04.12.14 — 01:04 — Friday night/Saturday morning — Hotel Mercure, Tilburg
I must be doing a piss-poor job of not looking beat to hell, because several people asked me throughout the course of the afternoon and night how much I’d slept. Just enough, in combination with coffee, to stay standing. I wasn’t so clever with my answer at the time.
Today’s pacing was completely different from yesterday. When you’re here, you tend to be your own curator — I’m going to see this at the expense of that, I want to catch this band, so I will be here at this time. People pull their schedules out constantly, myself included. It’s important to stay on top of this stuff. Minutes matter at Roadburn.
For me, it was slower. At one point in the evening, I had to sort of stop and remind myself that I didn’t have to rush off somewhere, I could stay put and watch a little longer. That was the case right from the start with French classic prog tale-tellers Magma, who opened Mikael Åkerfeldt of Opeth‘s curated day on the Main Stage. The early portion of the Main Stage bill — three out of the total five bands, all playing at least 70 minutes, and in the case of Magma, Claudio Simonetti’s Goblin and Opeth themselves, a full 90 — was heavy on prog. That had me at something of a disadvantage when it came to giving acts like Magma, Comus and Claudio Simonetti’s Goblin their due reverence, but I made the most of exposing my brain to things it hasn’t encountered 30 times already and saw some acts on other stages as well. There’s always someplace to be if you want to be there. Or you can go to the bar.
Magma‘s tales of future space in made up language set the bar pretty high for texture. Later on, Goblin would inject a little funk and some heavier rock into what they were doing, but with Magma, it was more about expansive and psychedelic jazz, though thinking of their set in the context of Mikael Åkerfeldt picking the lineup, it was easy to see why they were there — Opeth had clearly taken some of their influence. Likewise that for Comus and Goblin. In the Green Room, where I hadn’t been yet, Lenny Kaye and Harsh Toke were getting ready to jam, and I don’t know what it was, but something told me I wanted to be there.
A fellow Jersey boy, Rutgers grad and former publisher of a ‘zine called Obelisk — if only I could play guitar — Lenny Kaye is probably best known for playing in the Patti Smith Group, but he’s here as well celebrating the Nuggets compilation he put together in 1972 that featured the likes of Nazz, 13th Floor Elevators, The Electric Prunes, etc. Paired with San Diego’s Harsh Toke, who are newcomers to the Tee Pee Records roster, Kaye fronted one of the best live heavy psych jams I’ve ever seen. No bullshit. With a steady refrain of “Harsh Toke makes good smoke” from Kaye on mic and improvised-seeming lyrics amid a terrifyingly immersive swirl from his guitar and the two in Harsh Toke — all the while, bass and drums holding down a battery of killer grooves — it had every dynamic you could possibly ask of a close-your-eyes-and-nod jam. I spent the rest of the day telling people how incredible it was and getting blank stares, no doubt because Lenny Kaye & Harsh Toke were on in the Green Room at the same time The Body were on at Het Patronaat, but wow. I had planned to be there for a few minutes and didn’t leave until they were done, an extended cover of Them‘s 1964 hit, “Gloria,” which Kaye referred to as the “national anthem of garage rock.” They jammed on that too.
I had to laugh when, as he introduced the band, Kaye stopped to ask the bassist and drummer of Harsh Toke their names, but however familiar they may or may not have been, I felt like I was seeing something special. They ended a little early, so I got back to the Main Stage in time for the start of Comus, who also played Roadburn back in 2010 at the since-closed Midi Theatre around the block from the 013. They were today largely as I remembered them from then: Mostly seated and playing their cult forest prog, cuts like “Song to Comus” from 1971’s First Utterance once again showcasing an inspiration point for Åkerfeldt. I bought that Comus record four years ago and have listened to it since, but still would hardly call myself an expert, and they had a good crowd going until it was time to head over to Het Patronaat for a second set from Corrections House after yesterday’s. I’d hear about it later, but they brought out YOB guitarist/vocalist Mike Scheidt, who’s been spotted here and there around the fest ahead of YOB‘s two sets tomorrow and Sunday. If you want to make a supergroup more super, that’s a good way to do it.
The day I almost consider split in half, and the 90-minute set from Claudio Simonetti’s Goblin was the dividing point. People were so tight in the Main Stage room you couldn’t get in the door. Claudio Simonetti’s Goblin isn’t to be mistaken for the Goblin that toured in the US — the keyboardist has taken on members of his more metallized outfit Daemonia and made his own version of Goblin from them, while the classic Italian cine-proggers continue on in his absence. It’s confusing until you think of how often it happens. Then it’s just silly. Either way, Simonetti led his band through renditions of the themes to Zombi and Dawn of the Dead in addition to their eponymous song, all the while the audience nodded along. It was maybe a bit much at an hour and a half, but I may have been the only one who thought so. The dancing dude next to me was definitely on board, as most in attendance seemed to be, the Daemonia players injecting a bit of funk and hard rock into Goblin‘s classic scores.
Here’s where I had my moment when I decided to both have and eat my cake. Germany’s Sula Bassana were slated to go on at 21:40 at Het Patronaat. Simple enough. Candlemass were going on at 21:45. It was a very small window between the start of the two sets but I managed to squeeze my ass through it and caught the start of both. Obviously I saw more of Candlemass than Sula Bassana — which actually seemed to be Electric Moon plus another guitarist alongside Dave “Sula Bassana” Schmidt, bassist Komet Lulu and drummer Marcus Schnitzler, but I considered it an achievement all the same. Schmidt got on mic to say it was their first time playing as a full band and then was off to his synths and guitar to lead his outfit through expansive psych jams. I wasn’t there long, but I was glad to have been there at all.
And while I don’t know if anything will ever top seeing Candlemass perform 1986’s Epicus Doomicus Metallicus at Roadburn 2011 with original vocalist Johan Längqvist singing — a set that’s since been released on oh-if-I-had-the-money vinyl — the band sounded awfully vibrant for a group who’s been threatening retirement for the last half-decade. In addition to having Per Wiberg on keys — Wiberg also played the Afterburner last year with Spiritual Beggars and is a former member of Opeth — as they ran through the whole of 1988’s Ancient Dreams, the Swedish doom legends also brought out Primordial/Dread Sovereign frontman Alan “Nemtheanga” Averill to add his flair and stage presence to “Incarnation of Evil.” It seemed an odd fit for his triumph-prone vocal style, but completely worked, and for the rest of their set, Candlemass had Mats Levén of Therion on vocals, who’s also worked with Candlemass founder/bassist Leif Edling in Krux and Abstrakt Algebra. Levén also did well with the parts that once belonged to Messiah Marcolin, though it was Edling himself, wine glass in hand, who took center stage to deliver the album-closing “Epistle No. 81,” a spoken poem in Swedish that came through the 013 Main Stage P.A. to the rhythm of claps from the audience. Very cool moment.
For an encore, they broke out “Bewitched” — some clever band is going to come along and cover both the track and its accompanying video, which if you’ve never seen it is one of the finest ever produced by humanity — and Epicus Doomicus Metallicus opener “Solitude,” which was enough to send a chill up my spine. I fucking love that song, and Levén nailed it, though he like every vocalist I’ve seen with Candlemass, including Längqvist who originally recorded it, stepped back from the high notes in the chorus on the album version. When they were done, it was just a matter of waiting the 45-minute break for Opeth, which I tried to do by watching some of Papir in Stage01 through the doorway. My thinking was the room would be full so at least I’d be able to hear it and see some of the stage, but the fact was that when I got there, the doorway was full too. No place to stand even outside the room. Some you win, some you lose.
It would’ve been nice to stay and see Opeth round out their set with “Deliverance” and “Blackwater Park,” but even before they went on, I was getting that get-back-to-the-hotel-and-get-typing itch, so I stuck around for “The Devil’s Orchard” from 2011’s Heritage, “Ghost of Perdition” from 2005’s Ghost Reveries — which Åkerfeldt, with his expected stage-banter charm, referred to as “an old nugget”; something Lenny Kaye had said about “Gloria” earlier in the day — and the start of “White Cluster,” the closer of 1999’s Still Life, before making my way out. It’s been more than a few years since the last time I saw Opeth, but it was already after midnight and I knew what I had ahead of me.
Tomorrow closes out the fest proper with the first of YOB‘s two sets and Loop‘s headlining slot on the Main Stage, so with morning work on the next issue of the fanzine ahead, I’ll just say thanks for reading and there are more pics after the jump if you’re interested.