Live Review: Maryland Doom Fest 2018 Night Three, 06.24.18

Posted in Features, Reviews on June 26th, 2018 by JJ Koczan

maryland-doom-fest-2018-night-three-poster

Before I get started on the last night of Maryland Doom Fest 2018, I want to thank JB Matson and Mark Cruikshank for the incredible work they’ve put into making this event something truly special. Think Maryland was ready for a festival to help define and codify its generations-spanning underground scene? Maryland Doom Fest has done so in four years’ time, and not only has it helped give an understanding to what Maryland doom is, but it’s working actively to broaden those horizons as well. And its reach is growing. Not only in bands. Last night the dude standing to my left was there with friends from Portland, Oregon, and to my right was a handful of folks from Albuquerque, New Mexico, all packed right at the front of the stage. It’s growing, and quickly.

But as Maryland Doom Fest enters what might be its Golden Age in presenting shows people will talk about years later — “ah yeah, were you at Doom Fest when Windhand played?”, etc. — the event has also kept its head on its shoulders about the work in progress. It’s a grounded experience, very much of its place, and a thrill to be able to return here and see it, especially after missing last year. I very much hope to be back to Frederick and back to Cafe 611 in 2019.

I don’t mind telling you I rolled into the venue in time to catch the first band feeling like I’d had my ass kicked up and down 6th St. already — because I had, two days running — but the momentum of the final day of Maryland Doom Fest 2018 was as thick as the riffs and it was a pleasure to be shoved along to a riotous finish.

Happened like this:

Gateway to Hell

Gateway to Hell (Photo JJ Koczan)

Baltimore natives Gateway to Hell started a few minutes late, which unless I’m mistaken resulted in a shortening of their set. If so, all the more a bummer, because when they were done, I wanted more. They made their debut last year with the EP, Clovers (review here), and though I had a more metallic impression of them in my mind from that going into their set opening the last day of Maryland Doom Fest 2018, with an orchestra of effects there was an experimentalist psych edge to the guitar work of Alex Briscoe that blended with straight-ahead rhythms from bassist Eric Responsible (who wins the weekend as regards surnames) and drummer Dan Petrucelli, all of which gave frontman Jerrod Bronson ground to belt out lyrics over top. They had intense moments to be sure, but I wondered if their next release might bring more of that weirdo sensibility to bear in their sound. Fingers crossed. It worked really well on stage.

Bedowyn

Bedowyn (Photo JJ Koczan)

Comprised of vocalist/guitarist Alex Traboulsi, guitarist Mark Peters, newcomer bassist Channing Azure and drummer Marc Campbell, Raleigh, North Carolina’s Bedowyn were about as close as Doom Fest got to black metal this year, and well, it was pretty close. Bedowyn, who got their start in 2011 and have an EP and full-length under their collective belt, blend that genre with a handful of others — thrash, classic metal, heavy rock, and so on — to conjure an aggressive but still poised sound, and Traboulsi‘s vocals turned from screams to sort of cleaner shouts while Campbell‘s drums held together all the part changes and stylistic turns. They went on early, so got an extra five minutes to play and made the most of it as a standout coming from someplace different than just about everything on the bill, which, again, was packed the whole way through. Also, if I remember right, I was told Campbell played drums with two broken fingers, thereby earning immeasurable bonus points. So there’s that too.

Saints and Winos

Saints and Winos (Photo JJ Koczan)

I guess everyone was on the 4:15 doombus to Frederick, because all of a sudden I turned around and the room was was pretty full for Saints and Winos from Rochester, New York. Mixing clean and harsh vocals, they tipped hats to more extreme and sludgy sounds, but had their basis in heavy rock and roll and a somewhat classic style, with plenty of low end fuzz and metallic swing very much in the spirit of the weekend in those terms and as regards general ease of pace. Their debut album, the all-caps WE RISE, came out late last year and featured three-part harmonies from guitarist Joe Dellaquila, bassist Amanda Rampe and drummer J.B. Rodgers on songs like “Great Wall,” and there was some of that on stage as well but it didn’t quite come through the house P.A. with the same kind of balance. Hazards of being the third band on the bill with complex arrangements. They were engaging enough to make me dig into the record anyway, and while there’s room to grow in their sound, it was plain to hear that potential during their set.

Book of Wyrms

Book of Wyrms (Photo JJ Koczan)

Look, I don’t want to say classic doom will never die, because let’s face it: everything fucking dies. Someday the ocean is going rise up and eat us all about 30 seconds before the asteroid hits and splits the planet in two, only to be later consumed by the sun, also dying, so yeah. Classic doom will die, but it sure as shit ain’t dead yet. Book of Wyrms made an intriguing opening statement with 2017’s Sci-Fi/Fantasy (review here), which came out via respected tonal specialists Twin Earth Records. The lineup of vocalist/effects-bringer Sarah Moore Lindsey, guitarists Kyle Lewis and Ben Coudriet, bassist Jay Lindsey and drummer Chris DeHaven dug into traditional stoner-doom vibes that were, indeed, a pleasure to witness, and their potential was writ large over their time on stage in much the same fashion as on the record. I don’t know if it’s the balance of samples vs. riffs or doomed aspects and more heavy rock roll and melody in Lindsey‘s vocals, but there’s something waiting to be tapped in their sound that, if they get there, will make all the difference for them. As it was, they carried the room with ease.

Sierra

Sierra (Photo JJ Koczan)

What a way to start a tour. And what a tour to start. Canadian three-piece Sierra obviously enjoyed launching a run of shows as they did last year at Maryland Doom Fest 2017, because they were doing the same thing all over again. This time, they’ll be out supporting fest-headliners Weedeater, and as they’ve been a steady presence on the Tone Deaf Touring circuit the last several years — they’ll also be at de facto sister fest Descendants of Crom in Pittsburgh this September — they’re tight enough in their delivery to have a professional sheen. They’re a tricky band as well, because it’s easy to watch them and say, “Okay, heavy rock, fair enough,” but that’s not it. There’s more just under the surface. To say Rush is a lazy comparison based on the simple fact of their northern origins, but they’re more prog than they let on, and they work smoothly in tipping that balance back and forth between the straightforward and the more complex. Of course, that makes them more exciting to watch, since they’re neither purely clinical nor just another collective bearing riffs, but instead offer something more varied between the two. It was my first time seeing them, and they were better than I knew, making a highlight of “Rainbows End” before finishing out with a cover of Black Sabbath‘s “Into the Void.”

Curse the Son

Curse the Son (Photo JJ Koczan)

However, I knew damn well that Curse the Son were going to be incredible. Perfect band for the setting, great slot, a room that would just bounce their volume off the walls. Yeah, it was gonna work out. And it did. It’s been a little bit — more than I’d prefer, certainly — since I last saw the Hamden, Connecticut, trio, and in that time, they’ve released their third album, Isolator (review here), signed to Ripple Music and brought in drummer Robert Ives alongside bassist/backing vocalist Brandon Keefe and founding guitarist/vocalist Ron Vanacore, so yeah, it’s been reasonably busy. Another band Maryland Doom Fest 2018 is sharing with Descendants of Crom, they also appeared at this Spring’s inaugural New England Stoner and Doom Fest, and as Vanacore announced from the stage, they’re working toward a new album for early 2019. “Huzzah” would be putting it mildly. They were the first band all weekend for whom I removed my earplugs and let go a little bit to headbang and really take in. A lot of Maryland doom resides in a mid-paced groove. Curse the Son play slower and lower, and that nod was exactly what my weary soul needed. With Vanacore‘s tonal morass and vocals cutting through, older cuts like “Spider Stole the Weed” and “Goodbye Henry Anslinger” were familiar and welcome, and though he had some rather significant shoes to fill, the swing and intensity Ives brought to the drums was a dead-on fit. They don’t really tour, but still, theirs was one of my favorite sets of the whole weekend, and if you’re reading this and you ever get the chance to see them live, do it.

Backwoods Payback

Backwoods Payback (Photo JJ Koczan)

Under general circumstances, I’m not one to gush, but I tell you know lie, I went up to each member of Backwoods Payback individually — to guitarist/vocalist Mike Cummings, bassist Jessica Baker and drummer Erik Larson, each separately — and told them how incredible their new album, Future Slum, is. I don’t even know how many times the word “awesome” left my mouth, but needless to say it was an embarrassing number. The thing about it is, they just absolutely nailed it. Same could easily be said of their set at Maryland Doom Fest 2018. Playing new material and old after opening with “You Don’t Move” from their most recent outing, 2016’s Fire Not Reason (review here), they absolutely laid waste to Cafe 611. And it’s for the same reason: everything has clicked. The songs, the lineup, the performance, the presence — it’s all in the same place and they’re experienced enough and smart enough to throw it at the audience in just the right way. And the conviction from all three of them. Plenty of bands this weekend meant what they were doing. To be blunt, nobody was phoning it in. But with Backwoods Payback, it was another level entirely, and when Cummings jumped off the stage toward the end of the set and shared the mic with a couple kids in the crowd who knew the words, it felt like a moment that encapsulated the band’s capacity to hit hard and still translate that their conviction into a meaningful experience. I’ll have more to say about the new record and I’ve already made plans to see them again next month, but this one was a landmark not to be forgotten anytime soon.

Caustic Casanova

Caustic Casanova (Photo JJ Koczan)

I knew Caustic Casanova were underrated, and seeing them for the first time, I guess I was interested to find out if I could find a reason why. Their sound is certainly accessible enough; the Washington, D.C./Frederick trio play a style of heavy rock that in part feels drawn from ’90s college/art rock weirdoism and part drawn from a desire to mash that against sonic pummel and punker drive, but they’re also a thoughtful band. Each part has its purpose, and even in their delivery live, there was a sense of focus that pervaded what they were doing. It was fun to watch, definitely, but there was a strong intent there — nothing felt like an accident, however experimental it may have been in the composition. One knows they’re Melvins fans because they did a cover of “Cow” on their latest 7″, but their style has much more to it than just post-Buzzo riffing and tryhard avant gardeship so often resulting from that influence. And if Caustic Casanova are underrated, the reason is precisely because they’re not easy to pin down. They’re a dynamic, complex trio given to deft rhythmic turns and an indie aspect to complement/contrast their heavier elements, and they don’t fit into any single genre tag necessarily beyond the blanket “progressive heavy rock,” which is a pale descriptor for the actual depth of character in the music they make.

Duel

Duel (Photo JJ Koczan)

The rest of the night would be given to riotousness, and Duel were the start of that. Up from their home in Austin, Texas, this would mark the largest tour they’ve undertaken in the US, but they come into it with multiple European stints on their CV. Recently also announced for Heavy Mash 2018 in October (info here), their latest release is actually a live album called Live at the Electric Church (review here) that Heavy Psych Sounds put out as a complement to their two to-date studio LPs, 2016’s Fears of the Dead (review here) and 2017’s Witchbanger (review here), and from that, I thought I had a pretty decent idea what to expect. What took me by surprise, though, was the energy behind what they were doing. They’re classic heavy rock in their stylistic root, but rather than present it as some staid relic to be showcased like a museum piece under glass, they instead break that glass with their bare hands, smear the blood over their faces and proceed to capture the dangerous spirit that drove the earliest days of riffery in the first place. Actually, they do more than just capture it. They make it their own, so that this sound so often associated with the past becomes something inextricably forward thinking. I dug the records, so wasn’t surprised to be into the live show, but the sheer vitality of it was staggering. They made it a celebration.

The Midnight Ghost Train

The Midnight Ghost Train (Photo JJ Koczan)

Their last show. Heavy rock and roll loses one of its most potent live acts in The Midnight Ghost Train, who made Maryland Doom Fest 2018 the occasion for their final gig. Ever? Maybe. One has learned time and again never to say never in rock and roll, but the band made it known in April they were calling it quits, and this was their version of going out with a bang. Did you ever get to see The Midnight Ghost Train? It’s a question I can see myself asking in conversation for years to come — they are a litmus test for music and performance as a kinetic force, and a comparison point to which few will be able to live up. Founded by guitarist/vocalist Steve Moss and ending with longtime drummer Brandon Burghart (I don’t know what else he’s got going, but I can’t imagine any band not wanting him in its lineup) and relative newcomer bassist Tyler Harper (also of Capra), they were fury incarnate with a bittersweet underpinning. I’ve watched The Midnight Ghost Train shows for a decade, and I tell you with no reservation that they’re among the most powerful heavy rock bands I’ve ever seen. Moss transforms into a shuffle-blues madman, Burghart‘s swing is nigh-unmatchable, and Harper stood toe-to-toe with the guitar, which is saying something. They will be missed. But they went out as they always were — on fire — and I stayed up front the whole time and felt fortunate to be there to see it, as I think did everyone else in the room. They were a big part of what made the day so special. And even if they get back together at some point, years down the line or whatever, the impact of this night, this set, stands as a monument to who they were as a group and Moss‘ realized vision of heavy, funky, bluesy righteousness.

Weedeater

Weedeater (Photo JJ Koczan)

Well, if one band over the course of the three-day event was going to ignite a genuine mosh, it might as well be Weedeater, whose tonal dominance was evident from soundcheck onward despite “Dixie” Dave Collins breaking a string on his bass. Years of near-constant touring have given North Carolina’s Weedeater a reputation that well precedes them, and though it had been years since I last caught them, I knew the lumbering sludge that was about to unfold as soon as they hit into “God Luck and Good Speed” to open their set, with guitarist Dave Shepherd and drummer Carlos Denogean doing no shortage of the heavy lifting when it came to rolling out massive, lumbering nod. I’m too old for that slam-dancing shit, so I hightailed it from the front of the stage on the quick, but Weedeater left no question as to why they were headlining. What the hell else could possibly follow them? They’ve made a career on sounding unhinged, and even down to Denogean wailing away at his kit, they lived up to that, but they’re long since veterans, too, so they’re not just fucking around. They’re professionally fucking around. Good work if you can get it. The crowd knew the set the whole way through, and though Weedeater are coming up on due for a follow-up to 2015’s Goliathan (review here), which they’ve basically been on tour supporting since it came out, their command of the stage wasn’t something that just happened. It was whittled down from the years of grinding on the road they’ve done. Worth it? You’d have to ask them, but watching them play for the first time in a long-enough while, they looked like a band that made themselves headliners the hard way, and who have earned every accolade, every top slot, every laudatory hyperbole they’ve gotten. Like so much of the festival that led up to them, they were the right band, right time.

I saw and met a lot of really wonderful people this weekend who had absurdly nice things to say about this site and whatnot, from the Horseburner guys to hanging out with Mike from Backwoods Payback and Leanne Ridgeway from Riff Relevant, to seeing Paul-forever-to-be-known-as-MadJohnShaft and talking about the various European fests he hits, Dave Benzotti, Erik Larson, Earl Walker Lundy, Ron Vanacore, Deanne Firkin, Billy from Philly and the gents from The Age of Truth, Mark and Pete from ZED, Uncle Fezzy, Darren Waters, Dee Calhoun, Shy Kennedy, Pat Harrington, the dudes from Bailjack, Steve Moss, Melanie Streko, Lisa Hass, Chuck Dukeheart and the Foghound gang, Mat from Castle, Doomstress Alexis, Mark Schaff, Justin from Molasses Barge, Brenna from Lightning Born, on and on and on.

Thank you is my point. People say incredible stuff about this site, and I can’t ever really let myself hear it, but I’m happy if someone feels positively about a thing that happens here. Every now and then I do too. This weekend was one of those times. Thank you for reading and being a part of it.

It was five and a half hours north in the car when I let out of the Super 8 in Frederick to get to Connecticut, which is how this review ended up being later than I’d prefer, but so it goes. Before I end the post, I need to send a special thanks to The Patient Mrs., whose management and running point on The Pecan the last few days made this trip possible in the first place. That’s a hard job, even more for her than for me, and I owe her eternally for her efforts in allowing me to pursue crazy ideas like, “so I’m gonna go to Frederick for a weekend and hit Doom Fest you got the baby okay cool thanks.” It means more to me than I can say.

More pics after the jump. Thanks again all.

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Backwoods Payback Announce Aug. 3 Release for Future Slum

Posted in Whathaveyou on June 1st, 2018 by JJ Koczan

backwoods payback

New Backwoods Payback arrives on a relatively quick turnaround. This is unmistakably good news, as it means all that, “We feel better as a band than we’ve ever felt” stuff wasn’t just riding a cool moment, but actually something that has fed into the creative process. Since founding duo Mike Cummings (guitar/vocals) and Jessica Baker (bass) joined up with Erik Larson (drums; ex-Alabama Thunderpussy, etc.), they’ve seem recharged. You could hear it on late-2016’s Fire Not Reason (review here), and I’m not saying that I’ve already listened to it or anything, but their new one, Future Slum, is only a step forward from where they left off a year and a half ago.

For a bonus to the good news, they’ve got live shows coming up, including Maryland Doom Fest 2018, so dig the album art and posters below, then find more from the PR wire, a special quote Cummings sent over about the record, and a teaser clip.

All goes like this:

backwoods payback future slum

Backwoods Payback – Future Slum

Future Slum is not a pretty record. It’s not the clean and well-manicured one sitting awkwardly at a table in the local watering hole, it’s the grizzled one propping up the bar and regaling the crowd with conspiracy theories. Mike Cummings, guitarist and vocalist of Backwoods Payback – the ones responsible for this lumbering hulk of stoner rock n’ roll – certainly fits the bill, whether he’s yowling his head off or singing in an eerily hypnotic manner. Meanwhile, Jessica Baker is the reliable anchor on bass, and Erik Larson (he of Alabama Thunderpussy and the legendary hardcore band Avail, no less) gives a thumping performance on his kit. A friend pops her head round the door too – Mlny Parsonz of Royal Thunder trades words in her usual melodious tones on the apathetic ‘Whatever’, yet also pulling out a surprising rasp.

Backwoods Payback are also able to spin a good yarn about their travels – sharing stages with Fu Manchu, Scissorfight and Third Eye Blind, a bewildering list when put side-by-side, but each represents an important factor in this band’s aesthetic. Fu Manchu demonstrate the “gloryfucked fuzz”, as Backwoods Payback so eloquently put it; Scissorfight showcase the no-holds-barred burly brawling such as on “Generals”; Third Eye Blind for the occasional moments of calm (!) like in “Big Enough”, giving brief respite from the warning shots being fired throughout the rest of the records.

Five albums in, Future Slum is the fruit of a hard slog for fifteen years. Understandably, they are excited for it to see the light of day, not least for its cryptic subject matter. “It all revolves around the idea of feeling lost and disenfranchised with your surroundings, finding your people, and losing yourself within them. Have you ever followed?” Mike finishes, quoting from second track “Lines”. It’s up to you if you can read between them.

Mike Cummings on Future Slum:

We went into the studio (back to Noisy Little Critter, where we have done everything since “in the ditch”) immediately following our Jan tour with Royal Thunder and laid down the record. We had been working on the songs for the few months leading up to that tour and it came together very fast. This definitely feels like the next step in the evolution of the band since Erik joined. The three piece thing has really streamlined the writing process and kind of taken us to a whole new place. I’m not quite sure where we fit into the landscape anymore, but we are making ourselves at home in this little valley we are carving out. We are stoked to be hitting the road again and getting back on the horse. See you out there with some new jams, some new gear, some new ideas, and our old hearts.

BACKWOODS PAYBACK:
Jessica Baker – Bass
Mike Cummings – Guitar/vocals
Erik Larson – Drums

https://www.facebook.com/backwoodspayback/
https://backwoodspayback.bandcamp.com/

Backwoods Payback, Future Slum teaser

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Backwoods Payback Announce January Tour Supporting Royal Thunder

Posted in Whathaveyou on November 3rd, 2017 by JJ Koczan

As they continue to support late-2016’s Fire Not Reason (review here), Pennsylvania-based trio Backwoods Payback will hit the road for 11 shows alongside Royal Thunder this coming January. Most of the gigs are in the Southeast, but the tour starts out in Philly and hits Brooklyn before dipping back down the Eastern Seaboard to hit Virginia, Tennessee, Missouri and so on, and in addition to Royal Thunder and Backwoods Payback, the first four nights of the stint are set to feature Heavy Temple as well, which only bolsters the bill as far as I’m concerned.

I was lucky enough to see guitarist/vocalist Mike Cummings, bassist Jessica Baker and drummer Erik Larson perform earlier this year at Roadburn 2017 (review here) as part of their European tour with New Hampshire riffwreckers Scissorfight, and of the many times I’ve been fortunate to see them play, I can’t recall one where they sounded so completely on-all-cylinders. The material on Fire Not Reason is a joy of heavy rock combined with raw hardcore, metal and other elements, and their presentation has never been so tight. Am I telling you outright it’s worth showing up to see them play? Yes, yes I am.

They announced the tour thusly:

royal thunder backwoods payback poster

Greetings from the other side of Halloween!

Lots about to be happening in the Backwoods Payback camp. We are hitting the road this coming Jan 2018 for a run of shows supporting ROYAL THUNDER! Heavy Temple will be jamming the first four shows with us as well.

1/18 – Philadelphia PA, Kung Fu Necktie
1/19 – Brooklyn NY, St Vitus
1/20 – Lancaster PA, Lizard Lounge
1/21 – Richmond VA, Strange Matter
1/22 – Charlotte NC, The Milestone
1/23 – Johnston City TN, The Hideaway
1/24 – Nashville TN, The End
1/25 – Jackson MS, CS’S
1/27 – Birmingham AL, The Nick
1/28 – Atlanta GA, The Earl
1/29 – Raleigh NC, Slims (just Backwoods Payback)

We were also just announced as a part of the Maryland Doom Fest taking place June 22/23/24 2018 in Frederick MD alongside some old friends in The Obsessed, Windhand, Weedeater, Lightning Born, Caustic Casanova and a TON more!

Some cool stuff should be hitting the digital shelves before the end of the year too…keep your eyes peeled

See you on the road,

bp

BACKWOODS PAYBACK:
Jessica Baker – Bass
Mike Cummings – Guitar/vocals
Erik Larson – Drums

https://www.facebook.com/backwoodspayback/
https://backwoodspayback.bandcamp.com/

Backwoods Payback, “You Don’t Move” official video

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Maryland Doom Fest 2018 Announces Full Lineup with The Obsessed, Windhand, Weedeater, Earthride and Many More

Posted in Whathaveyou on November 1st, 2017 by JJ Koczan

Invariably there will be some change between now and next June, and there’s the tradition of the pre-show to consider the night before, but right out of the gate, Maryland Doom Fest 2018 impresses with its scope of heavy rock and doom, cross-country reach and loyalty to its core mission. With The Obsessed, Windhand and Weedeater set to headline, the fourth edition of the fest curated by JB Matson and Mark Cruikshank will welcome return appearances from the likes of Castle, Earthride, Thousand Vision Mist and Foghound, while reaching out to bring first-timers from afar like Texas’ Doomstress and Duel and Switchblade Jesus, Kansas rockers The Midnight Ghost Train, Connecticut’s Curse the Son, New York’s Geezer, and — I believe traveling the farthest — Disenchanter, from Portland, Oregon.

It’s a killer assemblage, and I think the three headliners do a lot in summarizing the whole idea behind the fest in the first place: The Obsessed are among the founders of what we think of as “Maryland doom.” Windhand are the forerunners of the modern scene. And Weedeater bring a riotous sludge party like no one else on the planet. What more could you possibly ask of three bands in terms of expressing what Maryland Doom Fest 2018 is all about?

I’ll have updates as I see them, but in the meantime, mark your calendars for June 22, 23, and 24 at Cafe 611 in Frederick, MD, and I’ll do the same, because this looks absolutely awesome.

Dig it:

maryland doom fest 2018 poster

Maryand Doom Fest 2018

A 3 day weekend of Doom in its purest form.

June 22, 23, and 24

Cafe 611 Restaurant
611 North Market Street
Frederick, MD 21701

Full lineup:
The Obsessed, Windhand, Weedeater, Castle, Unorthodox, Duel, The Watchers, Zed, Switchblade Jesus, The Midnight Ghost Train, Lightning Born, Earthride, Geezer, Disenchanter, Bedowyn, Cavern, Doomstress, Caustic Casanova, Hawkeyes, Curse the Son, Las Cruces, Horseburner, Shadow Witch, Foghound, Witchhelm, Book of Wyrms, Thousand Vision Mist, Molasses Barge, Backwoods Payback, Bailjack, Electropathic, Gateway to Hell

https://www.eventbrite.com/e/the-maryland-doom-fest-2018-tickets-39468562533
https://www.facebook.com/MdDoomFest/
https://www.themarylanddoomfest.com/

The Obsessed, Live at Maryland Doom Fest 2016

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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.

Read more »

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Desertfest London 2017: Individual Day Schedules Announced

Posted in Whathaveyou on January 30th, 2017 by JJ Koczan

I have no problem admitting to feeling overwhelmed looking at the full lineup and individual day splits for Desertfest London 2017. I mean, seriously. Look at that poster. What a way to spend a weekend.

Likewise, I have few grand reflections to offer in light of that overwhelming feeling, except perhaps to take a step back and be massively impressed at how much this event has grown in just six incarnations. Along with Desertfest Berlin, the London edition has become an anchor not only for the UK heavy rock underground — which is well represented here as ever in Elephant TreeBlack SpidersStubbVodunPigs Pigs Pigs Pigs Pigs Pigs PigsTerminal CheesecakeChubby Thunderous Bad Kush MastersMammoth Weed Wizard Bastard, and so on — but for bands from abroad as well. You’ll note the three headliners: two American, one Norwegian, and the next line down on the poster is two Swedish, one American. Desertfest London 2017’s reach feels wider than ever. Staring at the final lineup, it’s clear just how much of a big fucking deal this festival has become.

Wish I could be there to see it.

Here’s the announcement of the individual day lineups from their website:

desertfest london 2017

DESERTFEST 2017 DAY SPLITS AND DAY TICKETS ARE HERE!

Finally, the Desertfest 2017 day and stage splits are here, along with individual day tickets. It’s the point of the year where you can start planning the weekend, you can imagine the sets in your head and you can curse those god damned clashes.

Last things first, let’s get straight to that insane Sunday main-stage. To celebrate The Roundhouse joining the Desertfest family, we made their debut appearance something special. Not only will stoner doom icons Sleep be topping the bill, but the Roundhouse hosts a full bill of huge acts. Candlemass, with over three decades of underground acclaim to their name, bring the epic doom metal. USA’s Wolves in the Throne Room bring the atmospheric black metal. Traditional doom metal stalwarts Saint Vitus bring the classic riffs. And how about this for a ‘curtain jerker’? Bongzilla bring the raw weed metal for their second show of the weekend; more on the first later.

It’s not just about the Sunday though. Friday’s stage at the Electric Ballroom is headlined by returning heroes Slo Burn whose short run in the mid 90s furthered the then fledgling stoner rock scene. One band they surely had an impact on is Lowrider, who play Europe’s finest stoner rock alongside them. Ukraine’s Stoned Jesus celebrate their resonant album Seven Thunders Roar, and 1000Mods and Pontiak round up the main stage on the Friday.

The Electric Ballroom on Saturday will be swarming with Turbojugends as death-punk grandmasters Turbonegro turn Camden into party central. John Garcia sticks around for a solo show, sure to feature classics from his years of nonstop mastery in the stoner rock scene. Sheffield’s rock and roll five piece Black Spiders visit London for one last time on their farewell tour, with Satan’s Satyrs and Avon rounding up the main stage.

As ever though, it doesn’t stop at the main stages. Our regular partners have delivered three stages with diverse lineups. Human_Disease_Promo and When Planets Collide take over The Underworld on Saturday in a bill headlined by Bongzilla with a special set celebrating the band’s early work. The Quietus stage is led by synth wavers Zombi, and Nightshift Promotions bring an eclectic mix led by Hungary’s Apey & the Pea. To be honest, just stick a pin in the lineup poster and you’re guaranteed a good time.

For those who can’t make the full weekend, we have a limited number of individual day tickets. Priced at £40 for Friday tickets, £40 for Saturday tickets and £45 for Sunday tickets, links are below.

So there we have it. Our final lineup for Desertfest 2017. We hope you’re as excited as we are to get back to Camden this April and riff London to the ground.

DESERTFEST LONDON 2017 Final Lineup:
SLEEP
SLO BURN
TURBONEGRO
CANDLEMASS
WOLVES IN THE THRONE ROOM
SAINT VITUS
JOHN GARCIA BAND
BONGZILLA
LOWRIDER
SCISSORFIGHT
BLACK SPIDERS
SAMSARA BLUES EXPERIMENT
THE PICTUREBOOKS
STONED JESUS
SATAN’S SATYRS
INTER ARMA
WEAR YOUR WOUNDS
1000MODS
STEAK
AVON
DEATH ALLEY
DEAD LORD
BOSS KELOID
PONTIAK
YURI GAGARIN
HARK
VODUN
CHRON GOBLIN
PIGS PIGS PIGS PIGS PIGS PIGS PIGS
THE WELL
MAMMOTH STORM
CELESTE
STUBB
MONOLITHIAN
WUCAN
VENOMOUS MAXIMUS
BRUME
APEY & THE PEA
ELEPHANT TREE
GRAVE LINES
IRON WITCH
EARTH SHIP
BACKWOODS PAYBACK
WIZARD FIGHT
BRULE
CLOSET DISCO QUEEN
GRAND MAMMOTH
CHUBBY THUNDEROUS BAD KUSH MASTERS
MAMMOTH WEED WIZARD BASTARD
SAMAVAYO
WELCOME BACK DELTA
DEAD LETTUCE
MONSTERTONE
LEDFOOT
ZOMBI
TERMINAL CHEESECAKE
KHÜNNT
BASK
BRUXA MARIA

http://www.desertfest.co.uk/#tickets-section
https://www.eventbrite.co.uk/e/desertfest-2017-tickets-27305267791
http://www.desertfest.co.uk/
https://www.facebook.com/DesertfestLondon
https://twitter.com/DesertFest
https://www.instagram.com/desertfest_london/

Dead Lettuce, Booze and Blues EP (2015)

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Backwoods Payback, Fire Not Reason: Evening Odds (Plus Video Premiere)

Posted in Reviews on December 1st, 2016 by JJ Koczan

backwoods-payback-fire-not-reason

[Click play above to check out the premiere of Backwoods Payback’s video for ‘You Don’t Move,’ directed by 51 Deep. The band’s new album, Fire Not Reason, is out tomorrow, Dec. 2.]

From the opening strains of its leadoff track, it’s clear Pennsylvania’s Backwoods Payback have made the choice the title of their third album presents: Fire Not Reason. With a screaming beginning, post-hardcore lead work in the guitar and an underpinning of heavy riffing that somehow ties it together, “Elephants” stomps out more of a genre span in its quickly executed three minutes than some bands do in their career, yet like much of what follows on the self-released outing, it wastes nothing.

It’s been five years since Backwoods Payback released their second album, Momantha (review here), and while they’ve released a 2012 live outing (discussed here) and the 2014 In the Ditch EP (review here) in the interim, the nine-song/30-minute Fire Not Reason hits with all the intensity of the passing half-decade, forming its crux around a brutal honesty of emotion and songcraft that’s neither apologetic nor ironic in the slightest. For founding guitarist/vocalist Mike Cummings and bassist Jessica Baker, it is a realization of the human core that has always gone unnamed as the central appeal of the band: here metal, here punk, here grunge, here heavy rock, but most of all itself in a way that strikes as wholly without pretense. Intimidatingly without pretense.

Not that it’s in-your-face in some cliché metal dudeliness or aggro fashion. Certainly there are aggressive moments, as on “Elephants” or the black ‘n’ roll midsection of “Dirge” (video premiere here), which elsewhere provides one of the album’s landmark hooks — and if you told me second cut “You Don’t Move” was written with the intent of being a pro wrestling theme, I’d believe it — but throughout, Backwoods Payback keep emotional rawness so central to their mission that it comes to be the defining facet of their approach. Fire Not Reason finds further distinction in Cummings and Baker having added drummer Erik Larson to the fold. Known for handling guitar and/or vocals to one degree or another in outfits like Alabama ThunderpussyThe Might CouldHail!HornetBirds of Prey and so on, in addition to his solo work, Larson also drummed in Richmond, Virginia-based punkers Avail, and so is no stranger to the stylistic turns that Backwoods Payback make within these songs.

backwoods-payback-photos-by-james-jay-fortin

Rather, he’s right at home in this trio incarnation of the band, and does much to bolster both the start-stop chugging of “You Don’t Move” and the more languid rollout of the later “That Dream Again.” While “Elephants” launches Fire Not Reason at an all-go, all-in melding of styles and drive, songs like “Don’t Try” and the somewhat faster centerpiece “Tuxedo” seem more like signature Backwoods Payback, as much as their sound permits anything to be. Informed by grunge and heavy and Southern rock, they make something that acknowledges all of them and isn’t necessarily shooting to emulate — perhaps less here than ever — but even when “Tuxedo” breaks at its halfway point to build back up to its full-thrust finish, they’re very much in their element if not necessarily their “comfort zone” in the sense of coming across lazy or haphazard in their approach.

Cummings, who has a couple solo acoustic releases to his credit at this point, takes center position for “Even Odds,” which transitions directly from “Tuxedo” before it and provides a sub-three-minute breather that also gives a side-B-style expansion to the sonic palette with which the album as a whole works. It is a long way from “Elephants” or even the slick groove of “Dirge” earlier, and it changes the context of the opening strums of the subsequent “That Dream Again,” which soon enough opens a heavy blues roll with a spaciousness that calls to mind a more on-the-beat All Them Witches in its first half before solidifying around a more forward motion and, as it nears its finish, a lumbering stomp made all the more palpable by Larson‘s crash. The penultimate “Snakes” is more immediately about swing, but its thickened fuzz moves smoothly into and through an upbeat hook before dropping out to give the drums a short standalone section where they’re soon joined by lead guitar and Baker‘s bass, which feels more tonally present in the last stretch perhaps because of the distinction of its kicking in on its own as the final piece to make Backwoods Payback‘s push complete.

It does that, and like much before it, “Snakes” ends efficiently and cleanly, with no frills or veering from its central intent, stopping short to let the nodding “California Lean” close out with one more three-minute affirmation of the truth in songwriting that’s been at the root of Fire Not Reason all along. It might fit in that same category as “Don’t Try” and “Tuxedo” in terms of how its nestles into Backwoods Payback‘s bottom-line aesthetic, as opposed to the branching out in cuts like “Elephants,” “Dirge,” “Even Odds” or even “You Don’t Move,” but “California Lean” also underscores the urgency with which the trio have brought this material to life, and as much as Cummings‘ vocals — willfully strained at times — or his or Baker‘s tones, or Larson‘s drums, or the general rawness of it, it’s that urgency tying Fire Not Reason together. Half a decade later, this is clearly a story the band needed to tell.

Backwoods Payback on Thee Facebooks

Backwoods Payback on Bandcamp

51 Deep website

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Roadburn 2017: My Dying Bride, Scissorfight, Backwoods Payback, Come to Grief and More Added

Posted in Whathaveyou on November 15th, 2016 by JJ Koczan

Roadburn 2017 banner

Roadburn 2017 adds 26 new bands to its lineup. Let me spell that out: TWENTY-SIX. And from My Dying Bride to Sumac to Scissorfight to Memoriam to Valborg, it’s precisely the kind of all-things-to-all-people mix that one has come to expect from the annual April festival, promising an experience like no other in John Dyer Baizley‘s curated event, as well as sets from the likes of Gong and Backwoods Payback and Suma and Unearthly Trance, the latter two who were former US tourmates once upon a time and will reunite in Tilburg this coming Spring. Blown away by how huge this event has become, and how every year it just seems to keep growing and moving forward. Sit back and look at the poster below for today’s adds. It’s astounding.

Tickets on sale now. From the PR wire:

roadburn-2017-new-adds-my-dying-bride

Twenty six new bands added to the Roadburn 2017 line up

My Dying Bride will take to the Roadburn stage for the first time
David Tibet and Youth will perform as Hypnopaz?zu
Wolves In The Throne Room return from hibernation
Memoriam breathe new life into death metal
Wear Your Wounds show a different side to Jacob Bannon as part of John Dyer Baizley’s curation
Carpenter Brut take synthwave to new and exciting places
Those Poor Bastards conjure up the image of two undead holy preachers
….and more

MY DYING BRIDE:
My Dying Bride have been confirmed to make their Roadburn Festival debut at the 2017 edition of the festival. As one of the leading lights of metal during the 90s, where they helped to further define what doom metal really was and where it could still go, this West Yorkshire bunch earned a place in metal history. They’ve done it all and somehow have managed to remain fresh and inventive.

The influential British doom band will perform a suitably mournful doom-filled set on Saturday, 22 April, 2017 at the 013 venue.
Read more about My Dying Bride here.

HYPNOPAZ?ZU:
It’s PixieTime

Girls and Boys—

For our HypnoPickNick

Bring Moons and Toys!

We are thrilled to announce that Hypnopaz?zu (David Tibet of Current 93 and Youth of Killing Joke) will perform at Roadburn Festival 2017, alongside Ulver, on Sunday, April 23 at the 013 venue, Tilburg, The Netherlands. Their album, Create Christ, Sailor Boy, ranks among our albums of the year at Roadburn HQ, and we cannot wait to witness it brought to life on stage at Roadburn 2017.

WOLVES IN THE THRONE ROOM:

Wolves In The Throne Room will be returning to Europe for the first time since 2012, and since they announced their subsequent hiatus. The band will steer away from the ambient and ethereal landscapes they created on their 2014 album Celestite, instead setting their sights on the more raw and earthy sounds from earlier in their back catalogue. Whatever choice cuts they select to serve up, the set is sure to be a masterclass in atmospheric black metal from one of the most important bands to leave their mark on the genre in recent years.

Wolves In The Throne Room will play at Roadburn Festival 2017 on Thursday, April 20, at the 013 venue, Tilburg, The Netherlands.

MEMORIAM:

Bolt Thrower’s Karl Willetts started Memoriam as “a celebration of life through death metal”, and the results are exactly as one might expect. Having recruited Benediction bassist, Frank Healy, former Bolt Thrower drummer, Andy Whale, plus guitarist Scott Fairfax, Memoriam are clearly on an old school, death metal mission.

Willetts commented: “Memoriam are pleased to announce that they will be playing at the acclaimed Roadburn festival in 2017.

“We have seen this festival grow over the years and for us to be among the illustrious selection of bands playing this year is an honour!!! With our debut album to be released sometime early 2017 Roadburn will give us the opportunity to showcase our new material. Memoriam will unleash its devastating weaponry upon Roadburn 2017 and provide a true celebration of life through old school death metal.”

Follow Memoriam onward into battle on Saturday, 22 April when they play at the 013 venue, Tilburg, The Netherlands.

WEAR YOUR WOUNDS:

Wear Your Wounds – Converge vocalist Jacob Bannon’s intensely personal project – is an outlet he has been quietly feeding over the years, a repository for his lo-fi solo recordings that will now finally see the light. Scheduled for April 7th, just a couple of weeks before Roadburn, Wear Your Wounds’ first self-titled full length has us sitting on our hands with excitement.

John Dyer Baizley comments:
“I’ve never seen them perform (who has, really?) so it goes without saying that I will be front and center for this moment. The lineup for Wear Your Wounds will include the following, in addition to Jake Bannon himself: Chris Maggio (Sleigh Bells, Trap Them, Coliseum), Mike Mckenzie (The Red Chord, Stomach Earth, Unraveller) Adam McGrath (Cave In, Zozobra, Nomad Stones), and Sean Martin (Hatebreed, Twitching Tongues, Kid Cudi, Cage). Don’t let that list fool you, THIS IS NOT A SUPERGROUP, but its hard to deny the talent and power within those musicians and collaborators. Please don’t miss the opportunity to witness their first-ever performance.”

CARPENTER BRUT:

Carpenter Brut take the essence of metal that you like, the parts of techno that you used to like and the atmospheric film music of Carpenter/Argento/Goblin that you love, to create a heady, melodic and intense genre. This French outfit is taking the synthwave to new and exciting places.

Carpenter Brut play on Saturday, 22 April at the 013 venue, Tilburg.

THOSE POOR BASTARDS:

Sounding like two undead holiness preachers, crawling out of an abandoned Mississippi graveyard consumed by the foul bog and delivering their message of the endtimes, Those Poor Bastards will hover around the next edition of Roadburn determined to convince you that your eternal soul is already damned beyond redemption.

With the devil on their trail and the graveyard constantly looming ahead, Those Poor Bastards will ruin Het Patronaat when they play their ghoulish songs on Thursday, 20 April at Roadburn 2017 in Tilburg, The Netherlands.

ALSO CONFIRMED:

(DOLCH) lined up to shapeshift and mystify
ASH BORER deliver innovative Cascadian black metal to the Roadburn masses
BACKWOODS PAYBACK deliver honest expressions of heartfelt, heavy rock and roll
CASUAL NUN to deliver downright heavy psych
COME TO GRIEF will pay homage to Grief’s legacy
EMMA RUTH RUNDLE will perform a set thick with emotion and densely packed with honesty
ESBEN AND THE WITCH promise to delight with atmospheric, apocalyptic rock
FANGE make their debut with heaps of D-Beat and amplifier worship
GONG will lead us into psych rock sonic anarchy
NO SPILL BLOOD to demonstrate a fusion of muscular, sludgy punk energy and swirling synthesiser noise as part of John Dyer Baizley’s curated event.
OXBOW will release their next album, Thin Black Duke, shortly ahead of their Roadburn performance
SCISSORFIGHT promise to “unleash some New Hampshire backwoods debauchery”
SUMA bring their abrasive doom from Sweden
SUMAC sees the return of Aaron Turner to Roadburn with his denser-than-a-black-hole outfit
UNEARTHLY TRANCE set to combine the nihilism and confrontational approach of real sludge, both in lyrics and in actual musical delivery
VALBORG return to deliver another dose of their bleakly elegant presence.
VANUM will set Roadburn ablaze with a blend of icy melody and blackened atmospheric majesty
WOLVENNEST will churn up some utterly hypnotic, sonik soundscapery
YOUTH CODE show off their aggressive and expansive modern take on the EBM sounds of the 80s as part of John Dyer Baizley’s curated event.

Artists already announced for Roadburn 2017 include Coven, Warning (playing Watching from a Distance in full), Artists in Residence – GNOD, Mysticum, Oranssi Pazuzu, Deafheaven, Chelsea Wolfe, and our 2017 curator, John Baizley who will perform with Baroness, plus many more. Roadburn Festival will take place 20-23 April, 2017 at the 013 venue, Tilburg, The Netherlands.

Tickets are on sale for Roadburn 2017 and can be purchased from this link.
4 day – 195 Euro
3 day (Thu, Fri, Sat) – 172 Euro
Single day ticket, Sunday only – 54 Euro

Thursday, Friday and Saturday single day tickets will be on sale at a later date.

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

Scissorfight, Chaos County (2016)

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