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WHITE HILLS TO FRY YOUR EARDRUMS HEADLINING THE QUIETS STAGE!

Concentrated blasts of interstellar noise with a tank load of psychedelic glam, White Hills are the truest space rock goliaths of our time. Founded in New York in 2005 by Ego Sensation and Dave W., their preposterously prolific output in the time since, with studio albums by now in double figures, has been one glorious trip to the outer reaches after another.

An entry point isn’t hard to find; each of White Hills’ blasts beyond the reaches of the known sonic universe is as glorious as the last, yet all seek their own unique corner to explore.  That said, their eardrum-frying collaboration with kindred cosmic eardrum-friers Gnod, Gnod Drop Out with White Hills, is as glorious a way to melt one’s mind imaginable.

White Hills’ music is not so much a sprawling and bloated psych-rock behemoth as a concentrated blast of otherworldly energy, the sonic equivalent of the Death Star’s super laser, beamed forth with a power that feels like it could destroy the very earth the audience stand on. Their shuddering, booming, blistering yet blissful intensity is something to behold; they are the worthiest of headliners for The Quietus’ stage.

Words: Patrick Clarke

GHOLD TO LET OUT A GALACTIC HISS ON THE QUIETUS STAGE!

There’s something unsettling running throughout everything Ghold touch, despite the evolution of their output. Galactic Hiss’, their introductory LP and perhaps the closest the band have skirted with more traditional doom or sludge, spewed out an unfathomable racket for bass riffs and drums alone. As they expanded into a three piece by the release of third full length Pyr, offering up countless opportunities to swell what was already gargantuan, Ghold pulled everything back in.

Proving the old adage of less is more, 2017’s Stoic escalated the concept of stripping down sound, casting aside every unnecessary beat before inviting noiselessness to settle into the seams. Where prior the discomforting wave flowed through those tides of noise crescendoing on hanging refrains, unease now seeps through the agoraphobic silences; hanging on nothingness and removing the comfort blanket of aural sensation. And then it gets heavy as fuck again.

Words: Tom Geddes

SNAPPED ANKLES EMERGE FROM THE FOREST TO PLAY THE QUIETUS STAGE!

Snapped Ankles have long been lurking in the darkest depths of the wood. They are a feral, primal proposition, a quite literal force of nature. Their members take the form of the woodwose, an ancient spirit of the forests and a wild man who protects those strange and liminal worlds, and in 2017 made their sinister way into the realms of the city.

Signed, appropriately enough, to The Leaf Label, the band’s debut album Come Play The Trees rose from the soil last Autumn, a ferocious, frantic delight of an LP that made its way straight to the upper echelons of The Quietus’ favourites of 2017. Grounded in a ceaseless, irrepressible pump of motoric post-punk and krautrock, Snapped Ankles add a breathless rush to their live performance as they worm in and out of the crowd, garbing the room in wood and leaves to remake the environment in their own, unstoppable image.

Words: Patrick Clarke

 

MELTING HAND TO COLLIDE WITH THE QUIETUS STAGE!

You should, of course, never judge a book by its cover, but when a band features members of BONG, Luminous Bodies and Terminal Cheesecake you’re unlikely to be getting smooth jazz. The Newcastle super-group Melting Hand, assembled by Mike Vest, Tom Fug, Gordon Watson, Russell Smith would be UK psych-noise royalty if such a thing were to exist; as it is, they’re simply face-melting.

Their sole studio release to this point, 2016’s High Collider, appropriately enough screeches to life. It isn’t long before that’s sideswiped by Smith’s spreadably thick riffs and an overall tone unlike anything, with opener ‘Drug Cop’ somehow managing to give off the vibe of an apocalyptic flute solo. Pivoting between floating on a cloud of krautrock and being sucked into a psych-freakout, Melting Hand’s cosmic experiment is testament to the North-East’s somewhat underappreciated experimental scene and we can’t wait to catch them on The Quietus Stage at Desertfest 2018.

Words: Tom Geddes

CASUAL NUN TO PLAY THE QUIETUS STAGE!

There is a longstanding theory at The Quietus HQ that it’s almost impossible for a band to have two drummers and not be at least a little bit brilliant live. Casual Nun are more than a little bit brilliant, they are a colossal, chaotic explosion of a band, a frantic and unstoppable force of cataclysmic power, riding that gleeful line that lies just on the edge of complete collapse.

Signed to the imperious Box Records, the band’s second album arrived just six months after their first, with both recorded in the same, single-day recording session. Their records reflect this sense of short blasts of breathless intensity and maniacal shifts in focus, laden with scattergun attacks that encompass crushing doom, ramped up speedfreakery and all-out chaos, underpinned by their bruising double-drums.

Words: Patrick Clarke

SWEDISH DEATH CANDY TO PLAY THE QUIETUS STAGE!

Swedish Death Candy (who are not fans of Scandinavian licorice, by all accounts) are a self professed ‘acid rock’ band with hooks as memorable as their name which is why we’re pleased to announce they’ll be playing The Quietus Stage at Desertfest.

Foremost, their sound is rooted in the psychedelic, with every track on last year’s self-titled debut being influenced by the quest to zone out to some degree; but that’s an oversimplification. An underbelly of garage-rock and proto-punk churns throughout ensuring the energy rarely drops, with the fringes of stoner doom grooving things along. Even then, that neglects to mention the surf and indie which creeps in; essentially, elements of all sorts find themselves in the mix.

With a sound more upbeat than most bands on the lineup, Swedish Death Candy are one to catch at Desertfest.