuuming spliced in to drive the point home – it’s clear the interest of Truckfighters is in portraying the band as human beings rather than rockstars. That said, they do admit to partying some, and a pretty funny semi-psychedelic montage of drunk antics ensues, leading to chapter five, “Issues,” which discusses van breakdowns, missed flights and tells the story of Ozo throwing a loaf of bread during a playful “bread fight” with the guitarist of Valient Thorr and hitting his eye, causing some apparently temporary damage. Both bands were on tour with Fu Manchu, which is also discussed later as the movie begins to veer away from the chapter narrative to take in the whole picture. In the midst of that bread-fight story, chapter six, “Family Fights” – which Cockrell can’t finish introducing without laughing – begins, and over the course of that and “The Body Burden,” which follows with a look at the wear and tear of Truckfighters’ high-impact gigging (already in the film we’ve seen Dango jump up and down on stage a number of times) and how they prepare for shows, stay fit, eat well, etc., the Pezo story really begins to develop. In the midst of watching Dango warming up and a funny scene of he and Ozo jogging while eating fruit (soon contradicted by footage of them drunk), we shift to the band in the studio and as Pezo records drum parts, it becomes clear all isn’t well within the band.

This foreshadow is somewhat underdeveloped, but in hindsight is effective in setting the tone for Pezo’s departure, which comes at the end of the next chapter. It’s important to note, though, that with seven of the nine chapters gone, Truckfighters is less than halfway through, and the pacing undergoes a major shift in the second half of the movie, slowing to allow for deeper exploration of the themes already introduced. The tour with Fu Manchu is seen as a high point in chapter eight, “Big,” and shown along with some festival footage. Back at the club, we see Pezo backstage grooving on the intro to “Valium” as he smokes and drinks a beer, and though there had been some equipment problems with Dango’s amp earlier, post-show good-times still are had, and that acts as the setup for Pezo’s leaving the band. Dramatic background music and an emotional explanation from Ozo of the situation leads to the beginning of “The Drummer Dilemma,” which is the final chapter and end of the movie proper. Months pass as the band tries out and passes on different drummers. A fake answering machine is brought on and we hear a message from Alfredo Hernandez meant to lighten the mood, but it’s clear the lack of progress is weighing heavy on Ozo and Dango, even though Pezo has still recorded on the album. At about the 70-minute mark, Pedro is introduced as the new drummer, Dango reveals that Pezo has relapsed, they discuss wanting to tour the US, Japan and Australia, and the first part of the movie essentially ends, but soon a fictionalized news report (the whole documentary is littered with fake newspapers and magazine covers, some of them quite funny) starts that reveals the band has booked an American tour, and before long, we’re backstage at the Los Angeles show, hearing from the likes of Nebula’s Eddie Glass and Ruben Romano, Nick Oliveri, Cockrell and Josh Homme himself, whose touting of Truckfighters as the best band in the world has made the rounds as a YouTube clip and in the trailer for the movie. “Califuzznia,” they call this epilogue that winds up the last 10-15 minutes, and with live footage and the testimonials of desert rockers there to check out the show, things look pretty good for Truckfighters in the end. More fake news reports follow, hilariously conveying Pezo’s return, departure and eventual return to the band, and prior to one last word from Cockrell, Truckfighters are shown taking part in a NASA program to play the moon. One way of saying “the sky’s the limit,” but it works just as well.

Between the live footage, the ultimate success of their American tour – they have another lined up for 2012 alongside Karma to Burn – and the triumph that was Mania, Truckfighters chronicles the band at the moment of their reaching their greatest heights yet, both creatively and in terms of prestige and/or popularity. That wonder doesn’t really show itself in the footage, though, and it’s more the personal story of the bandmates, particularly Ozo and Dango, that’s being told. Of course, the music is a huge part of it, and well placed as part of the overall editing job and construction of the narrative. The film wanders from its original stated structure, but the story provides justification, and the overall effect proves to be richer for it. For the humor and honest perspective it gives, Truckfighters is recommended viewing for fans and newcomers alike. In both its visual presentation – the Super 8 shots, the “cigarette burns” that pop up in the corner, the montages – and the plot it lays out, it wonderfully encapsulates the experiences of one of heavy rock’s best bands.

Truckfighters: Fuzzomentary website

Truckfighters: Fuzzomentary on Thee Facebooks

Truckfighters on Thee Facebooks

Dig it:

Great news from Ponamero Sundown camp! The band has been picked out for an ongoing competition to play at Sweden Rock Festival next June. The three bands who get the most votes get to play at the festival and Ponamero Sundown are among the 100 out of 1500 who got picked! Now we need your help in order to get this awesome stonerfuzz rock expedition spreads the riffage at the festival. The link where you can submit your votes is below, anyone can vote once a day, no registration needed. Thanks!

http://www.swedenrock.com/index.cfm?lg=2&pg=574

Legendary Viral Fuzz Lords, Truckfighters (Sweden) and Very Special Guests, Instrumental Mountain Rock Pioneers Karma to Burn (US), have announced plans for a full American tour for March 2012.

Please don’t miss this opportunity to see one of the best US club shows of 2012!

If you’ll recall, Ghost was supposed to tour a couple months back with Enslaved and Alcest, and couldn’t get their visas. One can only hope the dark lords of Homeland Security grant them passage this time around. Here’s the news:

Mysterious Swedish buzz band Ghost has announced that it will embark on its first ever North American headlining tour in January, 2012. Ghost cult leader “Papa Emeritus” (who takes the stage in the form of “a satanic pope”) and his anonymous ghouls will team up with doom rockers Blood Ceremony and Ancient VVisdom for a two week trek dubbed the “13 Dates of Doom” tour that will launch on January 18 in New York City.

“It is with an evil haunting chuckle that we are announcing that we are finally coming to North America,” states Ghost‘s Papa Emeritus. ”In the name of Satan, we will conduct thirteen rituals in thirteen different cities throughout the United States and Canada and now we are summoning all of our devotees to partake in these blasphemous eves of black magic.”

The itinerary for the Ghost/Blood Ceremony/Ancient VVisdom winter North American tour is as follows:
 01/18 New York, NY Bowery Ballroom
 01/19 Washington, D.C. Rock N Roll Hotel
 01/20 Boston, MA Middle East (downstairs)
 01/21 Montreal, QC Corona Theatre
 01/22 Toronto, ON The Mod Club
 01/24 Chicago, IL Bottom Lounge
 01/25 Saint Paul, MN Station 4
 01/27 Denver, CO Marquis Theatre
 01/28 Salt Lake City, UT The Vertigo (The Complex)
 01/30 Seattle, WA El Corazon
 01/31 Portland, OR Hawthorne Theater
 02/01 San Francisco, CA Bottom of the Hill
 02/02 Los Angeles, CA The Roxy

More dates to come, but here are the preliminaries:

After months of overseas arm wrestling plus a little bit of back-island voodoo shenanigans that we can’t even begin to comprehend, we’re proud to announce that the Graveyard guys are finally back. Here. As in “gonna play the States again.”

Graveyard drummer Axel Sjöberg checks in about the band’s eminent return:

“At last the circumstances of life and the music industry has allowed us to return to the land of infinite highways and corrupt bankers. Of mighty nature and excellent thrift stores. Of microbreweries and good Mexican food (which you can’t find in Gothenburg). Yes ladies and gentlemen, the boys in the ‘yard are returning to the U S of A in January, 2012. A good way to start the new year and an excuse to get fucked up and enjoy some good rocking music.

“With us on our travels across the nation are the very skillful musicians of Radio Moscow. With natural talent and relentless touring they are bound to leave jaws hanging and people wondering what just happened. Blues rock the way it’s meant to be played.”

The first 13 shows of the Graveyard & Radio Moscow trek through the US are:

01/12/12 Bowery Ballroom New York, NY
01/13/12 Middle East Boston, MA
01/14/12 Northstar Bar Philadelphia, PA
01/16/12 DC9 Washington, D.C.
01/17/12 Strange Matter Richmond, VA
01/19/12 Asheville Music Hall Asheville, NC
01/20/12 Exit/In Nashville, TN
01/21/12 Masquerade (Hell Stage) Atlanta, GA
01/22/12 Hi-Tone Café Memphis, TN
01/24/12 Fitzgerald’s Houston, TX
01/25/12 Mohawk Austin, TX
01/31/12 Doug Fir Lounge Portland, OR
02/01/12 The Tractor Seattle, WA

The excellent news continues with the update that showed up on the forum yesterday that Greenleaf will also have a new record out next year. Check it out:

We have some Greenleaf recording updates (from Small Stone HQ). The band will start recording their new album this Friday (November 4th) in Sweden, with a target completion date being sometime in February of 2012. With that said, you can look for a new Greenleaf album out on Small Stone late Spring of 2012… On all formats: CD, Digital, and the LTD 180g LP.

And here’s the confirmation of their Desertfest slot:

Here at Desertfest we have been working hard and have lots of exciting news in the coming weeks. We are kicking it off in style. We can confirm that Swedish super group Greenleaf is to play Desertfest London. With a mix of Dozer members and Ozo from Truckfighters on vocals this is a festival must see.

They’re not the first from thrash to do so (at times Obrero reminds of a less directly blues-derived version of The Cursed, which featured vocalist Bobby Blitz of OverKill and Hades’ Dan Lorenzo), but one of the factors that most stands Mortui Vivos Docent out among the throng of heavy rock and doom out there is how seamlessly it blends the two. Where “Svantovit” – particularly in Sjöström’s drums, but also in the guitar – reminds at first of something Kyuss might have done in their middle period, it soon moves into Trouble-styled classic guitar-led doom, the synth from Öjermark adding class and melody behind Missy’s mostly-rhythmic verse, which follows the guitar line well in metallic tradition. That song is among the high points of Mortui Vivos Docent (which translates from the Latin to “The Dead Teach the Living”), but it has plenty of company in its quality level. The center portion of the album’s total eight tracks finds one of its smoothest transitions in that between the riffy “The Fourth Earl” and the darker, more doom-derived “Octaman.” Both songs are led by Pihlström and Öjermark with Karkea and Sjöström underscoring the groove in the rhythm section, but they take different approaches, showing more stylistic diversity between them than, say, the earlier “Son of Tutankhamun,” which seemed to take the time to meld the two styles into one song. Both approaches are valid on their own – either combining doom and stoner rock or keeping them separate – but by utilizing both methods, Obrero show they are not only well versed in their genre, but in songwriting too, which ultimately is going to help them more than any amount of fandom or intricacy of influence could.

Missy reminds during the verses of “Charles the Hammer” of Denis “Snake” Bélanger of Voivod, which works for him as he ably rides the mid-paced Iommian riff, backed by synthesized mellotron sounds, to the song’s more soaring chorus. He pushes himself most vocally here, and it pays off in Mortui Vivos Docent’s most memorable song. Whereas on opener “The Wolf’s Hook” and “Son of Tutankhamun,” a more doomed beginning led to a sped up finish, “Charles the Hammer” keeps its pacing consistent and is that much stronger for it, the band sounding confident heading into closing duo “Exterminate” and “The Lost World,” both of which happen to clock in at 6:31. The former highlights just how metal the tones of Pihlström and Öjermark still are, despite the riffs they’re playing and the kind of casual bounce they affect when put to Sjöström’s drumming in the breaks. A rare bit of studio trickery comes in the bridge when Missy’s vocals are given some effect just as he says “wipe out,” but otherwise the song plays out in straightforward fashion like the material on the record’s first half, if perhaps with a stronger chorus and guitar solo. Öjermark’s keys turn out to be a huge factor in the album’s success, adding not just class and melody, but a genuinely atmospheric sensibility that pushes Mortui Vivos Docent closer to the epic than it would otherwise be. On “The Lost World,” they come further to the fore, introducing the track with a creepy ‘70s horror vibe and closing it in similar fashion before a well-placed sample (there have been a couple throughout) offers final thought. The song gets heavy, but never seems to lose the initial idea put forth by Öjermark, and that’s much to its benefit.

It’s probably not a landmark in terms of innovation – nor is it trying to be – but Mortui Vivos Docent hits a nerve with its capable blend of stoner and doom, and with Missy’s throaty voice over top, the album winds up more individualized than a few initial listens might have you believe. With Protector reunited and the other members’ projects seemingly ongoing (there are so many of them, some have to be), who knows how often Obrero plan on issuing albums, but if they do take the time to develop this band on its own terms, the payoff could be considerable for anyone who takes the time to really engage the material on its own level. They can’t deny the metal in their sound, and kudos to them for knowing it and realizing that they don’t have to to hone in on the sound they want. Obrero may have more surprises on their sleeve than even they know, and as a first, Mortui Vivos Docent ends up being a decidedly pleasant one.

Obrero on Thee Facebooks

Night Tripper Records