Roadburn 2017 Trip, Pt. 8: Guess I’ll Go Live on the Internet

Posted in Features on April 24th, 2017 by JJ Koczan

weirdo canyon dispatch 2017

04.24.17 — 09.14 — Monday morning — Schiphol Airport Gate B15, Amsterdam

Yesterday, after the folding ritual was done for the last time for the 2017 Weirdo Canyon Dispatch, I sat for a bit in the office of the 013 by myself. I had put music on basically because it was quiet while Lee wrapped up putting stuff online and he’d gone to meet somebody, so I was on my own and it was even quieter. Sometimes you need a minute to process, or to breathe, or to do whatever it is you need to do to have your head right. That’s when I took the picture above. I knew it was going to be a long last day of Roadburn 2017, and that’s exactly what it turned out to be.

No regrets. Fond memories.

I was up before the alarm this morning. First time that’s ever happened in Tilburg for me following Roadburn. The alarm, by the way, was set for 05.45. A shuttle would be arriving at the hotel circa 06.30 to bring me to the airport. After packing and going to sleep circa 2AM, I was up between three and four and never got back to sleep. I read the recaps of what looked to have been a crappy baseball game. I checked the Times to see if the world was ending yet. I dicked around the way one does when one is just trying to eat minutes.

Speaking of eating, you should’ve seen me pouring and stirring the protein powder into my coffee on the line for the Lufthansa check-in here at Schiphol. Can’t imagine it was difficult for anyone to pick out who was the American in the crowd. With his little battery-powered stirrer like something he bought from a Sharper Image catalog circa 1991. Thing cost me $8 on Amazon. Worth every penny.

A couple Roadburn types around the airport this morning. I’m pretty sure I saw the bassist from Pallbearer going the other way while I was on the people-mover. Another dude in an Ulver t-shirt with his buddy who got the fest hoodie with the John Dyer Baizley cartoon tits on it. Sundry others.

windmillsIn about an hour, I’ll board this death-trap-looking-thing and go to Frankfurt, which if I’m not mistaken is the opposite of the direction in which I ultimately want to go. It was the same deal connecting in Toronto to come to Amsterdam in the first place. Because that’s the kind of sense Boston makes. World class, khed. Local fuckin’ sports.

I’ll hope to sleep on the plane — definitely the second if not the first — and when I land, I’ll magically have back the six hours of day I gave up so willingly last Tuesday to make the trip out. Before that happens, there are almost too many people I need to thank, so I’m going to try to do that.

First, The Patient Mrs. always. So much love. I’m so lucky. Also Walter Hoeijmakers, Becky Laverty, Lee Edwards and all involved with the Weirdo Canyon Dispatch: the amazing, humbling staff of writers that includes Sander van den Driesche, Andreas Kohl, José Carlos Santos, Kim Kelly, Guido Segers, Ben Handelman, Jamie Ludwig, Dom Lawson, Cheryl Carter and Peter van der Ploeg, the artists Cavum and Kim Holm, the photographers Paul Verhagen and Niels Vinck, as well as Jaimy, Gijs, Miranda, Rian and all behind the scene at the 013 venue. What a group we’ve assembled over the last four years. I frankly have no idea what I’ve done to earn a place among any of them except consistently fuck up. Like I say, humbling.

Thanks as well to Jens Wassmuth, Dante Torrieri, Falk-Hagen Bernshausen and all in the photo pit for their kindness and professionalism. I hadn’t shot anything in a while and it was easier to step back into that process knowing I was among the most pro-shop group of people one could ever hope to find.

I was pretty beat this year. Significantly so. I’ve got a lot on my mind. I’m about to lose my job. And there were times over the last few days where I felt like I was so out of it I wasn’t really doing justice to the experience. I tried my best. I really did. By yesterday I kind of felt like I had it right. I don’t know if I could’ve done a fifth day of Roadburn, but by the time yesterday came around I a little bit had my head back. Inclined to take what I can get.

Tomorrow will be Tuesday. I took the day off work. What’re they gonna do, fire me? I’ll make myself good coffee in the morning and a peanut butter protein shake for lunch, have a nice salad for dinner with The Patient Mrs., scritch the Little Dog Dio and get caght up on all the Obelisk stuff that’s fallen by the wayside while Tilburg happened. Lots of news to catch up on, and an interview for Wednesday and this and that. I might actually post some stuff tomorrow or I might just hold it all off. I’ve been social media-ing a lot and see the value in maybe taking a day and not. We’ll see how it plays out. I’m also going to shave my beard. Off. Gone. Done with it. Not much left by now anyway. I decided that in the van on the way to the airport this morning.

As I’ve done for the last however many years, each post in this series (minus the Hard Rock Hideout review) has derived its header title from the name of a song. They are as follows:

Trip Pt. 1: “Dos Soles” by Cavra. I got that record sent to me while I was at the airport in Boston.

Trip Pt. 2:: “Sanctuary” by Elder. A track from their new album that seemed fitting for having made it to Tilburg.

Day One Review: “Wound of the Warden” by SubRosa. Self-explanatory.

Day Two Review: “Death’s Dark Tomb” by Atala. I was arguably at my most ass-dragging and that seemed dark enough for the mood.

Day Three Review: “And Yet it Moves” by Slomatics. Like Roadburn itself, that song is so unbelievably heavy, and yet it proceeds along like the third day of a four-day fest.

Day Four Review: “God Particle” by The Doomsday Kingdom. I wanted to celebrate something rare, like this experience itself. That seemed to fit.

Trip Pt. 8: “Guess I’ll go Live on the Internet” by All Them Witches. It had been a minute since I put that record on. It’s always good for tired mornings. Plus the airport connection is absolute shit, so there’s an element of irony there too.

This will be the last post in the series, and before I bring it to an end, I want to say thank you one more time for reading. All the social media likes and shares and comments are awesome, but even just knowing that when something gets posted on this site someone might actually see it is validating beyond what I can tell you and so deeply, hugely appreciated. It’s been an interesting year and it’s going to continue to be one, but your support means a tremendous amount to me and I wouldn’t trade it for anything. So yes, thank you again. Thank you. Thank you. Thank you.

I’ll hope to talk soon.

All my best,
JJ Koczan

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ROADBURN 2017 Day Four: God Particle

Posted in Features, Reviews on April 23rd, 2017 by JJ Koczan

roadburn 2017 banner (Photo by JJ Koczan)

04.23.17 — 22.26 — Sunday night — Hotel room

The last day of putting together the Weirdo Canyon Dispatch started with a panic when the office coffee machine was busted. At first I didn’t believe it and plugged the thing in to see if the sign that had been taped onto the front was bullshit, but indeed, it was not. Could’ve cried. Instead, went downstairs to the backstage area where they serve the meals and got coffee there. Survived.

Thus, the final issue of the 2017 Weirdo Canyon Dispatch came into being. Download the PDF version here.

What used to be known as the Afterburner, the traditional easing between a given Roadburn and the transition back to real life, is now basically just another day of the fest proper. They’ve dropped the name, and fairly enough so. Running across four stages this year, it’s hardly a means of becoming less immersed in the Roadburn experience at this point. If anything, it’s Roadscorch. The absolute last blast from the furnace that is this festival. My brain has turned into Roadchar.

I had no fewer bands I wanted to see today than yesterday or the day before, and a few others that I wouldn’t have minded catching had I been able to do so, so yeah, it was definitely Roadburn. It started early and went late and was packed for the duration. I did one more bounce between venues as I had earlier in the weekend — none at Cul de Sac for me today, but two at Het Patronaat — and was back and forth a few times between the Main Stage and the Green Room at the 013 proper, running past the merch area as well for good measure. Can’t be too careful. Wouldn’t want something to get by unnoticed.

It was a 15.00 start in the big room with Temple of BBV. I knew from seeing Gnod the other night (review here) that the culmination of their residency in a collaboration with Radar Men from the Moon was one I didn’t want to miss, so while it was early, I figured a head-first dive into willful prog oddity was well in order. I won’t like to you — it was a lot for three in the afternoon. Or three in the morning, for that matter. It was a lot, period. 10 people on Temple of BBV (Photo by JJ Koczan)stage, including two drummers, a near-constant throb and pulsations pushing outward into psycho-psychedelic reaches of the bizarre.

They were aggressively strange. On a strangeness crusade. They wore their strangeness like a badge of strangeness honor and as the room filled up slowly, people seeing to be hungover perhaps from the sensory assault Mysticum had provided the night before as much as from actual inebriation of whatever sort, the crowd had no choice but to be subsumed by what Temple of BBV were doing on that stage. Hair of the cosmic dog that gave you demonic space-rabies. Was it weird? Why, yes. Yes, it was.

I couldn’t help but try to remember when last I actually saw Pallbearer as their set got underway, also on the Main Stage. Turns out it was 2013 (review here). I’d also caught them at Roadburn that year (review here), as part of what was then the Afterburner in the Green Room. While I didn’t think it’d been that long at the time, the reason I thought of it was because of how much the Arkansas doomers seem to have stepped up their game in the intervening years. Their third album, Heartless (review here), is newly issued and fresh in mind, but live that material became heavier than it is on record and their presence in delivery was unmistakable. Since the last time I saw them, Pallbearer have become a headlining band.

No question they belonged on the Main Stage at Roadburn 2017. They not only held down that Pallbearer (Photo by JJ Koczan)spot well, but were in full command of their material and their sound, and with shared vocals across the front of the stage, they offered a richness to their doom that only underscored just how much they’ve made the genre work to their interests rather than working to the interests of genre. Heartless cuts like “I Saw the End,” “Thorns” and “Dancing in Madness” were high points in emphasizing their progression, but the churning heft of the whole set was dead on, whether it was those or “Fear and Fury,” “Worlds Apart,” or “The Ghost I Used to Be.” Remarking from the stage that playing Roadburn felt like coming home since it was where they’d done their first European show, they were welcomed as returning heroes and clearly rose to the occasion.

I know they’re like the hottest shit in the world and everyone knows it and Heartless is going to be everyone’s album of the year and blah blah blah so I’m giving away state secrets or anything, but Pallbearer fucking killed at Roadburn. I’ve seen them before and I was still genuinely surprised at how good they were.

Just for fun, I poked my head into the Green Room to catch a minute of Author and Punisher. A boy and his robots. The space was packed out so I didn’t linger, and instead sauntered back over to the big room again to watch Pallbearer finish and await the arrival of Les Discrets, who are also supporting a new album, Prédateurs, released just this week on Prophecy Productions. The moody vibes that the Parisian outfit proffered would make a lot of sense leading into Ulver, songs like “Virée Nocturne” having an element of the dark and urbane to them, progressive even beyond what one might’ve come to expect from their past work in post-black metal and Alcest-style melodicism. Guitarist/vocalist Fursy Teyssier, who also had a showcase of his visual art upstairs in the 013, had a quieter presence than when he led Les Discrets (Photo by JJ Koczan)the band when they played Roadburn 2013 at Het Patronaat (review here), but it worked for what they were doing.

In hindsight, it probably would’ve made narrative sense to stay put in the big room and await the arrival of the aforementioned Ulver. I didn’t do that. First, I went and grabbed dinner — chicken salad over lettuce and arugula with bacon and a bit of chicken/peppers in curry sauce; some bean sprouts in there, no corn, no onions, no celery; two plates, second void of curry and bacon — and was fortunate enough to sit in the company of Norwegian artist and Weirdo Canyon Dispatch contributor Kim Holm, and then I made my way back up to the Green Room to catch at least some of Valborg. I knew that I wanted to watch somebody from the Green Room balcony, and the underrated German martial metallers seemed like the perfect occasion.

And so they pretty much were. I watched as the space below filled up and when the German trio — whose new record, Endstrand, is also out on Prophecy this month (it came out April 7) — took stage, it was pretty clear the crowd knew them well. “Werwulf” from the 2016 single of the same name (review here) was like a riff-led wrecking ball that highlighted how perfectly paced Valborg‘s material is and the genre lines their songwriting so fluidly crosses between death metal, progressive synth textures Valborg (Photo by JJ Koczan)and goth atmospherics. They demonstrated clearly they can roll a groove with the best of them but seem to have little interest in heavy rock or anything quite so not-extreme, but wherever it was ultimately coming from, their sound was on its own wavelength and its complete lack of compromise notched a mark in the skull of everyone who was there to hear it, myself included.

I didn’t get to stay for Valborg‘s whole set because I knew Ulver were soon to go on the Main Stage. I worked my way off the balcony much to the delight of the person who’d been standing behind me while I leaned over the rail to take a couple pictures of the band and down around the back way to the Main Stage room — still kind of strange to me how the 013 works since it was remodeled last year; there’s a hallway with bathrooms there now that I think used to lead to the Bat Cave/Stage01, but jeez, don’t quote me on that. I’d have to look at the blueprints to be sure, and that would probably take hours because I’d have to find a YouTube video on how to read blueprints first. Sucks being useless sometimes. Most of the time, actually.

Anyway, I did manage to get myself one room over in time for the start of Ulver, and when the Norwegian more-post-everything-than-everything outfit got underway, I was really, really glad I’d already heard the new album which was the focus of their set: The Assassination of Julius Caesar (review here). Otherwise all that dark post-New Wave moodiness and nighttime ambienceUlver (Photo by JJ Koczan) might’ve thrown me for a loop. It’s usually safe to assume two things about Roadburn attendees. One, they’re open-minded. Two, they’re pretty well informed. Still, of all the men and women assembled at the 013 to watch Ulver play, I have to imagine there was at least one person who had no idea what they were in for, and so when the band broke out the laser light show and the electronica beats and the Depeche Mode gone prog sexytime vibes they were completely taken aback by all of it. Now that I think about it, it might’ve been fun to be surprised like that.

But when it comes to Ulver, part of the appeal is the band’s willingness to dismantle their own formula, or more precisely, to not have a formula in the first place, so it’s safe to assume that whether this hypothetical Roadburner knew or not what they were getting with the songs featured from The Assassination of Julius Caesar, they were still able to get on board. Still, one day someone’s going to trick Ulver into playing 2007’s Shadows of the Sun front to back — or at least doing live variations based thereupon — and that’s going to be incredible. One for Roadburn 2022, maybe?

I didn’t stay for all of Ulver either. Not for lack of patience or anything, but I could feel my Roadburn 2017 crunch winding down and knew I had to try to pack as much in as I could. That meant getting my ass to Het Patronaat to see The Doomsday Kingdom. Every year I’m lucky enough to be at Roadburn I let myself buy one piece of vinyl. This year it was the special edition 12″ The Doomsday Kingdom were selling at the merch stand. Why? Because Leif Edling, god damn it. The founding Candlemass The Doomsday Kingdom (Photo by JJ Koczan)bassist and crucial architect of what we know to be true and traditional doom metal — yes, I mean that — was making a live debut with this new four-piece at the church, and I knew I didn’t want to regret later not getting that record when I had the chance. It’ll probably get damaged in my luggage on the trip home. Still worth it.

Their set was likewise. Songs like “Never Machine” and “The Silence” offered classic doom very much of the style one might expect from Edling‘s long-established craft and methodology, but hell, I’ve got no problem with that whatsoever. It hasn’t been that long since Candlemass put out their 2016 EP, Death Thy Lover (review here), and they’re still doing shows as well, but before he took over lead vocals from mesh-shirt-clad frontman Niklas Stålvind — who’d been righteously belting out the material up to that point — for the set finale “God Particle,” Edling called The Doomsday Machine his “therapy band.” I wasn’t sure what he meant, but I sure was glad I stayed to watch their full set, because they were awesome. A couple first-show-type hiccups, but nothing major by any stretch, and after “God Particle,” they even came back out in made an encore of the metallic-galloping “Hand of Hell,” with Stålvind back on vocals, guitarist Marcus Jidell tearing into solo after solo and drummer Andreas Johansson fueling the big rock finish before coming out from behind the kit to take a bow with the band. If that was therapy, sign me up.

From Sweden to Boston. Come to Grief were on next at the church, and if I’d tried, I don’t think I’d have been able to come up with a more appropriate ending to my Roadburn 2017 than to watch the native Beantowner offshoot of Grief play a set of ultra-misanthropic extreme sludge. Tones of home. You Come to Grief (Photo by JJ Koczan)have no idea how hard it was not to shout out “Go Sox!” in a Boston accent before they played. You cannot possibly know. Fortunately, before I could muster the gumption to do same, guitarist Terry Savastano began to unleash maddening floor-shaking undulations of feedback. He, fellow guitarist/vocalist Jonathan Hébert, bassist Justin Christian and drummer Chuck Conlon would soon loose a set that spanned all the way back to the title-track from Grief‘s 1992 debut EP, Depression — which Savastano noted was the first song that band ever wrote — all the way forward to Come to Grief‘s new four-tracker compact disc, The Worst of Times.

“No Savior” and “JunkLove” from the latter (and later) release were featured, but at their core, wherever they were drawing material from, Come to Grief were a mainline shot of visceral abrasiveness. Intense, pummeling and straight from the gut, they crashed each riff with maximum intensity and left no mystery about the sincerity of their intent to kill. It was impressive the way one thinks of primitive humanoids bashing in each other’s heads as a sign of evolution at work. Like I said, the perfect finale to my Roadburn 2017 — one last raw scrub to get the unwanted pieces of myself gone before I get on that plane and go home tomorrow morning.

Did I just say tomorrow morning? Yuppers. It’s 01.40. Shuttle comes to take me to the airport in about five hours, as it happens. When I left Het Patronaat, in addition to looping through the merch area to pick up the aforementioned Come to Grief CD, I made one last run through the 013 hoping to find Walter and say goodnight and thanks, but no such luck. Tired, beaten, missing my wife and with my earplugs still in, I trod past the assembled throngs in Weirdo Canyon and back to the hotel, where packing still awaits and pictures want sorting.

So yeah, I’m going to go get on that.

I’ll have another post up at some point tomorrow, but in the meantime, thank you so much for reading and please find the rest of those pics after the jump here:

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ROADBURN 2017 Day Three: And Yet it Moves

Posted in Features, Reviews on April 22nd, 2017 by JJ Koczan

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04.22.17 — 22.23 — Sat. night — Hotel room

I don’t mind telling you I was a total wreck this morning. There we were, finishing up the third issue of Weirdo Canyon Dispatch (get the PDF here), and holy macaroni, I just couldn’t hack it. I’d gone to sleep at a semi-reasonable time, circa 2AM — which is pretty good, considering — but woke up at around three and was up past 4:30. Just up. Weirdo Canyon Dispatch Saturday issue.Brutally, brutally awake. I could’ve cried.

Instead, I put my head down on the desk in the 013 office while we waited for the test-print of today’s ‘zine and was granted a generous reprieve from the folding process that followed. I folded three copies of today’s WCD: my own. After that, I made the most of my special dispensation and high-tailed it back to the hotel to sleep for another two and a half hours, at the end of which time I pounded water, a protein bar and ibuprofen and it was enough to temporarily trick my body into believing it was human. This weekend has been pure madness, and there’s one day yet to go.

By the time I got back to the 013, I knew I’d missed my chance to hit the photo pit for day-openers The Bug vs. Dylan Carlson of Earth, the somewhat cumbersomely-named collaboration between, well, The Bug and Dylan Carlson, but I still had plenty of opportunity to be assaulted by their combined volume of drone and beats, soundscapes thick enough to swim through and handed out with enough force to vibrate the plugs in my ears and the teeth in my skull. Really. I think I lost a filling. They were very, very loud.

Two experimentalists like that working together, even as a one-off, carried an air of being something special to start the day, and so it was. The Bug‘s rig, flanked on either side by bass cabinets with two more laid down in front in such a manner as to make Carlson half-stack look positively minimalist in comparison, shook the upstairs The Bug vs. Dylan Carlson (Photo by JJ Koczan)balcony where I set up shop for the duration, and the clear impression that came through was that although they used different means of expression — Carlson with his guitar, The Bug with his laptop and mixing board — their work together was way less of a “vs.”-type situation than the name led one to believe. They were very definitely on the same side, but while they played, spotlights slowly hovered over Main Stage crowd, feeding the air of suspicion and paranoia in such a way that was eerily appropriate for what they were doing.

Speaking of collaborations, over at the PatronaatRazors in the Night — AKA John Dyer Baizley of Baroness and Scott Kelly of Neurosis playing oldschool punk and hardcore covers — were just getting started. I stayed put in the big room, however, because I knew I didn’t want to miss a second of Oranssi Pazuzu. The Finnish progressive/psychedelic black metallers have been an increasingly steady presence at Roadburn over the last five years, and after their own slots at the church, they managed to pack out the Main Stage to an admirable degree. People stood outside the open doors for not the last time today in order to catch a glimpse of their malevolent, ultra-deep swirl.

As immersive as it was dark, I couldn’t argue. Oranssi Pazuzu, who released their fourth album, Värähtelijä (review here), in 2016, may have conjured the finest blackened psychedelia I’ve ever seen. It was so much of both, so chaotic and yet purposeful, that to Oranssi Pazuzu (Photo by JJ Koczan)consider it anything less than the work of masters would be completely underselling it. When I was done taking photos, I went out into the hallway to walk around to the other side of the room and I couldn’t believe it was still daytime. And more over, the sun had come out! Something so cosmically abysmal just seemed like it should be swallowing any and all light around it, but so it goes. Stately and ferocious, they cast their waves of of bleakness over a sea of nodding heads, and after years of missing them here, I was finally glad to have been clued in, even if I seemed to be the last one in the entire Main Stage space to have caught on. Which I probably was, because that’s the kind of hip I am. Which is to say, not at all.

Maybe it was partially a case of going easy on myself, but I once again didn’t budge from the Main Stage following the conclusion of Oranssi Pazuzu. Today was minimal back and forth, actually, which suited me just fine after two busy days of Roadburn 2017 bouncing from this venue to that one. I’d hit the Green Room twice before my evening was over, but was at the 013 the whole day, which after all the Extase and Het Patronaat yesterday almost made me feel insecure and restless — “Don’t you have somewhere you need to be, sir? Oh yeah, here,” and so on. Sometimes this festival plays tricks on your mind.

My reasoning in staying put was more than justified, though, with Warning coming on to play 2006’s Watching from a Distance in its entirety. I knew some of what to expect from a Patrick Walker performance after seeing him front 40 Watt Sun here in 2012, but of course Warning brought a presence all their own in addition to his melancholic emotionalism. They struck a hard balance between sonic weight and sheer heft-of-sadness, and yet as morose as they were, and as understated as their aura was on stage, they were never anything but engaging. Rare band, rare album, rare set. Warning (Photo by JJ Koczan)This Roadburn has had its share of special moments, and Warning fit that bill as well. There was something empowering about them, or at least validating, and as deep into their own headspace as they went, they never seemed to get lost there.

It’s not often you see a band play a full album and then want to go and put on that album directly afterward, but Warning doing Watching from a Distance had that effect. I can’t claim to know the record inside and out, but I felt fortunate to have had the chance to see the band bring it to life, which much to their credit, they did without losing the heart-wrenching resonance of the studio versions of the material.

Next door in the Green Room, the focus would soon be about an entirely different kind of crushing execution, as Belfast dual-guitar three-piece Slomatics made ready to take the stage. I got there about 20 minutes before they went on and was still too late to get a spot right up front. Should’ve figured. I’d heard people talking about how stoked they were to see them, and after being lucky enough to see them in Norway last September at Høstsabbat (review here), I also knew they weren’t to be missed. My timing being what it was, I still got there to see Jon Davis from Conan soundcheck the guest vocals he’d provide for closer “March of the 1,000 Volt Ghost,” and it was good to know that was coming.

Davis also released Slomatics‘ fucking excellent 2016 album, Future Echo Returns (review here), on Slomatics (Photo by JJ Koczan)his Black Bow Records imprint, so all the better to have him there alongside guitarists Chris Couzens and David Majury as well as drummer/vocalist Marty Harvey, who even before Davis showed up stomped out the most pummeling tones I’ve heard over the course of the last three days. “Electric Breath,” “Return to Kraken,” “And Yet it Moves,” “Supernothing” — this is the stuff of lumbering, rolling, molten doom supremacy, and as they’re five records deep into a tenure that one hopes continues into perpetuity, Slomatics know how to wield these weapons to glorious effect. I felt like I was going to pass out and ran downstairs to hammer down a quick dinner — chicken in some kind of tomato-based sauce with green and red peppers, jalapenos and cheese over lettuce; two plates in about five minutes — and was back in the Green Room in time to catch Davis‘ guest spot from the side of the stage and jump up to take a picture of the band when they were done playing. I never do that kind of thing, but Slomatics were nothing if not an occasion worth savoring.

Shit would only get more doomed from there. Like I said yesterday, everyone here makes their own Roadburn, and I knew how I wanted my night to go. I wanted it to go doom. That meant hanging out in the Green Room more for Ahab, which I was more than happy to do. The nautically-themed German funeral doomers were not a band I ever really expected to be able to see, and knowing how packed it got for Slomatics, I assumed much the same would ensue. I was right. Ahab probably Ahab (Photo by JJ Koczan)could’ve filled the Patronaat if the press of the crowd behind me half an hour before they even went on was anything to go by, but as it was they beat the Green Room into submission with their guttural, ultra-slow lurch and churning devastation.

It was by no means the same kind of grind that Memoriam were doling out on the Main Stage, but watching Ahab play was like witnessing the giant, five-foot-thick gears of some industrial revolution shipyard turning the assembled audience into powder. The very means of production brought to bear on all of our caved-in skulls. Yes, they were hyperbole-level heavy. Unremittingly so, and to a claustrophobic degree. I don’t know if it was during “Old Thunder” or “To Mourn Job,” but there was a point at which I had to remind myself that I’d actively wanted to be so brutally overwhelmed and so overwhelmed by brutality. Did that make the effect any less punishing? Not in the slightest, but thanks for asking.

There was only one place left to go to continue my downer trajectory: back to the Main Stage for My Dying Bride. Having the UK doom legends play 1993’s Turn Loose the Swans in full made an awful lot of sense after special sets in 2016 from Paradise Lost and in 2015 from Anathema and Fields of the Nephilim — I’m keeping my fingers crossed for Katatonia in 2018; never seen them and they’d seem to be next in line, despite not being British — and the drama unfolded early as frontman Aaron Stainthorpe hit the stage with violinist/keyboardist Shaun Macgowan for “Sear Me MCMXCIII.” Soon enough, founding guitarists Andrew Craighan and Calvin Robertshaw, bassist Lena Abé and drummer Shaun Taylor-Steels would join, and the full fray would be unleashed. Chances are I don’t need to tell you how influential My Dying Bride have been on the trajectory of the last two decades of doom, but suffice it to say I’m not sure I could’ve found a darker way to round out myMy Dying Bride (Photo by JJ Koczan) Roadburn 2017 Saturday night than to watch them deliver that level of scathe with that level of professionalism.

And no, I’m not just saying that because Stainthorpe wore a tie. With animation by Costin Chioreanu behind them, My Dying Bride were the consummate headliners. Mysticum were still to follow on the Main Stage with a production I’d caught in soundcheck earlier in the day that was probably the most elaborate I’ve ever seen in the 013 venue, but for me, My Dying Bride marked a culmination of what I wanted the evening to be, and so I knew my night was done. There’s always more to see at Roadburn. Always something you don’t get to. Always someone who, years down the road, you wonder, “What the hell was I doing that I missed that?” but sometimes when you’re in Tilburg, you’ve crafted your experience in such a way that makes sense at the time, and that was me tonight. Would’ve been hard pressed to find anything to top My Dying Bride anyway.

One day left in Roadburn 2017, which is something I know to be true because I only have two protein bars remaining — one for before the show, one for after. Tomorrow’s another early start to fold Weirdo Canyon Dispatch issues, so I’ll leave it there once again and say thank you for reading and if you’re so inclined, you can check out more pics after the jump.

Which is right frickin’ here:

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ROADBURN 2017 Day Two: Death’s Dark Tomb

Posted in Features, Reviews on April 21st, 2017 by JJ Koczan

roadburn banner photo jj koczan

04.21.17 — 23.22 — Friday night — Hotel room

Issue #2 of the Weirdo Canyon Dispatch is available here. Get it while the PDF is hot.

Because no attendee of this festival can possibly be in two or five places at once, something with which every Roadburner must contend is the notion of self-curation. You look at the schedule and you pick your own path. I’ve said time and again that every Roadburn means hard choices, but make no mistake, Roadburn is meticulously put weirdo canyon dispatch #2together to enable those who are fortunate enough to be here to be able to find their path among one of the most packed bills in the universe.

Case in point, today was John Dyer Baizley‘s curated day. I am not now, nor have I ever been, a Baroness fan. If you are, great. You certainly have plenty of company, especially here, especially this weekend. Just never been my thing. Yes, I’ve seen them. Yes, I’ve heard the records. Not my thing. My priorities, then, were inherently going to be much different today than many attendees. It was a light day for me. For many others, I very much suspect it was not. That’s cool. Like a good choose-your-adventure book, Roadburn 2017 accommodates any number of contingency plans.

Mine started early. I knew after watching them at Cul de Sac the other night (review here) that I was not done with California’s Atala. Today they opened Extase at 14.00. I left the 013 office mid-folding session and was already dragging ass as I have been the last couple days — I’ll explain why shortly — and headed around the corner to the smallest Roadburn venue, where I closed out last night with Backwoods Payback and to which I’d return twice again this afternoon and evening. Atala did pretty much the same set as the other night — reasonably so — but seeing it a second time gave me a better feel for the material that comprised it, whether it was the harshness in “Grains of Sand” and “Death’s Dark Tomb” or the textured hook of “I am Legion.”

But for the flashing strobe behind them, the Twentynine Palms residents were an easy band to watch again, drummer Jeff Tedtaotao and guitarist/vocalist Kyle Stratton both in YOB shirts while bassist Dave Horn represented Graveyard. Whatever the wardrobe, Atala were righteous again, but the light proved abrasive and hit me pretty hard, so I split after “I am Legion” and headed over to the Main Stage to catch the start of classic French mesmerproggers Magma. I was not the only person who had this idea, and like yesterday’s early headlining gigs from Crippled Black Phoenix and SubRosa, today it was Magma drawing an afternoon crowd into the big room. Soon Roadburn will just be headliners on the Main Stage. All sets headlining sets. Think it won’t happen? It’s already happening.

There was a point at which I was watching Magma, who were no less of a joy today than they were when they played in 2014 as part of the curated day helmed by Mikael Åkerfeldt of Opeth, and trying to imagine what it would be like for a normal person to bear witness to their set. That is to say, what does a square make of the band who for the last 40-plus years have been led by drummer Christian Vander in telling Magma (Photo by JJ Koczan)stories of the planet Kobaïa in a made-up language, who are positively orchestral on stage and so deadly serious about what they do that to insinuate otherwise could only offend band and assembled audience alike? Where I finally landed was that said hypothetical square — how that person would even get in front of a stage where Magma was playing, I don’t know, but for the sake of argument let’s say they did — would probably think they were from another planet.

So in other words, the group’s desired effect would be achieved. Whatever you’re doing, Magma, it’s still working. Keep it up, you legendary weirdos!

Before they were done, my wanderer’s soul had me headed back toward Extase to get a spot up front for Ruby the Hatchet. You know how sometimes you just get a feeling there’s a place you need to be? That was me watching the Philly-area troupe today. Not that I couldn’t see them in the States at some point, and not that I haven’t before, but especially at Roadburn you just know some bands are going to bring everything they’ve got, and the sense I had was that Ruby the Hatchet would be doing precisely that.

To absolutely toot my own horn, I was 100 percent correct in that impression. Getting underway with the new song “Planetary Space Child” from their recently-finished third album, which frontwoman Jillian Taylor announced would be out this summer on Tee Pee Records — they’d also share a cut called “Pagan Ritual” from the record and one or two others the titles of which I didn’t manage to remember when I asked the band about them later outside a cafe in Weirdo Canyon — Ruby the Hatchet completelyRuby the Hatchet (Photo by JJ Koczan) owned that stage and that room. Their organ-laced post-Uncle Acid garage-psych-doom was nothing short of a thrill to behold, and watching them play I look forward all the more to hearing how the obvious growth they’ve undertaken since the release of their 2015 sophomore album, Valley of the Snake (review here), manifested itself in the studio — because it certainly did in terms of their live presence. They were a blast; no question the most fun I could’ve been having at that moment was watching them play.

And yet, I had to bow out. Speaking of feeling like you need to be somewhere. I couldn’t rightly figure out what the problem was, but I made my way to the back of the room and decided to head back to the hotel before Joy went on. Instead of turning right, though, I turned left, and wound up directed back toward the 013. What was going on? I didn’t know. And why was it that the smell of the barbecue cooking outside the venue made me want to take my own life? And why was it that I wanted to build an altar to the French fries being served in paper cones to the eager, smiling denizens of Roadburn 2017?

Suddenly it dawned on me that today was Friday and the last time I had a meal it was Monday.

Joy (Photo by JJ Koczan)Since then it’s been nothing but protein bars and powder in coffee. I was, apparently, starving. And this was a genuine surprise for me to discover.

Well, I didn’t get barbecue and I certainly didn’t get fries — because, you know, self-denial and all that — but I did go downstairs into the basement of the 013 where the crew dinner was set up and have an arugula salad topped with some pesto-covered fresh mozzarella from a tomato dish, other shredded cheese and hot sauteed spinach. Look. I don’t know if you’ve ever felt like sauteed spinach saved your life before, but after two plates of this makeshift salad, I was pretty well convinced it had saved mine. And I was at least half-sure that shit came out of a giant can. Didn’t even care. I pounded as much as my ailing system could take and still made it back to Extase in time to catch a most-righteous pre-set drum solo from Joy‘s Thomas DiBenedetto.

One would not usually think of a drummer’s soundcheck as something earning audience response at all let alone rapturous applause, but the dude tore into it and the room was well on board — myself included. And no, it was just post-spinach euphoria on my part either, because once the rest of the San Diego three-piece was ready to roll, they were all-shred on all fronts. Guitarist/vocalist Zach Oakley punished both his whammy bar and his wah pedal thoroughly while ripping into choice leads and bassist Justin Hulson reminded me directly of the subdued presence of Anthony Meier from Radio Moscow — quiet, unassuming, and an incredibly adept player capable either of being the anchor while the guitar goes off or going off himself at a moment’s notice on a whim of winding basslines and classically rocking dynamic.

I dug Joy‘s third and most recent full-length, Ride Along (review here), plenty when it came out on Tee Pee last Spring, but like the best of the West Coast heavy psych set from Earthless on down through the Joy (Photo by JJ Koczan)aforementioned Radio MoscowMondo Drag, etc., they blew the record right out of the water with the energy and power behind their delivery. Head-spinning, really. I knew they were a band I wanted to watch today, but I didn’t know just how much I wanted to watch them until they were actually on stage handing Extase its ass like it was wrapped in a paper cone. Lesson learned.

Though today was a lighter day than yesterday in terms of what I needed/wanted to see, it did have probably my most mandatory performance of the weekend smack in the middle, which was SubRosa‘s mostly-acoustic “SubDued” set at Het Patronaat. I knew to get there early, so I scooted over from Extase as Emptiness were still pummeling the place with their blackened post-Goth and made my way toward the front in anticipation of what was to come. Sometimes in those instances one can wind up sitting in a spot for more than half an hour to watch 15 minutes of a performance before having to run off to the next thing. For SubRosa, however, I wasn’t budging. Clear my calendar! Hold all my calls! No email. No Facebook. No texts. Nothing. For a solid hour, I stood in front of the Patronaat stage and had my mind blown and my spirit lifted as SubRosa reinvented/revisited songs from their back catalog as dark, dramatic neofolk the likes of which seemed to offer nothing less than true Americana redemption.

Set of the weekend? How about set of the year? Every Roadburn brings some landmark moment — at least one — andSubRosa (Photo by JJ Koczan) for me, SubRosa‘s performance of “Mirror” was it. Lined up across the front of the stage, Rebecca Vernon led Sarah Pendleton and Kim Pack in harmonies while tapping one of Andy Patterson‘s drum sticks on the mic stand. It was gorgeous and devastating. Patterson backed on percussion, and though bassist Levi Hanna had that song off, his still-plugged-in low end gave heft to the rest of the band’s material, including set-closer “No Safe Harbor,” which with bars of light shooting down from the rig above them proved just as heavy as their runthrough of For this We Fought the Battle of Ages yesterday on the Main Stage. It was stunning. Something genuinely special. In my notes, I wrote, “How stupid I am to every do anything that’s not this. Unreal. In a way that makes reality itself the facade, while delving into its own vision of truth.” I’m not sure what that means, but give me a few years to process what I saw tonight and I’ll get back to you on it. By then I should’ve come to grips with it enough to have it make sense.

My brain duly melted, I stumbled out of the church and across the alley to the 013. I had decided I owed it to myself to check out tonight’s set from artists-in-residence Gnod, but there was still a while to go before they went on. Amenra were on the Main Stage as they were last year, and fair enough, but my interests were elsewhere. I decided to make my way back to the hotel to get a jump on dumping photos from my memory card, which seemed like an especially dangerous proposition only because there was a decent chance I wouldn’t leave again, would miss Gnod tonight and end up calling it a day at like 9PM or whatever time it was. Risky move.

Fortunately, it didn’t happen that way. I did take a brief respite, and was tempted to put my pajamas on to go see Gnod, but wound up in the Green Room still in jeans and all in time to see the dual-bass/dual-guitar UK heavy psych bizarros start their pulsating set. Ultimately, I’m not sure I owed to myself at all in the sense of having in some way earned it, but it was cool to see anyway, and as Sunday opens with a collaboration Gnod (Photo by JJ Koczan)between Gnod and Radar Men from the Moon called Temple of BBV that I’d like to see, catching the former on their own felt like a solid precursor to that. Or, at very least, a molten, liquefied precursor. It got really weird, really quickly, and clearly that’s what Gnod were going for. No regrets for being there to watch it happen, except maybe not wearing my pajamas for the occasion. That might’ve been fun.

Tomorrow’s another packed day here in Tilburg, starting with the ceremonial Weirdo Canyon Dispatch folding session bright and early, so I’ll leave it there and say thanks for reading and if you’re so inclined you can check out more pics after the jump. Bing bong.

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ROADBURN 2017 Day One: Wound of the Warden

Posted in Features, Reviews on April 20th, 2017 by JJ Koczan

roadburn banner (Photo JJ Koczan)

04.21.17 – 00.14 — Thursday night — Hotel room

The process of getting up and going to finalize and print out the first issue of the Weirdo Canyon Dispatch (download it here) probably couldn’t have been much easier than it was. I credit this entirely to Lee Edwards (of The Sleeping Shaman) and the 013 staff, all of whom expose me for the sulky amateur-hour schlub I am with their sheer professionalism. I continue to be astounded at how lucky I am to work with these people.

coven soundcheck (JJ Koczan)Whilst schlubbing and prior to folding my portion of the 1,000 copies of WCD, I caught a couple seconds of Coven‘s soundcheck, and so knew that was going to be a good time later in the day — not that Roadburn 2017 Day One was light on anticipation. Today actually was my busiest day here. It started intense and ended intense, with a fair bit of back and forth between, and I feel like I’m only being honest when I say I dragged ass for a decent portion of it, despite my best efforts to hyper-caffeinate and pound vitamins, but Roadburn only comes once a year. You stick it out as much as you can.

As such, I was over to Het Patronaat early to catch the start of Wretch. I’d rode in from the airport with the Indianapolis trio just by happenstance, and I knew it would be a quick stop through just to check out part of their set ahead of hoisting myself over to the Main Stage for the start of Crippled Black Phoenix, but the doom called me to the church and it was not to be missed. Before they got going, guitarist/vocalist Karl Simon recalled on stage when The Gates of Slumber played (they had canceled in 2010 owing to that goddamn volcano, only to make the trip a couple years later in 2012), only reinforcing how linked the two bands are, but that’s Wretch (Photo by JJ Koczan)not to take anything away from the presence bassist Bryce Clarke and drummer Chris Gordon bring to the rhythm section or what the new three-piece accomplished on last year’s self-titled debut (review here). Even if it’s grown out of another, it’s a new band.

They made that clear in cuts like “Icebound,” “Running out of Days,” “R.I.P.” and “Drown” from the record, and even managed to sneak in the Judas Priest cover “Winter,” as well as their take on Motörhead‘s “Sweet Revenge.” The hook of “R.I.P.” made it a personal highlight, and The Gates of Slumber‘s “The Wretch” was certainly a fit. I hear tell Wretch are recording a new single while touring the UK with Iron Void on this trip, so hopefully it’s not too long before we hear from them again. In the meantime, I rushed over to catch Crippled Black Phoenix on the Main Stage.

Call it an early headlining set from the by-now-long-ish-running UK avant rock outfit, whose blend of heavy indie, goth, melancholic rock and generally progressive undertone makes them a standout not only on this bill but also generally this planet. Crippled Black Phoenix (Photo by JJ Koczan)They’re simply like no one else. Supporting their latest album, Bronze (review here), they brought in a considerable crowd for it being so light out and managed to cast a balance between life-affirming and crushingly-depressive throughout. To wit, “No Fun” and “Scared and Alone” from Bronze were high points, the latter teased as being their last song without actually being it. They’ve become such an astoundingly different band than they were when they released their debut album, A Love of Shared Disasters, a decade ago, but have manage to lose neither their edge nor their will to push themselves forward. After being a dork for their work for so long, I felt lucky to finally see them play live.

I also knew that I was cool to stay put for the duration of Crippled Black Phoenix, because while much of Roadburn 2017 and indeed every single Roadburn involves bouncing around between stages, Salt Lake City’s SubRosa were hitting the Main Stage next, so I wasn’t going fucking anywhere. The string-laden outfit played the Saint Vitus Bar in Brooklyn last month and they’ll play here again tomorrow at Het Patronaat for a special “SubDued” mostly-acoustic set, but today was a front-to-back performance of 2016’s For this We Fought the Battle of Ages (review here), and as that was my pick for Album of the Year last year when it came out on Profound Lore, they were my most anticipated band of the entire festival. I didn’t cry to miss them in New York because I knew I’d see them in Tilburg.

However, I kind of did cry when they played “Troubled Cells.” At least teared up at the end when they SubRosa (Photo by JJ Koczan)brought out the backing chorus which, if I’m not mistaken, counted Nathan Carson of Witch Mountain among its ranks. Could be wrong, but the Magma shirt was a dead giveaway. Earlier in the set, I’d gone up after taking pictures to the side of the stage to watch from there for a couple minutes, which is something I let myself do only once per Roadburn. Like Crippled Black Phoenix before them, SubRosa carried the air of being early headliners, and at least for me, they most definitely were. If you’d told me I had to go back to the hotel, pack up my gear and get on a plane home when they were done, I’d have been bummed to leave the rest of the fest behind, but I wouldn’t be able to say I didn’t get my fest’s worth out of Roadburn 2017 after watching SubRosa. Yes, they were that unbelievable. “Black Majesty.” Holy shit. I scurried to the merch area when they were done like the beaten fool I was. Gladly.

There was something of a break for me when they were done. My next stop was Cul de Sac around the corner for Harsh Toke. I’d been fortunate enough to catch the San Diego jammers when they played Roadburn in 2014 (review here), and I’d taken due advantage of the lesson of watching them then, which was “Don’t Harsh Toke (sort of) (Photo by JJ Koczan)miss Harsh Toke,” and so I didn’t want to. Apparently I wasn’t the only one, however. I’d made a quick stop at the hotel to drop off my newly-acquired SubRosa merch, my laptop, coffee thermos, Weirdo Canyon Dispatch issues and other detritus from the early part of the day, and though I got to the smaller venue with 20 minutes to spare, it was still too late to get up front and get a spot where I could see. I bought a patch for five euros, took what wound up being the last open spot at the bar — a seat, no less! — and tried to let my head get into the flow. Given their propensity for groove, it wasn’t much of a challenge to catch my breath and chill out for a few minutes at least until the why-haven’t-you-ordered-a-beer stares of the staff got the better of me. I tried and failed to snap a decent picture of the band on my phone and once more sent myself packing back over to the 013, where Wolves in the Throne Room were on the Main Stage.

Didn’t take long to remember what was so easy to appreciate about them, what with their textured blackened approach, which sounded almost orchestral in that huge space. I hadn’t been in the Green Room yet, so I poked my head in to catch a couple seconds of Esben and the Witch — was bummed to see the miniature photo pit from last year was gone; that thing had been a godsend — ahead of Coven starting on the Main Stage. I didn’t know it until about 10 minutes before they went on, but apparently one needed a special photo pass to shoot Coven‘s set. Whoops. Just about everyone else and their cousin Coven (Photo by JJ Koczan)had one, but I guess I missed that memo. I went backstage to try my luck at getting one and was told in no uncertain terms in which direction to fuck (spoiler alert: “off”), so I went out to the front of the house and waited for Jinx Dawson to emerge in her sparkly mask from the coffin that had been placed in the middle of the stage. Not a hardship, but I felt like a dope. Not like I’m shooting pictures for a magazine or anything. It’s just me on here.

Once Coven got going, they dug wholesale into the classic heavy Satanic-ritual pop rock that’s made them the generational influence that they have been, and came across like the blueprint Ghost wish they could follow. Dawson was in complete command of the crowd and the sense of dark worship and drama was palpable. The biggest crowd of the day so far? I wasn’t counting heads in the Main Stage area, but it might’ve been, just by eyeballing it. i thought maybe I’d pop back over to the Green Room to watch Suma get going, but once again my timing was off and the place was packed out before I could get through the door. Would seem to have helped nothing in terms of timing that I left my watch at home this year. Speaking of amateur hour. Woof. One day I’ll have my shit together. Clearly that was not today.

Having thusly flubbed my shot at watching Suma, I lumbered over to Extase in plenty of time to await the start of The Devil and the Almighty Blues, whose second album, II (review here), was still pretty fresh in my mind. That helped — that always helps — but the truth of the matter is that in the energy of their delivery and their instrumental chemistry on-stage, the Norwegian outfit blew the record right out of the water. I looked around from in front of the stage and saw a lot of familiar faces from Roadburns past. Different genres here tend to attract niche portions of the overall crowd, and judging from how the temperature The Devil and the Almighty Blues (Photo by JJ Koczan)jumped in Extase shortly after The Devil and the Almighty Blues went on, the secret’s out. They came out to “O Death” and the mesh of blues and heavy rock they unleashed seemed in direct response to that fact. They were flat-out awesome, and the kind of act that, as an American, I simply don’t get to see anywhere but here. It wasn’t the first time in the day I felt lucky and it wasn’t the last, but the chance even to catch part of their set gave me a new appreciation for what they’re doing sound-wise, and for a band I already dug, the way they brought their material to life only added to their appeal.

My plan for ending the night would require better timing than I’d had all day, but I was relatively certain I’d be able to pull it off if I played my cards right. It meant skipping out earlier than I wanted to on The Devil and the Almighty Blues, but the basic fact of the matter is that particularly as someone who lives in New England, I’m way, way overdue for catching the reformed Scissorfight live on stage. In the back of my head, I’ve been able to justify not going to their local gigs in Massachusetts or their native New Hampshire by saying, “It’s okay; I’ll catch them at Roadburn,” so there was no way I was going to let myself not do that. Plus, it’s fucking Scissorfight. The band wrote “Granite State Destroyer.” “Blizzard Buzzards Bastards.” “New Hampshire’s Alright if You Like Fighting.” Not exactly like one needs to make excuses to show up.

To get to the bottom line of it, my ultimate opinion of the four-piece live wasScissorfight (Photo by JJ Koczan) pretty much the same as of their 2016 Salt of the Earth Records EP, Chaos County (review here), which is that if you miss this band, you’re only denying yourself an outlet of pure, crushingly heavy joy. I’m not saying that as someone who never saw Scissorfight in their original incarnation. In fact, I caught them multiple times with their original lineup, and whether they’re playing old material or new, Scissorfight in 2017 is no less a beast than they ever were. Guitarist Jay Fortin — of whom I remain embarrassed to take pictures, knowing him as an amazingly talented photographer — still has one of the finest tones in New England. Frontman Doug Aubin is absolutely insane on stage as well as off, as he showed by jumping into the crowd several times and starting a rare Roadburn mosh. Paul Jarvis‘ bass is still the source of heft behind their maddening impact, and newcomer drummer Rick Orcutt fits into those grooves with an ease and swing that makes the songs his own even as he does justice to their original incarnations. Shit was so right on. New songs or old, Scissorfight were a steamroller of riffs and growls that flattened the Green Room, and though the lesson that those who whine about this or that person not being in the band anymore are missing out was one I already knew, such fervent reinforcement of same was a pleasure to behold.

Scissorfight are touring with Backwoods Payback, and the latter Pennsylvania-based trio would be my final stop of the night, over in Extase once again. I got there early enough to get a spot up front and watched as Jeff and Kyle from Atala — labelmates all on Salt of the Earth — bonded over mutual desert connections, and kind of parked myself and made ready to round out the night, taking the last of my notes on Scissorfight — they read like, “Duh, they’re killer” — and asking and being shot done to take a photo with Jamie Cavanagh from Anathema, who was working sound at the venue. I’d already told him earlier that I thought their new record is great, which I do, so whatever. There you go. My nerd-out moment for Roadburn 2017 Day One.

Guitarist/vocalist Mike Cummings, bassist Jessica Baker and drummer Erik Larson compriseBackwoods Payback (Photo by JJ Koczan) Backwoods Payback at this point, and goodness gracious, what a band. What a band. Late last year, they snuck out the full-length Fire Not Reason (review here), but they were a different level of righteous on stage, and the balance of fury and melody in what they do remains underrated in US heavy rock. I get that they haven’t been the most active group in the States over the last, say, five years, but especially with Larson on drums, they were every bit as tight as that thrash band I saw last night at the Hard Rock Hideout and had a depth of character to offer in their songwriting that most acts just can’t compete with. Heavy, but emotionally resonant, punkish in their execution but with a touch of metallic aggression as well, they not only write a solid hook like that of “You Don’t Move,” but they give that hook a purpose and an underlying sense of humanity. I’ve missed seeing them play live, and though the last time I caught them — I don’t even know what year it was — was a while back and with a different lineup, what’s always worked at their core was exactly what made me so happy I was able to finish the first night of Roadburn 2017 by watching them play. Once again, the Extase was full. That little club has been a fantastic addition to this festival, and it’s where I plan to start my afternoon tomorrow, as it happens.

Plenty to do before then, however. Including sleep, which as we press on past 3AM local time seems like an increasingly good idea.

Thanks for reading. More pics after the jump.

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Live Review: Roadburn 2017 Hard Rock Hideout with Heretic, Distillator & Atala

Posted in Features, Reviews on April 19th, 2017 by JJ Koczan

I’d gotten to Cul de Sac early, so made my way over to one of the cafes right down the way in Weirdo Canyon to get an espresso. My I’m-out-of-practice-at-this mistake for the evening was not bringing my bottle of water with me to the show so I had it for taking ibuprofen and general hydrating purposes. But the espresso helped, anyway. The Hard Rock Hideout is the annual kickoff for Roadburn. Like the rest of the festival, it’s gotten bigger over the years — going from two bands to three, bringing in different kinds of acts and so on.

Generally it can be relied on to offer a healthy dose of thrash, which it did in Distillator and Heretic, while post-desert heavy rockers Atala opened up as one of several sets they’re playing this weekend. With half the point of the show being to ease people into the vibe before Roadburn 2017 gets going earnest tomorrow, I think a more diverse bill better suits that, but I’m sure one or two thrashers in the crowd might offer a general counterargument for more Slayer covers. Fair enough.

Here’s how it went down:

Atala

atala-Photo-by-JJ-Koczan

Much of what they played came from the forthcoming follow-up to last year’s Shaman’s Path of the Serpent (stream here; review here), titled Labyrinth of Ashmedai and due out sometime in the coming months on Salt of the Earth Records, and songs like “Death’s Dark Tomb” and “Infernal” found them in raw form as compared to “I am Legion,” which is a standout of the new record with cleaner vocals, so they’ve only become more diverse in their sound, but that was very much the case when they moved into Shaman’s Path of the Serpent from their 2015 self-titled debut (review here) as well, and in talking to guitarist/vocalist Kyle Stratton before the set, he was already moving on to the next release, which will work under still another mindset. Hard to hold progression against them, particularly when it suits their songwriting so well. They were loud enough to vibrate the monitor off the front of the stage at the Cul de Sac and the groove came thick from Stratton, bassist Dave Horn and drummer Jeff Tedtaotao for the duration. They were outliers on the bill for sure, but their appeal was cast in loud volume and psychedelic flourish, and it was plain to see they turned heads ahead of a set as part of Roadburn proper on Friday that I’d expect will be even more packed.

Distillator

distillator-Photo-by-JJ-Koczan

Even before they closed out with a cover of “Metal Storm/Face the Slayer” after hinting at “Raining Blood” in a transition from their own “Suicidal,” native Dutch trio Distillator weren’t exactly shy about where they were coming from in terms of influence. The right and left sides of the stage found the three-piece flanked by fog and light machines and much to their credit they waited until the third song into their set, “Estates of the Realm” from the soon-to-be-released Summoning the Malicious, before firing them up. They whipped the crowd into a let’s-drink-like-we’re-Metallica-circa-’84 fervor, and though rethrash has never really been my thing, I’d have a hard time arguing with the tightness, intensity or effectiveness of their delivery, all of which were on point throughout their set, drummer Marco P. driving home the extremity one could also hear in the backing vocals Frank R. put behind guitarist Laurens H.‘s periodic falsetto yaps. They were right on for what they were doing, but out-thrashed the hell out of me as I had to go sit down on the step by the side of the room to be periodically kicked by those on their way to or from the can. I’d like to think that’s an effect of the travel I’ve done in the last day-plus, but yeah, probably more just that I’m old.

Heretic

heretic-Photo-by-JJ-Koczan

Comprised of Thomas Goat, Tony Hellfire and Tom auf der Axe, long-running Eindhoven post-Misfits sleaze punkers Heretic are set to issue their next album, Underdogs of the Underworld, May 20 through Ván Records, and they headlined the Hard Rock Hideout as one of several representatives throughout the weekend from that respected imprint. Mesh shirt, devil spike, logo somewhere between Misfits and Motörhead and a song called “Black Metal Punks,” they, yes, hit all their marks as one might expect from an act of their experience. The room knew them better than I did, which wasn’t really a surprise, and were all about the scummer thrust, and by the time Heretic got to “Mr. Chainsaw” from 2015’s Alive Under Satan, the party was in full swing. It would stay that way as the time stretched on past midnight at Cul de Sac and what started out for many as a measured evening before digging into a few long days gave way to liver-destroying nihilism of fine beers and who knows what else. Clearly, Roadburn 2017 has gotten started. It’ll be back in action early tomorrow afternoon, and the launch that Heretic gave it was nothing if not riotous. “Maniacs are Go” is more than just a clever title.

Back at the hotel now. I ate my protein-bar dinner a bit ago and will be up early in the morning to go to work finalizing and folding the first issue of Weirdo Canyon Dispatch tomorrow, which I’ll also be posting and am excited to get out into the world. More to come on that and more to come as Roadburn 2017 starts tomorrow. It’s going to be a busy day. I can’t wait to dig in.

Some more pics after the jump. Thanks for reading.

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Roadburn 2017 Trip, Pt. 2: Sanctuary

Posted in Features on April 19th, 2017 by JJ Koczan

TILBURG FRIDGE MAGNET

04.19.17 – 16.56 – Wednesday – Hotel room, Tilburg

You may or may not know this about me, but I’m a sucker for a fridge magnet with the name of a place on it. They’re renovating the hotel this year and when I got in early this afternoon, I found the above Tilburg train-sign-style magnet among the innovations brought to the customer check-in experience at the new counter and pretty much had to make it mine. Long overdue, I’d say. The magnet, not the renovation. That seems to just be for the fun of it.

My connecting flight to Toronto was bumps and bruises the whole way, but merciful in duration. Short. In the Toronto airport I ran into Philly-based photographer Dante Torrieri of Useless Rebel Imaging and Pip from Relapse Records, both of whom would be on my flight from Toronto to Amsterdam. Air Canada bringing the crowd.

I’ve never slept so well on an airplane in my life. I was next to an older Canadian woman who very clearly might’ve enjoyed chatting, especially since I booted her friend from my seat — sorry — but no way. I was right out. In the airport I ate the protein bar that served as my dinner and I guess my body decided after that it was time for bed. They had Star Trek Beyond to watch so I put that on and just kind of crumpled over and slept. Then I did the same with Rogue One and Minority Report.

Sure, I woke up and everything looked like it was straight out of sci-fi, but that’s kind of how it is when you get to the Netherlands anyway. This place, these people, have their shit together. Right down to the automatic passport readers.

I couldn’t avail myself of those for whatever reason — I’ll just assume it has something with my country’s recent dip into xenophobic and reactionary populism — and so had to talk to border security at Schiphol. The guy took my passport from me and told me to get a new one. I got that one renewed in 2013 and look much different now than I did four years ago. Short hair, trimmed beard, lost a bit of weight, etc.

He scrutinized the shit out of me. I offered to show him my driver’s license and that seemed to be enough to get him to the point of letting me screw off through the doors into the baggage claim. The guy in Canada had been really nice about it. “Keep up the good work,” and so on. Will do, sir. I had a protein bar for dinner. Would you like to know what I’ll be having when I get back to Massachusetts on Monday? Because I’ve already given it some thought, not that I fetishize my food intake in really unhealthy ways or anything.

La la la.

Speaking of next Monday: No, I haven’t solved the how-am-I-going-to-get-to-the-airport-in-time-for-my-flight issue, but I have apparently managed to successfully slough off some of my stress about it onto The Patient Mrs., who has begun an investigation of shuttle services. My only question was how long the trip would take, but beyond that, whatever, book it. If I have to go to the airport after the show the night before, I will. I’ve never done that before. Might be fun. So long as the coffee bar is open ’round the clock.

The important thing for today though is I made it to Tilburg, and when I got here, the room was miraculously ready and waiting for me to check in. Thank you Walter, Roadburn, and Mercure for making that happen. I got my key, came upstairs, immediately put on pajamas and settled into what will be my home for the next few days. Lee Edwards of the newly-reactivated UK site The Sleeping Shaman, with whom I’ll be once again working on the Weirdo Canyon Dispatch during Roadburn, and I are sharing the room once again, and he came in a short while later and we chatted a bit, about music and the surreal turns the political realities of our two nations have taken in the year since we last saw each other.

He’s a great guy and it was excellent to see him, but I was fading fast. A two-hour nap, some brushed teeth and a hobo bath later, I feel almost human. That’s fortunate, because tonight is the Hard Rock Hideout at Cul de Sac, which will start shortly and go until it’s done. It’s just three bands, but the official start of Roadburn 2017 isn’t to be missed. It simply would not do.

So here we are at the beginning. I’m a little nervous for what the next few days will bring, to be honest, but looking forward as well. The next time you hear from me it’ll be the Hard Rock Hideout review, and then we’ll get into the actual coverage of Roadburn 2017 itself tomorrow and on from there. Thanks in advance if you get the chance to check any of it out.

Okay, time to go.

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The Obsessed Interview with Scott “Wino” Weinrich: Declaring the Sacred

Posted in Features on April 19th, 2017 by JJ Koczan

the obsessed Photo-Susie-Costantino

Of all the events that might’ve taken place in doom this decade, I don’t know if The Obsessed putting out a record was the least likely, but it had to be somewhere on the list. And the road that brought the legendary Maryland-doom-agenda-setters to the point of releasing their Relapse Records debut, Sacred (review here), is suitably winding. Never mind the fact that it’s been 23 years since the last time the unit founded and fronted by Scott “Wino” Weinrich (Saint VitusSpirit CaravanThe Hidden HandPremonition 13Shrinebuilder, etc.) offered up what most probably figured was their final studio outing, 1994’s The Church Within — it’s been half a decade since this reunion got underway, beginning with a set in the Netherlands at Roadburn 2012 (review here).

In the years since, The Obsessed has receded and come to the fore again. Weinrich was still fronting Saint Vitus at the time in support of that band’s reunion offering, Lillie: F-65 (review here), and though that tenure would end unceremoniously following a well-publicized drug arrest in Norway late in 2014, it was the three-piece Spirit Caravan that he went back to first, reunited with bassist Dave Sherman, also of Earthride and Weed is Weed and eventually bringing on board Brian Costantino in place of original drummer Gary IsomSpirit Caravan toured and threatened a new record, but before they could get there, they announced early last year that Spirit Caravan was now The Obsessed and they’d be continuing under the moniker Wino first put to use in 1980.

Fair enough. More tumult followed after this three-piece hit the studio with Frank “The Punisher” Marchand to track what they’d come to call Sacred, with Wino and Sherman parting ways and The Obsessed reforming for a short time as a double-guitar four-piece featuring former The Hidden Hand bassist/vocalist Bruce Falkinburg before once more paring back to a trio of WeinrichCostantino and bassist Reid Raley, also of Arkansas post-sludgers RwakeThe Obsessed had done gigs all along with Raley in the lineup, including Maryland Deathfest, but in bringing him on board full-time, the band seems to have settled the issue as much as these things are ever settled, and though the chaos surrounding Sacred is palpable, the album itself is treated fitting to its title.

That is to say, while the process by which it came about and its aftermath have been anything but, the actual record and the songs that comprise Sacred are fluid, unconfused, progressive, and most of all — heavy. Fast or slow, light or dark, they bear the hallmarks of Weinrich‘s songwriting style, and whether they’re playing toward bluesy convention or bridging the how-is-this-still-so-wide-when-we-know-all-doomers-are-grown-up-punks gap of doom and punk, The Obsessed circa 2017 are living up to and pushing forward one of the genre’s most storied and influential legacies. Whatever the future might hold for the band, Sacred pays for its unlikeliness in the sheer quality of its craft and execution, and when this year is over, there’s no question it will stand as a landmark for even more than the simple fact that it exists — though that’s not to take away from that either, because the fact that it exists remains pretty fucking impressive.

The Obsessed are on tour now in the US with Karma to BurnFatso Jetson and Lo-Pan. Dates are posted here.

I had the first slot of a press day to speak with Weinrich about making the album… and a terrible connection. There was a lot lost of our conversation to the digital ether of crackles, pops, fadeouts. We got disconnected twice. Still, I did my best to recover what I could of the interview and it turned out to be plenty.

You’ll find the results below, with my thanks for reading.

THE OBSESSED PHOTO SUSIE COSTANTINO

The Obsessed Interview with Scott “Wino” Weinrich

Take me through the decision to move from Spirit Caravan to The Obsessed. How did that come about and what went into that for you?

Spirit Caravan was with Dave Sherman and then we had a succession of drummers. Where I met the current drummer for The Obsessed, Brian Costantino, was actually many years ago. He was a friend of the band when The Obsessed was together back in the ‘70s and ‘80s and he and I had not seen each other for quite a while, so we put Spirit Caravan back together we had Ed Gulli playing drums…

So Brian came around and I didn’t realize in the time that we had been apart that he had played the drums. He came around for rehearsal and Brian sat down behind the kit and we had a little jam and that’s kind of what started the whole thing rolling because the wheels are coming off the wagon a little bit with Spirit Caravan and Eddie didn’t want to tour and there’s some other issues and so I just looked prior and so BrIan was pretty much never in Spirit Caravan. Now Sherman’s on the record, but some other things happened and we trying to move ahead without him. So basically when I met Brian I realized after our first couple of camps that Brian grew up on The Obsessed. It was his favorite band and in the years we had been apart from each other, he had become quite a successful drummer and he was tired of what he was doing which was kind of like cover stuff and playing with some local bands.

He had basically just retired from playing and then I came along and gave him a call one evening and was like man do you want to reform The Obsessed and he said, “Yeah let’s do this.” You know, it’s the kind of chemistry that really reinspired me. It’s exactly what I needed. I realize that the songs, the old type of songs for me seemed to be timeless and I just started right away and we really kicked it off. It really was about a chemistry thing between me and Brian and there was this confusion after that with the [lineup, and] I decided to try a little experiment so I called [Bruce Falkinburg] to the basement and he goes “yes,” and then my fiancée came and we decided to put [the band together as a four-piece].

Well, everything was pretty groovy at first, but a touring commitment and came up and there was some wavering and I had been assured that everything was going to be cool but it became obvious to me that it really is all about commitment and I understand but not everybody is just willing to leave their job and just play musical instruments. So I’ve got  nothing for admiration of everybody but reality [was that] Bruce had to be replaced and Reid Raley was actually our first choice but he’s eight hours away from where we rehearse and for some reason I just forgot what a rogue one he was. Anyway we brought him in and we’ve had a couple weeks and man the chemistry is just extremely focused now. We’re back in a three-piece with Reid, and man, it’s really on. I feel completely energized.

You had played with Reid before in The Obsessed though as well. He was at Maryland Deathfest with you, right?

Yeah, Reid is a very personable guy and while I was touring with Vitus, Reid saw I was having some issues with Guy, who played on The Church Within and was a member of The Obsessed for some years. Guy had some immigration issues but didn’t really tell us and so he booked the Maryland Deathfest kind of knowing that he wasn’t going to be able make it. So it was kind of weird, but Reid told me “whatever you need if you need me to play bass for you to help you out, I will,” so I said at that point in time, “Yeah, why don’t you do that?” So me and Reid have some good history.

Is it a little strange? Sacred is the first Obsessed album in 20-odd years and it’s such a different band.

The only thing different is the bass player. We were a three-piece when we recorded Sacred. The nucleus of The Obsessed is me and Brian and I think the addition of Reid is nothing but good. And I’m very proud of the record. We’re already playing seven songs off the record, and we play the material live and I’m super-proud of that record. I think it’s great. I not just saying it because it’s my record but I think it’s the best sounding record I’ve ever done. I’m completely inspired. We’re ready to take these songs out on the road. I mean it’s been a long time, but you know, but it seems the time has never been right in the past and it seems like everything is lining up pretty good now.

Why do you think that is?

I think it’s because A) the music is top notch and B) In my opinion I think that I also must say that in my opinion, Frank Kozik and his label Man’s Ruin was pretty crucial in kind of opening up the door to hard rock and stoner rock or whatever, and he also opened up the power of the internet. I mean, come on, back when The Obsessed was starting to take off we did a video for “Streetside” and if you got on Bevis and Butt-Head, that was a venue. If it didn’t pass the Bevis and Butt-Head test you were done (laughs). I remember “Streetside” hit Bevis and Butt-Head and one of them said, “Ah they look old,” and that was it. But now you’ve got YouTube. The label. We’re on a very strong label. The label did really, really well and I feel honored to be on Relapse, and there’s a mutual respect thing and I think it’s just good now. I can’t say I fully understand why. I just know this is the time.

Talk to me about the Obsessed now as opposed to 20 years ago? How is it different for you? Has it felt like a crazy last couple of years after the whole situation with Vitus, playing with Conny Ochs, doing the solo stuff. Does going back to The Obsessed feel like going home for you?

It felt like going home for me and you have to understand that between me and Brian, Brian grew up with The Obsessed. It was his favorite band. It was Obsessed for all these years, so that has been like his main focus and when we reconnected I was truly flabbergasted that he’s an astounding drummer and it we haven’t seen each other in how many years?

It’s actually really mind blowing in a really, really good way. So we’ve got this amazing chemistry, lived together, we’re like a hardcore team and it finally feels right. The Church Within was cool, but with Greg and Guy, it’s touring, but when I started the reunion stuff, the one-offs, it just didn’t feel right. I’ve kind of felt in way as if I was been going through the motions. I’m really feeling good about stuff, like the chemistry between me and Brian and Reid. I’m pretty excited. I made a pretty important lifestyle changes to embrace this wave.

Can you talk about that?

Obviously, anybody who knows my past knows I had a very long period of sobriety in this reunion and after the separation and I lost the ability to see my kids and then we got separated for three or four years, i was pretty torn up and I fell back in my old ways but I’ve got to tell you, I was depressed and I did what I had to do. Had to get up out of bed in the morning and do what I had to do.

Right around that time was when Vitus was heavy touring, the brand new Vitus record, I did the Adrift record, I did the Shrinebuilder record, I did the Premonition 13 record. So basically I did what I had to do to be able to get on with my life and my career. So after a while, I must say, with Saint Vitus, to get into that stuff and to get into that mode and do that stuff, I had to be pretty loaded. I mean, it was like a requirement for me. The music is so primitive and so primal, especially playing live I had to really get into that state of mind to do it and that state of mind to me and in those days meant about 20 beers and half a fifth of liquor and as much shit as I could cram up my nose, but you know, that was the singing in Saint Vitus so things were a bit different.

Nobody can live that way forever. It caught up to me in Norway and I did get deported and that was kind of a bummer for me. I didn’t end up taking any charges, but it’s still kind of a bummer now I have to pay out the ass for visas and I have this ban from the Schengen countries, which is sort of like the EU, for five years, so I’ve already had three of that. So basically you pay the price. So I had to grab the reigns and I did. Now you know I’m back on the bandwagon, back in my head, living a sober lifestyle.

How has it been working in The Obsessed in that mode?

It’s fantastic, I just feel like all my focus and energy is in the right place, everything is where I feel it need to be. I’ve always been interested in alternative spirituality, if you will. I’ve never been into any organized religion or the denominational trip, but I consider myself to be pretty bright. I always want to learn and I always need to learn but I think that I try to awaken to the situation of the reality.

My personal spirituality has always been one of my main focuses and I’m just continuing my research, as I put it, and I’m just focusing on playing it right and I’m not one to blow my own horn but I do think I’m playing at the top of my game right now and I think that we have an absolute killer chemistry between the three of us and I thought, “man, this all I’m doing.” I’m playing the acoustic guitar here and there, wherever the listening party is, and at some point, I will do something else with Conny because I love Conny and we [need another record and tour] but right now The Obsessed is all I want to do. It’s where my focus is right now.

Can you tell me about going from touring a reunion band with The Obsessed as opposed to taking it on as a creative project again? You did that big tour last year with Karma to Burn, but how has it been moving from a reunion, to a working band, to a creative project?

I think it’s been refreshing and rewarding, actually because we get to go on tour. We were with Dave and there were some issues there. I mean listen, Dave’s loyalty and his heart never in question, he’s a great guy, so basically I don’t want to insult him and put him down in any way. He’s a great guy. I feel now that the record is coming out and it’s an incredibly strong record, it’s getting amazing reviews so far and I’m very happy.

We’ve already got three new songs we’re working on and we’re going to go back in the studio with our same guy from Sacred, Frank Marchand. We have three songs now. Hopefully by the end of the tour we have another two, and we’ll be halfway to another record. Whether we can have it finished, I doubt it, but we can at least get a couple in the can. So I feel completely energized, reinspired, and we’re getting it on, man. This is what we do, 24/seven. This is what I enjoy doing. When I’m in the studio, that is my perfect embodiment, that is when I am the most happy, and so yes, I’m just looking ahead.

Can you talk a little more about your time in the studio for this record? Working with Frank?

Frank is an amazing guy. He had to set up a little unconventionally, his room where he recorded wasn’t a control room. It was an open area. He likes to listen loud. He likes to mix loud but I’m telling you it was an orgy of vintage equipment. He’s got at least 10 [stacks] of different size and variety, mixed models.

What about the diversity on the album? It covers a lot of ground.

…For example, “Stranger Things,” when Reid was listening to the record, he goes, “ok, that song really put the ‘what the fuck?’ nail in the coffin.” That song threw him for a loop. It’s not that he disliked that song, but he just thought it was really, really different. That song was an acoustic song. I woke up one morning like, “fuck, what am I trying to even put it in a box like that? Why am I trying to make the specifics,” because The Obsessed has always been about diversity. We cut our teeth in the early days playing with punk rock bands. We can play super-fast, and we also like really slow stuff. A good example is the fact that of course I’m a diehard Black Sabbath fan but I’m also – I love Joy Division. I love The Stooges, The Dictators.

One of my favorite records is Hear Nothing, See Nothing, Say Nothing by Discharge. So our tastes and our influences were always very diverse but we grew up in an era where it was all about energy. It was all about passion with the punk rock thing and also with the hard rock we listened to. I think that’s what’s really – always – you are a product of your influences, obviously just the same depending on your youth and childhood and really how wounded you are (laughs) in the rest of your life. It’s the same kind of theory.

I think the diversity is what makes it interesting because if I listen to a record where every song sounds the same even though it might be a good record, but every song sounds the same! I’m happy to bring a little diversity to it. I’m happy to people to kind of be like, “woah! This is weird or interesting.” I just think it makes it more interesting and it’s actually very natural, the way it came out.

It’s a pretty personal record. Especially the song for my kids, that’s a very personal song. But man, hey, my life is an open book and my theory or my philosophy if you will is, man, it’s all about passion, but it’s all about the power of the song. The song might need a guitar solo. It’s really about the power of the song.

The same way when you listen to the radio or you’re in a bar and an old song comes back again, one of your favorite songs from whenever it was, it has a way of invoking those good memories. Bringing back a feeling or maybe even remember the day when you listened to that song when you had memorable events like that. It’s really about the power of the song and it’s about the passion.

I really believe that I was given a gift in this earthly trip and I believe that it’s sort of my duty or job to carry the torch man, and to enrich other people’s lives and mine as well. It’s more rewarding having someone say, “hey, your music touched me in a way that was special,” or maybe even, “your music saved my life.” I’ve heard that before. To me that’s way more rewarding than a bag of gold on the table.

What’s next? The tour in May and then back in the studio. Then what?

The tour in April/May and then we will be in the studio recording some new material. Then we are going to be going to the UK including Scotland and Ireland. Then we’re going to be going to South America and Australia. By that time, man, it should be time to go back to Europe. We plan on touring pretty hard for the next couple of years. And also, in between then we’ll be writing another record.

When do you think you’ll squeeze in Conny Ochs?

Me and Conny have been talking and when there’s a break in the action, a break in The Obsessed action, for whatever reason that might be, then Conny said he’d like to come out and play the US and more than likely we’ll do a short tour out here.

One last thing, off topic. There was talk a while ago about a project with Nick Oliveri. What happened with that?

Actually it was me, Nick and Joey [Castillo], but Joey was really busy at the time. He was on retainer with Scott Weiland at the time and even though we tried to put it together he was just too busy. Joey‘s had a little run up, he’s I mean some bad luck, but we might revisit that. But right now I’m focusing on The Obsessed. They’re both amazing people and amazing players and it was something that like, it came up, we wanted to do it but Joey was pretty busy. In the future.

The Obsessed, “Sacred” official video

The Obsessed on Thee Facebooks

Sacred at Relapse Records

The Obsessed on Bandcamp

Relapse Records website

Relapse Records on Bandcamp

Relapse Records on Thee Facebooks

Relapse Records on Twitter

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