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Ridge Returns: Between Dust, Echoes and Fuzz (Interview Vol.1.)

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 When Ridge emerged on the Swedish stoner rock horizon in the early 2000s, the scene was buzzing with powerful releases that shaped the genre’s sound. Fu Manchu had just dropped Eatin’ Dust, a raw riff-heavy slab from California’s desert; Sleep’s Dopesmoker was building its monolithic cult status; Electric Wizard’s Dopethrone dragged listeners through doom-soaked psychedelia; and Queens of the Stone Age were twisting stoner aesthetics into the mainstream with Rated R.

 On the European front, Sweden itself was making waves with Lowrider’s Ode to Io (2000), a seminal album blending doom and stoner grooves with an atmospheric, heavy vibe. It was into this fertile and fuzzy landscape that Ridge stepped—not just as followers, but as distinct voices from the Swedish underground. Their debut, A Countrydelic and Fuzzed Experience in a Colombian Supremo, was no ordinary fuzz-rock record. It was surreal, rustic, deeply melodic—infused with a strange warmth and a sense of space that felt both northern and desert-worn. Now, after more than two decades, Ridge return with two new albums, ready to remind us just how personal and unhinged stoner rock can be. We had the pleasure of talking with Andreas and Jonas from the band to dig into their story—past, present, and beautifully distorted.

Do you remember the first time you ever heard so-calledstoner rock music? What was the song, album, or band that really hooked you? 

Andreas: Well, that’s really interesting because I was a really late bloomer. Me and my punkrock-bandmates were at a festival in the south of Sweden and then suddenly a band got up on stage and started. We heard someone in the band scream: “fuck tuning- let’s go!” And then (I think) Regal Begal begun. It was Fu Man-fuckin-chu! 

What i didn’t know at the time was that the pioneers of stonerrock from Sweden were at the festivalgig: members from Dozer, Demon Cleaner and the record company Molten Universe. Where Ridge further on landed on…

So. From that day on the band- that later became Ridge, progressed from punkrock to Fuzzrock. Or whatever to call it. Then what happened was that we lost both the singer and the bassplayer…Haha! 

Jonas: For me it was Kyuss: “...and the circus leaves town.” Until then I kind of thought that I was the only one to still loved old Black Sabbath...But I wasn’t, because Andreas was a fan too. So. Match made in heaven!

When did you decide to start a band – and what was the main motivation that sparked it?
Do you remember the vibe of those early rehearsals? 

Andreas: I worked at a high school with a “criminal-prodigy” and had just started playing guitar when I heard some pupils playing in the music hall. So I asked them if we could jam. Completely idiosyncratic. They were in the ninth grade and I was like 21-22 but we hit it off and then began to rehearse. A lot of shit were written and when mentioned above happened: Fu Manchu came into the ballpark, it began to switch. 

But when the singer and bassplayer left the band me and drummer Johan Lien had to change sights. And came in contact with Jonas Jönsson. Who loved Black Sabbath and Kyuss. That I didn’t know of at the time. Actually not quite any other so called stoner actually. 

But we rehearsed as maniacs and I thought we had something nobody else had at the time. Well, we started in a small town in the south of Sweden, so it was actually quite true. But. We have always loved communicating and made contact with other bands later on like Dozer, Astroqueen among others because we didn’t know other bands that played that stuff. And we loved the music that no one loved. But we didn’t think at all- we just did what we thought were the best music to play. Unwisely. 

Jonas: I was 6 years old and heard Kiss for the first time. That´s when I decided to play in a band just like them. But it took until my early teens until it happened. The vibe was awesome! And I still just love to hang out in the rehearsalroom!

Ridge was one of the pioneers of the early European stonerscene.
How do you look back on those early years? What was it like playing this kind of music in Sweden and Europe back then? 

First: thank you so much for putting Ridge up on that bill of heroeprotégés. That’s an honor. For sure. We had so much fun recording in Borlänge and playing with Dozer, Demoncleaner, Astroqueen etc. But there will always be one person that we keep close in our hearts. And that is Martin Stangefelt who steered the wheels in Molten Universe. He took us under his wings from the beginning and we’ll forever love what he did for us. 

In the -90:s there were music all around so we tried to get in wherever we could. And got a lot of gigs. But the scene was quite dead in the south of Sweden so we played with Dozer in the north and with Demoncleaner in Stockholm among others. We had a US-tour in the loop when we unfortunately had to call it quits. So we actually feel that the shit didn’t really got to fly accurately. We had so much to deliver and so much more to give the world. That’s why we’re fuckin’ back! (Haha)

 Now in 2025, you're releasing two new albums via DaredevilRecords.
What can you tell us about them? Is there a concept or a common vibe that connects the two? 

Yeah, that’s insane. On Midsummer’s Eve - June 20th we release “No Troubles in this Town”, “Hymns from the Renascent Ghost” and our debut album (yet again) on all streaming services. The albums have been ready for release about two-three years now so it feels reeeally great to sway them into the world! 

We had one of them on a vinyl-pressing plant when shit-hit-the-fan so it got canceled. And then we decided to dig deep in our fuzz-pockets and switch shit around and release both albums at the same time. 

“No Trouble in This Town” is the album we think is the best album ever written. Well, stoner-wise that is. Maybe. Or like this: it’s the album we ourselves wants to listen to! And if someone thinks “Hymns From The Renascent Ghost” is better we are more then happylicious. But we think it’s up for listeners to decide because we’re too fucked up in the progress of greatness…(haha!)

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How has your songwriting process evolved over the years?
Is it more intuitive or more conscious when a new track is born? 

Well, one might think that the songs that were written in the beginning of 2000 is quite different from the ones now. 25 years later. But No. We think the feeling of Ridge is the same. 

If the groove- the attitude- the touch- the approach and the feel is wrong- then it’s not Ridge.

Jonas: It was a very special feeling to play this kind of music together again. When we started the rehearsals there was this kind of old thing kickin´ in, a certain groove that´s hard to explain. But I´m sure the fans will hear what I mean!

Andreas: From around 2021 and forward I wrote an insanely amount of ideas and demos- for like six-seven albums. This during a period of two-theee years but we solved it good. It often came back like this: Fuck no! That’s not good! That’s the [better] way! Etc. And in this frenzy Jonas started to write and send songs as well. So it all went down the good road. But we had to take the high road in the end…

So. We recorded a mountain of songs that in this progress is worth 20 songs…

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We've also been listening to Kattskrället – it's a totallydifferent world, but really exciting. Could you tell us a bit about that project? How do you balancethese two musical identities? 

Andreas: Well, it all started on a “wet and wine’y” evening with an old friend in 2022. He said I should write some punk-and-rock-n-roll-songs and sing in swedish. “Fuck no!” was my answer. 

But. I drank some wine (and a lot of rum) and wrote some tunes. Two years later Kattskrället had released 32 songs on Spotify, YouTube etc and made music to a big podcast in Sweden.  I love to switch between genres but it’s all rock, just different highs-and-lows on the pedals. I actually use the same pedals as in Ridge so it’s not that different.

It’s a really really inspirational band and live (and on forthcoming recordings) Kattskrället is Jonas from Ridge on drums- yeah he’s actually a drummer, and a bassplayer Johan Anderberg from cool bands like Deranged, Are We Ape? amongst others. We are going to record an EP during the summer and play live so it’s an ongoing band. If you like rockmusic of any kind this is a blast!

Today’s stoner scene is truly global – with bands popping upfrom South America, Eastern Europe, Asia, and beyond.
Are there any newer bands you follow? Who inspires you thesedays? 

We have discussed this over the years and it’s really interesting how it all has changed. Neither of us are like: ”everything was better before” but something that we’ve talked about is the - Groove -. Nowadays there is more of a progressive side to the scene and we are so into the almighty RIFFS and GROOVE! The movement and love for this kind of rock- have always been, the greatest thing in this genre. It’s a cruel and brutal world in many ways but the love for music- especially in our community, is like the blanket on a cold Sunday morning. All love.

Andreas: When it comes to inspiration for the new songs and records I gotta say I wanted to get the “Feeling”. The feeling of flow and groove. It’s quite easy to write intricate songs with many and strange riffs. But what’s really difficult is to make songs that swings, grooves and have hooks. So. That was my biggest inspiration all along. I can say that all the songs that were rejected from the band were the songs that were too progressive and lacked groove. 

So. That’s Ridge. 

We’re a none progressive, old fucking twat that loves ol’ school fuzz-n-roll! Haha!

Regarding new stuff there a two bands- actually with the same drummer, that I (Andreas) really dig: Skallbank and Troubled Sleep. Both from Sweden and in quite different genres but delivers great energy. Ridge were bandmates on Ozium Records with Hästspark that is an unity that delivers in the vain of Kyuss and Alabama Thunderpussy. Heavy and groovy stoner.

If you had to describe Ridge's music as a single image – a landscape, a feeling, a scene – what would it be? 

 Jonas described it something like this:

Ridge´s music is like... when you’re riding your motorcycle on a straight forward road. And there's a car (new shit) trying to race you. You know he don´t stand a chance, so you kick in the right gear, smile and give full gas. That thrill. Right there and then you are invincible.

Andreas: I can agree on a lot of that but my vision is like a laundromat. You swirl around in blind but suddenly it stops and you slow down…And then it hits you again- with full swirling speed. And when it’s done you feel clean, wet and totally exhausted and exquisite. Haha! 

Thank you so much for having us rambling on! It’s been an honor.

They're back – dirtier, louder, and they couldn't care less about what's trending. Stay tuned — part two of the Ridge story is coming soon, diving into their brand-new albums and the fuzzed-out fire that still burns strong. Ridge was, is, and will be! AMEN!

Retrospective: Mario Lalli - The Desert Root from Which Everything Grew

Mario Lalli is not just an iconic figure—he's a living sculpture in the pantheon of desert rock. Every grain of sand knows his name, even if it doesn’t realize it.

For over forty years, he’s been part of the desert sound culture. Silent disciples and loud devotees: Josh Homme, Brant Bjork, Dave Catching—all grew up in Lalli’s “shadow.” He never sought the spotlight—he preferred to shape the scene rather than cultivate his own cult.

The Beginnings: Across the River and the Primal Core

In the late 1980s, when most people were still immersed in punk or glittering glam metal, something else was budding deep in the Coachella Valley—a kind of desert spiritualism that Lalli and his companions shaped from sound.

Across the River—the project of Mario Lalli and Alfredo Hernández (later of Kyuss and QOTSA)—is often seen as a proto-desert rock band before Kyuss. But it's more than that: it was the first stone that started the avalanche, or better yet, the amniotic fluid of the entire movement. Not the birth of a genre, but of a way of perceiving the world.

Their music wasn’t made for clubs—it evolved under the open sky. Guitar and drums jamming in the dust—not romantic posing, but a way of life. They were children of a time and place where nothingness was the muse, and silence begged to be filled with meaning. 

Yawning Man: Soundscaping the Sublime

Alongside Gary Arce and Alfredo Hernández, Lalli also co-founded Yawning Man, arguably the most atmospheric and spiritual band of the desert scene. While Kyuss would go on to gain legendary status, many musicians—Josh Homme included—cite Yawning Man as the true essence of the genre.

Yawning Man didn’t aim to dominate; they aimed to dissolve. Their expansive, reverb-heavy instrumentals were like mirages: elusive, shimmering, and hypnotic. They planted the seeds of meditative fuzz, where structure gives way to space.

Fatso Jetson: The Psychedelic Punk-Blues Laboratory

In 1994, Lalli founded Fatso Jetson, where he pushed desert rock into weirder, more avant-garde directions. His son, Dino von Lalli, and Tony Tornay played key roles in the band. This time, the desert wasn’t an external space—it was internal. Their albums are dark, unpredictable, but always carry the soul-driven jamming energy that defines Lalli.

Fatso Jetson is a true underground gem that connects geographies, styles, and eras. One day it’s instrumental punk-blues, the next it’s desert krautrock.

The Generator Parties – Myth-Making in the Dust

Mario didn’t just play music—he created space for music. The legendary Generator Parties didn’t happen in venues, but out in the desert, powered by generators, among rocks at sunset. These gatherings became fertile ground for the entire desert rock scene.

In Lalli’s philosophy, music isn’t a product—it’s an event, a one-time moment in the universe that deserves to be lived. The Generator Parties became myth, and through them, Lalli became indispensable.

Mario Today: Rubber Snake Charmers and Brant Bjork Trio

Mario Lalli remains active. Mario Lalli and the Rubber Snake Charmers is a soul-driven, improvisational project where he creates freely. It’s a jam session band built as much on meditative energy as on fuzz.

In 2024, he played aboard the A38 ship in Budapest as part of the Brant Bjork Trio, once again proving that his playing isn’t tied to time or trend, but to something deeper: pure musical presence.

Mario Lalli was never just a frontman—he was the frontline. A man who pointed the way, filling empty spaces with sound, people, and meaning. If desert rock were a religion, he would be its hermit prophet—writing its gospel in stone and silence. AMEN

 https://www.facebook.com/HEAVYPSYCHSOUNDS

Koncert ajánló: Ten Ton Slug – Sludge metal Írországból

Június 5-én olyan estére készülhetünk, ahol a riffek súlya alatt nemcsak a dobhártyád, de az önérzeted is reccsenhet egyet. ( https://www.facebook.com/events/1318102309277395/) A Ten Ton Slug végre Budapestre érkezik, hogy letarolja az S8 Underground Club színpadát, és hozza magával az ír mocsarakból felbugyogó sludge/death metal őserőt.

A Galwayből származó zenekar olyan, mintha Crowbar egy viharos tőzeglápban találkozna a Sepultura-t megidéző dühvel. A legutóbbi, 2024-es "Colossal Oppressor" lemezük betonfalnyi súllyal nyom rád: lassú, hömpölygő pusztítás, ami nem kérdezi meg, készen állsz-e – csak elindul rajtad.

De nem egyedül jönnek. Ez a turné nemcsak egy koncert, hanem négy fronton támadó riff-kereszteshadjárat.

Diggeth (NL) – Fogj öt évtizednyi hard rockot, metalt, southern ízt és egy csipetnyi prog-ot,  a Diggeth ezt megrágja, lenyeli, majd egy groove-nehéz, horzsoló hangzással köpi vissza rád. Ez a holland trió új jelentést ad a "metal-’n-roll" fogalmának: dögös, mocskos, de közben mesterien megírt dalokat játszanak, ahol ugyanúgy benne van Lemmy öröksége, mint a dél poros autópályái. Három ember, de egy szónikus monstrum.

Deres (HU) – A zenekar 2018 szilveszterének éjjelén született, és már az első közös örömzenéléskor világos volt számukra: ez több mint jammelés, ez hazaérkezés. A stoner rock hangulata nemcsak zenei forma, hanem közeg is számukra – mint a Kyuss kábult lüktetése a kaliforniai sivatag porában, csak itt másfajta szél fúj. Zenéjükben a riffek hömpölyögnek, a torzítók nem kérnek engedélyt, és az a súly, amit képviselnek, nem megjátszott – hanem átélt.

Bearfood (HU) – Az 1990-es évek végén alakult kelet-magyarországi zenekar, akik a korai Black Sabbath nyomvonalán indultak, de mára a stoner/southern/sludge/doom metal ötvöződéséből hoznak létre egyfajta sűrű, ragacsos hangmasszát. Négy lemezt adtak ki, és már a korai korszakukban is sikerrel szerepeltek tehetségkutatókon. A színpad az otthonuk, ahol nem manírral, hanem riffekkel győznek. AMEN!

https://www.facebook.com/TenTonSlug, 

https://www.facebook.com/Diggethmusic/

https://www.facebook.com/DeresZenekar/?locale=hu_HU

https://www.facebook.com/bearfoodmusic

Khan – Interview with the Heavy Psych Trio from Melbourne (UK Version)

The following interview was conducted with the Australian band KHAN on the occasion of their upcoming show at Budapest’s Riff Club on May 25. (https://fb.me/e/3ZNSBYRK3)

Khan is a three-piece band from Melbourne, blending psychedelic stoner rock, progressive rhythms, and raw industrial textures into a unified sonic mass. The trio has been active since 2016, releasing several records including the On Silent Space EP, Vale, Monsoons, and most recently Creatures (2023) — their heaviest, deepest, and most dynamic release to date. The album was recorded by guitarist-vocalist Josh Bills at their own Vagabond Studios.

Their music is shaped by influences such as Tool, Soundgarden, Karnivool, and John Frusciante, but cinematic and video game atmospheres also find their way into the band’s sound.
They first toured Europe in 2022, including a show at RIFF Club in Budapest. Since then, they’ve remained active on the continental live circuit, playing festivals like Desertfest Antwerp and Fuzz Festival Stockholm.

We caught up with them in the midst of recording their fourth studio album for a short conversation about their evolution, the state of the Australian scene, and their memories of playing in Budapest — just ahead of their return show at RIFF Club on May 25.

Interview

– Your album Creatures presents a darker and more dynamic sound. What inspired this direction?
There wasn’t a particular inspiration — it just felt like the natural evolution of our music. It wasn’t a conscious decision; it just happened that way.

 

Monsoons is a fully instrumental album. What inspired you to release a record without vocals?
We didn’t actually set out to make an instrumental record. We just had some jams and ideas that didn’t feel like they needed vocals, and we thought it’d be cool to release something different during the Covid period.

 

– You played in Budapest in 2022. What memories do you have of the Hungarian audience?
It was an intimate show at RIFF Club. The people who came were really kind and supportive. It left a good impression.

– How did the pandemic affect the band?
We were living together at the time and had a home studio, so we could still rehearse, write, and record. Of course, touring and live shows were off the table, but musically, we didn’t stop.

– What challenges did you face organizing European tours, especially with the distances and logistics?
The hardest part was not knowing the local scene — services, promoters, venues, or optimal routes. Luckily, tools like the internet, Google Maps, and translation apps helped a lot, and we eventually figured it out.

– Your music spans multiple genres. How would you define your sound?
We pull from a lot of different genres — alternative, progressive and psychedelic rock, post-rock/metal, stoner rock, and even soundtracks from films and video games. If we had to label it, we’d probably call it “heavy progressive psych.”

– What are your future plans in terms of studio work and touring?
We’re currently recording our fourth studio album, which we’ll finish before our next European tour in August. We’ll then tour Australia later in the year to promote the new record, and plan to return to Europe in 2026.

– Which song would you recommend to someone new to Khan’s music?
Probably Eyes, Lungs, Arms & Mind. It’s one of our favorites, and we feel it encapsulates most aspects of our sound in one track.

– How do you see the future of stoner and psychedelic rock in Australia?
We think it looks healthy. A lot of good bands are emerging, especially in Melbourne. There’s definitely a new wave, and people are open to it.

– Do you have any rituals or habits before going on stage?
Not really. But we always joke about not eating too much before a show — Beau’s dad told him that before his first gig, and we’ve laughed about it ever since.

https://www.facebook.com/khanbandofficial

Also performing at the event is the increasingly active Eugene Fight Club, whom we also hope to catch for a quick interview. AMEN!

Khan – Interjú a melbourne-i heavy psych trióval

A következő interjút az ausztrál KHAN zenekarral készítettük a május 25-i, budapesti Riff Clubos fellépésük alkalmából. (https://fb.me/e/3ZNSBYRK3)

A Khan egy háromtagú zenekar Melbourne-ből, akik pszichedelikus stoner rockot, progresszív ritmusokat és nyers, ipari hangzást gyúrnak egységes zenei masszává. A trió 2016 óta aktív, azóta több anyagot is kiadott, többek között a On Silent Space EP-t, a Vale és Monsoons című lemezeket, legutóbb pedig a 2023-as Creatures-t, amely egyben a legsúlyosabb, legmélyebb és legdinamikusabb munkájuk. Az albumot Josh Bills gitáros-énekes rögzítette saját stúdiójukban, a Vagabond Studios falai között.

A banda zenéjét olyan hatások alakították, mint a Tool, a Soundgarden, a Karnivool, vagy épp John Frusciante, de még filmzenék és videojátékok atmoszférái is visszaköszönnek.
2022-ben jártak először Európában, ekkor a budapesti RIFF Clubban is felléptek. Azóta is aktív résztvevői a kontinentális koncertéletnek, többek között a Desertfest Antwerp és a Fuzz Festival Stockholm színpadán is megfordultak.

Most épp negyedik stúdióalbumuk munkálatai közepette kaptuk el őket egy rövid beszélgetésre, hogy megismerjük a zenekar fejlődési ívét, az ausztrál színtér helyzetét, és persze a budapesti koncert emlékeit is.

Interjú

– A Creatures albumotok sötétebb és dinamikusabb hangzást képvisel. Mi inspirált titeket ebbe az irányba?
Nem volt konkrét inspirációnk – egyszerűen csak így fejlődött a zenénk természetes módon. Nem volt tudatos irányváltás, így alakult.

 

– A Monsoons egy teljesen instrumentális lemez. Honnan jött az ötlet egy ének nélküli anyagra?
Valójában nem terveztünk instrumentális lemezt. Voltak olyan jammelések, ötletek, amikhez nem éreztük szükségesnek az éneket, és úgy gondoltuk, jó lenne valami különlegeset kiadni a Covid-időszak alatt.

 

 – 2022-ben Budapesten is felléptetek. Milyen emlékeitek vannak a magyar közönségről?
Egy bensőséges hangulatú koncert volt a RIFF Clubban. Azok, akik eljöttek, nagyon kedvesek és támogatóak voltak. Jó élmény maradt.

– Hogyan hatott rátok a pandémia időszaka?
Akkoriban együtt laktunk, és volt saját házi stúdiónk, így tudtunk próbálni, írni és rögzíteni is. A turné és az élő fellépések természetesen kiestek, de zeneileg nem álltunk le.

– Milyen nehézségekbe ütköztetek az európai turnék megszervezése során, különösen a távolságok és logisztika miatt?
A legnagyobb kihívás az volt, hogy nem ismertük a helyi szolgáltatókat, promótereket, klubokat vagy az optimális útvonalakat. Szerencsére az internet, a Google Maps és a fordítóappok sokat segítettek, így végül meg tudtuk oldani.

– A zenétek műfaji határokon mozog. Ti hogyan definiálnátok a saját stílusotokat?
Sokféle műfajból merítünk: alternatív, progresszív és pszichedelikus rock, post-rock/metal, stoner rock, de még filmzenék és videojátékok is inspirálnak minket. Ha egy kifejezést kellene mondani, akkor talán a „heavy progressive psych” illik ránk legjobban.

– Mik a terveitek a jövőre nézve, akár stúdió, akár turné szempontból?
Épp most rögzítjük a negyedik stúdióalbumunkat, amelyet még a következő, augusztusi európai turnénk előtt befejezünk. Az év végén Ausztráliában fogunk turnézni az új lemez promóciójaként, és 2026-ban ismét visszatérünk Európába.

– Melyik dalt ajánlanátok annak, aki most ismerkedik a Khan zenéjével?
Az Eyes, Lungs, Arms & Mind-ot. Ez az egyik kedvencünk, és szerintünk elég jól bemutatja, hogy milyen rétegekből áll a zenénk.

– Hogyan látjátok a stoner és pszichedelikus rock jövőjét Ausztráliában?
Szerintünk jó irányba halad. Sok új, erős zenekar bukkan fel, főleg itt, Melbourne-ben. Van utánpótlás, és az emberek nyitottak.

– Van valamilyen sajátos szertartásotok vagy szokásotok koncert előtt?
Igazából nincs külön rituálénk. Viszont mindig emlegetjük, hogy nem szabad túl sokat enni fellépés előtt – Beau apukája mondta neki ezt az első koncertje előtt, és azóta is nevetünk rajta.

https://www.facebook.com/khanbandofficial

Az eseményen felépp még az egyre többet koncertező Eugene Fight Club is, akiket remélem sikerül elkapnom egy interjú erejéig! AMEN!

 

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