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Roadburn 2015: Claudio Simonetti’s Goblin, Zombi, Salem’s Pot and More Added to Lineup

Posted in Whathaveyou on September 4th, 2014 by JJ Koczan

roadburn 2015

A huge slew of adds today to Roadburn 2015. I’m sure it’s happened at some point over the last however many years, but I can’t remember a time when so many acts joined a Roadburn bill at once. And as one would have to expect, they’re completely all over the place, from Claudio Simonetti’s Goblin doing two live soundtracks to Oozing Wound thrashing out and Salem’s Pot weed-worshiping their consciousness into oblivion. That’s really just the start of it, too.

And there’s more to come, of course. The PR wire has info:

goblin at roadburn 2015

CLAUDIO SIMONETTI’S GOBLIN TO PERFORM LIVE SCORE OF CULT HORROR CLASSICS DAWN OF THE DEAD AND SUSPIRIA AT ROADBURN 2015

ZOMBI, STEVE MOORE & MAJEURE TO PLAY ROADBURN FESTIVAL 2015

PROFETUS, DER WEG EINER FREIHEIT, SALEM’S POT, SAMMAL & OOZING WOUND ALSO CONFIRMED FOR THE 20th EDITION OF ROADBURN FESTIVAL

We’re extremely excited to announce that Claudio Simonetti’s Goblin will return to the 20th edition of Roadburn Festival, set for April 9 – 12 at the 013 venue in Tilburg, The Netherlands, to perform their much acclaimed movie soundtracks for the well-known cult-classic horror movies Dawn Of The Dead and Suspiria.

Led by Brazilian-born composer Claudio Simonetti, the band will perform the live scores in real time while screening both movies from start to finish, offering our beloved attendees the chance to experience these classic soundtracks and films in an entire new dimension.

This will be the first time that these soundtracks will be performed in The Netherlands and at Roadburn, following the band’s critically acclaimed performance at last year’s festival, when Claudio Simonetti’s Goblin were invited by curator Mikael Åkerfeldt.

Goblin’s scores for George A. Romero’s Dawn of the Dead (1978) and Dario Argento’s Suspiria (1977) rank among the best and most famous soundtracks composed and produced by these Italian progressive rock legends.

The much-anticipated performances will take place on the main stage at the 013 venue on Saturday, April 11 (Dawn of the Dead) and Sunday, April 12 (Suspiria).

We’re equally excited to announce that legendary kosmische Giallo synth duo Zombi will be playing an exclusive set at Roadburn 2015, appearing for the first time in Europe since a handful of festival appearances back in 2011.

Since first hitting the general consciousness with their Relapse 2004 debut album Cosmos, following a pair of EPs, and wowing fans and critics alike with 2011’s Escape Velocity, it could be argued that Zombi were the spearhead for the whole resurgence of interest in obscure film soundtracks and the music of artists such as Goblin, John Carpenter and Fabio Frizzi.

Zombi, AKA Messrs. Moore and Paterra will be opening up the stargate and heralding the zombie dawn on the main stage of the 013 venue on Saturday April 11 as a part of the 2015 20th edition of Roadburn and we couldn’t be more psyched to have them.

That, however, is not all we have in store for you, as we also have exclusive solo performances from Zombi braintrust Steve Moore and A E Paterra – performing under his Majeure identity – both of whom will be playing on the day before, Friday April 10 at Het Patronaat.

In related news: At long last, Profetus will be conjuring their classic Finnish funeral doom, worthy of comparision to Thergothon, Skepticism and Tyranny (with whom Profetus share members), when they play on Friday, April 10 at Het Patronaat, too!

In collaboration with Finland’s Blow Up That Gramophone, we can’t wait for Profetus, who rarely perform live, to slowly break down Het Patronaat by the full crashing weight and momentum of monolithic riffs, slow building drums, guttural vocals and sadly beautiful, but also penetrating church-organ-like synths.

Germany’s Der Weg Einer Freiheit offers a master class in dark, furious and epic black metal as they effortlessly mix blackened grandeur with post-rock sensibilities and classically influenced melodies to create their signature sound. Impatiently waiting for the follow up to 2012’s Unstille, we’ll be anticipating Der Weg Einer Freiheit’s Roadburn performance on Friday, April 10 at Het Patronaat just as much.

Firmly rooted in the red-eyed rituals of the heady ‘60s and dead ‘70s, and shabby, feverish catacomb 8mm smut by the likes of Jess Franco, Sweedens’ Salem’s Pot are clearly on the rise, channeling ultra-fuzzed acid-blues into psychotropic lo-fi doom.

These guys aren’t just some bogus, bong-worshipping, basement dwellers. Salem’s Pot accentuate these creepy vibes by smashing B-movie debauchery and vintage hedonism into a lysergic stomp through spooky reverberations and underground grime. You know what to do when Salem’s Pot will hit Roadburn 2015 on Thursday, April 9 at the 013 venue.

Founded in 2004 by guitarist Jura Salmi and vocalist Jan-Erik Kiviniemi, Sammal manages to capture a sense of golden moments in Finnish music. Touching on their culture and heart, and with lyrics sung entirely in Finnish, Sammal shows a masterful, natural command of classic rock with nods to Caravan, Thin Lizzy, Camel, Birth Control, Budgie and the epic guitar journeys of the Allman Brothers.

Though Sammal have existed for 10 years, they seldom play live gigs (let alone abroad) and in collaboration with Finland’s Blow Up That Gramophone, we are immensely excited to have them at the 20th edition of Roadburn Festival on Saturday, April 11 at the 013 venue.

Buckle up! Are you ready for some of the filthiest, snottiest, relentless and downright loud crossover thrash this side of early 80s Metallica, Slayer and Suicidal Tendencies? Then look no further, as Chi-town’s Oozing Wound are here to supercharge the 20th edition of Roadburn Festival on Saturday, April 11 at the 013 venue.

In related news: British gothic rock innovators Fields Of The Nephilim will be gracing the stage twice at the 20th edition of the Roadburn Festival. In addition to serving as the Saturday headliner on April 11, the band will perform a different set as special guests at Houses Of The Holistic on Friday, the special Roadburn event curated by Ivar Bjørnson (Enslaved) and Wardruna‘s Einar “Kvitrafn” Selvik, which will be held on Friday, April 10.

Once again, we captured the sounds of Roadburn Festival. While you were worming your way through a Green Room doorway jam, we were recording the jams inside. Now it’s time to kick back and relax and just listen. The VPRO’s 3voor12, which is the best cultural media network in the Netherlands, is making it possible to share these 2014 Roadburn streams with you here.

Curated by Ivar Bjørnson (Enslaved) and Wardruna‘s Einar “Kvitrafn” Selvik, Roadburn Festival 2015 (including The Heads as Artist In Residence, Enslaved, Wardruna, Claudio Simonetti’s Goblin, Zombi and Fields of the Nephilim among others) will run for four days from Thursday, April 9 to Sunday, April 12 at the 013 venue in Tilburg, The Netherlands.

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Goblin, “Dawn of the Dead Theme”

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Roadburn 2014 Day Two: “Death Means Just Life”

Posted in Features, Reviews on April 11th, 2014 by JJ Koczan

04.12.14 — 01:04 — Friday night/Saturday morning — Hotel Mercure, Tilburg

I must be doing a piss-poor job of not looking beat to hell, because several people asked me throughout the course of the afternoon and night how much I’d slept. Just enough, in combination with coffee, to stay standing. I wasn’t so clever with my answer at the time.

Today’s pacing was completely different from yesterday. When you’re here, you tend to be your own curator — I’m going to see this at the expense of that, I want to catch this band, so I will be here at this time. People pull their schedules out constantly, myself included. It’s important to stay on top of this stuff. Minutes matter at Roadburn.

For me, it was slower. At one point in the evening, I had to sort of stop and remind myself that I didn’t have to rush off somewhere, I could stay put and watch a little longer. That was the case right from the start with French classic prog tale-tellers Magma, who opened Mikael Åkerfeldt of Opeth‘s curated day on the Main Stage. The early portion of the Main Stage bill — three out of the total five bands, all playing at least 70 minutes, and in the case of MagmaClaudio Simonetti’s Goblin and Opeth themselves, a full 90 — was heavy on prog. That had me at something of a disadvantage when it came to giving acts like Magma, Comus and Claudio Simonetti’s Goblin their due reverence, but I made the most of exposing my brain to things it hasn’t encountered 30 times already and saw some acts on other stages as well. There’s always someplace to be if you want to be there. Or you can go to the bar.

Magma‘s tales of future space in made up language set the bar pretty high for texture. Later on, Goblin would inject a little funk and some heavier rock into what they were doing, but with Magma, it was more about expansive and psychedelic jazz, though thinking of their set in the context of Mikael Åkerfeldt picking the lineup, it was easy to see why they were there — Opeth had clearly taken some of their influence. Likewise that for Comus and Goblin. In the Green Room, where I hadn’t been yet, Lenny Kaye and Harsh Toke were getting ready to jam, and I don’t know what it was, but something told me I wanted to be there.

A fellow Jersey boy, Rutgers grad and former publisher of a ‘zine called Obelisk — if only I could play guitar — Lenny Kaye is probably best known for playing in the Patti Smith Group, but he’s here as well celebrating the Nuggets compilation he put together in 1972 that featured the likes of Nazz, 13th Floor Elevators, The Electric Prunes, etc. Paired with San Diego’s Harsh Toke, who are newcomers to the Tee Pee Records roster, Kaye fronted one of the best live heavy psych jams I’ve ever seen. No bullshit. With a steady refrain of “Harsh Toke makes good smoke” from Kaye on mic and improvised-seeming lyrics amid a terrifyingly immersive swirl from his guitar and the two in Harsh Toke — all the while, bass and drums holding down a battery of killer grooves — it had every dynamic you could possibly ask of a close-your-eyes-and-nod jam. I spent the rest of the day telling people how incredible it was and getting blank stares, no doubt because Lenny Kaye & Harsh Toke were on in the Green Room at the same time The Body were on at Het Patronaat, but wow. I had planned to be there for a few minutes and didn’t leave until they were done, an extended cover of Them‘s 1964 hit, “Gloria,” which Kaye referred to as the “national anthem of garage rock.” They jammed on that too.

I had to laugh when, as he introduced the band, Kaye stopped to ask the bassist and drummer of Harsh Toke their names, but however familiar they may or may not have been, I felt like I was seeing something special. They ended a little early, so I got back to the Main Stage in time for the start of Comus, who also played Roadburn back in 2010 at the since-closed Midi Theatre around the block from the 013. They were today largely as I remembered them from then: Mostly seated and playing their cult forest prog, cuts like “Song to Comus” from 1971’s First Utterance once again showcasing an inspiration point for Åkerfeldt. I bought that Comus record four years ago and have listened to it since, but still would hardly call myself an expert, and they had a good crowd going until it was time to head over to Het Patronaat for a second set from Corrections House after yesterday’s. I’d hear about it later, but they brought out YOB guitarist/vocalist Mike Scheidt, who’s been spotted here and there around the fest ahead of YOB‘s two sets tomorrow and Sunday. If you want to make a supergroup more super, that’s a good way to do it.

The day I almost consider split in half, and the 90-minute set from Claudio Simonetti’s Goblin was the dividing point. People were so tight in the Main Stage room you couldn’t get in the door. Claudio Simonetti’s Goblin isn’t to be mistaken for the Goblin that toured in the US — the keyboardist has taken on members of his more metallized outfit Daemonia and made his own version of Goblin from them, while the classic Italian cine-proggers continue on in his absence. It’s confusing until you think of how often it happens. Then it’s just silly. Either way, Simonetti led his band through renditions of the themes to Zombi and Dawn of the Dead in addition to their eponymous song, all the while the audience nodded along. It was maybe a bit much at an hour and a half, but I may have been the only one who thought so. The dancing dude next to me was definitely on board, as most in attendance seemed to be, the Daemonia players injecting a bit of funk and hard rock into Goblin‘s classic scores.

Here’s where I had my moment when I decided to both have and eat my cake. Germany’s Sula Bassana were slated to go on at 21:40 at Het Patronaat. Simple enough. Candlemass were going on at 21:45. It was a very small window between the start of the two sets but I managed to squeeze my ass through it and caught the start of both. Obviously I saw more of Candlemass than Sula Bassana — which actually seemed to be Electric Moon plus another guitarist alongside Dave “Sula Bassana” Schmidt, bassist Komet Lulu and drummer Marcus Schnitzler, but I considered it an achievement all the same. Schmidt got on mic to say it was their first time playing as a full band and then was off to his synths and guitar to lead his outfit through expansive psych jams. I wasn’t there long, but I was glad to have been there at all.

And while I don’t know if anything will ever top seeing Candlemass perform 1986’s Epicus Doomicus Metallicus at Roadburn 2011 with original vocalist Johan Längqvist singing — a set that’s since been released on oh-if-I-had-the-money vinyl — the band sounded awfully vibrant for a group who’s been threatening retirement for the last half-decade. In addition to having Per Wiberg on keys — Wiberg also played the Afterburner last year with Spiritual Beggars and is a former member of Opeth — as they ran through the whole of 1988’s Ancient Dreams, the Swedish doom legends also brought out Primordial/Dread Sovereign frontman Alan “Nemtheanga” Averill to add his flair and stage presence to “Incarnation of Evil.” It seemed an odd fit for his triumph-prone vocal style, but completely worked, and for the rest of their set, Candlemass had Mats Levén of Therion on vocals, who’s also worked with Candlemass founder/bassist Leif Edling in Krux and Abstrakt Algebra. Levén also did well with the parts that once belonged to Messiah Marcolin, though it was Edling himself, wine glass in hand, who took center stage to deliver the album-closing “Epistle No. 81,” a spoken poem in Swedish that came through the 013 Main Stage P.A. to the rhythm of claps from the audience. Very cool moment.

For an encore, they broke out “Bewitched” — some clever band is going to come along and cover both the track and its accompanying video, which if you’ve never seen it is one of the finest ever produced by humanity — and Epicus Doomicus Metallicus opener “Solitude,” which was enough to send a chill up my spine. I fucking love that song, and Levén nailed it, though he like every vocalist I’ve seen with Candlemass, including Längqvist who originally recorded it, stepped back from the high notes in the chorus on the album version. When they were done, it was just a matter of waiting the 45-minute break for Opeth, which I tried to do by watching some of Papir in Stage01 through the doorway. My thinking was the room would be full so at least I’d be able to hear it and see some of the stage, but the fact was that when I got there, the doorway was full too. No place to stand even outside the room. Some you win, some you lose.

It would’ve been nice to stay and see Opeth round out their set with “Deliverance” and “Blackwater Park,” but even before they went on, I was getting that get-back-to-the-hotel-and-get-typing itch, so I stuck around for “The Devil’s Orchard” from 2011’s Heritage, “Ghost of Perdition” from 2005’s Ghost Reveries — which Åkerfeldt, with his expected stage-banter charm, referred to as “an old nugget”; something Lenny Kaye had said about “Gloria” earlier in the day — and the start of “White Cluster,” the closer of 1999’s Still Life, before making my way out. It’s been more than a few years since the last time I saw Opeth, but it was already after midnight and I knew what I had ahead of me.

Tomorrow closes out the fest proper with the first of YOB‘s two sets and Loop‘s headlining slot on the Main Stage, so with morning work on the next issue of the fanzine ahead, I’ll just say thanks for reading and there are more pics after the jump if you’re interested.

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