Buzzov*en, Corrections House, Lumerians, 40 Watt Sun, New Keepers of the Water Towers and The Body Join Roadburn 2014 Lineup

Posted in Whathaveyou on October 30th, 2013 by H.P. Taskmaster

It would seem as though we’ve entered that period of the year when Roadburn just starts throwing down amazing lineup additions at the drop of a hat. A slew of new ones came out today — some even as I was starting this post about them; hello, New Keepers of the Water Towers — and as ever for Roadburn, the 2014 lineup is a monster. To be honest, it was a monster already before today, but between Buzzov*en and Corrections House sets (two from the latter, including solo appearances), return slots for Lumerians and 40 Watt Sun, and debuts for The Body and New Keepers, it’s a landmark afternoon for the fest, which takes place April 10-13, 2014, at 013 in Tilburg, the Netherlands.

Here’s the latest from the Roadburn site:

Buzzov-en’s Rebirth At Roadburn Festival 2014; Headlining The Thursday Roadburn Date, April 10th

Roadburn 2014 is ecstatic to announce that sludge/stoner legends buzzov-en will be making an extremely special performance, headlining the Thursday, Roadburn date, April 10th at the 013 venue in Tilburg, The Netherlands.

Now remaining original member Kirk Lloyd Fisher (guitar/vox) has re-joined forces with bassist Dixie Dave (Weedeater, Bongzilla, Buzzov*en‘s …At A Loss) and drummer Ashley (To A Frown, Sore) to reform the band and bring them to Europe for the first time ever. Time (and sobriety) may have tempered Buzzov*en‘s shows to be less broken glass and blood filled, but the music remains as potent as ever.

“I’m looking forward to Buzzov*en’s rebirth being at Roadburn. I am gearing up to make our European debut an onslaught of swamp ass guttural delusions. I have started my ascent out of my corner of HELL that caged me. With the help of fellow members Dixie, Ash and Floyd, we have chosen you all to assault first. Welcome to violence fuckers” – Kirk / Dirtkicker.

Corrections House To Hoax The System at Roadburn Festival 2014

Neurosis‘ Scott Kelly has joined up with Mike IX Williams (Eyehategod), Sanford Parker (Minsk / Buried at Sea) and Bruce Lamont (Yakuza / Bloodiest), along with ‘Minister of Propaganda’ Seward Fairbury, to form Corrections House, an end-times collaboration unit and collective, and we here at Roadburn are proud to announce that the members of Corrections House will be playing two sets for us at Roadburn 2014.

Corrections House is a meeting of minds and ideologies that sees all four members incorporating their obvious individual talents and voices but simulatenously carving paths away from the sounds for which they are usually known, with forthcoming debut full-length Last City Zero – following first single Hoax The System – shifting from the tectonic plate-shifting doom and downcast gloom of Kelly‘s usual ouevre into mutated industrial hissing and clanging EBM beats from Parker, squalls and drones of oblique saxophone from Lamont and Williams familiar phlegm-drenched fire-spitting ire and all points between across its length.

Corrections House themselves will be preaching the end-time message with apocalyptical zeal from their righteous pulpit atop the main stage of the 013 venue in Tilburg, The Netherlands, on Thursday, April 10th, hoaxing the system and smashing out selections from Last City Zero (out on Neurot recordings).

The individual members will play a second show on Friday, April 11th at Het Patronaat, and for this show, Scott Kelly, Mike IX Williams, Sanford Parker and Bruce Lamont will each perform solo material, aided and abetted by a selection of the others as they see fit.

The Body To Plunge Us Into Apocalyptic Darkness at Roadburn Festival 2014

On their latest album, Christs, Redeemers, The Body crafts a template of extreme heaviness, incorporating crushing, downtuned, ultra doom, searing black metal and ravishing grimness with elements of noise, avant-garde composition, and experimental electronic music par excellence.

The duo of Chip King and Lee Buford‘s sprawling, black hole, sonic mystery goes far beyond what is normally considered as crushing, post doom heaviness – the two man pummel advocates a doctrine of misanthropy to those brave enough to gorgeously dwell in crawling, collapsing, soul devouring darkness.

Since their humble origins, back in 2004, as scrappy DIY punk rock noisemakers, King and Buford have evolved and refined their craft in order to absolutely nullify the spirit in the most harsh and violent way sonically possible, pushing their emotive yet harrowing doom into the horrifying unknown.

The Body will plunge us into apocalyptic darkness and bring about the very end of days with devastating assaults of volume and brutal sonic battery on Friday, April 11th at Het Patronaat in Tilburg, The Netherlands.

Hypnotic Space-Psych-Funk Cosmonauts Lumerians To Steer Roadburn 2014 Afterburner Into Unknown Galaxies

It makes perfect sense that San Francisco’s spaced-out, hypno-dirge, psych-funk rockers Lumerians will appear at Roadburn 2014 Afterburner on Sunday, April 13th at the 013 venue in Tilburg, The Netherlands. Originally starting out as a more straight ahead psychrock band, Lumerians evolved to combine the motorik, kraut-psych punch of Hawkwind and Spacemen 3, soon exploring the same intergalactic territories as their peers, Wooden Shjips and Sleepy Sun and the likes.

Over the years and the course of several LP’s and 12-inches – from Transmalinnia to Horizon Structures and The High Frontier – Lumerians pushed the envelope of all thing psychedelic, and moved more into a more distinctly different direction than their aforementioned peers, something that we really admire at Roadburn HQ: Lumerians woozy transmissions from planet Telos have been guiding us on many of our interplanetary travels into the unknown (the 2014 festival is gradually heading more and more towards the outer limits and beyond, as you all have noticed).

Lumerians excel at constantly shifting their sound, equal parts seventies space-funk explorations, eighties new wave, lygeric drones, serious progginess and kosmishe synth workouts, and at other times mixing Bitches Brew-era Miles and Sextant-era Herbie Hancock with wildly sci-fi inspired psych, the band keeps their hypnotic, cinematic, futuristic freak outs as psychedelic as they are totally exotic.

40 Watt Sun To Make A Much Anticipated Return To Roadburn Festival 2014

UK’s 40 Watt Sun will be making a much anticipated return to Roadburn Festival 2014 on Thursday, April 10th at Het Patronaat in Tilburg, The Netherlands. Lead by singer / guitarist Patrick Walker, 40 Watt Sun gets a chance to reprise their extraordinary 2012 Roadburn performance, this time playing a stark, stripped-back set of songs from their forthcoming second album as well as performing songs from the band’s stunning debut full-length, The Inside Room.

New Keepers Of The Water Towers Keep It Cosmic At Roadburn 2014 Afterburner

At last year’s Roadburn ticket release show we enjoyed Switchblade so much we decided to ask them to play the 2013 Roadburn Afterburner too and at this year’s ticket release show, wouldn’t you know it, we enjoyed fellow Swedes New Keepers of the Water Towers so much we also decided to ask them to play next year’s Roadburn Afterburner!

Since forming in 2006 and across the span of three epic albums, this Stockholm-based Stoner Metal ensemble have been increasingly upping the progressive and cosmic ante of their sound, culminating in 2013?s epic album The Cosmic Child, a wild ride across territory occupied by kindred spirits such as Mastodon, Shrinebuilder and even the Moog-driven sounds of Rush.

Join frontman Rasmus Booberg and his cosmic cohorts as they trip the light fantastic and melt faces at The Roadburn 2014 Afterburner on Sunday, April 13th at the 013 venue in Tilburg, The Netherlands.

Roadburn Festival 2014 will run for four days from Thursday, April 10th to Sunday, April 13th 2014 at the 013 venue in Tilburg, The Netherlands.

Roadburn Festival 2014 ticket pre-sales are in full swing! GET IN ON THE ACTION HERE!

http://www.roadburn.com/roadburn-2014/tickets/

Corrections House, “Grin with a Purpose” official video

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Buzzov*en, …At a Loss: Still Swamped After all These Years

Posted in Reviews on May 6th, 2011 by H.P. Taskmaster

The band’s original 1998 swansong, …At a Loss can be taken two ways when put in the context of Buzzov*en’s catalog as a whole. On the one hand, it’s the Wilmington, North Carolina, outfit’s most coherent offering in terms of songcraft, use of structure, and general self-awareness. By 1998, there may not have been nearly as many practitioners of it as there are today, but there was a set of sludge acts from across the USBongzilla and Eyehategod come to mind as contemporaries – and Buzzov*en were always intelligent enough to understand what was happening around them, as they were constantly on tour. So it’s a record with a place and a defined direction. On the other hand, with that, you necessarily lose the chaos of Buzzov*en’s earlier work in albums like To a Frown (1993) and Sore (1994), which had a fuck-all throwaway feel that simply can’t be replicated by anyone who knows what they’re doing without sounding contrived on some level. What’s certain in listening to …At a Loss is that Buzzov*en did pill-popping misanthropy like no one either in the American South or anywhere else. Even as what’s ostensibly their most accessible album, …At a Loss is a litmus test for how much aural hatred a person can withstand before pressing stop.

Given new life with a recent reissue thanks to Michigan imprint Emetic Records, every second of …At a Loss feels saturated with anger. It’s a humid, swampy sound to start with, and Buzzov*en revel in it across songs like the ultra-slow “Loricet,” the blastingly punkish “Flow,” which follows immediately, and the opening title-track, which begins the album with a sample of Robert Di Niro from Taxi Driver giving the “Someday a real rain’s gonna come…” monologue like it’s a mission statement for …At a Loss itself. The samples – an integral part of Buzzov*en’s assault – were handled at last by T-Roy Medlin, who had already by then formed Sourvein, and though that inevitably dates the record in the context of how overused sampling became in sludge, doom and stoner rock, it’s important to remember how pioneering Buzzov*en were in the method and that their doing so involved tapes and not laptops. I don’t know if that makes a difference in how most ears will hear …At a Loss 13 years after the fact, but the context is worth considering one way or the other.

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Buzzov*en to Tour Southern US with Cough in February

Posted in Whathaveyou on December 30th, 2010 by H.P. Taskmaster

North Carolinian sludge innovators Buzzov*en have hit it pretty hard since getting back together earlier this year, and in addition to a confirmed appearance for next year’s Roadburn festival, they’ve just announced the below February tour with Virginian riff-worship upstarts Cough. It’s a pretty good pairing, you know, if you like stuff that’s ridiculously heavy and pissed off.

The PR wire has the scoop:

Continuing to devastate America one tour at a time, sludgemongers Buzzov•en today announce their third tour installment since reuniting early in the year. Hitting all new markets throughout the Southern and Southeastern US this time, the band will hit the old dusty trail again in early February with Virginia‘s sludgesters Cough providing direct support. Confirmed appearances on this newly-announced rampage are as follows:

Buzzov•en /Cough Winter 2011 Tour:
2/04 Ground Zero Spartanburg, SC
2/05 The Jinx Savannah, GA
2/07 Siberia New Orleans, LA
2/08 Walters on Washington Houston, TX
2/09 Trees Dallas, TX
2/10 Downtown Music Little Rock, AR
2/11 Hi Tone Memphis, TN
2/13 Southgate House Newport, KY
2/15 Canal Club Richmond, VA
2/16 Casbah Durham, NC

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Buzzov*en to Tour West Coast in December

Posted in Whathaveyou on November 16th, 2010 by H.P. Taskmaster

December is cold and shitty here in the Northeast. It used to snow, but now that holds off till January or February for the most part, and December is just wet, cold and gross. No fun at all. What would be fun is seeing Buzzov*en, but they’re playing it smart and heading to the West Coast of the US, where from what I understand life is nothing but bikinis and hoverboards 365 days a year. Congratulations on the wise decisionmaking.

The PR wire has the info:

Following a successful five-date tour this past October, which officially marked their first live performances in 12 years, North Carolina sludge merchants Buzzov*en will take their notoriously raw, crushing live act to the West Coast this December! Kicking off on December 13th, the band is dragging out an incredible set list from the arsenal of brooding, scathing recordings they’ve amassed over the years.

Buzzov*en Dec. 2010 West Coast Tour:
12/13 The Ruby RoomSan Diego, CA
12/14 Ultra VioletLos Angeles, CA
12/15 DNA LoungeSan Francisco, CA
12/16 Dante’sPortland, OR
12/17 FunhouseSeattle, WA
12/19 3 Kings TavernDenver, CO

As with the successful October tour dates, the band’s reunited 1998 At a Loss LP lineup of Kirk Fisher on guitar and vocals, “Dixie” Dave Collins (Weedeater) on bass and vocals, and Ramzi Ateyeh (Sourvein) on drums, now also includes Sleepy Floyd (also of Sourvein) on second guitar.

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Where to Start: Sludge

Posted in Where to Start on November 12th, 2010 by H.P. Taskmaster

I’ve heard the word sludge used to classify bands from Pro-Pain to Neurosis to Grand Funk Railroad, so let’s be clear right off the bat that when I talk about sludge, I mean ultra-aggressive, screaming doom, played slow, played angry. It’s a term as nebulous as any other, but going from that specific definition, and considering the bands I’m about to recommend who play it, we should have a pretty good basis to work from.

There are some acts who take sludge to vicious extremes — see Fistula or Sollubi — blending in elements of black metal or SunnO))) style drone minimalism, but I’m not talking about them either. Where to start with sludge is the root of the subgenre, the key formative groups who’ve made it possible for a new generation to pull the sound in the multiple directions they have.

Because I couldn’t narrow it down to five, here are seven killer sludge bands to start with:

Crowbar: Their later material actually has little in common with what’s currently thought of as sludge, but 1991′s Obedience thru Suffering and 1993′s Crowbar are essential to understanding what the sound has become. The latter (recently reissued) is a better starting point for its more memorable songs.

Eyehategod: As much an influence in lifestyle and persona as for their music, the New Orleans gods of sonic fuck-all have nonetheless produced some of sludge’s most classic material. Just not in the last decade. At all. Start with 1993′s Take as Needed for Pain.

Negative Reaction: Their early stuff was more geared to sci-fi, which made the long-running Long Island outfit unique among their viscous peers. 2000′s endofyourerror saw them start to veer away from that into more personal lyrical territory, but it’s a stunningly abrasive listen nonetheless.

Buzzov*en: Dude. To a Frown. Dude.

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Uh, So I Guess Buzzov*en are Touring

Posted in Whathaveyou on August 2nd, 2010 by H.P. Taskmaster

News to me they were reuniting at all, but Kirk Fisher of North Carolina sludgers Buzzov*en issued an update in April and there were recently some tour dates posted, so it’s on. Can a Buzzov*en reunion ever live up to the chaos and volatility that has by now become the legend of their shows? I suppose we’ll all have to find out together.

Here’s the news from Fisher (who these days goes by Kirk Lloyd) and the dates, as found on the Tone Deaf Touring site:

So as time flies by as it does so often these days we are coming closer to the preparation of the upcoming US tour this fall. Guitar player from the EP The Gospel According to… Craig Baker recently appeared after I had presumed him dead or lost for good and it’s possible he may be playing on the Fall gigs. At a Loss is almost ready to hit the shelves again but this time with the addition of vinyl. Emetic Records is reissuing it. And on another note Hydra Head Records is finally gonna officially release Revelation:Sick again hopefully by the time we do our first shows in September. Things are coming together and I will also be doing some k.lloyd shows during some of these outings with Buzzov*en so stay tuned as dates should be announced here very soon. Also new merch is coming under a new merch company run by us. This should be up and new designs available within the next month or so. Thanks to everyone for their support and I’m hoping to see all of you this fall out on the road. Later, Kirk Lloyd

09/25 Tremont Music Hall, Charlotte NC
09/29 Reggies Rock Club, Chicago IL

09/30 Rocks Off Concert Cruise Aboard the Temptress, New York NY

10/01 Ottobar, Baltimore MD

10/02 Emo’s, Austin TX

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What Else is Buzzov*en Hiding in This Vault?

Posted in Reviews on January 26th, 2010 by H.P. Taskmaster

I’m willing to wager it’s not homemade chocolate chip cookies, or puppies, or a Thank You card that says “Just Because” on the inside of it. Whatever else they’ve got in their vault, we can only assume it’s ugly, drug-addled and given to physical altercations. Seems to be the way it went with these guys.

They were only together for about a decade, but the chaotic legacy of North Carolinian sludge bastards Buzzov*en endures even as no one since has been able to capture quite the same level of fuck you-itude that seemed to come so naturally from vocalist/guitarist Kirk Fisher and the sundry musicians with which he surrounded himself throughout the band’s tenure. With the new Relapse collection, Violence from the Vault (Alternative Tentacles released the career-spanning Welcome to Violence in 2005), there surfaces five tracks recorded with Billy Anderson in 1995 featuring the same lineup as was on the 1994 Sore full-length.

Some version of “Mainline” was previously released on the 1997 The Gospel According… II EP, and “Nod” appeared on a ’96 split with Sourvein, but “Paintake,” “Breed” and “I Never” seem to have been unearthed for the first time. The sound is raw, with plenty of cassette wobble in “Breed” and a general tin-can feeling throughout, but who ever listened to Buzzov*en for the pristine production value? When I’m waist deep in the nearly 16-minute noise/drone/slow-riff/screaming stretch of “Nod,” clarity of sound is the last thing on my mind. Making it out alive is much more of a primary focus.

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