Boris‘ new album, No, is out now through Bandcamp, direct from the trio themselves. Before the release actually arrived, the long-running Japanese avant/experimental heavy rockers issued a lengthy statement about how the record was made as a resistance against what amounts to modernist conformity, the unquestioning of one’s surroundings and the apathy that might lead someone not to seek a deeper truth. They called it “extreme healing music.”
Getting from there to the sludgy scathe of the nine-minute “Zerkalo” is fair enough if one considers the fact that a forest has to burn down before it can grow again. The video arrives in various CGI landscapes, morphing and shifting from one to the other, depicting futuristic-looking cities and oceanic expanses alike. At the end we see the cityscape is devastated and in burnt out ruins — the metaphor is clear enough. What’s more interesting is the harshness of the song itself, how it seems to speak not only to the hardcore roots the band explores elsewhere on No, but the massive doom that they’re sometimes able/willing to conjure when it suits their purposes. Their purposes here are meditative but not still, and if perhaps the harsh nature of the noise they’re making is intended to be jarring, especially as it precedes their reworking of “Perforation Line,” it’s only fair to call it successful in that regard.
To be perfectly honest, I may or may not get to review No. I got a promo download for it, but really, in the pantheon of unceasing plaudits the band get, does anything I have to say about them really matter? Is there some insight I can bring to Boris that someone hasn’t already offered? I guess I have my doubts. Maybe in place of a review I’ll just say it’s Boris being Boris, which means doing whatever they want at pretty much any time and pulling it off because that’s just what they do.
There.
Enjoy the video:
Boris, “Zerkalo” official video
Just two weeks after Boris delivered their triumphant new album NO, the group has surfaced once again with a music video for the album’s crushing single “-? -Zerkalo-.” The dystopian and panoramic visuals were assembled by producer Yoshiki Shimahara— who was also responsible for CG works in the movie Shin Godzilla, etc.— and the footage aptly captures the tone and feeling of the song itself. Boris comments of the video, “The song as a mirror that reflects this world.”
Boris New Album “NO” Only available on Bandcamp now.
Posted in Whathaveyou on June 25th, 2020 by JJ Koczan
Boris aren’t wrong. About anything. Basically ever. Their new album is called No. It’s out July 3 through their Bandcamp. They’re using it as a means of questioning implicit bias. If anyone can do that with a record, I have to believe it’s Boris. Because they’re fucking Boris.
That’s all I have to say about it. They say plenty. Here’s info:
A message from BORIS:
“International borders are ‘closed’ now.
All kinds of anxieties, fear, sadness, anger, and hatred have arisen to drive the world apart. Everyone is in a process of trial and error, doing what they can to live. The critical state of the world has placed culture, art, and other means of expressing ourselves into a dilemma as well. We decided to start managing our band ourselves again a few years ago, so we even more keenly aware of the current situation.
It was our actions up to this point and our methodology, various cultural influences, as well the connections and support we received from people around the world that led us to create this latest album.
Culture is lore that is not bound by blood, in other words ‘Non Blood Lore.’
We have put all of our influences and connections into this album so that they may be passed on circulated. That is our current stance now as Boris, our role and mode of action.
The title of this album is NO. People have a system whereby they unconsciously grow accustomed to things and adapt to them. But, this same system is also cursed in the way it allows inconvenient or troubling things to be disregarded as if they were never there to begin with and goes by other names such as ‘resignation,’ ‘subordination,’ and ‘forgetfulness.’ We renounce this system. ‘Is this something I felt on my own? Is this idea something I came up with on my own? Is this something I chose to act upon myself?’ Everything begins with questioning and denying oneself. That is the proper stance for people to adopt.
Music and culture possess incredible power. The anger and discontent we had no outlet for in our youth shone through in our music, helping us to channel negative energy channeled towards creative ends and leading us to new means of expression and artistry. We hope this latest album can be a mirror that gathers and reflects people’s negative energy at a different angle, one that is positive. That is the power and potential of the dark, extreme, and brutal noise music that we have experienced up to this point. Today’s society is littered with words that may or may not be true, making it easy to want to just not listen to what anyone has to say. But, that’s all the more reason why we hope that you will at least open your ears to these songs sung in the language of another land. These shouts that have no proper meaning as words will help release the raw, unshaped emotions within you. This is ‘extreme healing music.’
International borders are ‘closed’ now. When we’re able to travel again, it will be proof that the world has moved forward. We pray for the day when we can share the same time and place again.
Boris
PS. NO includes a cover of the song ‘Fundamental Error’ by Japanese hardcore punk legends GUDON, who were active during the 90’s in Hiroshima. The same track also features guest guitars by Katsumi, the former of guitarist of similarly legendary Japanese hardcore punk bands OUTO and CITY INDIAN and now a member of SOLMANIA. This album is also being released completely D.I.Y. and without the help of any label.
‘The answer we have been given doesn’t change anything, and this album is not an answer either.’”
Look for Boris NO to be released July 3rd on Bandcamp and pre-orders are available now. More news + music coming soon.
Boris, NO track listing: 1. Genesis 2. Anti-Gone 3. Non Blood Lore 4. Temple of Hatred 5. ? -Zerkalo- 6. HxCxHxC -Parforation Line- 7. ????? -Kiki no Ue- 8. Lust 9. Fundamental Error 10. Loveless 11. Interlude
Boris is: Takeshi: Vocals, Guitar & Bass Wata: Vocals, Guitar & Echo Atsuo: Vocals, Percussion & Electronics Guest Guitar: Katsumi on Track 09 Recording: Fangsanalsatan at Sound Square 2020 Mix & Mastering: Koichi Hara (koichihara-mix.com) “Fundamental Error” Originally Perfomed by GUDON Logo Type: Kazumichi Maruoka Design: Fangsanalsatan
Posted in Whathaveyou on June 23rd, 2020 by JJ Koczan
Plenty of this lineup looks familiar from what Psycho Las Vegas would’ve been in 2020, and duh, that’s the idea. You’ve still got Danzig doing Lucifuge, still got At the Gates and Katatonia and Emperor and Mercyful Fate. Still got the possibility that if I go, I can hang out after Pinback‘s set and bother Rob Crow about how badly he needs to do another Goblin Cock record. Wino, Fatso Jetson, Elder and Blackwater Holylight playing the pool party, six or seven curveball emo bands — all that fun stuff. Spectacle unmatched in heavy music, set in the Planet Earth’s official home for damned souls. It’s as perfect as it is incongruous.
Makes me wonder what Crowbar have going on next August.
But what you probably want to know is whether your ticket if you had one for 2020 is still good for 2021. Yes.
Behold:
Psycho Entertainment presents Psycho Las Vegas 2021
Psycho Las Vegas has been rescheduled to August 20th – 22nd, 2021. Psycho Swim has been rescheduled to August 19th, 2021. If you already purchased a pass for either event and want to attend in 2021, there is nothing you need to do – your passes will automatically be valid for the new dates.
80 of the 83 bands originally booked on the lineup are returning in 2021. The bands who are not joining us next year are Ty Segall, Black Rebel Motorcycle Club, and Crowbar.
Danzig, Mercyful Fate, Emperor, The Flaming Lips, Blue Oyster Cult, Down, Mayhem, Satyricon, Obituary, Warpaint, Blonde Redhead, HEALTH, Watain, Ulver, Katatonia, At the Gates, Poison The Well, Paul Cauthen, Amigo The Devil, Exhorder, Wolves in the Throne Room, Thursday, Pinback, Zola Jesus, Drab Majesty, Boris, Eyehategood, Repulsion, Immolation, Midnight, MGLA, Windhand, Cursive, Tsol, King Dude, Pig Destroyer, Brutus, Profanatica, Lower Dens, Cult of Fire, Intronaut, boysetsfire, Death by Stereo, Curl Up and Die, Adamantium, This Will Destroy You, Khemmis, Mothership, Guantanamo Baywatch, Dengue Fever, Kaelan Mikla, Black Joe Lewis, Fatso Jetson, Wino, Creeping Death, Mephistofeles, Frankie and The Witch Fingers, Toke, Foie Gras, Flavor Crystals, Silvertomb, Lord Buffalo, Warish, Alms, Bombers, Glacial Tomb, Relaxer, Black Sabbitch, Hippie Death Cult, Vaelmyst, Mother Mercury, Two Minutes to Late Night
America’s rock n’ roll bacchanal returns to Mandalay Bay Resort & Casino August 20th through August 22th, with another resort-wide casino takeover unlike any of its kind. Now approaching its fifth year in the swirling neon decadence of Las Vegas, PSYCHO will feature over seventy artists across four stages including the world-class Events Center, the iconic House Of Blues, Mandalay Bay Beach, and the vintage Vegas-style Rhythm & Riffs Lounge in the center of the casino floor. PSYCHO LAS VEGAS 2021 will continue to redefine America’s conception of what a festival can be.
Psycho Entertainment presents Psycho Swim “The Official Psycho Las Vegas Pre-Party”
Old Man Gloom, Elder, Polyrhythmics, Death Valley Girls, The Skull, Blackwater Holylight, Here Lies Man, DJ Scott Seltzer
America’s rock n’ roll pool party returns to DAYLIGHT Beach Club on August 19th for the second annual PSYCHO SWIM. This official all-day pre-party celebrates the best of previous PSYCHO LAS VEGAS lineups with performances from a host of festival alumni as well as new PSYCHO additions.
DAYLIGHT Beach Club is nestled next to the Mandalay Bay Resort And Casino and features a 4400-square-foot main pool, daybeds, cabanas, and bungalows, with an elevated stage offering unobstructed, up-close-and-personal views of artist performances.
Posted in Whathaveyou on January 30th, 2020 by JJ Koczan
Danzig doing the Lucifuge record, plus Emperor and Mercyful Fate on US exclusives. In the age of spectacle, Psycho Las Vegas stands apart from its otherwise-might-be peers. There’s a method to all this madness. A plan in action. These people aren’t stupid — this isn’t a stupid lineup, unless you mean “stupid” in an emphatic sense. That’s what Psycho Las Vegas is: emphasis realized. The chaos is the mission. How could there be a more suitable complement to this year, this moment in human history? This is happening at a fucking casino. In Las Vegas. Do you understand what I’m telling you? Do you understand you surreal that is? Repulsion are playing a god damned casino. On a bill with The Flaming Lips and Katatonia. This is your brain on… fire, I guess?
A couple weeks ago — days ago? hours? I have no idea what day it is or why I should be expected to know; I’ve actually set an alarm to post this at the right time in an effort not to screw it up which I probably will anyhow — I happened to have some quick email correspondence with the souls behind the genre-consuming beast of a festival that is Psycho Las Vegas 2020 and I made my BIG PITCH for coverage. Want to know what it was? What it basically boiled down to was, “How about you guys bring me out to the festival and put me up for four days, I take a bunch of mushrooms, maybe go see some bands and write whatever the hell I want?”
Their answer was yes, so that’s my plan. I think Psycho deserves nothing less than me ranting about I don’t know probably cultural decay, self-hate manifest as pretentious judgmentalism, and not eating for four days? Yeah, that sounds good. I’ll go with that.
The schedule isn’t out yet, but it’s clearly a choose-your-adventure festival. For those seeing HOT TIPS from an internet influencer, you’re on the wrong goddamn site. I’m the guy who spent half his morning cleaning up animal piss at his mom’s house. I’ll say though that along with the gargantuan proportion of the headliners — come on, Danzig doing Danzig II is brilliant and you know it — and all the indie, emo and post-hardcore stuff that, yeah okay, I get it, the aughts were a thing for some people (not for me; was too drunk to remember any of it), it’s righteous to see such a huge event in addition to telling Coachella to suck its ass continuing to commit to the heavy underground. My chosen adventure will include but not be limited to placing priority on Lord Buffalo, Blackwater Holylight, Fatso Jetson (of course), Mothership (the context is too good to pass up), Hippie Death Cult and… yes… Katatonia. Because they’re the wintriest band ever and it’ll be 100 degrees. The most Psycho move ever would be to put them on the pool stage. Keeping my fingers crossed that’s how it works out. Shit, put Mayhem out there while we’re at it.
That’s all provided I’m not too out of my mind to leave the hotel room.
Here’s a poster and words in blue. See you there, sort of:
PSYCHO LAS VEGAS 2020 – COMPLETE LINEUP
DANZIG (Celebrating 30 years of “Lucifuge”) MERCYFUL FATE (2020 USA Exclusive) EMPEROR (2020 USA Exclusive) THE FLAMING LIPS BLUE OYSTER CULT DOWN (Celebrating 25 years of “Nola”) BLACK REBEL MOTORCYCLE CLUB TY SEGALL WARPAINT MAYHEM SATYRICON WATAIN BLONDE REDHEAD HEALTH OBITUARY ULVER (2020 USA Exclusive) KATATONIA AT THE GATES POISON THE WELL TSOL CROWBAR EXHORDER WOLVES IN THE THRONE ROOM THURSDAY PINBACK ZOLA JESUS DRAB MAJESTY BORIS KING DUDE PAUL CAUTHEN AMIGO THE DEVIL EYEHATEGOD PIG DESTROYER REPULSION IMMOLATION MIDNIGHT MGLA WINDHAND CURSIVE BRUTUS PROFANATICA LOWER DENS BLACK JOE LEWIS INTRONAUT BOYSETSFIRE DEATH BY STEREO CURL UP AND DIE ADAMANTIUM THIS WILL DESTROY YOU KHEMMIS MOTHERSHIP GUANTANAMO BAYWATCH DENGUE FEVER KAELAN MIKLA BLACKWATER HOLYLIGHT FATSO JETSON WINO (ACOUSTIC) CREEPING DEATH MEPHISTOFELES FRANKIE AND THE WITCH FINGERS TOKE FOIE GRAS FLAVOR CRYSTALS SILVERTOMB LORD BUFFALO WARISH ALMS BOMBERS GLACIAL TOMB RELAXER HIPPIE DEATH CULT VAELMYST MOTHER MERCURY DJ SCOTT SELTZER
Psycho Entertainment & MGM Entertainment present PSYCHO SWIM
Lineup: OLD MAN GLOOM ELDER THE SKULL DEATH VALLEY GIRLS BLACKWATER HOLYLIGHT HERE LIES MAN POLYRHYTHMICS DJ SCOTT SELTZER
Tickets for PSYCHO LAS VEGAS as well as the PSYCHO SWIM pre-party, which requires a separate ticket from the main festival pass, are on sale now!
Tickets for all PSYCHO LAS VEGAS events can be purchased at VivaPsycho.com or AXS.com.
Posted in Whathaveyou on May 16th, 2019 by JJ Koczan
2LP and digital release only for the new Boris record, Love and Evol. Fair enough, I guess, as CDs prove historically to more and more be the bastard-child of physical formats as tapes at least earn some kind of revisionist hipness. I’ll still take a tiny plastic platter if one’s on offer, but I’d be lying if I said didn’t say that more often than not it’s digital files I’m actually listening to these days, and if you’re having one or the other sit on a shelf, the vinyl is more impressive. For those of us who buy in bulk, however, there’s something to be said for saving every bit of space possible.
Either way, new Boris is nothing but good news, whatever format restrictions may apply, and even better that they’ll tour to support it. I’ll look forward to seeing them in… Jersey City?
Time does strange things to us all.
From the PR wire:
BORIS ANNOUNCE ‘LOVE & EVOL’ & NORTH AMERICAN TOUR IN CELEBRATION
LOVE & EVOL will be released via Third Man Records in August. Re-issues of Boris’s Akuma no Uta and Feedbacker are forthcoming.
Boris have never been one for sentimentality—they simply wave goodbye to old worlds in favor of new horizons. That’s exactly the logic behind the band’s two forthcoming reissues of Akuma No Uta and Feedbacker, which will be released via Third Man Records this year, marking a new partnership between the band and label. The batch of reissues also makes way for Boris’s first new album in two years: L?VE & EV?L, due out this August on Third Man. The pioneering, monolithic trio will also be hitting the road with NYC industrialists Uniform this fall – tour dates are listed below.
L?VE & EV?L exist as two independent works, encapsulating conflicting connotations that interweave and become intricately entangled with one another, gradually eroding before becoming utterly singular. Continuing to tinker and toil with their sound since the release of DEAR, Boris have pivoted onward a more organic, non-grid literary style that L?VE & EV?L showcases.
Boris was formed in 1992, culminating in the current lineup of Takeshi, Wata, and Atsuo just three years later. Even in their infancy, the members of Boris boldly explored their own vision of heavy music, where words like “explosive” and “thunderous” barely do justice. Using overpowering soundscapes embellished with copious amounts of lighting and billowing smoke, Boris has shared with audiences across the planet an experience for all five senses in their concerts, earning legions of zealous fans along the way.
L?VE & EV?L will be released this August on double LP and digital formats via Third Man Records, with the reissue details to follow. Stay tuned for more news to come.
Boris is: Takeshi — Vocal, Bass & Guitar Wata — Vocal, Guitar & Echo Atsuo — Vocal, Drums, Percussion & Electronics
L?VE & EV?L — Track Listing: Disc [L?VE] Side A 1. Away from You 2. Coma
Side B 3. EVOL
Disc [EV?L] Side A 1. uzume 2. LOVE
Side B 3. In The Pain(t) 4. Shadow of Skull
BORIS — On Tour w/ Uniform: August 19 San Diego, CA @ Casbah August 20 Phoenix, AZ @ Valley Bar August 22 San Antonio, TX @ Paper Tiger August 23 Austin, TX @ Barracuda August 24 Denton, TX @ Rubber Gloves August 25 Houston, TX @ White Oak Music Hall August 28 Mexico City, MX @ Galera * August 30 Tampa, FL @ Orpheum August 31 Gainesville, FL @ High Dive September 1 Atlanta, GA @ Masquerade September 3 Nashville, TN @ Exit/In September 4 Asheville, NC @ The Orange Peel September 5 Raleigh, NC @ Hopscotch Festival * September 7 Washington, DC @ Black Cat September 8 Jersey City, NJ @ White Eagle Hall September 10 Brooklyn, NY @ Elsewhere September 11 Boston, MA @ Paradise Rock Club September 12 Portland, ME @ Port City Music Hall September 13 Montreal, QC @ Theatre Plaza September 14 Toronto, ON @ Lee’s Palace September 15 Grand Rapids, MI @ Pyramid Scheme September 17 Chicago, IL @ Lincoln Hall September 18 St. Louis, MO @ Delmar Hall September 20 Denver, CO @ Marquis Theater September 21 Salt Lake City, UT @ Metro Music Hall September 23 Seattle, WA @ Neumos September 24 Portland, OR @ Doug Fir Lounge September 26 San Francisco, CA @ Great American Music Hall September 27 San Jose, CA @ The Ritz September 28 Camarillo, CA @ Rock City September 29 Los Angeles, CA @ Echoplex
Posted in Features, Reviews on August 18th, 2018 by JJ Koczan
08.18.18 – 5:00AM – Saturday – Hotel room
Gluttons for punishment, unite! Cast off the chains of your dayjobs and journey to a druggy boozy place where you can smoke indoors and piss away your head-earned on, well, potentially, someone else’s hard-earned. You never liked those brain cells anyway, and what good have they done?
Me, I prefer my brains melted or otherwise obliterated with fatigue. Dripping out my ears, either way. But I see some folks around here going nuclear, and hey, I get it. Safe environment, plenty of support, nothing to lose. It’s self-directed cruelty more than anything else that keeps me sober. I don’t deserve the good time everyone else is having. Kablooey.
It was an early start for a busy day. 12:30PM. I’d imagine there were people who hadn’t gone to bed yet. But DVNE were not to be missed, so, I didn’t miss them. A lot of back and forth early and not really much staying-put later makes for a hell of a time, but everything is right there around the corner and everyone here is very nice. At least the people who’ve said hi to me. I’m sure just by simple population-sample math there are one or two jerks running around, but none I’ve run into.
Witchcraft didn’t make it. That’s a band I’ve dug on some level or other for more than a decade, but wasn’t gonna cry over it. Plenty to see besides with three stages open: The Joint, Vinyl and the Pool.
And like I said, early start. Went like this:
DVNE
Good band. That’s what I wrote in my notes. Direct quote: Good band. Pro shop. For DVNE‘s first appearance on a US stage — and sizable US stage at that, in The Joint at the Hard Rock Hotel and Casino — they hit it like absolute professionals. Crisp in their sound, intense in delivery, every bit in command of the room, from “go” onward. With full lighting and production behind them, CO2 canisters firing and lasers behind and their logo blasted on massive stage-side screens, the Edinburgh progressive post-metal four-piece certainly seemed to be made to feel welcome on what to them was foreign shores. Killed. Just nailed it. They have a new record out next year following up on last year’s righteous Asheran, and playing beneath oranges and reds that echoed that album’s cover art, they delivered a set that quite frankly, unless they break up tomorrow, I sincerely doubt will be their last time on an American stage. In other words, they seem ready to hit the road in a we’re-a-full-time-band-now kind of way, and more power to them. It’ll be worth keeping an eye out in 2019 for when they come through supporting their next full-length, but in the meantime, this set was basically serving early notice of a significant arrival.
Night Horse
Sure, it’s been eight years since L.A.’s Night Horse released their second album, Perdition Hymns (review here), but what the hell? The double-guitar five-piece — one of those guitarists happens to be Justin Maranga from Ancestors — took the stage and quickly warmed up their classic your-dad’s-rock-was-better vibe that, with added charm from vocalist Sam James Velde introducing them by saying, “We’re Integrity from Cleveland, Ohio,” was a total blast. I’ll admit it’s been a while since the last time I had Perdition Hymns or their 2008 debut, The Dark Won’t Hide You, on for a spin, but even though Maranga forgot his slide and no one seemed to have a beer bottle to use instead, they definitely made it work. With guitarist Greg Buensuceso and bassist Nick D’Itri holding down the other side of the stage and drummer Norm Block swinging away in the middle, they were way more locked in than one might think for a band who haven’t really kicked around all that much in at least a half-decade. Velde stepped over the barricade and into the crowd during the last song and asked everyone to sit with him on the floor — a proposition that I’d imagine would be way stickier later in the day — while he told the story of the song, and it made for a special moment, as almost everyone actually did it. He got back up and they rocked to a finish, but if you ever needed to know how much Night Horse owned that room, they literally sat it down to give some background on their material. He could do that at every show for all I know, but it was something special here anyway and I felt lucky to see it.
The Munsens
Denver trio The Munsens posted a new single earlier this week called “Dirge (For Those to Come)” as a preview of their upcoming full-length, Unhanded, and with it, gave a first look at a notable change in direction, pushing more into the territory of extreme sludge than even two years ago found them on their Abbey Rose EP (review here). With guitarist/vocalist Shaun Goodwin and bassist/vocalist Michael Goodwin welcoming drummer Graham Wesselhoff, the shift is easy enough to place, but a corresponding turn to harsher vocals and more grueling fare would seem to be at hand. Most, if not all, of what they played in Vinyl was also from Unhanded, and they unfurled an onslaught of tone and noise that seemed to bounce right off the back of the room and make a wall of death with the next riff cycle. It was brutal, and not as given to crust as Dopethrone, but seemed to be somewhat of that spirit. Delivered with a likewise visual assault of strobe, their time went quick — unless I passed out from all the flashing lights — but was well enough to get the point of the evolution they’ve undergone. I don’t know if I’ll be ready when Unhanded, hits, but at least I’ll see it coming.
Temple of Void
I don’t know whether Temple of Void are the doom of death or the death of doom, but fucking hell they’re heavy. The Detroit five-piece released their second LP, Lords of Death, last year on Shadow Kingdom, and they’d only dip back once to 2014’s Of Terror and the Supernatural (review here) for “Examinate Gaze,” while everything else was from the new album. Fair enough for the significant assault factor of their death metal plunge. They took the stage to the Lords of Death intro “The Charnel Unearthing” — which given the intensity of what followed, I almost found unnecessary; they hit it so hard, why give people the chance to get ready? — and from there proffered an extremity that went beyond even the death metal to the atmospheric weight of what they were doing. Vocalist Mike Erdody had a soulful, tortured aspect to his headbanging and while behind him drummer Jason Pearce slammed into his kit with palpable resentment thereof and guitarists Alex Awn and Eric Blanchard tore into searing riffs and leads given all the more weight by Brent Satterly‘s bass, the sense of emotionalism Erdody brought to his growls was something rare on either side of the genre. It was another level on which Temple of Void make their impact felt, and a distinguishing factor that resonated throughout their time.
Church of Misery
There was something of a crunch at this point in the schedule. Church of Misery were going on in the Joint while Temple of Void finished up in Vinyl, and then by the time the serial-killer-crazed Japanese riff lords were done, Yakuza would have already started, also in Vinyl. Still, history said “go see Church of Misery,” and history wasn’t wrong. Bassist/founder Tatsu Mikami is nothing less than doom royalty, and while I’ve seen him perform with several different lineups over the years, it always seems like he’s ready to deliver no matter who’s joined him on stage at the time. Psycho was no exception as he, vocalist/thereminist Hiroyuki Takano, guitarist Yasuto Muraki and drummer Junichi Yamamura ran through a selection of the hits: “Shotgun Boogie,” “I, Motherfucker,” “Born to Raise Hell” and so on. I’m not huge on the whole serial killer thing — by coincidence, I wound up in an elevator today with one of Charles Manson’s descendants who was telling his friends it’s way less cool when it’s your family — but regardless, Church of Misery did plenty of slaying on their own and made it easy to hope they record with this lineup, as it seemed like they were more than ready to get down to business at the Sabbathian core of what the band has always been about. I did end up poking my head in to see Yakuza for a moment — and Bruce Lamont is still way ahead of his time — but Church of Misery weren’t taking no for an answer. I was back in the Joint before long as they blew out the rest of their set and any number of eardrums in the process.
Tinariwen
Absolutely stunning. I knew next to nothing about the Tuareg group Tinariwen going into the announcement they’d play Psycho Las Vegas, but the schedule cut off both the pool and Vinyl stages while they played, so clearly they were an act Psycho wanted people to see. Rightly so. Dressed in robes and traditional garb and backed by hand percussion, the band led by guitarist/vocalist Ibrahim Ag Alhabib brought a desert blues that tied to Psycho better than one might’ve ever expected. With acoustic and electric guitars, bass and deep-running vocal arrangements, dancing on stage — some dancing in the crowd too — and video of them on huge screens on either side, it was no less of a production in terms of lighting and staging than Church of Misery or DVNE had been, but the soothing vibe and ebbs and flows in the music made it a total standout. They were another one I was going to stay for a bit and then wander off and find some more coffee, but I was hooked. They could’ve played twice as long and I don’t think I would’ve moved. Their set felt like a gift and on a day that wasn’t exactly hurting for highlights anyhow, they were something truly special to behold. Their 2017 album, Elwan, was recorded in the California desert and has quickly made its way to the front of my must-purchase line.
Boris
In their 25-plus years, enough wax poetry has been written in honor of Japanese noise and heavy rock innovators, droners, experimentalists, J-poppers and anything-else-they-want-to-be-that-day Boris that even attempting to talk about their set feels superfluous. I’d only be echoing a chorus of praise that’s resounded for the last two decades. Suffice it to say, they’re masters at what they do. Individually and collectively, guitarist Wata, drummer Atsuo and guitarist/bassist Takeshi are relentless in their forward progression, and though most of what they played after a drifting, slower opening came from the Heavy Rocks and Pink-style, the wash of noise and over-the-top push were never far off. Their 2017 album, Dear (review here), was a stunning glimpse at where they’ve been in their time and where they might still go, and bathed in fog on the Joint stage, they captured much the same feel in celebrating their past while continuing to move ahead toward something new. I don’t know if it’s possible for Boris to be underrated, but the chemistry between them on stage — whether it’s Atsuo shouting into his headset mic to raise the energy level or Wata scorching out another solo or Takeshi switching from his rhythm guitar neck to his bass neck and hurling out blistering low end runs — is among the most pivotal aspects of what they do, and as much as they’ve done to push heavy rock to multiple avenues over their tenure, they’ve only gotten to be a more potent force live.
High on Fire
If a single person could embody what Psycho Las Vegas is, it might be Matt Pike. The High on Fire frontman and Sleep guitarist has played all three editions of this festival in some form or other — time for a Kalas reunion? — and he, bassist Jeff Matz and drummer Des Kensel came out like the statesmen they are; one of the most crucial bands not just in underground heavy, but in the wider sphere of metal. Hugely influential, with a maddening signature gallop and tales of war and bludgeonry to delight the downtrodden of spirit. Their upcoming LP, Electric Messiah, marks the third collaboration between the trio and producer Kurt Ballou, and while they didn’t play anything from it, they did give due representation to 2015’s Luminiferous (review here) in “The Black Plot,” “Carcosa” and “Slave the Hive,” and 2012’s De Vermiis Mysteriis (review here) with “Fertile Green” and “Serums of Laio,” while older works like 2007’s Death is This Communion (discussed here) and 2005’s Blessed Black Wings (discussed here) made their presence felt with cuts like “Rumors of War” and “Sons of Thunder.” I’d argue they were the night’s headliners even before Witchcraft dropped off, but either way, High on Fire were more than up to the occasion, and with “Blood from Zion” from 2000’s The Art of Self-Defense late in the set, they brought together past and present in a way that was every bit the culmination of the evening. There was still plenty more Psycho after them, but no doubt High on Fire left their mark on the night and all who assembled to see them.
—
I don’t know if you saw it, but on the social medias I posted a picture of The Pecan and asked if anyone could turn it into the cover of Vol. 4 by Black Sabbath. Several came in, which was hugely appreciated, and among them was this one from Slevin, which I subsequently spent the rest of the night staring at because it’s so friggin’ awesome. If you need me, I’ll be meme-ing my baby. Next up, his head on Jean-Luc Picard’s body. It will happen.
Anyway, I came back to the room after the show and sorted pictures and whatnot and then crashed out pretty soon thereafter to get up early and write. My alarm was set for six and I woke up a bit before five and decided to roll with it. Psycho starts an hour later today, but is another super-busy day, so I’m going to get some more rest in preparation for that. I may or may not check in again before that review goes up, depends on time, but there are more pics after the jump here and I appreciate you reading and taking time to have a look if you do.
Posted in Whathaveyou on February 23rd, 2018 by JJ Koczan
It’s only taken a few years for Psycho Las Vegas to establish itself as the premier underground festival in the US. All well and good. With 2018’s lineup, though, it’s time to start thinking of Psycho among the best in the world.
Sounds like too much? Consider Godflesh and Dimmu Borgir sharing a stage, both for exclusive West Coast appearances. Think of Sweden’s Witchcraft playing one of the two shows they’ll do in the US at Psycho, and ditto that for Japanese riff-madmen Church of Misery. Think of US exclusives from Lee Dorrian’s With the Dead, or Lucifer, whose Johanna Sadonis will also DJ the Center Bar. The commitment to up and coming underground acts local, domestic and foreign like Temple of Void, King Buffalo, Dreadnought, The Munsens and DVNE. Picture yourself watching Wolves in the Throne Room headline a pre-fest pool party with Elder, Young and in the Way, Dengue Fever, Fireball Ministry and Toke.
2018 is the year Psycho Las Vegas outclasses even itself and pushes further than it ever has in terms of stylistic reach (Integrity walks by and waves… at Boris) and the sheer power of its construction. If you’re looking for the future, you’ll find it in scumbag paradise.
Here’s the lineup:
Psycho Las Vegas 2018
Hard Rock Hotel and Casino Las Vegas 4455 Paradise Rd, Las Vegas, Nevada 89169
PSYCHO LAS VEGAS 2018 lineup: DIMMU BORGIR (west of chicago exclusive) HELLACOPTERS (one of two shows to be played in the USA in 2018) SUNN 0))) GODFLESH (west of chicago exclusive) WITCHCRAFT (one of two shows to be played in the USA in 2018) ENSLAVED AMERICAN NIGHTMARE HIGH ON FIRE ROCKET FROM THE CRYPT RED FANG ZAKK SABBATH CHURCH OF MISERY (usa exclusive 2018 with exception to one other show in San Diego) TINARIWEN GOBLIN CKY VENOM INC EYEHATEGOD VOIVOD BORIS COVEN INTEGRITY PALLBEARER WITH THE DEAD (USA exclusive 2018) MONOLORD LUCIFER (USA exclusive 2018) ACID WITCH SURVIVE DOPETHRONE BIG BUSINESS UNEARTHLY TRANCE MUTOID MAN TODAY IS THE DAY HELMS ALEE SPIRIT ADRIFT BATUSHKA PRIMITIVE MAN DVNE ALL PIGS MUST DIE EIGHT BELLS WORMWITCH INDIAN NECROT HOMEWRECKER BRAIN TENTACLES CLOAK BLACK MARE MAGIC SWORD UADA TEMPLE OF VOID DREADNOUGHT WOLVHAMMER ASEETHE DISASTROID FORMING THE VOID VENOMOUS MAXIMUS GHASTLY SOUND HOWLING GIANT KING BUFFALO NIGHT HORSE THE MUNSENS GLAARE
Paradise Pool Pre Party
August 16th
WOLVES IN THE THRONE ROOM ELDER YOUNG AND IN THE WAY DENGUE FEVER FIREBALL MINISTRY TOKE
Center Bar DJ’s Andrew W.K. Nicke Andersson (Entombed/Hellacopters) Johanna Sadonis (Lucifer)
Posted in Whathaveyou on December 14th, 2017 by JJ Koczan
Well, here’s Roadburn 2018 wishing you happy holidays as pretty much only Roadburn can. With Boris and Stephen O’Malley playing Absolutego in full, a one-off collaboration between Oranssi Pazuzu and Dark Buddha Rising kicking off the festival, additional whole-record performances from Godflesh and Hooded Menace, a European debut from Khemmis, plus the likes of Thou & The Body, Motorpsycho, Fuoco Fatuo, Forgotten Tomb, Wolfbrigade and of course a completely overwhelming ton of others. So yeah, happy holidays from Roadburn, I guess. Probably even happier if you already have your tickets for next April.
If you don’t, gadzooks, I hear it’s the holidays.
From the PR wire:
Further artists confirmed for 2018 edition of Roadburn Festival; including details of specially commissioned performance
– Dark Buddha Rising and Oranssi Pazuzu collaborate on commissioned project, Waste of Space Orchestra – Boris join forces with Stephen O’Malley for Absolutego performance – Jacob Bannon adds Godflesh, Motorpsycho, Thou x The Body and Forgotten Tomb to his curation – Justin K Broadrick and Kevin Martin unite as Zonal, with Moor Mother – Hooded Menace to play Fulfill The Curse in its entirety
COMMISSIONED PROJECT: WASTE OF SPACE ORCHESTRA
Artistic Director Walter Hoeijmakers commented:
“Roadburn has always been about bringing people together, creating a network where the line between friend, fan, performer and artist is blurred. The very foundation of Roadburn is the community that it is built upon, around, and within. Alongside this, Roadburn has always sought to push the boundaries of creativity and expression.
These two defining facets of Roadburn have been brought together for a brand new project – or rather, two brand new projects – for 2018. For the first time, we have commissioned a two groups of entirely separate musicians to create music to be performed specifically at Roadburn. Today we’re thrilled to announce the first of those groups of musicians.”
Familiar to most Roadburners, Dark Buddha Rising and Oranssi Pazuzu are combining their forces to write and perform a new concept piece especially for Roadburn 2018. The collaboration will be titled the Waste of Space Orchestra.
The performance will include ten musicians onstage plus an original video accompaniment, designed to tell a parallel story with the music. The ten-part, one hour piece is a dive into the consciousnesses of three beings – all of whom are on a search for deeper truths in comprehending reality.
The Waste of Space Orchestra performance will open the main stage on the first day of Roadburn 2018 – Thursday, April 19.
BORIS AND STEPHEN O’MALLEY PERFORMING ABSOLUTEGO
It was Absolutego that kickstarted everything for Boris in 1996 and put that strange little band from Tokyo named after a Melvins song on the map. If you further exercise your memory, you will surely recall that Absolutego was – above everything – a drone album, one single track that took the listener on a strange, intense and very dark trip.
We’ve invited Boris to come and perform that whole Absolutego giant of sound, and they said yes. Joining them for this exclusive, one off performance is none other than Stephen O’Malley.
Boris with Stephen O’Malley will play Absolutego on Saturday, April 21 at the 013 venue, Tilburg, The Netherlands.
JACOB BANNON’S CURATION
MOTORPSYCHO
“When discussing with Walter potential artists that fit the experimental spirit of Roadburn Festival, we both landed on the idea of Motorpsycho. I was first exposed to the band through their Demon Box album and have attempted to follow their unique twists and turns since. Their output is legendary and their need for experimentation has been inspiring to follow over the years. It is a true honor to help bring this diverse voice to the Roadburn audience.”
– Jacob Bannon.
GODFLESH
As part of Jacob Bannon’s curation, Godflesh will perform their groundbreaking album Selfless at Roadburn Festival 2018.
“I first experienced Godflesh when I picked up the Grindcrusher compilation from Earache Records as a teenager. The otherworldly power of Streetcleaner effected me in a way that I still find hard to describe. Since then I have been an avid follower of all music that Justin creates. Though I celebrate the expansive Broadrick catalog as a whole, it is his forays into melody under the Godflesh name I really connect with. Selfless as is an album that has everything for me. Punishing heaviness, incredible hooks, and limitless emotional depth. It is a true honor that they have agreed to play this album in its entirety at Roadburn 2018.”
– Jacob Bannon.
CURATION: THOU X THE BODY
“Since their inception I’ve been following Thou. Their restlessness and drive for experimentation has been inspiring to follow. The same goes for The Body. They’ve been such an incredible band to watch evolve from release to release. When they joined together on their Released From Love and You Whom I Have Always Hated collaborations I was floored. Together, they amplify the best parts of each band’s individual output. Making some of the heaviest and most intense music of the last few years. This collaboration is a must listen and perfect fit for Roadburn Festival.”
– Jacob Bannon
CURATION: FORGOTTEN TOMB
“I was first exposed to Forgotten Tomb through their incredible Springtime Depression album. To me, Herr Morbid’s vision was immediately appealing. Carrying a relatable sadness and inescapable darkness unequaled by other artists of the time. Since then I’ve been following his growth as an artist and the evolution of the band. I feel that artistically Forgotten Tomb are a perfect fit for the core Roadburn audience. They are a musical black hole that claims everything around it. I can’t wait to experience their set at Roadburn Festival 2018.”
– Jacob Bannon
ZONAL WITH MOOR MOTHER
Justin K. Broadrick is such an integral part of the Roadburn backbone by now that he needs little introduction. When it was announced that Justin and Kevin Martin, aka The Bug – who already made himself part of Roadburn with a staggering show alongside Dylan Carlson of Earth this year – would reunite under the name Zonal (a spiritual continuation from their iconic Techno Animal duo) it registered on our always-on radar. They will be joined by Camae Ayewa, the musician, activist and poet from Philadelphia who also goes by the name Moor Mother.
HOODED MENACE
Since their earliest rumblings, Finnish cult doomsters Hooded Menace have held an astonishingly high profile in the underground realms. Their uniquely energetic take on the classic hybrid of doom and death metal has been invigorating audience since the release of their 2008 classic, Fulfill the Curse. We’re thrilled to announce that the band will perform this classic album in full at Roadburn 2018.
TICKET ONSALE INFORMATION Roadburn 2018 tickets are on sale now. 3 and 4 day tickets are currently available, with day tickets going on sale at a later date.
4-day-tickets €198,40 (including €3,40 service fees) 3-day-tickets €175,40 (including €3,40 service fees)
Camping tickets are also available to purchase, with additional options (such as Festipis and camper vans) also possible. This year the urban campsite will be in a new location – but still within walking distance to the 013 venue – providing a comfortable and affordable option for Roadburn attendees.
