Posted in Whathaveyou on December 10th, 2013 by H.P. Taskmaster
Desertfest continues to take shape in London as the 2014 lineup grows. Yesterday, Blues Pills joined the lineup, and today it’s The Midnight Ghost Train, who presumably will accompany their performance by no less than 18 straight months on the road, since that’s how they do. They join a varied assemblage of acts that ranges from The Body to Spirit Caravan, so I think it’s safe to say that the 2014 installment will be the most sonically diverse yet.
The following announcements were swiped from the Desertfest website and the copy comes courtesy of Cat Jones. Dig:
DesertFest 2014 Take the Blues Pills
Blues Pills are the ultimate example of the return of pure, unadulterated blues in the modern age.
Elin Larsson, Cory Berry, Zack Anderson and Dorian Sorriaux come from three different sections of the globe: Sweden, America and France, and were drawn together over shared talent and the magic that comes along with playing the blues from the heart.
With Elin’s voice sounding like an even more powerful Grace Slick, Stevie Nicks and Janis Joplin combined mixed with warm, retro tones and knock-you-on-your-back guitar solos, Blues Pills’ new EP ‘Devil Man’ sounds akin to an amped-up Jimi Hendrix or Cream. You could even say it’s what Graveyard might sound like if they had a pair of ear-blasting female lungs at the helm. Either way, this is exactly what we need in order to keep resurrecting the heart of rock ‘n’ roll; which is, after all, what DesertFest is all about.
The Midnight Ghost Train’s wheels to screech at DesertFest 2014
Once upon a time, at the height of Tom Waits’ career, he grew weary of touring and decided to regain his strength for a bit by disappearing into the dry, tornado-ridden southern plains of the States where the women are kind and the whiskey runs rampant like a flood.
As he stumbled home on a particularly overindulgent night, he befriended a band of smiling, bearded ruffians who handed him a copy of Kyuss’ ‘Blues For The Red Sun’ plus an ounce of their finest weed and said, “Take this and call us in the morning.” Needless to say, Waits was floored by the heavy grooves and vowed to devote his life to heavy rock ‘n’ roll. And that, boys and girls, is how The Midnight Ghost Train came into existence.
Clearly none of the aforementioned is true, but with the tunes on the Topeka, Kansas natives’ new EP ‘Buffalo’ as simultaneously gravelly, heavy, bluesy and downright dirty as they are, it all might as well be. Plus, ‘Buffalo’ is a definite contender for “sexiest cover art of 2013”. And after a successful stint of European touring under their belts already this year, we have no doubt these guys will fit in perfectly at DesertFest 2014.
Posted in audiObelisk on May 7th, 2013 by H.P. Taskmaster
It’s always a special time of year when the audio streams start coming out, and the output from Roadburn 2013 is no less stellar than ever. Whether or not you were able to make it to the legendary festival at the 013 venue and Het Patronaat in Tilburg, the Netherlands, their ability to capture the audio performances and the rate with which those performances are released is either a great way to relive a special weekend, discover something you may have missed, or just check out some killer bootleg-type material you can’t get anywhere else.
As ever, thanks to Walter Roadburn for sending over the streams for me to host and to Marcel van de Vondervoort and his crew for capturing Roadburn 2013 for posterity so that future generations can know how much ass their forebears kicked in their day. Or so I can put the stuff on this afternoon and rock out at the office. Either way. Maybe a bit of both.
This first batch includes Ash Borer, Black Bombaim, Blues Pills, Endless Boogie, Golden Void, Satan’s Satyrs (who played twice) and Teeth of the Sea. Enjoy:
Roadburn 2013 was an extravaganza of great bands from Alcest to Zodiac. Sometimes, trying to decide between shows (or get into the Green Room or Het Patronaat) was as hellish as anything screened during the Electric Acid Orgy Grindhouse Cinema. And if you couldn’t make it at all, well…
Have no fear, the 2013 audio streams are here! Thanks to the dedicated efforts of Marcel van de Vondervoort (Torture Garden Studio) and the team from VPRO 3voor12, which is the best cultural media network in the Netherlands, you can listen to the Roadburn 2013 shows you either missed or want to relive.
Tune in and ‘burn on!
Ash Borer – Roadburn 2013
Black Bombaim – Roadburn 2013
Blues Pills – Roadburn 2013
Teeth of the Sea – Roadburn 2013
Satan’s Satyrs – Live at Roadburn 2013 (Friday, April 19th)
Posted in Features on April 18th, 2013 by H.P. Taskmaster
04.19.13 — 00.17 — Friday morning — Hotel Mercure, Tilburg
I was early to the Green Room, which is the middle-sized space at the 013. The first band on for Roadburn 2013 would be Black Bombaim, and if you’ve been here before, you know the crowds are serious and that if you’re not careful, you can wind up watching an act through an open doorway — which also happened to me more than once throughout the course of the evening. Plenty on time to see Black Bombaim, though, and no regrets for taking the head-first dive into jamming European heavy psychedelia, instrumental meandering to the cosmos. Man, all of a sudden it was a hell of an afternoon.
They were, as was somewhat expected, blissed right out, all-natural, all-jam, immediate swirl. The day had other starts on other stages, but for me, this was what it was about. I was stocked to watch them after digging last year’s Titansand 2010′s Saturdays and Space Travels(review here), and Tojo‘s bass tone served as an immediate reminder of why I can’t get enough of this kind of thing. Warm, grooving and perfectly suited to the band’s extended wandering progressions, I couldn’t have asked for more than I got as a way to kick off this year’s Roadburn. Watching guitarist Ricardo signal changes to drummer Senra, the whole thing had a very organic, very spontaneous vibe, and that’s just what you want. The first song was a little rough, but after that, they settled into a solid groove and stayed there.
Today was a fair amount of running around — less than some, more than others. Pallbearer were on the Main Stage shortly, and after the heavy dose of salivating they got in the US last time I saw them in New York with Enslaved (whose own Grutle Kjellson was kicking around here at some point today, seemingly just to hang out and why not?), I was curious to see how the Euro crowd would respond. Answer: Much the same. I knew what to expect in terms of performance, as it wasn’t that long since I last saw the band, but they still didn’t disappoint, and thinking about it in hindsight after seeing them on this stage, which is sizable to say the least, they were cramped at Bowery Ballroom. Tonally and in terms of presence, they more than held their own as a main stage act, which for only having one record out is all the more exciting.
Most of what they played I recognized from that record, early 2012′s Sorrow and Extinction(review here), and seeing them again, it was easier to get a sense of the four-piece’s live dynamic, Brett Campbell holding down the drama on guitar and vocals while bassist Joseph D. Rowland and guitarist Devin Holt bang their heads like they’re trying to get them to come off on the other side of the stage, and behind, drummer Mark Lierly steadily holding songs together and adapting fluidly to what would otherwise be stark tempo changes. The contrast of Rowland and Holt to Campbell is striking, but it makes Pallbearer a richer experience to watch. They’ve certainly had no shortage of hype around them since cropping up, but whatever else you might say about them and however loudly or emphatically you might say it, they’re well on their way to becoming a really great live act. Hopefully they continue to tour and carve out their sound and chemistry on the road.
Now, at every Roadburn, you’re going to see some things that you’ve never seen before and you’ll probably never see again. And even the stuff you have seen before — like tonight’s headliners, Primordial, for example, who came though NYC years back on the first Paganfest — is special here. Bands play better, play different material, and for an American coming over, it’s a chance to see European acts who probably aren’t going to be touring the States anytime soon. I say this so you understand why I left Pallbearer to go back and watch more of Black Bombaim. Since there’s so much going on at every fest, sometimes you have to make hard choices, and I almost always try to lean toward that which I’m less likely to run into later on or that which I’ve never seen before.
However, the Green Room was full to capacity and then some, so I wound up standing in the hallway in a cluster of people to watch for a couple minutes and then hit up the merch area across the way. I’d figured on picking up some discs and was pleased to find a host of Nasoni stuff again at the Exile on Mainstream table, including Johnson Noise and Vibravoid, as well as Burning World Records discs from The Angelic Process and Slomatics. Later on, I’d roll back through and grab more CDs from Svart and finally get a copy of The Midnight Ghost Train‘s Buffalo(review here) on CD. It wasn’t long though before I had to be back at the Main Stage for the start of Penance. Vocalist Lee Smith prefaced their set by saying it was the first time they’d played together since 1993, which math tells me was 20 years ago.
Don’t get me wrong, I like Butch Balich-era Penance a lot. I thought Spiritualnatural was a killer record and Proving Groundstill kicks my ass on occasion, but 1994′s Parallel Corners, with the lineup of Smith on vocals, guitarist Terry Weston, bassist Rich Freund and drummer Mike Smail has to be their high-point. The Pittsburgh natives resided at exactly the juncture where doom becomes metal, and with a riffy looseness and ultra-straightforward Sabbath-loving ethic, cuts like “Crosses” and “Words Not Deeds” brought out more than a fair share of righteous grooves. Both of those were standouts of their set — “Crosses” I took as a personal favor though I’m sure it wasn’t one — though long breaks between songs and surprisingly quiet banter from Smith seemed to undercut the momentum their riffs were building when they were actually playing, so it was hard for them to get on a roll.
No-frills trad doom, Penance nonetheless got their point across in beefy riffs utterly lacking in pretense. I checked in on Blues Pills in the Green Room from the hallway, and they seemed to be holding it down with no trouble, so I wandered back into the Main Stage area in time to catch “Words Not Deeds” round out the Penance set. From there, it was back to the Green Room to catch Pilgrim, who started early following a guitar and bass classic rocking-type jam during the setup that I’d be interested to hear them take elements from for their next album, which reportedly is in the works. They played new material and cuts from 2012′s Misery Wizarddebut like the immediately recognizable lumber of opener “Astaroth,” and not at all surprisingly, had the Green Room packed out the door. I don’t know if the Rhode Island trio are friends with the dudes in Pallbearer or what, but that’s a tour that should probably happen at some point. I’ve seen Pilgrim four times now since they put out that album, and they’ve only gotten stronger as a live act.
Though, to be fair, they did seem a little amped up at the start of their set, but the muscle memory kicked in before they were through the first song — you could actually see it — and they were locked in thereafter. I took pictures and then started to make my way through the crowd to watch from the back, and before I knew it, had kind of a, “Well shit, now what?” moment when the only place to be was outside the room. The answer to that question was “dinner.” I started to head out and get something to eat on the quick when I saw Gravetemple were just getting ready to hit the Main Stage for their start. With a lineup of a pedigree like that of Stephen O’Malley, Oren Ambarchi and Attila Csihar, popping my head in seemed like the least I could do on my way by. Csihar stood in front of a table of who knows what kind of manipulation devices, while O’Malley and Ambarchi came in soon enough on drone guitar. It was super-artsy in that particularly O’Malley kind of way, a different take on some of SunnO)))‘s atmospheres with Csihar‘s vocals providing a distinguishing element along the way. I dug it, but time was a factor, so I moved on to get a bite to eat.
Wound up with some salad, fish and plain pasta which I mixed in with the greens and the dill dressing. It was the first thing I’ve really eaten since I got on the plane that wasn’t a protein bar, and — here’s something that’s not at all shocking — I felt much better afterwards. My brain was like, “Dude, you’re the worst at life. You probably should’ve had a meal yesterday, jerk,” and I tried to argue back but there’s really no talking to that guy, so whatever. The salad was glorious in context for being just an ordinary salad, and though I got a piece of clam stuck in my tooth, the mixed fish was most welcome too. Nothing like actual protein drawing a direct comparison to the would be substitutes for it. By the time I was done, I felt like someone had just given me a piece of particleboard with macaroni glued onto it in the shape of the cover to Volume 4, and by that I mean ready to take on the world. This was fortunate, because High on Fire were getting ready to go on the Main Stage and play The Art of Self Defensefront to back.
Or maybe they weren’t getting ready. They kind of took their time coming out from the back, but with a backdrop behind them modified from the album’s original cover from its 2000 release on Man’s Ruin, High on Fire stormed — what else would they do, really? — through the riffy sludge of their first record in a manner befitting its grooving bombast. “10,000 Years” and “Blood from Zion” still feature in their set on the regular (they were aired when I saw the band in Philly late last year), but to get a song like “Fireface” out and have bassist Jeff Matz start off its viscous slog, it was a treat the three-piece seemed to enjoy as well, guitarist/vocalist Matt Pike cutting smiles every now and again between solos and the galloping riffs that started it all for the band. Tucked away in the back, drummer Des Kensel punctuated the stomp of “Last” and “Master of Fists” made for a suitably riotous finish, deconstructing at the end to leads and noise.
But they weren’t done. The bonus tracks from the 2001 Tee Pee Records reissue were also included, including the punkish rush of “Steel Shoe” and the Celtic Frost cover “The Usurper,” which Pike called the encore before they started. The room was the most packed out I’d see it the whole day, and it was the first complete set I watched. Elsewhere, other bands were playing, other special gigs taking place, but how could I not watch High on Fire do The Art of SelfDefense? In reception, the crowd was unanimous in fervent approval — heads banged, fists pumped, madmen shouted along to Pike‘s long-heralded battle cries — and particularly as the last High on Fire studio outing, De Vermis Mysteriis(review here) was so crisp and tight, it was striking to hear them take on the earlier material. Almost like they were letting their hair down a bit, though as anyone who heard that record can tell you, they’ve hardly lost their edge in the decade-plus since the first record came out.
Rounding out with “The Usurper,” High on Fire still finished early, a good 15 minutes before their scheduled end. I guess there’s only so much album to play. Fair enough. I took notes in my fancypants license place notebook and went back to the merch to pick up some more of the aforementioned odds and ends, and then headed back to the big room in plenty of time for the start of Primordial, who if nothing else were the most thoroughly fronted act I’ve seen so far. The Irish double-guitar five-piece were helmed by vocalist Alan “Nemtheanga” Averill, who came out with a bottle of Jameson and a bottle of wine and was through the better part of both by the time their 90 minutes were done, and from his stage makeup — that’s not to say corpsepaint, because it wasn’t really corpsepaint — and costuming to his intense on-stage persona, Averill positively owned the 013. I saw Primordial years back when they came through New York on the PaganFest tour (it was a lot of glockenspiels to get to a Primordial set, but worth it), so I knew just how much of a factor the performance element was, but like many before him, the singer stepped up his game to match the occasion, and in a space so large, it was an impressive feat of showmanship.
He also noted more than once from the stage that it was the band’s first time playing Roadburn, and made it clear he felt they were overdue in this — provocateur, I suppose, could be part of the role, but either way — and I wondered if perhaps he was putting in a bid for curator next year. That would assure Pilgrim a return slot (Averill released Pilgrim‘s Misery Wizard via his Poison Tongue imprint through Metal Blade Records), and I wouldn’t mind seeing them take on 2007′s To the Nameless Deadin its entirety, were it in the offing. His other band, the nascent and doomier Dread Sovereign, also play tomorrow, so there’s room to work with, I guess. In the meantime, this set touched on To the Nameless Deadand several others in Primordial‘s seven-album discography, beginning with “No Grave Deep Enough” from 2011′s Redemption at the Puritan’s Hand (review here) and spanning genres as much as full-lengths, running from post-black metal to Celtic-inspired progressions and keeping at times a doomly edge, particularly on newer material like “The Mouth of Judas” or “Cities Carved in Stone,” which closed 2005′s The Gathering Wilderness.
That LP’s title-track and “The Coffin Ships” also featured, the latter penultimate to To the Nameless Deadopener “Empire Falls,” with which they closed. In introducing “The Coffin Ships,” Averill mentioned it was about the Irish famine in the 1800s, and said they were bringing a bit of their history and culture to the here and now. By all accounts I’ve seen, he does seem to think of Primordial‘s music as a sort of ambassadorship — they were very much representing the Republic of Ireland on stage — and though I wondered if maybe there was anyone in the audience who hadn’t already heard of the famine, the song left little to want. Averill had slowed some by then, less foot on the monitor, less back and forth from one end of the stage to the other, tossing around the mic stand, calling everyone present including the band lazy cunts, and so on, but revived with “Empire Falls,” letting adrenaline carry him through the end of the set as he got on his knees and shouted the chorus at the somewhat-dwindled but still strong crowd, who were only too glad to return the favor.
So the headliners were done, but the night still had its closing acts to go. Averill had plugged fellow Irishmen Mourning Beloveth‘s set at Het Patronaat a couple times, and former Hawkwind/Meads of Asphodel bassist Alan Davey was doing Space Ritualin full on the Main Stage, but what I really wanted to see was The Midnight Ghost Train, who were playing at Stage01, formerly known as the Bat Cave, the smallest of the three rooms at the 013. It was full by the time I walked over, and I probably could’ve stood there and gotten bumped into again, and again, and again, but after 16 or 17 times, I started to get claustrophobic and had to get out. Much to my surprise, the band followed not long behind me.
Guitarist/vocalist Steve Moss, drummer Brandon Burghart and yet another new bassist walked through the crowd and out of the room. From my spot in the back, I got to say hi to both, and Burghart explained they were doing a stagger-on, one member at a time. Moss had left his guitar feeding back, so there was a steady hum, and I suppose walking back through the audience (no backstage to come out from) there was something of a delay, so that went long, but once their crazed, blues-infused rock got going, the full room of people there to see them had no trouble getting on board for the wild shuffling riffs and Moss‘ throaty vocals. From Kansas to Roadburn. They’re always a lot of fun to watch, and in Tilburg was no exception.
I stayed and got bumped into a few more times and then decided to check out a couple minutes of The Psychedelic Warlords, who were just getting ready for launch at the time. Space rock, man. It sure is spacious. They pulled a good crowd as well of loyal lysergeons and Davey, along with a full lineup of keys, guitar, vocals, drums and sax, were in the process of giving Space Ritualits due. By that point, the “get back to the hotel and start writing” urge was coming on pretty strong, and I didn’t resist. Outside, people sat at the picnic tables (new this year) or ate grub from the outside food stand (also new this year and just closing as I walked by) and smoked whatever they may have felt like smoking. Needless to say, Weirdo Canyon was also abuzz.
Jus Oborn and Liz Buckingham of Electric Wizard were also hanging around the 013 lobby. The band curated tomorrow’s lineup under the heading of “The Electric Acid Orgy,” which one can only imagine will leave but a modicum of survivors. Looking forward.
Extra pics after the jump and more to come tomorrow. Thanks for reading.
Posted in Whathaveyou on February 1st, 2013 by H.P. Taskmaster
It hasn’t been easy keeping up with the Desertfest updates, as both the London and Berlin fests seem to be adding new bands every day — Truckfighters and Colour Haze joining the London lineup was a bit of a “holy shit” moment for me — and sure enough, the last couple days have been no different, with French bands Glowsun and Mars Red Sky added to London and Blues Pills and Orchid signing on for Berlin. Lineups for both are getting pretty packed.
I’ve had several of those “holy shit” moments, including one listening to Dozer last weekend when I realized I’m actually going to get to see that band play, so although I may have some trouble keeping up, I’m unbelievably psyched to catch Desertfest this year.
Here’s the latest:
After crashing the Berlin leg of Desertfest last year, French ‘psychédélique’ trio Glowsun are heading to Camden and completing the double. Already strong contender for any best French band of all time awards, Glowsun are masters of mixing powerful, ambient psychedelia with raw, crushing groove.
Debut full length, The Sundering, put Glowsun on the stoner map in 2008 thanks to its expertly crafted, hooky jams. Last year’s follow up, Eternal Season, shoved drone more to the centre of the sound as well as pushing through heavier, crunchier guitars. The result was an equally atmospheric, but much darker album with more strut and swagger.
Sitting halfway between Sleep and Sungrazer, Glowsun’s appearance at the Camden leg this year is bound to be a thunderous, apocalyptic journey into a psychedelic waste ground.
words courtesy of Tom Geddes
Mars Red Sky
Mentioning the very concept of Mars Red Sky in the UK brings to mind the bizarre combination of tasty chocolate, caramel and nougat with a high quality brand of potato crisps. En France however we’re talking only about the psyche-tripping, outer galaxy meanderings of Bordeaux’s finest retro rockers, known to their fans as MRS.
Taking in influences as broad as Hendrix, Kyuss, Cream, Zeppelin and Pink Floyd, these meteor-bothering cosmonauts create a thick, fuzzy, yet delicate sound, memorably topped off by frontman Julien Pras’ startlingly soulful bluesy rasps behind the mic. With just a singular, though poignant, self-titled debut record and a split with Year of No Light out to date, MRS have quickly built an impressive résumé which includes guest spots at Roadburn, Les Eurockennes and Incubate festivals as well as opening slots with the likes of Sleepy Sun and Killing Joke. A groovy, acid-frying three piece rounded out by Jimmy Kinast on bass and Benoit Busser behind the kit, MRS bring brooding basslines, triumphant drumbeats and a megaton of big-muffled guitar riffs together with a dark and haunting sense of melody, seldom heard in the cactus fields of classic stoner rock.
If you dig the likes of Colour Haze, Tweak Bird, Witchcraft and Earthless then get your shovel back out and prepare to get crater-making with yet another astounding addition to our line-up here at DesertFest 2013.
As many of you expected, ORCHID is now confirmed for the DESERTFEST BERLIN ! :)
ORCHID is an American Doom Metal band based in San Francisco, California, founded in 2007, and one of the greatest new acts of its kind. Rocking hard with their dark, psych-sonic blues assault, the band, around the charismatic lead singer Theo Mindell and his fascinating psychedelic vocals, are the new darlings of the retro heavy rock scene.
ORCHID established their reputation early with the 2009 release of their first EP “Through The Devil’s Doorway” on the small indie label The Church Within. The EP quickly received first-rate reviews around the world naming it an ingenious debut for a band with an auspicious future. Shortly after this release, ORCHID unleashed their first full length album “Capricorn”, released in 2011 by the same label. The record immediately gained the band a huge following in Europe. In September 2012, Nuclear Blast released “Heretic”, their last EP to date … but not for long, as they already prepare a new one, “Wizard of War” ! Stay tuned…
As they live for writing, recording, and playing live, they tour in Europe every year, participating in many of great festivals, such as Hammer of Doom Festival in October 2011, and DesertFest London last April.
Now it’s Berlin turn !!
It’s time for us to bring a little bit of blues to the DesertFest. We are glad to welcome the Swedish-American-French hybrid BLUES PILLS !!
After their departure from Radio Moscow in September 2011, drummer Cory Berry and bass player Zack Anderson, joined up with Swedish lead singer Elin Larsson and French guitar player Dorian Sorriaux to form BLUES PILLS, a compound of heavy, driving bass lines, colossal drums and ferocious, riff based, soul-penetrating guitar work tied together by an incredible soulful voice.
Their 4-track debut EP, “Bliss”, released in May 2012 on Crusher Records, propelled them at the forefront of the on-going 1970?s blues rock retrospective. They toured last summer in Spain and Portugal, and this year, they will play at Roadburn Festival and DesertFest !!
So come to Berlin and take your dose of this blues medicine !!
The Best Blues Medicine Comes from Sweden! Blues Pills Confirmed for Roadburn 2013!
We’re very pleased to announce that Sweden’s Blues Pillswill be making their appearance at Roadburn Festival 2013 on Thursday, April 18 at the 013 venue in Tilburg, Holland.
After their abrupt departure from Radio Moscow, drummer Cory Berry and bass player Zack Anderson grouped with classical-trained Swedish lead singer Elin Larsson and French guitar player Dorian Sorriaux to form Blues Pills, a dynamic hybrid between blues rock of the 60s and the heavy 70s. Think heavy, driving bass lines, colossal drums and ferocious, riff based, soul-penetrating guitar work, tied together by the incredible soulful voice of Larsson, sometimes singing in her mother tongue, and whose timbre, range and power is reminiscent of Susan Tedeschi and Janis Joplin.
Blues Pills‘ sound is very diverse as shown on Bliss, their 4-track debut for Crusher Records. The band has put lots of emphasis on both dynamics and emotion by bringing out beautiful harmonics, escaping the the typical 12-bar form for Peter Green‘s Fleetwood Mac-inspired melodies and a more progressive Zeppelin-like structure.
With our fondness for Swedish rock (we have invited the likes of Witchcraft, Graveyard, Dead Man, Horisont, Troubled Horse, Spiders et al to previous festivals) it’s not surprising that Blues Pills are appearing at Roadburn 2013 and not just because they are Swedish…but because they bring out the best heavy 70s inspired rock we have heard in a long time.
Roadburn Festival 2013 will run for four days from Thursday, April 18th to Sunday, April 21st, 2013 (the traditional Afterburner event) at the 013 venue in Tilburg, Holland.