There is a pretty decent chance you haven’t heard of Bear Stone Festival before, unless you’re an Echoes and Dust reader, as we’ve covered the festival over the last three years. But it’s still relatively new, with this year being its official fourth edition, or fifth if you count the “Year 0” trial edition.
How would you describe Bear Stone? Having been there twice now, the closest I can get is perhaps those legendary stories of the original desert rock scene, when bands drove into the middle of nowhere, set up some heavy amps, and started making music. But Bear Stone is not in the desert. No, it’s in the Croatian outback, at a remote site about a 30-minute drive from the small town of Slunj.
There is not much desert there. Instead, you’re welcomed by rugged mountains and hills, beautiful greenery, and the clearest river you’ll ever see, which at times looks blue and at others more green, depending on the angle, the position of the sun, and so on. Along the banks of the Mrežnica River, we’re treated to some of the finest international acts from the psychedelic and stoner rock scene, while also having plenty of opportunity to discover what the local(ish) underground has to offer. It may be a very different landscape from the Californian desert, but the atmosphere, the music, and that feeling of escaping to the middle of nowhere to celebrate heavy, fuzz-drenched riffs make Bear Stone feel like a worthy spiritual successor to those legendary desert rock gatherings.
Let’s focus first on the smaller stages, home to the up-and-coming, exciting names that will be unfamiliar to most of our readers. Starting with Godzilla Was Too Drunk To Destroy Tokyo, a three-piece from northern Italy and probably the owners of the best band name of this year’s festival. Their riff-filled blend of heavy psych and garage stoner rock was just SO MUCH FUN, and had me using up most of my dancing energy by three in the afternoon. They probably drew the biggest crowd of any band on the Mill Stage, and deservedly so. Highly recommended if you ever get the chance to see them live.
Another Mill Stage highlight was Croatian duo Layka, who played an instrumental set full of weird bass sounds, a mixture of electronic and acoustic drums, and a progressive, contemporary take on alternative rock.
Volcavona (photo by Sanja Matić)
Iceland’s Volcanova are perhaps not that unknown anymore, having toured Europe extensively over the last couple of years (I guess you have to when you’re based in Iceland). Their heavy stoner rock was delivered to perfection, with all three members sharing vocal duties and leaving plenty of smiles on people’s faces. It was no surprise to see so many people walking around in freshly bought Volcanova shirts that weekend, although the fact they were one of the few bands selling white T-shirts may also have helped, given the hot and sunny Balkan summer.
The Mill Stage also featured plenty of bands that may not necessarily be breaking new ground but know exactly how to deliver a solid, fist-pumping stoner rock show. This year that included Hrmülja, Ambra, Drone Hunter, Roadkillsoda, and Vodenkonj, whose drummer reappeared a few hours later with Badel-Bager for a fantastic instrumental stoner rock set that reminded me at times of the mighty Karma To Burn.
Linija 109 (photo by Milan Šabić)
Finally, I want to mention festival openers Linija 109, a very young all-female band from Zagreb, who took a day off from their busy university exam schedule to deliver an excellent set of alternative rock, drawing heavily on shoegaze, indie, and post-rock influences.
Moving on to the Jam Stage, where the slightly bigger bands had the opportunity to show their skills. This served as the festival’s “main” stage on Thursday, with bands alternating between the Jam Stage and the Mill Stage on Friday and Saturday before the opening of the Stone Stage, the festival’s biggest stage.
Travo (photo by Nika Kovačević)
My highlights here are numerous, but topping the list are Portuguese psychedelic garage rock fanatics Travo. In the lead-up to the festival I’d heard their name mentioned from time to time, and seeing them live completely explained why some people were so excited in anticipation of their set. They are simply Slift on steroids, playing a similar style of music but with even more energy and finesse, fronted by a guitarist/vocalist who pulls some of the best guitar faces you’ll ever see. I fully expect to see Travo at Roadburn before long, and at future editions of Desertfest etc.
Following Travo on Thursday, and headlining the day, was Ungraven, Jon from Conan’s other band, although it couldn’t be more different. People unfamiliar with Ungraven understandably got excited when they spotted Jon around the festival, but anyone expecting heavy, head-banging caveman doom may have been in for a surprise. Instead, the band delivered a crushing drone set, perhaps best described as Sunn O))) with layers of keyboards added on top. It made the riverbank shake, and I’m sure people back at the campsite must have felt the vibrations too.
Ungraven (photo by Milan Šabić)
Earlier that Thursday we were treated to a sublime set by Stinking Lizaveta, this year’s veterans, having made music for more than three decades. There is nothing but joy and smiles when these guys play. It’s obvious how much they love making music together, and that connection translates into a brilliantly tight performance full of riffs, solos, and wonderfully unpredictable rhythm changes.
Wyatt E. closed the Jam Stage on Friday. Having seen them before in smaller club venues, it was great to experience them on a bigger outdoor stage. Their blend of psychedelia, stoner riffs, and drone textures was a perfect addition to the festival line-up, with the crowd clearly captivated throughout. The band themselves were so absorbed in the performance that they launched into a third song for the encore, only to be politely told they had actually run out of time!
Another wonderful surprise for me was Italian psychedelic acid-folk outfit Upupayāma, whose beautifully hypnotic performance seemed to fly by in no time. Alongside the traditional band line-up they featured an additional percussionist, while one guitarist also doubled on sitar, creating a truly spellbinding experience that I’d love to witness again.
Focusing on the bigger bands playing the Stone Stage, Elder were the standout act for me, followed closely by Altin Gün, making Saturday night an exceptional way to close the festival.
Elder’s latest album, Through Zero, is one of this year’s highlights and, in my opinion, the best of their extensive back catalogue, bringing together many of the different elements that have defined their previous releases. Their set only included five songs, but it still felt like a lifetime in the best possible way, as they opted for their longer compositions and took the Bear Stone audience on a truly spellbinding journey. I certainly wasn’t expecting a mosh pit at an Elder gig, but it happened.
Altin Gün followed, closing the Stone Stage for this year’s edition, and they couldn’t have done it any better. Booking a band of this calibre was something of a gamble by the festival organisers, as their Turkish-influenced psychedelic folk is perhaps not what you would expect from a headliner at a festival built around heavy riffs. But I can guarantee you that it worked beautifully. The band have been on a steady upward trajectory over the past few years, growing both their profile and their audience substantially, and having them at Bear Stone felt like a real coup. I don’t think it’ll be long before they’re headlining much bigger, more mainstream festivals.
Altin Gün (photo by Valerio Baranović)
Another worthwhile mention is Austin TV. While Altin Gün have been becoming a big name in these parts of the world, Mexican band Austin TV are already a BIG name across Latin America, and it was a great opportunity to witness their live show. Their performance consisted of a heavier take on post-rock, delivered with plenty of energy and precision.
The band plays wearing masks to keep their identities hidden, but as they explained, this is mainly to prevent people judging them based on the colour of their skin, and instead focus purely on the music they create. I think that is a great concept, and by adding an element of mystery to their live performance, they kept the audience engaged and entertained throughout.
Austin TV (photo by Valerio Baranović)
The other Stone Stage bands were all very good, and perhaps more in line with what you would expect at a Bear Stone festival, with Daevar, Planet of Zeus, My Sleeping Karma, and Nightstalker all delivering very solid sets featuring different blends of stoner rock. Sadly Daevar’s set was cut short to an unexpected power cut on the main stage, but what they did deliver certainly wet my appetite for more.
Friday’s headliners Uncle Acid & The Deadbeats deserve a mention, of course, being such an enigmatic band within the psychedelic proto-rock/metal genre. Their Bear Stone performance followed a disappointing appearance at Denmark’s Roskilde Festival, where their set was cut short to just 25 minutes following complaints from one of Roskilde’s “rock stars” (look it up yourself if you’re interested).
While the band always delivers a solid and tight performance, there seemed to be an additional motivation at Bear Stone. There was a sense of anger and urgency running through the set, with the drummer hitting the drums slightly harder than usual and the band appearing more energetic and less static than when I’ve seen them previously.
Before wrapping up, it’s worth mentioning the afterparty acts on the Jam Stage, which once again showed that Bear Stone doesn’t stop when the main stages close. Danish experimental punk collective Smag På Dig Selv brought their chaotic and energetic live show to the festival, creating exactly the kind of late-night madness you hope for after a full day of heavy riffs. Skier & Yeti provided another memorable after-hours experience, bringing their own unique blend of sounds and keeping the crowd going well into the night. These late sets are another small but important part of what makes Bear Stone special, adding another layer of unpredictability and fun to the festival experience.
Smag På Dig Selv (photo by Valerio Baranović)
Skier & Yeti (photo by Sanja Matić)
After two visits to Bear Stone, it is becoming increasingly clear that this is a festival unlike many others out there. It’s not just about the bands, although the line-up continues to impress and the organisers have shown an incredible ability to bring together both established names and exciting discoveries. It’s about the location, the atmosphere, and the feeling of being part of something slightly outside the usual festival circuit. Watching people swim in the river during the day, enjoying a drink with new friends in the evening, and then gathering together in front of the stages to celebrate some of the heaviest, weirdest, and most wonderful music around creates an experience that is hard to replicate.
Bear Stone captures something of the spirit of those early days of the desert rock scene: a group of people escaping to a remote location, surrounded by nature, with loud amps, great music, and a shared passion bringing everyone together. The desert may have been replaced by the Croatian mountains and the crystal-clear Mrežnica River, but the feeling remains the same. Long may it continue.
Keep an eye out for the traditional after movie on YouTube, and tickets for next year’s edition should be going live soon as well here.
Leading up to the Mill Stage ((photo by Milan Šabić)
(photo by Milan Šabić)
The Jam Stage area (photo by Milan Šabić)
The Bear Stone (photo by Nika Kovačević)
