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Friday Full-Length: El Ritual, El Ritual

Posted in Bootleg Theater on February 24th, 2017 by JJ Koczan

El Ritual, El Ritual (1971)

Prescient in playing off cultist truisms, progressive in its arrangements of keys, flute and vocal melodies, and yet still delivering a heavy punch of blues when called upon to do so, the 1971 self-titled debut from Tijuana’s El Ritual has all the makings of a lost classic, but I’m not entirely sure it’s actually ever been lost. It’s hard as an American to properly gauge that kind of thing, because one has to keep in mind colonial ideas of “discovery” like this band was just sitting around waiting for my gringo ass to find it. Hardly. Among other happenings during their relatively short time together, the four-piece El Ritual took part in the 1971 Festival Rock y Ruedas de Avándaro, which was arguably the biggest rock gathering Mexico ever held, and about which legend has it that, with the expectation that 25,000 people would show up, more than 10 times that number actually did, making it a landmark for an entire generation of Mexican rockers as well as those on the bill, which included El Ritual alongside compatriot outfits like Los Dug Dug’s and Peace and Love. It was — again, so the legend goes — a disturbing-enough showing of freaks and weirdos that the Mexican government moved to shut down counterculture events across the board. Too weird, too soon.

Which is funny, because listening to El Ritual‘s El Ritual, it certainly sounds like it’s right on time. With lyrics in English and titles in Spanish, it would seem to have had some intent toward international appeal, and the four-piece of vocalist/guitarist/flutist Frankie Barreño, bassist Gonzalo Chalo Hernández, keyboardist Martin Mayo and drummer Alberto Lalo Barceló more than stood up to that standard when it came to the actual scope of the record, whether it was the proggy keys and flute of opener “Mujer Fácil (Prostituta)” or the later pairing of the eight-minute cinema piece “Satanás” and “Peregrinación Satánica, Incluyendo el Poema ‘En un Principio'” which it’s hard to imagine Mexican church officials hearing even in the early ’70s and not shitting their pants, working as the tracks did in the tradition of cult rockers like Black Widow and Coven and all manner of proto-heavies from the international sphere to make the devil sound at once appalling and alluring in a manner that bands are still trying to emulate. Boogie rock shuffle and Zeppelin-style over-the-toppery with room for an extended drum solo ensued as the one led into the next, but even the devilish warnings of “Peregrinación Satánica” came with a surprisingly jazzy context, and as the earlier “La Tierra de que Te Hable” indulged strings and Greg Lake-era King Crimson-style vocal melodies (think “Epitaph”) before getting down to bluesier, funkier psych-rocking vibes distinguished by their organ work and backing chorus, and the later “Groupie” seemed to work out of the playbook of Latin-informed artists like Santana or War, who released their debuts in 1969 and 1970, respectively, the satanic aspects of El Ritual were only one element at work in the band’s broader profile, much as they may be what continues to resonate with underground listeners today.

No less pivotal overall was the way in which “Groupie” fed into the engaging organ jam of “Muerto e Ido,” on which Barreño‘s guitar took the fore late with a solo marked out by a shift into oddball electronic sounds and a return to the chorus that closed. Or how “Conspiración” found Barreño speaking about kids smoking grass in the park — seems relatively certain there were a few at Avándaro — and old people waiting to cash checks en route to guitar-checking the Rolling Stones and reminding listeners “There’s no life without love.” Or how “Bajo el Sol y Frente a Dios” nestled so easily into its brightly-harmonized and flute-tempered acousti-prog. Point is El Ritual had much more going on than any one or two tracks — or, for that matter, their moniker — might summarize on their own. The version of the album above, from what I can tell, follows the original Raff Records LP tracklisting and includes the single “Tabú” as a bonus track, as did the CD version through Raff Records, which of course came later. In 1987 and 1992 (according to Discogs) a label called Discos y Cintas Denver also issued El Ritual on LP and CD with the songs in a different order, putting “Satanás” and “Peregrinación Satánica” together at the top of the tracklisting. Fair enough, as they’re bound to grab attention either way. I tend to like the flow of the original, but I wouldn’t fight you if you were handing me a copy of the other version, telling me I could take it home for the archive.

As always, I hope you enjoy.

Neither an easy nor a particularly pleasant week. I spent most of it swapping back and forth between anxiety and despondency, just trying to keep my head on straight. Sucks to think Roadburn is still about two months away. I’m feeling like that get-right-with-your-gods pilgrimage is just the thing I need at this point. No doubt that will still be the case in April.

My weekends have been good though. Lot of together-time with The Patient Mrs., quiet or with family. She’s going to Texas on Saturday for a conference, so it’ll just be me and the Little Dog Dio for the bulk of next week. I expect to be lonely and to watch a lot of Mystery Science Theater 3000. Maybe a Werner Herzog movie or two. That’s usually how it goes.

Still, next week is madness through and through. Here’s what’s in my notes so far:

Mon.: Weedeater giveaway, info on the next The Obelisk Presents show (it’s Rozamov in Brooklyn), and a Stone Machine Electric review.
Tue.: Alunah track premiere/album review, news about the new The Sonic Dawn, and a Svuco video.
Wed.: Forming the Void video premiere, The Mad Doctors album announce and track premiere, and an Arbouretum review.
Thu.: Rozamov album review and new video from Shadow Witch.
Fri.: My Sleeping Karma live album review and new video from Black Mirrors.

That’s a lot of shit. And news besides. Goodness gracious. One might almost think I was purposefully overloading my schedule to make up for being lonely with my wife gone for a few days. Nah. Couldn’t possibly be it.

Alright, I’m checkin’ out early. I hope you have a great and safe weekend. Watch your back out there, these are strange fucking times. But still, have fun and we’ll see you back here Monday for more riffly shenanigans. Thanks for reading, and please check out the forum and radio stream.

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Castle Move to the Desert to Write New Album; Announce March Tour Dates

Posted in Whathaveyou on February 24th, 2017 by JJ Koczan

castle

Castle continue to live the dream, and by that I mean break their ass working on new material and touring. They’re up to a bit of both, as it happens. Next month, they’ll take to the streets in the Midwest before hitting up the West Coast for what can only be called the umpteenth time, and simultaneously, they’ve moved to the desert and begun to write the follow-up to last year’s Welcome to the Graveyard (review here), which saw release through the esteemed Ván Records. Reportedly, they have an eye on getting a new record out before the end of 2017. An admirable goal and I wouldn’t put it past them, what with that breaking of ass and all. You know damn well they’ll be touring more too. They rarely stop.

This run is called ‘Still Reaping’ and it starts March 3. Look for Castle later this year on the Shadow Woods Metal Fest in Maryland and at Fire in the Mountains in Wyoming over the summer. See? I told you they rarely stop.

From the PR wire:

castle-still-reaping-tour

CASTLE Announce ‘Still Reaping Tour’, Festival Dates, Album News

Fresh off a tour of Japan, heavy metal alchemists CASTLE have announced the ‘Still Reaping Tour’, a 17 date headlining trek of the U.S. Midwest this March. Newly relocated to the Mojave Desert where writing for a fifth full length is currently underway, CASTLE will be taking a break from conjuring the as-of-yet untitled album, due for release later in the year, to complete the tour – which includes a stop at the second installment of the Minneapolis Menagerie Fest on March 11.

CASTLE – Still Reaping Tour:
3/3 Phoenix, AZ – Yucca Tap
3/4 Albuquerque, NM – Launchpad
3/5 Dallas, TX – Three Links
3/6 Austin, TX – Lost Well
3/7 Wichita, KS – The Elbow Room
3/8 Kansas City, MO – Riot Room
3/9 Des Moines, IA – Vaudeville Mews
3/10 Chicago, IL – Reggie’s
3/11 Minneapolis, MN – Minneapolis Menagerie
3/12 Milwaukee, WI – The Metal Grill
3/13 Louisville, KY – Highlands Taproom
3/14 Indianapolis, IN – 5th Quarter
3/15 Lansing, MI – Mac’s
3/16 Omaha, NE – Dr. Jacks
3/17 Denver, CO – 3 Kings Tavern
3/18 Salt Lake City, UT – Club X
3/19 Oakland, CA – Golden Bull

In addition, the band has announced they will also be performing at the upcoming Fire In The Mountains in Jackson Hole, WY on July 8 and Shadow Woods Metal Fest in Whitehall, MD, September 14-17.

Since the release of their most recent offering Welcome To The Graveyard, issued last summer via Ván Records – CASTLE’s massive 120 date world takeover has included tours of the U.S., Europe, Canada and the bands first ever tour of Japan in December. Welcome To The Graveyard was captured by Billy Anderson (Sleep, Neurosis, Brothers Of The Sonic Cloth, Eyehategod, Ommadon et al) at Type Foundry Studios in Portland, Oregon and is currently available at THIS LOCATION.

heavycastle.com
facebook.com/CastleSF
https://heavycastle.bandcamp.com/
https://www.van-records.de/
https://www.facebook.com/vanrecs/
https://vanrecords.bandcamp.com/

Castle, “Down in the Cauldron Bog” official video

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Cave of Swimmers Tour Starts this Weekend; New Song Available

Posted in Whathaveyou on February 24th, 2017 by JJ Koczan

Miami two-piece Cave of Swimmers have a new track available as a free download. I joined their mailing list just now and grabbed it for myself to check out. I’m of two minds when it comes to talking about it, because they’ve very clearly made efforts not to give away what it is. Part of me would like to say, “Oh yeah, they’re doing this and this and it’s called this,” and so on, but I almost don’t want to give it away. I’ll say that it’s a cover, and that if you ever listened to classic thrash, you’ll probably recognize it based on the title alone, but I think it’s probably best to leave it there out of respect for the band.

The link where you can get the track and find out or yourself what Cave of Swimmers are up to this time around is below. I’m sure it’ll be on Bandcamp eventually as well, though I’ve gotten no confirmation of that.

This weekend, Misters Perez and García start a Southern tour that will find them spending much of the next week in Texas. The run, dubbed ‘Southern Lights,’ includes dates with Scott Kelly and Jucifer, and the routing follows here:

cave-of-swimmers-southern-lights-tour

Cave of Swimmers will embark on their Southern Lights Tour February 26th. They will join Scott Kelly from Neurosis in that night’s lineup in Jacksonville. They will also join Jucifer on the Houston date. To top it off, make sure to check out the free song download on their website caveofswimmers.com/free

Cave of Swimmers Southern Lights Tour:
Feb 26 Jacksonville, FL at Raindogs w/ Scott Kelly
Feb 27 Murfreesboro, TN at The Boro
March 1 Memphis, TN, at Rickhouse Live
March 2 Tulsa, OK at Soundpony
March 3 Dallas, TX at The Double Wide
March 4 San Antonio, TX at Faust Tavern
March 5 Austin, TX at Hotel Vegas
March 6 Corpus Christi, TX at Black Monk Tavern
March 7 Houston, TX at Super Happy Fun Land w/ Jucifer
March 8 New Orleans, LA at Poor Boys
March 10 Sarasota, FL at Kelly’s Live
March 11 Gainesville, FL at The Atlantic

Cave of Swimmers is a band formed by two Venezuelan kids who met in the 4th grade. After moving to Miami in the mid 2000s, they reunited to form a band with an original take on heavy music. Fast, slow, spooky, sludgy, progressive, you name it: Cave of Swimmers does it their own way.

Cave of Swimmers is:
G.E. Perez: Vocals, Guitar, 6/4 Bass, Synth
Arturo García : Drums, Percussion, Vocals

http://caveofswimmers.com
http://caveofswimmers.bandcamp.com
https://twitter.com/caveofswimmers

Cave of Swimmers, Reflection (2015)

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Samsara Blues Experiment Post One with the Universe Teaser Clip

Posted in Bootleg Theater on February 24th, 2017 by JJ Koczan

SAMSARA BLUES EXPERIMENT

It’s only a minute-long teaser clip, but there are still some things to learn from the first actual glimpse at the new and much-awaited fourth album from Berlin heavy psych trio Samsara Blues Experiment. For one thing, the title. They’ve given the record the ambitious name One with the Universe, and in unfurling that alone, the band speak to their spiritual and cosmic leanings that have been at their root since the days of their 2008 demo (review here), which they’ve continued to refine ever since, and are among the defining features of their approach.

Then we get to the actual audio of the thing itself. I haven’t heard any full songs from the record or gotten word of titles, but we’re treated to a moment of key-laced jamming, a laid back rhythmic bounce given bluesy flavor that makes a comfortable-seeming bed for a few vocal lines. The first burst of guitar tone is raw, and the drums and bass also feel suitably natural in a way that has me wondering just how much improvisation is going to be a factor across One with the Universe. That’s not to say there isn’t a sense of direction — unless I’m mistaken, it’s Christian Peters handling guitar and keys, and since they’re both going at the same time, some layering must’ve taken place at some point — but Hans Eiselt‘s bass fills feel remarkably organic in how it adds to the overall fluidity and Thomas Vedder‘s drumming accents the guitar and keys with classic-style dynamics.

Bottom line? I was looking forward to hearing the new Samsara Blues Experiment. A lot. I still am. A lot.

Check out the teaser below, followed by the three-piece’s upcoming tour dates in South America and Europe. One with the Universe will be out this May on Electric Magic Records.

Enjoy:

Samsara Blues Experiment, One with the Universe teaser

samsara-blues-experiment-one-with-the-universe-banner

4th SBE-album is coming…

Movie scenes from “The Blue Bird” (1918).

SAMSARA BLUES EXPERIMENT LIVE DATES:
SOUTH AMERICA TOUR – MARCH 2017:
03/02 – Santiago, CL @ La Capilla
03/03 – Buenos Aires, AR @ The Roxy Live
03/04 – Montevideo, UR @ Bluzz Live
03/05 – Córdoba, AR @ Refugio Guernica
03/08 – Porto Alegre, BR @ RIFF.E Bar
03/09 – Florianópolis, BR @ Célula Showcase
03/10 – Belo Horizonte, BR @ Stonehenge Rock Bar
03/11 – São Paulo, BR @ Inferno Club
03/12 – Rio de Janeiro, BR @ Hocus Pocus Fest

EUROPEAN SHOWS:
25.03. Roma (IT), Defrag
31.03. Osnabrück, Westwerk
01.04. München, Under The Black Moon Festival
02.04. Leipzig, Werk 2
22.04. Barcelona, Riff Ritual Festival
29.04. Berlin, Desertfest
30.04. London (UK), Desertfest
12.05. Berlin, Zukunft am Ostkreuz (Stummfilm-Special)
13.05. Berlin, Zukunft am Ostkreuz (Albumrelease Parteeey)
14.05. Hamburg, Hafenklang
15.05. Wiesbaden, Schlachthof
16.05. Bielefeld, Forum
17.05. Nijmegen (NL), Doornroosje
18.05. Nantes (FR), Le Ferrailleur
19.05. Paris (FR), Backstage
20.05. Köln, Underground
11.08. Finkenbach, Finki Festival

Samsara Blues Experiment on Thee Facebooks

Samsara Blues Experiment Tumblr

Samsara Blues Experiment on Instagram

Samsara Blues Experiment on Bandcamp

Electric Magic Records on Thee Facebooks

Electric Magic Records on Bandcamp

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Kandodo McBain, Lost Chants/Last Chance: Unsafe at any Speed

Posted in Reviews on February 24th, 2017 by JJ Koczan

kandodo-mcbain-lost-chants-last-chance

It’s an exceedingly clever idea, but that wouldn’t matter in the slightest were the execution not so utterly brilliant. As the phonetics of the title indicate, Lost Chants/Last Chance works strongly off ideas of duality. The late-2016 Rooster Rock offering from Kandodo McBain, pairs Kandodo3 — an offshoot of UK psych legends The Heads featuring guitarist Simon Price (who also operates solo under the moniker Kandodo), bassist Hugo Morgan and drummer Wayne Maskell from that band with guitarist John McBain, formerly of Monster Magnet and Wellwater Conspiracy. These two parties, each a psychedelic powerhouse on their own, come together across two sets of tracks recorded in two separate places — Bristol and San Francisco — and offer two distinct vibes on the 2CD/2LP Lost Chants/Last Chance by changing nothing more than the playing speed of the songs themselves.

To explain, if you get the Lost Chants/Last Chance CD, it comes with two discs — one with five songs at 45RPM speed, and a second with the same songs at 33RPM speed. The digital version on the Kandodo Bandcamp changes the names so that “Megladon’t” becomes “Megladon’t Ever” and “Chant of the Ever Circling Last Vulture” becomes “Chant of the Ever so Slowly Circling Last Vulture,” etc., but in runtime as well as mood, Lost Chants/Last Chance emphasizes the role that tempo plays in a given song’s feel while offering — at both speeds — wonderfully immersive, hypnotic psychedelic drift as only true masters of the form can provide. Front to back across the 10-track entirety, it tops an unmanageable two hours and 10 minutes, but whether listening in a single go, breaking it in half by material-version, or however else one might want to take it on — part of the joy of the thing is its utter amorphousness — Lost Chants/Last Chance lives up to being about more than just its conceptual objective in terms of showcasing the instrumental dynamic between these players, and thereby becomes all the more special.

Resonance abounds from the initial drifting guitar figure that begins “Blowed Out” — which later becomes “Really Blown Out,” naturally — and continues on from there. I tend to use words like “molten,” “fluid,” liquefied,” and so on to describe the sonic flow of heavy psychedelia. Tracks like “Blowed Out,” which earns immediate points for being the longest on Lost Chants/Last Chance at 15:43 in its 45RPM version as well as the opener, are the reason why. Even in its faster incarnation, it holds a languid spirit well past the 10-minute mark, keys adding melodic flourish to an anchoring guitar line that maintains its presence throughout and sets up a key factor in Kandodo McBain‘s execution: blending memorable instrumental hooks with ultra-expansive jamming. Its back third changes up the drums to a more tense use of toms, but the ending finds peace in guitars intertwining gorgeously. This sets up the pair of seven-minute slabs “Holy Syke” and “Megladon’t,” the former of which continues the mellotron-ic flow initially only to find spacier forward thrust at about 90 seconds in, setting up a build that becomes noisier — or is it “blowed out?” — as it moves through crafting another somehow-catchy impression, and the latter which relies on Maskell‘s thudding toms as the foundation for accompanying bass bounce and resonant guitar noodling.

What will seem to be the song most affected by the change in playing speed, “Megladon’t” brings about push without insistence and showcases an extended guitar lead as it heads through its midsection, turning shortly after five minutes in toward a fuzzier riff around which the four-piece will congregate until the fadeout brings on “Chant of the Ever Circling Last Vulture,” a 13-minute unfurling with an immediately space-rocking vibe — like Hawkwind on a preflight countdown — that holds percussive tension beneath swirling effects and key work.

Even after the drums fade down in the mix — McBain mixed and mastered — Morgan‘s bassline holds steady, and when Maskell returns shortly before the 10-minute mark, it gives solid ground beneath all that float from Price and McBain, a righteous turn that, if it came from a stage, would almost certainly prompt applause. On record, an agreeing nod will likely do. Siren loops from some kind of tonal submarine arrive late and set in motion the hum and fade-in of “Pelagic Blue Haze,” the 11:57 closer of the 45RPM segment, the patient unfolding of which offers something of a transition for those about to embark on the slower incarnations of these same tracks. It’s fair play that Kandodo McBain would save their most willfully hypnotic cut for last, but around 7:45, when the drums cut out, they shift into guitar drones and sort of residual melodies with just a hint of noise, as if to remind there’s more to come.

And so there is. Of course, with the slower playing speed, Lost Chants/Last Chance becomes about a third longer at 33RPM, going from 55:41 to 1:15:13. The shift also puts “Really Blown Out” over the 20-minute mark. Time, however, stops mattering by about 30 seconds in, and as so much of the groove presented earlier will, “Really Blown Out”‘s flow seems all the more graceful in its more downtempo showing. I don’t know if the 33RPM versions are mixed differently, but the mellotron reads as more of a forward presence in the opener, and the resulting immersion is a delightful dreamstate that continues as “Holiest Syke” enacts a familiar but modified push just before it hits two minutes. Both it and “Megladon’t Ever,” which on the 45RPM disc were relatively quick compared to their surroundings, benefit from the tempo change, but again, “Megladon’t Ever” might be the single piece most changed by the swap to 33RPM. Maskell‘s drums, particularly the steady hits of ride cymbal, emerge with a ritualized sensibility one only hears in hindsight on “Megladon’t” proper. That makes the song’s shift into noise all the more of a march to oblivion and nothing short of glorious for that, and between “Chant of the Ever so Slowly Circling Last Vulture” at 17:53 and “Deep Blue Pelagic Haze” at 16:09, the final two cuts on Lost Chants/Last Chance comprise an album unto themselves.

Along with the somewhat more grueling stomp of toms, the underlying drone in “Chant of the Ever so Slowly Circling Last Vulture” is a defining factor, but really, if you’re not lost in what Kandodo McBain are doing at this point, heavy psych might not be your thing. The penultimate slab oozes into and through a wash of noise and those same sirens — only slower — lead into the more foreboding-sounding drone that starts “Deep Blue Pelagic Haze.” It’s interesting to note that in changing the titles between the 45RPM and the 33RPM versions, Kandodo McBain emphasize an idea of “more.” Granted the tracks are longer inherently, as noted, but it goes further than that as well in there being an increased expressiveness that comes through. One can hear it in the sweet guitar figures of “Deep Blue Pelagic Haze,” which bring the entire project full circle in the otherworldly but memorable vibe they create, as well as in Maskell‘s hi-hat — even that becomes part of the overarching wash. A long trail into the titular haze and a likewise long fadeout follow, capping Lost Chants/Last Chance with the sense of having journeyed to another plane, arrived there, and departed again for someplace yet to be discovered. It is a trance that lasts even after the actual audio stops, and so seems fair to call genuinely affecting.

One of the aspects that most stands out about Lost Chants/Last Chance when viewed from some measure of distance, is that if Kandodo McBain had chosen to release either of the 45RPM or 33RPM versions of these tracks on their own, one would hardly be able to sort out which were the originals. That is, if one heard the “Megladon’t Ever” without having heard “Megladon’t” before it, the likelihood of their going, “This sounds like the slowed-down version of another track” is just about nil. Both listening experiences are believable, and each creates its own soundscape and sets its own course using the same music, and while it’s an experiment that just about everybody with a turntable has tried at one point or another in their lives, to put out a full-length album of jams that specifically promotes the change in rotation speed is admirably bold, and Kandodo McBain pull it off entirely through the scope and strength of the material itself, rather than just the novelty of the initial exercise. Cool concept, yes, but it’s the songs that make all the difference.

Kandodo McBain, Lost Chants/Last Chance (2016)

Kandodo on Thee Facebooks

Kandodo on Bandcamp

Kandodo McBain at Creepy Crawl Records

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Roadburn 2017 Announces Small Stage Lineup, Art Shows & More

Posted in Whathaveyou on February 24th, 2017 by JJ Koczan

roadburn-2017-banner

I don’t even know what to say about Roadburn 2017 at this point, which means the annual pilgrimage must be getting close. There comes a moment every year where I just kind of have to throw my hands up, be in awe of the festival’s scope, and leave it at that. As Roadburn announces the lineup for its annual Hard Rock Hideout and who’ll be at the Cul de Sac venue over the subsequent four days — that Thursday lineup pretty much invites one to camp out there all day, but as ever, Roadburn will mean hard choices in terms of schedule — as well as art shows and other odds and ends for its bill, with more still to come, it’s safe to say we’ve hit that point. Hard to type with your hands thrown in the air, and yet here we are.

Most of the fest is sold out, which is about as surprising as a sunrise, but a few single-day tickets remain for those who want to get whatever piece of the action they can. Can’t say I’d blame you. I’ll be there. If you’re going, say hi. I’m the dude with the beard.

From the PR wire:

Cul-de-Sac line up, art exhibitions and more announced for Roadburn 2017

With weekend and Saturday day tickets already sold out for Roadburn 2017 and other day tickets not far behind, there are only a handful of acts and exhibitions still to announce. Following the below additions, there will be just one further announcement ahead of the festival.

CUL DE SAC & NEW ADDITIONS

In keeping with what has become Roadburn tradition, the festival’s fifth and most intimate stage returns to Cul de Sac. Once again, in collaboration with Never Mind The Hype (an independent Dutch music platform for everything heavy, alternative and deviant), we will focus on bringing you the most promising Dutch and Belgian bands, plus others from futher afield. Positioned just around the corner from the 013 venue, the intimate surroundings of the Cul de Sac mean you can get up close and personal with some of the most exciting bands the underground scene has to offer, squeezed in alongside some established acts too!

In 2017 the band that Roadburn is specifically choosing to showcase to our audience is Utrecht’s LASTER. The spotlight of Roadburn Introduces… this year will fall on this Dutch trio; to call them black metal doesn’t do justice to the complexity of each horrific layer of putridity they heap upon our senses. Don’t say you weren’t warned.

CUL DE SAC LINE UP
Thursday:
Ritual Object
Joy
Harsh Toke
Verwoed
Ortega
Bathsheba

Friday:
Ritual Object
Kuro
Zaum
Telepathy
Jonkoklapper

Saturday:
Laster
Bear
Hedonist
Lotus
Mantis
Slow Crush

Sunday:
Sink
Stone in Egypt
Faal
MNHM
Jaye Jayle
Turia

In addition to the full Cul de Sac programme, two more bands have been added to the main Roadburn programme.

Describing their addition to Roadburn 2017 as “a dream come true”, California’s ATALA will bring their hypnotic riffing to the festival ahead of the release of their new album, Labyrinth of Ashmedai, this Spring.

ANTROPOMORPHIA plan to let the murky brutality of their intricate yet straightforward-sounding death metal to do the trick when they welcome Roadburners to their own home town.

ART EXHIBITIONS

Another Roadburn tradition is a commitment to visual arts alongside musical offerings and 2017 is no different. A diverse selection of artists will exhibit at Roadburn Festival this year.

The Two Worlds of MARALD VAN HAASTEREN: Born in Leiden, The Netherlands in 1970, Marald is best known for his collaborative work with John Dyer Baizley on the images and packaging artwork of Baroness latest album, Purple. Being part of the DIY underground scene since the late 80’s, Marald has also been making art for the likes of High on Fire, Kylesa, and Bolt Thrower to name but a few. His distinctive blend of jaw-dropping craftmanship and delicate, compositional sensibility ranges from black and white ink works to full colour paintings, enhanced by digital media – though the basis for Marald’s stunning technical masterpieces, remains hand drawn imagery.

FURSY TEYSSIER – Exhibition of Drawings: Hailing from France, Fursy Teyssier is a visual artist and composer who has refined his talents over the years to entwine a strong artistic identity with mesmerizing aural creations. Teyssier’s band, Les Discrets, is the culmination of all his artistic endeavours, whether it’s his take on shoegaze, post-rock and, of course, black metal, or his work as an illustrator, painter, or animated film director. The band conveys his art, and in turn Teyssier’s artwork captures Les Discrets’ dream-like approach.

Got No Obvious Direction: A Visual Art Exhibition by GNOD: Established in 2007, psychedelic, anarcho, sonic pioneers GNOD celebrate their tenth anniversary as artist in residence at Roadburn 2017. In conjunction with their musical explorations, there will be outsider art on display at the 013 venue by various GNOD-bods.Since 2009, GNOD have based their operations from Salford’s premiere arts venue, Islington Mill. Being influenced by the static and transient artistic community the building has hosted, some pieces have been featured on the band’s early releases, as well as artwork used for their Tesla Tapes label.

ROLAND SCRIVER – Familiar Ink: Not content with levelling small buildings and causing tectonic shifts via the power of six deadly strings, erstwhile Serpent Venom guitarist Roland Scriver is also a visual wizard who works magickal art under the name Familiar Ink, art with an unexpected lightness – both of touch and imbued within the art itself. Come let the light in with Roland Scriver, AKA Familiar Ink, at Roadburn 2017!

HARD ROCK HIDE OUT

Whilst many Roadburners arrive in Tilburg on Thursday, the first official day of the festival, hundreds more arrive the day before. And to keep them out of trouble, or at least contain it, we’re thrilled to announce that The Hard Rock Hideout, Roadburn’s official pre-show party will return on the Wednesday evening at Cul de Sac.

Forging 80s inspired thrash metal, Holland’s own DISTILLATOR, black’n’roll veterans, HERETIC, and Californian riff masters ATALA – yes, them again – will crack one (or more) open and kick off the festival in style.

Artists already announced for Roadburn 2017 include Coven, Warning (playing Watching from a Distance in full), Artists in Residence – GNOD, My Dying Bride (performing Turn Loose The Swans in its entirety), Ulver, Hypnopaz?zu (David Tibet & Youth), Zeal & Ardor, Mysticum, Deafheaven, Chelsea Wolfe, and our 2017 curator, John Baizley who will perform with Baroness, plus many more. Roadburn Festival will take place 20-23 April, 2017 at the 013 venue, Tilburg, The Netherlands.

Tickets (and campsite tickets) are on sale for Roadburn 2017 and can be purchased from this link.

4 day – SOLD OUT
3 day (Thu, Fri, Sat) – SOLD OUT
Thursday only – 59 Euro
Friday only – 59 Euro
Saturday only – SOLD OUT
Sunday only – 54 Euro

http://www.roadburn.com/
https://www.facebook.com/roadburnfestival
https://twitter.com/roadburnfest

Atala, “Levity” official video

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Valborg to Release Endstrand April 7

Posted in Whathaveyou on February 24th, 2017 by JJ Koczan

valborg

Last heard from the 2016 two-songer Werwolf (review here), which for my money was one of the best short releases of the year, dark German metallers Valborg are set to return in April with a new full-length titled Endstrand that will see release on Prophecy Productions/Lupus Lounge. Their prior outing, Romantik, was something of a gem that I caught onto well after the fact, but with Endstrand will mark their sixth record and each one seems to be a different atmosphere from the last, so I’ll look forward to finding out what’s in store this time around. I always feel guilty for not being immediately on top of good albums, hearing something months after the fact and kicking myself for not having reviewed it at the time. Not gonna miss this one, is the bottom line.

The PR wire brings art and details:

valborg endstrand

VALBORG to Release New Album, ‘Endstrand’, April 7

German Trio Dishes Cerebral, Punishing Metal via Dark New LP

German ensemble of dread VALBORG has signed with underground indie Lupus Lounge / Prophecy Productions. The self-described “German metal monster” will release its new full-length LP, Endstrand, on April 7.

Championed by Celtic Frost / Triptykon architect Tom G. Warrior as “abundantly original and unique “ and “a mixture of Bohren und der Club of Gore, early Black Sabbath and Hellhammer”, VALBORG creates dense, inventive music that escapes categorization. The trio’s blunt, forceful songs are at once raw and primitive yet hold a nihilistic sophistication that forges clouds of nightmarish atmosphere, giving them a narcotic, dreamlike feel that very few bands achieve.

Produced by Markus Siegenhort (Lantlôs), Endstrand is a 13 song end-time vision hosting apparitions of empty beaches, bunkers in the dunes, novel biological phenomenon, washed up artifacts, noise distorted signals and omnipresent whirring, all of which float above the backdrop of VALBORG’s utterly barbaric death crunch. Forging “brutal and wasted, yet powerful” music, VALBORG unleashes sound as scorched-earth policy on Endstrand, delivering an immersive mysteriousness and darkness that has earned the group the right to be called one of Europe’s most exciting extreme metal bands.

“Working with Prophecy now feels natural and good to us,” comments VALBORG bassist Jan Buckard. “We’re looking forward to a pleasant time together.”

Track listing:

1.) Jagen
2.) Blut am Eisen
3.) Orbitalwaffe
4.) Beerdigungsmaschine
5.) Stossfront
6.) Bunkerluft
7.) Geisterwürde
8.) Alter
9.) Plasmabrand
10.) Ave Maria
11.) Atompetze
12.) Strahlung
13.) Exodus

https://www.facebook.com/valborgband/
https://zeitgeister.bandcamp.com/
http://us.prophecy.de/artists/valborg/
https://www.facebook.com/prophecyproductions/
https://twitter.com/ProphecyProd

Valborg, Werwolf (2016)

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Brown Acid: The Fourth Trip Due April 20

Posted in Whathaveyou on February 23rd, 2017 by JJ Koczan

RidingEasy Records returns in April with another dose of scuzzer-fuzz and proto-everything on Brown Acid: The Fourth Trip. In collusion with Permanent Records in Los Angeles, the latest in the apparently-ongoing series of oh-so-delightfully-obscure 45RPM singles and lost odds and ends from the late ’60s and early ’70s deep-dives once more into the roots of what we think of today as heavy, and comes out with a collection worthy of collectors, as the raw buzz of opening cut “Leave It” by Kanaan — which you can stream below, because it’s a whole past-meets-the-future thing, man — makes as plain as the melting face on yonder assortment of skulls. Vibe, vibe, vibe. How long can they keep the streak going?

Call it ripe for the diggin’, and then dig in. PR wire info follows:

brown-acid-the-fourth-trip

Brown Acid: The Fourth Trip compilation coming 4/20

Rare 60s-70s pre-metal, hard rock singles curated by L.A.’s Permanent Records & RidingEasy Records

L.A. label RidingEasy Records and retailer/label Permanent Records announce the upcoming release of the 4th edition in their celebrated compilation series of long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid today with a premiere of the first track. Hear and share Kanaan’s “Leave It.”

If you thought we were getting close to the end of the Brown Acid series with our last Trip, you were dead wrong…we’re only just getting rolling. The well of privately released hard rock, heavy psych, and proto-metal 45s is deep and we are nowhere near tapped out. Most of these records were barely released and never properly distributed so they ain’t easy to find, but they’re out there if you’re willing to dig…and we aren’t afraid to get our hands dirty. Hard calluses have formed from handling the shovel and we’ve sifted through a lot of dirt, but we’ve dug up another ten tremendous records to share with all the heavy heads out there. This volume brings together eight insanely rare and skull-crushingly heavy 45s as well as two previously unreleased bangers.

You may remember the Zekes’ jaw dropper “Box” from the First Trip. If you don’t, you better go back and refresh your memory, you stoner. That song rips! And so does this previously unheard recording we legally obtained from the Beverly Hills records vaults. “Comin’ Back” is the longest tune we’ve yet to include on this series and it’s a full-on rager! The only surviving copy of this recording came to us on the original 1/4″ master tape from Hollywood’s long-defunct Demars & Duffy Music. We did our best to preserve the recording and we think you’ll appreciate the rawness.

There have been numerous groups named Bad Axe over the years, but the one you hear here is the baddest. This five-piece fresh outta high school kicked out this jam (and a few others) in a Chicago studio in 1973 just for the hell of it. As a garage band, they were previously named The Burlington Express and they went on to be known as Bitch, but these dudes hit their stride as Bad Axe and “Coachman” is their crowning achievement. It went completely unreleased until 2014 when Permanent Records issued it and “Poor Man, Run” as a limited edition 45 with a killer picture sleeve. It’s long out-of-print and only obtainable now on Brown Acid.

The rest of the records included on this volume vary in rarity, but at least two of them were virtually unknown until we discovered them. You’ll win the lottery before you find copies of all of the original 45s in even the best record stores. Many of the records included in this volume are owned only by the members of the bands and some of the band members don’t even have personal copies. That’s just how hard these guys hit it back in the day! We’re lucky some of these guys are still alive and well enough to give us permission to use their masters.

Artist: Various Artists
Album: Brown Acid: The Fourth Trip
Label: RidingEasy Records
Release Date: April 20th, 2017

01. Kanaan “Leave It”
02. Stone Garden “Oceans Inside Me”
03. Headstones “Carry Me On”
04. Wrath “Rock N’ Roll Fever”
05. Bungi “Numbers”
06. Erving Forbush “The Train”
07. Zekes “Comin’ Back” (previously unreleased)
08. Bad Axe “Coachman”
09. Ash “Warrant”
10. Axas “Lucifer”

http://www.ridingeasyrecs.com/
https://www.facebook.com/ridingeasyrecords/
https://twitter.com/EasyRiderRecord
https://soundcloud.com/easyriderrecords/

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