Posted in Whathaveyou on January 12th, 2013 by H.P. Taskmaster
The linup for Desertfest in Berlin gets a little more unfuckwithable with the addition of Witchcraft in a headlining spot. Danava and Lecherous Gaze were also added over the course of the last couple days, and the fest sent over a couple announcements. Desertfest Berlin 2013 is set for April 25-27 at the Astra Kulturhaus, and the list of bands is monstrous with Unida, Fatso Jetson and Yawning Man representing the Californian desert scene while Euro heavy answers back with classics like Lowrider and Dozer and newcomers Kadavar and Belzebong. Not much more you can really ask of three days of doom and music.
After a 5 year wait for all the fans that have been watching out for a new sign of life, the Swedish band WITCHCRAFT have marked the fall of 2012 with their new album ! And we are thrilled to say they will mark 2013 by playing at the DesertFest Berlin on Saturday 27th !!
From Örebro, Sweden, WITCHCRAFT was founded in 2000 when Magnus Pelander wanted to record PENTAGRAM tribute album. It took until 2002 when the band finally released a first single which caught the ear of Lee Dorian’s label, Rise Above Records, who quickly signed them. Their self-titled debut album was released in 2004, followed by their 2nd one “Firewood” in 2005, and “The Alchemist” in 2007. They manifested their very seventies-esque distinctive signature sound that made WITCHCRAFT known as Swedish finest psychedelic/classic rock band that helped to spearhead the now very bright Swedish rock scene.
After a five year break, WITCHCRAFT released in September 2012 their 4th studio album “Legend” on a new label, Nuclear Blast. The new album marked the recording debut of the band’s new members, including Simon Solomon (guitar), Tom Jondelius (guitar), and Oscar Johansson (drums), with singer Magnus Pelander focusing only on vocals instead of both vocals and guitar. Now a double-guitar five-piece, WITCHCRAFT reinvented their sound and shirked off most of the vintage stylization that marked their previous work and boldly opted for something new and heavier. And they delivered the most rocking album of their career!
To start this rocking new year, we are very happy to announce that DANAVA comes back in Europe in April/May, and will play at the DESERTFEST BERLIN!!! DANAVA is a band based out of Portland, Oregon, that has been steadily rising in the metal underground over the past eight years. The band turned heads with a a lysergic cocktail of stoner sludge, prog pomp, and rocket blastoffs!
They released 3 full-length albums in the past, the self-titled debut in 2006, “UnonoU” in 2008, and “Hemisphere Of Shadows” in 2011, all three on Kemado Records. Through the latter part of the decade, DANAVA also toured with the likes of Witchcraft, Voivod, The Melvins, Acid Mothers Temple, and Down (who have invited the band out three times now.) In 2012, they made an European tour with Saviours including Roadburn Festival!
Now it’s time for them to play at the DesertFest ! Get ready to enjoy their bombastic sound!!
LECHEROUS GAZE (USA)
Some of you maybe guessed when we announced Danava : LECHEROUS GAZE is added to the DesertFest’s line-up!! The history of LECHEROUS GAZE goes back to 2001 when guitarist Graham Clise and bassist Chris Grande started the hardcore punk band, Annihilation Time. After several personnel shake-ups, the band chose to lay the name to rest and begin with another project. They re-emerged with a new vocalist under the name LECHEROUS GAZE.
And after a few more line-up changes, the band released a self-titled 4 song EP with singer Lakis Panagiotopulos on Tee Pee Records in 2011. However, after some brief touring of the US and a full European tour, the Gaze decided to part ways with Lakis, again taking a brief period off to expand their arsenal of riffs. They soon enlisted the help of long time friend, Zaryan Zaidi to join the Gaze as their new front man. With his raspy delivery coupled with aggressively dark tones Zaryan gelled perfectly with the frustrated and heavy sonic assault the band had been building up for release since the break up of Annihilation Time.
October 2012 sees the release of the debut full-length 3 years in the making; which with its maelstromic mixture of heavy rock riffage, punk snarl attitude, and Zep-like attention to detail, “On The Skids” comes across as a hesher’s record collection melted together into one crushing slab of volcanic rock and roll that leaves nothing but burning embers and ringing ears .
Harsh and heavy, LECHEROUS GAZE is now ready to play destructively nasty music for fiendish people !
Posted in audiObelisk on June 18th, 2012 by H.P. Taskmaster
This is one of my favorite series of posts throughout the year, and it’s even better now because I can actually embed the players. Thanks as always to Roadburn for documenting these sets and to Marcel van den Vondervoort and his crew at Spacejam for doing the hard work of recording and putting it all together.
If you missed the first batch of 2012 streams, they’re right here, and as always, enjoy:
Posted in Features on April 13th, 2012 by H.P. Taskmaster
04.13.12 — 00.10 — Friday Night — Hotel Mercure
Today was going to be my calm day. Yesterday was a ton of running around, tomorrow indeed will also be a ton of running around. Today the idea was fewer bands, but more full sets. I wanted to let the fest sink in a little. To savor it for a while without having to be off somewhere else immediately.
Day two of the 17th annual Roadburn festival in Tilburg, the Netherlands, was dedicated to Canadian legends Voivod‘s curated event, Au-delà du Réel (the French translation of “the outer limits,” keeping with the band’s oft-affirmed affection for sci-fi). With the likes of Farflung and Barn Owl on the bill, though, it was as Roadburn as ever, but the idea — at least according to the literature — was to blend loud and quiet around the Voivod set doing all of Dimension Hatröss, and in that, they succeeded. It was probably the most mixed Roadburn lineup I’ve ever seen.
I’d been up until about 05.00 in the morning putting together the writeup of day one, so I slept late and got up after noon to get ready for the next round. Wino & Conny Ochs provided a subdued beginning at Het Patronaat, which was welcome. They both mentioned that they’d been on the road together touring Europe for six weeks, and they sounded like it. The harmonies between the two singers were tighter even than on the Heavy Kingdom collaborative album (review here), and they opened with the first cut from that, the ultra-quiet “Somewhere Nowhere.” Cameras around me clicked off pictures, and the music was so quiet that each click of a camera sounded like someone was breaking a window.
They picked up the energy level, though, at least somewhat. “Labor of Love” was a high point, as was “Heavy Kingdom,” and they played a new song they wrote while on tour called “Hellbound Train” that was bluesy enough to earn its title. It’s good to know that their collaboration will continue, or that they’re thinking it will at this point, anyhow. It will be interesting to hear how (and see when) they follow Heavy Kingdom and in what ways they expand their approach. Wino kicked some fuzz into his acoustic guitar for a solo — it might have been during “Old and Alone,” it might not — and later, Ochs brought out a bow and started playing his guitar with that as he also worked a kickdrum with his foot to provide more of a rhythm. Not exactly fireworks, I know, but it was an unplugged set, and seeing how well Wino and the malleable-voicedOchs work together was excitement enough.
Nachtmystium was taking the main stage at the 013 just as Wino&Conny Ochs were finishing, but I stayed put and waited a short while until Hexvessel came out and delivered their take on alternately Satanic and pagan folk. Before they took the stage, the Het Patronaaat DJ — whose name was Kevin, we’d later eat dinner together — played Black Widow and Coven, and that was appropriate enough a lead-in for Hexvessel, whose sound is very purposefully in that vein, but a tad more Finnish. I give it about five more months before avant garde pagan folk is the new doom, everyone wearing forest tunics and selling the good word of Satan’s majesty made flesh in the indulgent wonders of the earth. Not that I’d care if it happens, but if it does, I’d like another band to add to the list of comparison points. One gets tired of repeating, “Black Widow and Coven” all the time.
I did not stay in Hexvessel‘s darkened forest for long. Los Angeles psych unit Farflung — who I believe are actually in the process of being legally adopted by Europe — were in the Green Room, and I stood and watched some through the door, but my main thing was hitting the merch area at that time. I know I didn’t mention it yesterday, but buying merch is a major part of the Roadburn experience, whether it’s the festival t-shirt itself, exclusive vinyls, limited CDs. Whatever itch you’ve got to scratch as regards doomly commerce, all the bands are there at V39, which is right across the alley from the 013, and they’re all ready to sell. Groups playing Het Patronaat also get to sell their stuff at the church’s downstairs room, and it was there I bought six short-run handmade CDRs from GNOD, who I’d wind up not seeing tonight but am still glad to have dealt with. The dude took me through each CD one at a time and explained what the band was doing at that point, which order the discs were in, etc. It was actually pretty fascinating.
Back at the main merch area, though, it was crowding up. Depending on who’s at what table, it can be just as hard to move through there as it is to get into the Green Room or Stage01, but the difference I suppose is the merch area is a constant flux. I got myself a much-needed espresso from the machine (could use one now; my eyelids are getting heavy as I type) in the lower room that looks out onto the little courtyard smoking area, and conducted some business, picking up discs from Farflung, Black Rainbows and Dopethrone. The same people selling The Obsessed‘s new limited live LP were also selling CD/DVD digipaks of the new Saint Vitus record, Lillie: F-65 (review here), so I grabbed that too, and a Voivod shirt specially made for the Dimension Hatröss performance at Roadburn.
The next several moves I made can basically come down to one goal, and that was to see Conan at Stage01. I tried to get into Stage01 twice yesterday and failed both times. Couldn’t even get to a point where I could see in the doorway. It was pitiful, and as a result, I adjusted the course and direction of my afternoon with the single trajectory in mind: To be up front, Stage01, 19.15 as the British megadoom trio hit the stage. Was a bit of a process, beginning with seeing J.G. Thirlwell’s Manorexia in the main room. I think Sólstafir at Het Patronaat was drawing a lot of the crowd away, not to mention what remained of Farflung‘s packed-out set, but I wanted to catch J.G. Thirlwell’s Manorexia specifically because I knew nothing about the project. When I walked into the main hall, there was a string quartet setting up and piano, extra percussion — bit of chamber music to balance out the Au-delà du Réel mission. So be it. Excellently performed and it was great to watch these burly beardo sludge heads in the crowd shut their eyes and did on the cello. I’d have stayed longer, but for the mission of my own.
Dinner was a necessity. I was dragging ass already and it was only 17.50. Still a lot of Day Two left. So I went and ate as fast as I could so that I’d be in time to catch some of Kong in the Green Room — but upstairs, on the balcony. You see, the balcony of the Green Room connects to Stage01 in a way that already puts you in the room. No more waiting by the door. Well, yes, you’re still waiting by the door, but it’s a different door, and you don’t have to be in the hall — ah, forget it. It made sense at the time. Let’s just say that and roll with it. I made my way through and up to the Green Room balcony as Kong were setting up. They were pretty decent, instrumental heavy stuff with a bit of electronics thrown in in a way that was satisfyingly creative without being weird on purpose or desperate for attention. I snapped some shots, most (if not all) of which were terrible, but could not linger, lest I mistime my approach to the smallest of 013‘s three rooms and blow the entire Conan operation.
No way I was going to let that happen. Danava were on stage in there, and I’ve never been a fan. Back home in the States, we call it “hipster metal,” but I guess that matters less here. No wonder the Euro scene is so strong. Some dude leaned over to me and in an accent I’m pretty sure was Italian said, “They’re good like The Atomic Bitchwax!” The Bitchwax with a marketing budget. Had all the right t-shirts — Ted Nugent, Blue Öyster Cult — but weren’t nearly as tight as the last three Bitchwax gigs I’ve seen. Nonetheless, when traveling away from home, one hesitates when it comes to engaging debate on these points. No real cause to do so anyway. I’d just be a prick who doesn’t like popular bands. Better to just save the time and realize that at the outset. Whatever. They were fine and the crowd loved them.
And I probably wouldn’t have been there at all, but Danava — who, of course, more drew Stage01 to be more-than-capacity full — were another means to the my already stated end. They still had more than 20 minutes of their hour-long set left, but during that time, I put my plan into action and slowly made my way into the crowd. I didn’t push. I wasn’t a jerk about it. As people made their way back, I made my way up, and then, when Danava were finally done, I bolted (as much as I ever “bolt” anywhere) toward the front of the room and nabbed a spot right in front of the stage. Victory was mine, and victory was sweet. Not even the carts of road cases and amps that were wheeled up to go on the stage would deter me from my position in front of it. Of course, I made room, but when Conan was done loading their equipment on and those carts were pushed away, I was right back to where I was, which was just where I’d wanted to be. It had taken me the better part of an hour and a half to do it, but I was up front for Conan at Roadburn.
Sure enough, I stayed put for the entirety of their performance. There wasn’t much choice in the matter, but I wanted to be as close as possible to that tone that’s been my litmus test for “heavy” ever since I first heard Horseback Battle Hammer in 2010 (review here). Their new full-length, Monnos (review here), proved no less uncompromising, tone-wise, so I knew it would be worth my time, and it was. They played cuts from Monnos including opener “Hawk as Weapon” and did “Retaliator” and “Older than Earth” (I think) from their split with Slomatics (review here), bassist Phil Coumbe adding metallic growls and screams to guitarist Jon Davis‘ shouts and cleaner yelling. Conan were one of my impetus bands this year — that is, one of the reasons I’m here — and there was no letdown to be had. The lights, the fog, the overwhelming crush of sound — it was all astoundingly heavy whether they were playing fast or slow.
It also gave me a new appreciation for drummer Paul O’Neil‘s work in the band, as he not only manages to keep time through their tidal morass, but does so interestingly and works in subtle flourishes on his cymbal work that maybe get lost in the shuffle because they’re not as obvious as, say, the giant riff that’s bashing your brains out. Either way, Conan were so heavy that my earplugs vibrated in my head, and that hadn’t happened yet this weekend, so it’s worth noting. I was glad too to be trapped up front the whole time, so I didn’t get the itch to go and wait for YOB to come on in the photo pit. I still had plenty of time to get there watching all of Conan, and since it’ll probably be the only time I can get in there this weekend — Mike Scheidt of YOB opens up in there tomorrow doing solo acoustic stuff, but that’s a hard one to work out the logistics on making it to, much as I’ll try — I’m glad it was for a band I couldn’t see anywhere else at this point.
I say, “At this point,” because with a band as massive as Conan, you never know what’s going to happen. Already they were too big for the stage they played on, so hell, maybe they tour the US in some future either near or distant and demolish everything in their path. Who knows? There was a time — a few years, actually — when I was sure I’d never get the chance to watch YOB play a show, and it’s been four times now and by Monday it’ll be five. I caught Midian when they came through New York, but I knew there was no way I’d ever get to see YOB, and it was a bummer. I’m sure I’ve told the story before, so I’ll spare it, but as I made my way back over to the main stage to watch the Eugene, Oregon, trio unleash the 2005 full-length, The Unreal Never Lived, in its entirety, I couldn’t help but feel glad to have the chance to do so.
Fact: In my CD wallet, there is only one disc I’ve never been able to remove, and that disc is The Unreal Never Lived. The swan-song of YOB‘s original run, it was the culmination of everything the band had built to creatively up to that point; a four-song masterwork of psychedelic undulations that capped with the 21-minute monolith that was “The Mental Tyrant.” YOB has played “Quantum Mystic” every time I’ve seen them, and usually at the start of their set, so that was familiar enough, but as they progressed through the rolling groove of “Grasping Air,” another regular, and “Kosmos,” not so much, the tension seemed to be building to get to the final onslaught. When it arrived, it was glorious. They cut nothing out of the long opening and the gradual course of the song held its flow the whole time. There was one point during “Grasping Air” where I thought the whole rhythm was going to come crashing down, but kudos to drummer Travis Foster. He kept it together and pushed YOB forward into reaches of slow so desolate they were more or less stopped.
Decked out in Iron Maiden sneakers, the aforementioned Mike Scheidt only came more alive as the set progressed, and when it finally was time for “The Mental Tyrant” to begin its galloping payoff, I got a chill up my spine. It wasn’t the first claw I’ve hoisted over the last two days, but it was the most automatic, visceral response. Bassist Aaron Reiseberg (also of Norska) stepped back to let Scheidt riff out, true to the album, but every hit, every time he played a note, the floor I was standing on toward the back of the room shook. Not to overstate it, but it’s basically been seven years that I’ve wanted to see “The Mental Tyrant” played live, and the only reason I don’t go further into hyperbole is because I’m saving it for Sunday when YOB is set to do all of 2003′s Catharsis. Worth the flight to hear those two records alone. When they were done, I had to sit down.
There were a lot of bands today I didn’t see. Some, like Dopethrone, or Gnod, or Barn Owl, or End of Level Boss, I would’ve liked to. As Voivod came on stage, though, I was glad to have held firm on the course I’d charted for myself, staying through whole sets and not volleying from room to room, only to catch the first couple songs before having to tear myself away to get to the next thing. I mean, that’s fun too, that rush, but I very much needed a day of standing relatively still, and I was glad the schedule could accommodate. Voivod — vocalist Denis “Snake” Bélanger, bassist Jean-Yves “Blacky” Thériault, drummer Michel “Away” Langevin (also responsible for much of the visual aesthetic of this year’s fest) and guitarist Daniel “Chewy” Mongrain — come preceded by 30 years of individualistic innovation. I won’t pretend to have a grip on their entire catalog, but even if I hadn’t seen them at Roadburn last year, I knew they were a sight I had to see, and more so for their doing Dimension Hatröss.
Of course, one can hardly think of Voivod and not recall the untimely passing of guitarist Denis “Piggy” D’Amour in 2005, but Mongrain (also of Martyr and formerly of Cryptopsy) has become more than a hired gun in his position. D’Amour having been so instrumental in constructing Voivod‘s sound and progression, I don’t know if he’ll ever be as heralded in the guitarist spot, but he was clearly playing the songs with feeling and seemed natural on stage with Langevin, Bélanger and Thériault. As they were last year, Voivod was a pleasure to watch and had a presence on stage that spoke to their decades of influencing forward-thinking heavy music. It should say something that as they continue to push their career to its own seemingly expanding outer limits, as much as one gets excited at something like the prospect of hearing Dimension Hatröss done live, the prospect of finding out what they’ll do on their next record is no less thrilling.
They were the finale of my evening. I thought I’d maybe catch some Dopethrone, but you know how that goes, with the doorway and all that, and anyhow, it was getting on time to come back to the hotel and start typing. It’s three in the morning now as I wrap this and look at the prospect of having to find images for these bands, but hell, at least I can sleep late tomorrow, since the only thing I have to do is wake up and go to Roadburn for the final day of the fest proper, which will feature much back and forth between the main stage and the Green Room for the likes of 40 Watt Sun, Church of Misery, The Wounded Kings, The Obsessed, Mars Red Sky and Sleep, among others. It’s the most packed day yet, so please, stay tuned.
Posted in Whathaveyou on November 14th, 2011 by H.P. Taskmaster
Now I’m just getting nervous. These Roadburn announcements keep coming in, and I keep waiting for a piano to fall on my head. The ultra-low, ultra-dense riffing of Conan added to a bill that already includes Voivod (x2), YOB (x2), The Obsessed, Sleep, Om, Ulver, Ancestors and Church of Misery? When’s the other shoe going to drop?
If anyone needs me, I’ll be cowering in a fireproof lock-box until next April. Here’s the latest news:
UK‘s Conan will be part of Voivod‘s special Au-delà du Réel event (Friday, April 13th) at Roadburn 2012.
Conan approach from the North West of England on a devastating, droning, charging warbeast of heaviness, to lay waste to Roadburn 2012 in a barrage of galloping crust and aching tone. Their performance at Roadburn will be their first ever show outside of the UK and Ireland. Worshipping at the Altar Of The Riff, they summon the Gods of fuzz, distortion and blazing valves to join them in their sonic ritual. In response to the special invitation extended to them from Voivod, Conan will be destroying the innards of all those who enter Stage01 (formerly known as BatCave) on Friday, April 13th, 2012.
Priestess and Danava have also been confirmed for Voivod‘s Au-delà du Réel. However, Priestess will play the 013 venue in Tilburg, Holland on Thursday, April 12th instead of Friday, April 13th to accommodate their spring 2012 tour schedule with RedFang.
UK‘s power-trio Admiral Sir Cloudesley Shovell will play on Saturday, April 14th, while Atlantis has been added to the lineup for the traditional Afterburner event on Sunday, April 15th.