Posted in Whathaveyou on April 4th, 2022 by JJ Koczan
Some crossover here between Uleåborg Festival of Psychedelia 2022 and what would’ve been the fest in 2020, most notably Sweden’s Agusa making the trip from Malmö to Oulu, Finland (about 20 hours by car), to serve as headliners. Radiopuhelimet and Estonia’s Zahir are back as well, and it seems to me that the fest has packed more into a single day here than it was planning on doing for 2020. Perhaps that has something to do with the free-shows-around-Oulu idea, so that it’s less about standing in a room for 12 hours and watching band after another set up and break down their gear to play an abbreviated set, and more about immersion in a culture of psychedelia that extends beyond those bounds.
Thinking of it that way, you might not see everything if you go, but there’s a lot to be said for the experience. And you can hit up Tukikohta later on, anyhow. Presumably that’s where Agusa will be.
Details came straight from the event page on Facebook, and here they are:
ULEÅBORG FESTIVAL OF PSYCHEDELIA – July 16, 2022
Uleåborg Festival of Psychedelia returns after two years break!
UFOP 2022 festival is arranged during one day on Saturday 16th July and the new gig orienteering concept includes free gigs around the city of Oulu. So take a map and head for a multidisciplinary and multidimensional art experience!
The festival will include a wide variety of artists and gigs from midday till late night in different locations. The day’s psychedelic path will lead to Tukikohta, Välivainio, where the payable main event will be held.
By buying the ticket to the main event you will also support the arranging of the free gigs! Yet again the festival will include a wide variety of local visual artists, psychedelic visualizations and surprises.
Tickets: https://www.tiketti.fi/tapahtuma/81489
Line-up: Agusa (SWE) Haamusoittajat Hebosagil Horte Illyana Kas Kan Mesak Otilia Radiopuhelimet Seli Seli Skyjoggers Tuomas Henrikin Jeesuksen Kristuksen Bändi Zahir (EST)
Posted in Whathaveyou on February 6th, 2020 by JJ Koczan
A couple recognizable names here from the lineup for Uleåborg Festival of Psychedelia 2020 in Oulu, Finland, but I’m not ashamed to say that the majority of the 27 acts are unknown to me. You’ll note Philly’s Ecstatic Vision will be making the trip — so let’s assume there are some European tour dates forthcoming from them, and that’s cool news — as well as Swedish proggers Agusa, whose lush sounds are always a delight, and I know I’ve written about Sunshine Reverberation and Arktau Eos in the past, but yeah. Plenty here I don’t know.
You know what that means, though? Homework! The best kind of homework! I got word of the lineup yesterday and I’ve been diving into bands playing since, including Hidria Spacefolk, who headline the second night and whose 2012 cosmic offering, Astronautica, you can stream below, as well as The Fungi 3, whose fuzzy take on heavy psych blends the best of garage chaos with a jammy spirit. I’m into it and looking forward to continuing to learning about the rest. I’ve yet to find a clunker.
There won’t be a quiz or anything, but you still might want to take notes:
Uleåborg Festival of Psychedelia – 2020 Lineup
Uleåborg Festival of Psychedelia will be held already the sixth time on 10th and 11th July 2020. The festival will colour Oulu’s summer with psychedelic shades and sounds, three stages and 27 artists!
Friday’s headliner is a Finnish cult classic band Murheenlaakso, which celebrates “Totuus Palaa LP” 30-year album anniversary with a special set! Saturday’s headliner Hidria Spacefolk will take the audience into a final trance!
UFOP is proud to present American psychedelic rock energy package Ecstatic Vision performing in Finland for the first time! Other foreign artist include Swedish prog and folk band Agusa, Estonian noiserock band Zahir, and Norwegian psychband Sunshine Reverberation. Finnish artists include electronic crushers Tähtiportti, legendary Radiopuhelimet and action rock band MÄSÄ.
Yet again, UFOP will feature arts exhibitions, dance acts, mind bending uv-decorations and visual treats summoned by VJs. Open your mind, now is the time!
Swedish progressive rockers Agusa will release their third self-titled album on Oct. 27 via The Laser’s Edge. What might informally be called Tre or Agusa Tre follows two years behind the preceding Agusa Två (review here) and brings five new tracks highlighting the pastoralism that the Malmö-based five-piece bring to their work. Without being overly lush or coated in effects, or losing themselves in indulgent attitudes, Agusa‘s instrumental compositions bask in a folkish traditionalism that nonetheless is all the more a standout for its complexity. Arrangements of guitar from Mikael Ödesjö, play out in consideration of the organ work of Jonas Barge (since replaced by Jeppe Juul) and Jenny Puertas‘ flute, while the inventive basslines of Tobias Petterson and drums/percussion — there’s plenty of both — from Tim Wallander course alongside with resonant nuance and groove. At least when the rhythm section isn’t actually driving the charge, that is. Much of the time on cuts like centerpiece “Den Fortrollade Skogen” (“the fortified forest”) and “Sagor Fran Saaris,” that’s exactly how it plays out.
Either way they go at any given moment, it only makes Agusa Tre — again, an informal title at least so far as I know; I’m just using it so no one thinks I’m talking about a different self-titled — all the more dynamic. Even as they head toward a cosmos on “Sagor från Saaris” (“stories from Saari”) that seems so distant from the ground they started on with opener “Landet Längesen” (“country lands,” appropriately enough), the rolling hillsides of which shine green and bright under a huge, yellow and full northern sun. The build in that leadoff and longest inclusion (immediate points for that) resonates no less than the song’s vocal-less hook, the whole band uniting around a gently flowing roll — the river, if we want to keep to the image already set — and moving gracefully into “Sorgenfri,” which takes its name from a neighborhood in Malmö.
Why does that matter? It matters because with Ödesjö‘s strumming guitar line and the bouncing flute from Puertas, Agusa evoke a sense of place without the need for their audience to ever have actually been there. Barge‘s organ moves into a forward role in the second half of the five-minute cut, topping a subtle shuffle that finds Wallander washing out his cymbals even as he drives a straight-ahead charge that somehow still manages to swing. The turns are so tight that it’s almost a shame when “Sorgenfri” is over, or at least it would be if “Den Fortrollade Skogen” didn’t allow for a solid two minutes of digestion before embarking on its own eight-minute unfurling, a classically triumphant melody in the flute and keys matching step with the bass, drums and clean-toned guitar once more to reground the audience. As noted, “Sagor från Saaris” is more psychedelic, but also more subdued in all but Wallander‘s hi-hat and the prominence of the low end, which as the flute and guitar jazz-out kosmiche-style has a chance to shine before the final movement begins and brings a worthy apex, still holding out some noise on a long fade into closer “Bertom Hemom” (“beyond homeward”), the gorgeousness of which underscores the humility at heart in Agusa‘s approach on the whole.
To wit, it moves, it careens, it grooves — it has a complex and striking presentation of the elements at play, as shown when the electric guitar lead layer works its way in circa the three-minute mark amid the prior acoustic foundation and how aligned it becomes with Barge on organ and the overarching rhythm. This is the stuff of spinning heads — of repeat on repeat on repeat listens — and yet Agusa make it come through with such a naturalist warmth that one feels like they’re back in that open field again, like it’s the folk music of some unknown people who never existed or did and were otherwise too hippie-awesome to want to stick around on this square-despite-its-roundness planet and got back in their mothership in search of cooler terrain. After what one could argue is the crescendo of “Bertom Herom,” the flute and drums take hold and offer a stripped-down take on the rhythm as the foundation for the guitar and bass and organ to rejoin the fold, tying the song back to its start before the final measures crash out and somebody — one of them, I don’t know who it is — lets out a well-earned exhale. “Woof.” As if anything else needed to be said.
Agusa Tre‘s specific kind of immersion and hypnosis may or may not be for everybody, but for those willing to take it with an open mind on its own level, it’s quite simply going to be a release that offers satisfaction long after 2017 is over. I’m thrilled today to be able to host the premiere of “Bertom Hemom” ahead of the album coming out. You’ll find it on the player below, followed by a quick quote from Ödesjö about its making and more from the PR wire.
I sincerely hope you enjoy:
Mikael Ödesjö on “Bortom Hemom”:
“Bortom Hemom” translates roughly as “Beyond Homeward” and consists of two sections joined together by a bridge. The first part is in 7/4 and the second in 3/4. Perhaps our most “progressive” effort this far. Enjoy!
Agusa was recorded and mixed by Viktor Rinneby and mastered by Grammy-winning engineer Bob Katz, and completed with art by Danilo Stankovic and design by Peter Wallgren.
Laser’s Edge will release Agusa on digital, CD, and LP on October 27th. Find CD and LP preorders at Amazon HERE and digital preorders at Bandcamp HERE. This will be celebrated with release shows in Sweden and Denmark, after which the band will head east to play their first gigs on Russian soil.
Posted in Whathaveyou on September 11th, 2017 by JJ Koczan
A key change in Agusa‘s changing of key players. The organ-minded Swedish purveyors of classic psychedelic progressive rock have set an Oct. 27 release date for their self-titled third album, to be delivered via The Laser’s Edge, and the record will mark the final appearance of organist Jonas Barge, who’s been recently replaced in the lineup by Jeppe Juul. All puns aside — or if not aside, just kind of hanging around someplace nearby — that’s a big shift for Agusa and could have a serious impact on the sound of their future work, though one gets the feeling that, one way or another and amid whatever changes were about to take place in their form, Agusa found their sonic peace in these recordings as they always seem to do. If you missed it, their 2016 two-track live outing, Katarsis, is streaming below in all its fusion-style immersive psych glory. Enjoy that. It’s there to be enjoyed.
The PR wire has more on the album and the lineup change:
AGUSA: Laser’s Edge To Release Eponymous Third Album By Swedish Psychedelic/Progressive Rock Alchemists In October
Swedish psychedelic/progressive rock alchemists AGUSA present their third full-length album, and second for Laser’s Edge, simply titled Agusa. The label will release the sprawling new LP worldwide in late October, unveiling the record’s artwork and information this week.
The follow-up to 2015’s Agusa 2 (Två ) sees the AGUSA circleexpanding their kaleidoscopic output which conjures images of nature and the cosmos, their extensive passages again leading the listener into fantastic realms of a possibly supernatural or parallel existence. While Agusa 2 (Två) engulfed forty minutes of music through two massive tracks, Agusa sees the band delivering their singular brand of trance-inducing, folk-inspired, occult rock through more traditional track lengths, offering five songs which range from five to ten-and-a-half minutes in length and are a bit heavier than the album’s predecessors.
Agusa was recorded and mixed by Viktor Rinneby and mastered by Grammy-winning engineer Bob Katz, and completed with art by Danilo Stankovic and design by Peter Wallgren.
Laser’s Edge will release AGUSA’s eponymous third album on digital, CD, and LP formats on October 27th. This will be celebrated with release shows in Sweden and Denmark, after which the band will head east to play their first gigs on Russian soil.
Agusa Track Listing: 1. Landet Langesen 2. Sorgenfri 3. Den Fortrollade Skogen 4. Sagor Fran Saaris 5. Bortom Hemom
In September 2016, AGUSA released their live disc Katarsis, which was recorded in Athens, Greece six months before. Following that release the band had hectic schedule with gigs in Scandinavia, Poland, and back to Greece. This proved to be too much for organ player Jonas Berge who left the band in January 2017, while recording the new Agusa album, which caused the band to take a pause in order to complete the album and replace Berge. Finding a talented organ player who would also fit into the group proved to be a difficult task, but finally Danish organ player Jeppe Juul was picked as Berge’s successor. Juul is originally from Denmark but now lives in the deep woods of southern Sweden in primitive circumstances, where they must carry all water from a nearby well and occasionally get some electricity from some solar cells on the roof. He has previously played with many acts in different genres; Marcus Miller, Royal Danish Ballet, and Lili Haydn, among many others.
AGUSA has performed live throughout Europe, including the mighty Roadburn Festival and more. Preceding the new Agusa album, flute player Jenny Puertas gave birth to a daughter in May which saw the band performing sans-flute for several shows, and additionally, organist Jonas Berge rejoined the lineup for several performances, which saw them playing live with two organ players. As always, AGUSA performed vastly different versions of the new songs live compared to how they ended up on the album, continuing their ongoing mission of turning every concert into something unique.
AGUSA: Tobias Petterson – bass Jeppe Juul – organ Jenny Puertas – flute Tim Wallander – drums, percussion Mikael Ödesjö – guitar
Posted in Bootleg Theater on September 3rd, 2015 by JJ Koczan
Compiled by Patrik Lager and featuring an edited version of the track “Gånglåt från Vintergatan,” which was originally premiered here, the new video from Swedish progressive instrumentalists Agusa feels about right in its level of trippiness. The album from whence this abridged edition of the track comes, Agusa Två — or Agusa 2, numerically speaking — arrived in July via The Laser’s Edge and the band’s own Kommun2 label, and while you don’t get the full 20-minute breadth of the song, as a sampler, there’s not much more one could reasonably ask that the clip doesn’t deliver.
Including curio fodder. “Gånglåt från Vintergatan” is set to footage from the 1968 Swedish educational film, Curious Alice, which seems to have been an anti-drug propaganda piece, but watching the video it’s pretty obvious the Swedes didn’t mean it. Might be a stretch to assign credit to a single source to the nation’s decades-long affair with heavy, psychedelic and stoner rock(s), but I can’t really imagine being 12 years old, watching Curious Alice and not thinking that lysergics are awesome and something I definitely want to try just as soon as I finish not doing my math homework.
No doubt Agusa‘s sweetly melodic, richly psychedelic flourish is a part of that impression, but if you take a look at the video, you’ll see what I mean either way. The album seems to have been something of a sleeper — not really a surprise given its mostly-instrumental, progressive form; that stuff’s not for everybody as much as it might seem otherwise to the converted while listening — but that doesn’t mean it’s not also a deeply satisfying listen, and if you haven’t heard any of it yet, the video’s a great way to get introduced.
PR wire info follows the clip below. Enjoy:
Agusa, “Gånglåt från Vintergatan” official video
AGUSA: New Video From Swedish Psychedelic/Prog Alchemists Now Playing
Last month, Swedish psychedelic/prog alchemists, AGUSA, dropped the hallucinatory bounty of their Agusa 2 (Två ) full-length via Laser’s Edge. Boasting forty ethereal minutes of tranquil, trance-inducing, folk-inspired, occult rock divided into two epic tracks, AGUSA’s kaleidoscopic output conjures images of nature and the cosmos, their extensive passages meandering into realms of a possibly supernatural or parallel existence.
In celebration of its release, the band offers up the optical companion to opening hymn, “Ganglat Fran Vintergatan.” Captured by Patrik Lager the appropriately tripnotic video features original footage from 1968’s Curious Alice, an educational film for public school children, focused on the dangers of drug and alcohol abuse in the context of Alice In Wonderland story.
AGUSA was spawned in 2013, when Tobias Petterson and Mikael Ödesjö, former members of Kama Loka, recruited Dag Strömqvist and Jonas Berge for their early ’70s progressive rock project. The outfit eventually ventured out to the countryside where Strömqvist lived, to a place called Agusa -a loose gathering of homes deep in the forest. Within these secluded surroundings, and during a amazingly sunny, Summer day, the new collective had an extensive, extremely inspired jam session that helped solidify the direction of their sound. In the Autumn of 2014, the band recorded their debut, Högtid, which was released on vinyl and digital media in early 2014.
Following a number of performances that Winter, Strömqvist fled AGUSA to travel India, and Tim Wallander, also a member of blues trio Magic Jove, joined the band. In the beginning of 2015, armed with a refreshed lineup, AGUSA entered Studio Möllan to record their sophomore full-length, this time having asked a close friend of theirs, Jenny Puertas, to play flute on the recording. The match was so perfect that the band instantly invited her into the band full-time, expanding their lineup once again.
Posted in audiObelisk on July 13th, 2015 by JJ Koczan
Veterans of Roadburn and Copenhagen Psych Fest, Swedish five-piece Agusa will release their second album, Agusa Två — Agusa 2 — on July 24 through The Laser’s Edge (CD) and their own Kommun2 (LP) imprint. In the tradition of their krautorock and psychedelic forebears, the band works quick. They formed in 2013 and have already established a quick LP-per-year pace and have played sporadic fests, in addition to the two mentioned also appearing recently at Electric Moon Fest (which doesn’t seem related to the band of the same name), Säljerydfestivalen in Ingelstad, Sweden, and Kildemose Festival in Denmark.
Listening to Agusa 2 or its 2014 predecessor, Högtid, it’s easy to understand why one might want to add them to a bill. Agusa 2 further gels the chemistry Agusa showed on their debut into two extended pieces — side A’s “Ganglat Fran Vintergatan” (20:22) and side B’s “Kung Bores Dans” (18:17) — rife with progressive complexity, accomplished melodies of guitar, organ and flute, and quick-turning rhythms driven by a classic sense of movement that fits smoothly into Agusa‘s method. As one might expect, both cuts offer plenty of sprawl, but the band operate from a sense of purpose as well, and it’s not merely exploration for its own sake, but an expression of a naturalist instrumental ideal, and one gorgeously conjured and languid in its flow but not at all sonically lazy.
Both “Ganglat Fran Vintergatan” (“Marching Tune from the Milky Way”) and “Kung Bores Dans” (“King Winter’s Dance”) unfold gradually, with the organ as a figure no less prevalent than the guitar, and engage in a crisp but progressive bounce. There’s no mistaking a heavy sense of groove, but they’re also capable of jazzy turns when called for, adding a sense of spontaneity to the proceedings and allowing the band to shift fluidly from one movement to the next while also expanding the context of the album overall. Not bad for two tracks on their sophomore outing, and by that I mean Agusa 2 offers both proggy substance and a psychedelic aesthetic that makes their work eminently listenable.
To wit, I have the pleasure today of hosting a premiere for “Ganglat Fran Vintergatan,” which you’ll find on the player below.
Please enjoy:
The Laser’s Edge has signed Malmo, Sweden-based psychedelic/prog outfit, AGUSA, for the release of the eclectic outfit’s impending sophomore album this Summer.
With almost forty minutes of new material, AGUSA delivers a wide array of seamlessly-executed, organic rock on the aptly titled Agusa 2. The band’s tranquil output blends tripped-out psychedelic and progressive rock structures are inspired by more folk than occult influences, instilling visions of nature, the cosmos, and dreamlike passages, meandering into realms of a possibly supernatural or parallel existence. While not a fully instrumental recording, backing vocal mantras only seep in through purposeful cracks in the construction of these immense movements, adding an even more spacious feeling to the overall flow of the album.
US progressive label, The Laser’s Edge, will release Agusa 2 on CD and digital platforms on July 24th, while AGUSA will issue the album on vinyl through their own Kommun2 label. Stand by for additional info on the album to be released in the coming days.
Having just performed at this year’s Roadburn Festival, invited by curators, Enslaved, followed immediately by a set at Copenhagen Psych Fest, AGUSA will continue taking their enigmatic live set to fans across Europe with additional performances in the coming months.
AGUSA: Tobias Petterson – bass Mikael Ödesjö – guitar Tim Wallander – drums Jonas Berge – organ Jenny Puertas – flute
Posted in audiObelisk on April 30th, 2015 by JJ Koczan
You know, I went back and looked. Last year, it wasn’t until May 21 that the first batch of audio streams from Roadburn 2014 surfaced. Here we are, it’s April 30. We’re not even a full month removed from Roadburn 2015, and already eight sets are out from the festival. Kudos to Marcel van de Vondervoort, who no doubt will spend the next few months going deeper into the heart of Roadburn — at least from a musical standpoint — than anyone else as he continues to mix the live recordings and make them ready for streaming. The expediency of the arrival of the first audio is just one more example of how special this fest is. Hell, reviews are still being posted.
I’ve been kind of jealous seeing those reviews, actually. Part of covering the fest in the way I do — writing the review of the show that same night and posting it before the next day starts — sort of robs me of being able to step back and really look at the bigger picture of Roadburn and particularly what it means to me and of being able to express that, whether for fatigue or just being so close to it at the time. It’s a tradeoff, and ultimately I think the point gets across anyway perhaps even with that process as a part of it. Maybe I just feel like it all needs to be said again afterwards.
Part of the Roadburn after-experience is listening to these streams and hearing what you missed. To that end, I’m very much looking forward to digging into Minsk, Eagle Twin and Sun Worship. Whatever you caught or didn’t, I hope you enjoy:
Agusa – Live at Roadburn 2015
Coltsblood – Live at Roadburn 2015
Domo – Live at Roadburn 2015
Eagle Twin – Live at Roadburn 2015
Lazer/Wulf – Live at Roadburn 2015
Minsk – Live at Roadburn 2015
Mortals – Live at Roadburn 2015
Sun Worship – Live at Roadburn 2015
Special thanks to Walter as always for letting me host the streams. To read all of this year’s Roadburn coverage, click here.
Posted in Whathaveyou on January 29th, 2015 by JJ Koczan
Holy shit, Roadburn. Where the hell are you putting all these bands?
I knew there were a few more adds to come from Roadburn 2015, but to get another 20-plus in a single shot is something of a surprise. Take it as a reminder of the scale of this thing and of the beast that Roadburn 2015 has become and how, with five stages across three venues, it seems ever more on the march to consume the whole town center of Tilburg in the Netherlands. To call it astounding feels like underselling it.
Today, in addition to posting this massive round of adds to Roadburn 2015, I’m happy to announce that I’ll be covering the festival for the seventh time and, for the second year in a row, serving as editor of the in-fest ‘zine, the Weirdo Canyon Dispatch, working with The Sleeping Shaman’s Lee Edwards as in 2014 to bring a daily publication to life for each day of the fest. I’m thrilled to be involved in the Roadburn crew in this small way again and can’t wait to get to work again with Lee and a host of writers way more talented than myself at putting this thing together. In fact, I think I’ll get started now.
While I do that, here’s the latest from Roadburn. If you’re wondering why I grabbed the Moaning Cities Bandcamp stream for the bottom of the post out of all the bands added today — Abrahma, BardSpec, Death Penalty, Robert Hampson of Loop, the entire nation of Belgium, etc. — it’s because every year there’s one band at Roadburn that I wind up kicking myself in the ass for missing, and going by what I’ve checked out so far of Moaning Cities‘ Pathways through the Sail, I don’t want it to be them. Call it a reminder to myself.
Okay, here’s that info:
New additions announced including ‘Roadburn Festival Introduces’ act, and artists for curated event
Roadburn Festival is pleased to announce new additions to the 20th edition of the festival. The festival will take place April 9th-12th in Tilburg, The Netherlands. Both day tickets and weekend tickets are currently on sale.
More details confirmed for curated event
Roadburn 2015’s curators Wardruna’s Einar “Kvitrafn” Selvik and Enslaved’s Ivar Bjørnson have almost completed the line up for their event on Friday April 10. Loop main man, Robert Hampson and Swedish psych heroes, Agusa will both perform alongside Focus, Death Hawks, Sólstafir and others. BardSpec – the Ambient project/band from Enslaved composer/guitarist Ivar – will also perform at the event. Einar will present a workshop which will delve into his approach to music and the extensive creative concept behind Wardruna´s ongoing ‘Runaljod’ trilogy as well as his approach and study of the runes and other Norse esoteric arts. He will demonstrate a selection of the oldest Nordic instruments, play fully accoustic Wardruna music and there will also be time for questions from the audience.
For information on Robert Hampson,CLICK HERE For information on Agusa,CLICK HERE For information on BardSpec,CLICK HERE For information on Einar Selvik,CLICK HERE
‘Roadburn Festival Introduces’ & Belgium focus
This year, ‘Roadburn Festival Introduces’ will focus on Belgium. Over the years, Belgium has become a hotbed of musical creativity, ranging from indie to garage rock, and virtually everything in between. Whether it’s a dark, psychedelic slant, an insatiable need to worship thee riff, or even developing a cult of their own, only to lure us into their spiraling-netherworld… there’s something about these bands that embodies the spirit of Roadburn. The mysterious and yet bizarre Belgian band, Briqueville, will connect with the Roadburn community at the 013 on Saturday, April 11th.
In keeping with the Belgian theme, Brussels-based Moaning Cities, will bring their fuzzed-out, and sitar-driven psychedelia to Stage01 on Thursday, April 9th. In collaboration with one of Belgium’s foremost bookings agencies, RuffStuffMusic, we offer Your Highness, King Hiss, Tangled Horns, Ashtoreth, and Miava an outlet in front of the receptive and open-minded Roadburn crowd on Saturday, April 11th at Cul de Sac. These up and coming talents richly deserve their place in the Roadburn line up and we’re thrilled to host such exciting, cutting edge bands as these alongside Roadburn’s established acts.
For more information on Briqueville,CLICK HERE For more information on Moaning Cities,CLICK HERE For more information on RuffStuffMusic: Your Highness, King Hiss, Tangled Horns, Ashtoreth, and Miava,CLICK HERE
New Additions to Line Up
The lineup for for Cul de Sac, the intimate music cafe, and Roadburn’s official fifth stage, located across from the 013 venue, is shaping up very nicely. We’re aiming to present four to five bands on each of the four days, Thursday through Sunday.
It is with enormous pride that Roadburn gets to announce a truly unique performance as Gnaw Their Tongues will bring their groundbreaking noise/doom/black metal assault to the festival on Sunday April 12th. Joining them will be torchbearers of French heavy rock, Paris-based Abrahma, Tilburg’s very own IZAH, and high octane Swedish rockers, Hypnos.
Today, we’re also excited to report that Verbum Verus, the Dutch black metal band, known for their intense live performances, will shroud Roadburn Festival in darkness with their hymns of praise on Thursday, April 9. We’re very pleased to announce that Big Naturals, Salope, City of Ships and Admiral Sir Cloudesley Shovell will complete the Friday lineup at Cul de Sac. And, given how fond we are of Admiral Sir Cloudesley Shovell, we’ve invited them to do two performances; they will also play the Green Room on Sunday, April 12.
Back over at the 013, we will have the riff-heavy Death Penalty playing on Saturday, April 11th – featuring ex-members of Cathedral and Serpentcult, this is going to be one show you don’t want to miss.
For more information on Gnaw Their Tongues,CLICK HERE For more information on Abrahma, IZAH & Hypnos,CLICK HERE For more information on Verbum Verus,CLICK HERE For more information on City of Ships, Big Naturals etc,CLICK HERE For more information on Admiral Sir Cloudesley Shovell,CLICK HERE For more information on Death Penalty,CLICK HERE
