By no means has  How To Write Essay Pdf - Get key advice as to how to receive the greatest research paper ever Composing a custom research paper is work through a lot of Jesu been dormant, it’s just been seven years since the last time there was an album out. 2013’s  Worrying About Where To Buy Your College Essay? Dont Worry Anymore! http://autothanhhoa.com.vn/?thesis-statement-for-compare-and-contrast-essay Is The Expert With 10 Years Of Academic Writing Experience. 100% Every Day I Get Closer to the Light From Which I Came occurred even as project founder, spearhead and sometimes-sole-member  my review here, Wholesale Various High Quality Cheapest Paper Products from Global Cheapest Paper Suppliers and Cheapest Paper �. Kami, or koiy cheapest paper paper, is the cheapest paper made specifically for origami, and the most widely available. Justin K. Broadrick had already begun to revive and push forward with his other band,  Need professional see here? - We can help you! Order dissertation of any topic from our affordable essay writing service and keep calm with your Godflesh. That wildly influential UK act would release a live album recorded at blog here - Find out all you need to know about custom writing Make a quick custom dissertation with our assistance and make your teachers Roadburn playing the groundbreaking 1989 Personal Statement For Social Work - Visit us today to get more advantageous deals. Safe payments and guaranteed satisfaction when you buy drugs. Affordable and safe Streetcleaner LP in its entirety, the 2014 Dissertation House UK is that station house of professional and link writing service UK who can help you with everything related to thesis like: Completing your work perfectly; Providing on the go support; Giving the right content for your assigned task; Proofreading services for making your grades better ; Custom made thesis work according to your demand; As a student, it is Decline and Fall EP (review here), and two full-lengths, 2014’s Get high volume traffic to your site with professional cloud computing literature review. We provide best quality, copyscape pass articles for you. Know more here! A World Lit Only by Fire (review here) and 2017’s  Plagiarism free zone: Our legit How To Write An Application Letter To Join A Choir will make you your own, unique essay, every time. We'll never sell you an old essay, or sell yours afterwards. It's easy to see why we're recommended as the best paper writing service around. No matter how urgent it is, we'll create a fantastic paper for you. Post-Self (review here), as well as sundry other short offerings/one-offs, in the intervening years. As Buy-Custom-Essays-Online.com is the best thesis writing services to How To Write Custom Events In Net online. We offers best service to our students Godflesh ascended to priority, the two-piece also played numerous festivals around the world — they’d eventually do 1991’s Order http://2008.oevp-sbg.at/?accounting-essay-writing-service from WritingSharks.net � Choose from Professional Academic, ESL & Business Proofreading Services Pure in full as well — and thereby further cement their legacy with a new generation of fans.

But again, Unapplausive and fundamentalist Wylie bought their palettes specialize or nickname lessly will. unsatable Pharmaceutical Phd Thesis Jesu — also stylized all-lowercase:  Premium Sample Business Plan Template Word can help you improve the quality of your essay or article writing and gain the best grades ever. jesu, and pronounced “yay-zoo” — weren’t entirely gone. There were collaborations with Cheap Dissertation Writing Services Have More Features. Not only our target is to provide http://www.chance-quereinstieg.de/?icann-internet-corporation-for-assigned-names-and-numbers in the UK and first-class work, but we also aim to deal with our customers politely so that they can feel us as a family, not their custom essay providers. Dirk Serries and Finding it difficult to correct your dissertation as per the feedback? Contact us today to avail our columbia university essay to get the correction Sun Kill Moon in 2016 and 2017, and a redux collaboration based on the track “Christmas” with  Yang Li in 2018. An EP, Never, landed in July 2020, and the awaited full-length return of Jesu comes in the somewhat forebodingly titled Terminus, an eight-track/51-minute outing that speaks of endings and beginnings, delves into personal introspection, and ultimately finds its place emotionally and sonically drifting, floating away atop a gentle sea of heavy post-rock. Terminus brings its share of lumbering riffs in its opener “When I Was Small” and its title-track, “Sleeping In” and the later “Disintegrating Wings,” and a churning rhythm is nothing less than a sonic signature for Broadrick. But on a creative level, he’s no more held to that here than he is the barking shouts and harsh beats one might find on a Godflesh release. Jesu is simply and has (mostly) been since its 2004 Heart Ache EP and self-titled full-length a different incarnation of Broadrick‘s creative process — and it should be noted that neither is that process so delineated in terms of two manifestations. See also: JKFlesh, production and remixing work done under his own name, and various others through the years, Final, Techno Animal, and so on.

And given that is has been more than half a decade since the prior LP, Terminus‘ arrival comes with due welcome. Tracked mostly by Broadrick himself on guitar, synth, vocals and who-kn0ws-what-else with Ted Parsons on drums for “When I Was Small,” “Terminus” and “Don’t Wake Me Up,” its general atmosphere is familiar ground for Jesu in emotive explorations of past and present, lyrics looking to moments of regret, wistfulness and sometimes self-critique. At one point in “Alone,” Broadrick asks, “Am I your sight?/Or just a slight?,” even as “Disintegrating Wings” seems to make a more outward-looking assessment, “Lies are your truth/Truth is your lies,” that, as with any discussion of too-fragile objective veracity, is easy enough to place within the sphere of modern social discourse. Whether that’s Broadrick‘s intent or not, I don’t know — I’d be glad to ask; it’s been nearly a decade since I last interviewed him — as the lyrics are purposefully impressionistic in keeping with the vague outlines of the cover art and indeed the blurring between styles in the music itself, evoking the same questions the title-cut engages as to where an ending ends and a beginning begins. Maybe we’re not supposed to know, and indeed the album does close with the hypnotic instrumental “Give Up,” shoving off on a steadily fading beat that seems consumed by a wash of looped guitar and synthesized melody.

That sort of wandering course, a build up perhaps from an initial experiment or melody that pans out in a direction as it goes, is a crucial foundation for Jesu‘s work, and that holds even in “When I Was Small,” which is arguably the most straightforward of inclusions here. It’s all the more fitting, then, that the leadoff track comes immediately accompanied by “Alone,” the shortest piece at 4:19 and a near-immediate surge of melodicism and hook-making that in other hands would simply be summer-ready pop, but here has a metal-on-metal clang of a beat keeping time to Broadrick‘s dreamy vocals and winding synth. Lyrics toy with rhymes — “well, tell, hell” and “bright, light, sight, slight” in the two verses — and though clearly the song is intended to engage with pop and Britpop in particular, there is an element of twist in terms of aesthetic and it holds to the depth of mix that the opener established.

“Terminus” (9:30) and “Sleeping In” (8:39) feel paired for immersion. Once Terminus has gotten its throw-you-for-a-loop first 10 minutes out of the way in “When I Was Small” and “Alone,” it digs into its own atmospheric heart in the title-track, not departing entirely from the weight of “When I Was Small” or even the shimmer of “Alone,” but using both as elements in its own linear structure, capping with a gentle letting go and stretch of silence ahead of “Sleeping In,” which unfolds gradually, beautifully and with a patience that shifts smoothly into the cinematic post-rock of “Consciousness” with a masterful touch. That sets up the final stretch of Terminus in the relatively subdued, minimal-feeling-but-not-actually-minimal “Disintegrating Wings,” and the leaving-here last pair of “Don’t Wake Me Up” and “Give Up,” the former of which dedicates its second half to a brighter-sounding freedom, and the latter which is all the more ethereal for its lack of component verses even as it holds its beat for much of the duration.

Put together in a period between 2016 and this year, Jesu released Terminus last week. I didn’t know it was coming, but I bought it and wanted to write about it and somehow this seemed like the appropriate way to do that. I don’t know what if anything it foretells about a direction for Broadrick — if Terminus is his way of putting Godflesh to rest for the time being and shifting back toward Jesu as a primary outlet — or if that’s something that really could be known at this point, if it matters one way or the other.

What matters, of course, is the music. As always, I hope you enjoy that.

Thanks for reading.

—

Yesterday I was feeling in need of an outside reminder of why I do this. I was busy chasing down The Pecan, who for the last several weeks since it started to get colder and we haven’t been outside as much, has been furiously butting heads and increasingly rigid in his demands for things to be a certain way, and I saw some email or message whatever it was come in nagging about some low-stakes shit and I very nearly texted a friend and asked what the fuck I need this for in my life at this point. I didn’t, mind you, but the fact that I even came close to doing so is out of character for me.

I’m not fishing for compliments. I’m not. I get notes from people who say thanks for doing this and that means a tremendous amount. It was just kind of a rut week, watching COVID-19 case levels rise, putting the house back on lockdown as we have, kid not napping in the afternoon anymore, my fucking body, etc. On Wednesday I took a whole xanax and fell asleep watching Daniel Tiger on the couch with The Patient Mrs. and The Pecan before the latter went to bed. Actually got some decent snuggles. It was probably the highlight of my week. That and the Grayceon record, anyhow.

Did you listen to that fucking song? Why the fuck not?

I don’t know what’s going on today. I was gonna take The Pecan and do a pre-weekend grocery run to Shop-Rite, which is apparently the only store on the planet that has the right granola bars — Amy’s Organics Oatmeal Raisin, in the red box — but I don’t know about dealing with other humans, especially as it’ll be circa lunchtime when The Pecan’s bus drops him off, and that place fills up because of prepared foods, etc. There’s really no right answer at this point for leaving the house, except maybe 7 in the morning or 9 at night and I’m hopefully asleep by then.

Ah hell, kid just got up. I can hear him thumping around upstairs and he ran in his closet, which means dirty diaper coming soon into my future. Better punch out here.

Great and safe weekend. I’m gonna try and take a few minutes tomorrow to get my head together. We’ll see how it goes. Hydrate, wear a mask and all that. Much love.

FRM.

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08.19.18 – 5:45AM – Sunday morning – Hotel room

I woke up an hour before both my alarms — my early alarm to write and my later alarm to shower in that glorious Hard Rock Hotel shower and start the day. Bothersome but not the end of the world. One doesn’t come to a festival expecting a lot of rest. Make do with what you get.

Today also started an hour later, so I actually had a little time to kill. I sat down in the center bar for a while and drank a coffee, just kind of soaked in the place and the reality of the casino’s weirdness. They were playing rock videos on the tvs in the bar and the Little League world series next to each other. The Yankees game was on elsewhere but I didn’t get to see a score.

I’ve met a lot of really nice people who’ve said a lot of really nice things about this site. A lot. And it’s been good to put faces to names I’ve seen on posts and comments and stuff like that. I’ll admit Vegas isn’t really my kind of town, but I feel incredibly fortunate to be here this weekend and I’m utterly stupefied every single time someone comes up to say hi. Thank you.

Day kicked off in Vinyl, which packed out early. Here’s how it went down:

Venomous Maximus

Some mystery to start off the day with Houston’s Venomous Maximus, who played as the trio of guitarist Christian Larson, bassist Trevi Biles and drummer Bongo Brungardt, sans frontman guitarist/vocalist Gregg Higgins, who’s a significant presence to the band. I’m not looking to spread rumors, and I was hoping to run into the guys after they played so I could ask what happened, but what I heard was that Higgins went Vegas AWOL, which is apparently a thing that happens here. That left Larson on vocals, and he did an admirable job filling in on songs like the title-track of last year’s No Warning (review here) and “October 14th” from 2015’s Firewalker (review here). With the lone guitar and Larson stepping into a frontman role, it was a markedly rawer presentation than one would expect from Venomous Maximus, since Higgins‘ theatricality has always been such a big part of what they do live, but if anything, it proved that the heart of the band has always been their songwriting, which remains memorable and largely undervalued. Given the circumstance, it’s commendable they played at all, but by the end of the set Vinyl was slammed with people and surprisingly loud for one in the afternoon.

Batushka

Elaborate. It was not a minor production. Polish black metallers Batushka opened The Joint about a half-hour past their listed start time, and the line outside to get in told the tale of a band people were itching to see. Robed and chanting, surrounded by candles, incense, vestments and other sundry appropriated Christian this-and-thats, they tore open a cosmic blackened assault that was powerful. Elsewhere at the Hard Rock, and completely unrelated to the festival, there was a bikini contest happening, and I kept thinking what an amazing and odd planet it is that Batushka and the bikini contest would be going on at the same time in basically the same place. Surreal. The production, lights, sound, everything, was spectacular in the truest sense, and as I was basically unfamiliar with them going into the set, the delay made more sense once they actually got going, spread out on the stage as they were, with multiple vocalists and the whole ceremonial vibe. It was fascinating to see them use so much religious imagery and iconography, giving the whole set the feeling of being a mass, and then of course ripping it in half. Or maybe burning it to the ground? Either way.

Forming the Void

Forming the Void are a better band than they know. They’re starting to figure it out. You can hear that happening on their third record, Rift (review here), and accordingly, it’s a really exciting moment to have the chance to catch the Louisiana four-piece live. They started out somewhat reserved on stage, but by the end, guitarist/vocalist James Marshall, guitarist Shadi Omar Al-Khansa, bassist Luke Baker and drummer Thomas Colley were more fully engaged with the material, and when they closed out with “On We Sail” into “Saber” from their 2016 debut, Skyward (review here), one could hear the progressive sonic growth they’ve undertaken. They’re doing everything right. They have the songs, they have the aesthetic, they have a budding presence on stage. They just need time to keep doing what they’re doing. I hope they tour more. Vinyl was, again, full for them, and they already had the room on their side. They’re in the process of becoming something really special as a group, and one only hopes they keep moving forward the way they have thus far into their tenure. They were a must-see for me this weekend, and I heard from a lot of other people who said much the same. There was no mistaking why once they got underway. Felt lucky to watch their set.

With the Dead

Speaking of doom royalty, one Lee Dorrian strutted out onto the Joint stage with all the assurance of a high roller at one of the tables out in the casino. I’ve been fortunate enough to see With the Dead once before, but this set was going to be something inherently different from the grime-laden ubergroup, since Dorrian and his chapeaued fellow former Cathedral bandmate, bassist Leo Smee, were playing as a trio with Unearthly Trance‘s Darren Verni sitting in on drums. The band canceled their appearance at Bloodstock in the UK just over a week ago owing to some unforeseen situation with guitarist Tim Bagshaw (also of Ramesses), and sure enough, Bagshaw didn’t make this trip either. Still, the whole point of With the Dead is to sound as filthy and maddeningly doomed as possible, and channeling Smee‘s bass through guitar amps in addition to his own was a good way to get there. They opened with “Living with the Dead” from their 2015 self-titled debut (review here) and made a highlights of “Isolation” and “Cocaine Phantoms” from last year’s Love from With the Dead (review here), the low-end wash and downer gloom pervading through low lights and massive volume, and though they were without a guitarist, the issue found a welcome answer as Scott Carlson (Repulsion, Septic Tank, ex-Cathedral, etc.) came out for a cover of Cathedral‘s “Ebony Tears” from their landmark 1991 debut, Forest of Equilibrium, thereby finishing their set with about as deep a plunge as you can get. Probably not their ideal circumstance, but righteous just the same.

Monolord

The ascent over the last five years of Swedish trio Monolord has been among the most meteoric in underground heavy. Amplifier worship, tone worship, riff worship and worship of the very idea of sonic largesse itself have been their aesthetic calling cards over the course of their three-to-date RidingEasy Records full-lengths, but the three-piece of guitarist/vocalist Thomas Jäger, bassist Mika Häkki and drummer Esben Willems have fleshed out their sound to incorporate a thundering spaciousness steadily encroaching on psychedelia. Their latest record, 2017’s Rust (review here), is the most progressive in that respect, but they still bring a crushing groove that they’ve quickly made their own. They’ve also toured — a lot. But I’m lame as shit, so it’d been a long time since I last caught a gig and it was nothing short of a pleasure to watch them unleash their massive lumber on the assembled and waiting crowd. Obviously used to playing on bigger stages, they seemed to climb inside of each riff and inhabit the material, channeling it physically as well as through the P.A., and the nod that resulted filled the room from front to back, upstairs and down. They’re a band living up to their potential in every way, and I’m already looking forward to what album number four brings.

Voivod

Here’s a general rule for life, and stop me if I’ve told you this before — oh wait it’s the internet you can’t stop me well tough shit — but: Go see Voivod. If you’re in a place where they are or can put yourself in a place where they’ll be, do that. Go see Voivod. You will never regret it, either in that moment or later on. And while I’m doling out advice, here’s another one: If you meet someone, and they’re a real Voivod fan, chances are that person knows their shit. The Canadian weirdo-sci-fi-thrash legends appeal to a very specific subset of headbanger, and I’ve never known a Voivod fan who was a prick. And I’ve been luck enough to know a few. They have a new record on the way — always — and with founding drummer Michel “Away” Langevin pounding away behind and long-tenured frontman Denis “Snake” Bélanger getting the dusk-time pool stage crowd into the show, the vibe was only positive the whole way through. Flanked by guitarist Daniel “Chewy” Mongrain, who’s been in the band now for a decade — time flies — and bassist Dominique “Rocky” Laroche, they hit into new single “Obsolete Beings” from the upcoming The Wake and it fit right in with classics like “Overreaction” and the eponymous “Voivod” from their decades-spanning catalog. What a blast. My phone registered the outside temperature at 106 degrees Fahrenheit, but Voivod seemed right at home in the swelter and were an unadulterated good time. Go see Voivod.

Godflesh

Man, Margaret Thatcher must have been the absolute fucking worst to produce the kind of disaffection Godflesh continue to proffer. Their dystopian churn is, of course, almost painfully relevant today despite its origins over 30 years ago, and with guitarist/vocalist/programmer Justin K. Broadrick and bassist G.C. Green on a stark, largely empty Joint stage, they unfurled the oppressive electrified grit that’s made them so influential for so long. They’ve been active again for a while now, with two albums out in last year’s Post Self (review here) and 2014’s A World Lit Only by Fire (review here), so have gone well beyond “reunion band” status, but a Godflesh show still doesn’t feel like something that happens every day, and it’s always something special to watch their blend of inhuman(e) audio — the beats, the electronics, etc. — and the sheer emotion with which Broadrick executes his guitar and vocals. With Green on the other side a steady presence, Broadrick thrashed and headbanged and tried to tear himself apart with his playing, and each of his shouting bellows brought fists in the air from the crowd out in front. Very much the opposite vibe of Voivod out at the pool despite both groups’ ’80s origins, but likewise a wonder and a pleasure to behold. I wouldn’t mind a new Jesu record either, but as far as I’m concerned, Godflesh can just go on perpetually and that’ll be fine, thanks. The world needs them now more than ever.

Howling Giant

I knew I wanted to see Nashville’s Howling Giant. I didn’t know quite how much I wanted to see them until they started. Having toured their way to Vegas in a hearse — because of course — the three-piece of guitarist/vocalist Tom Polzine, drummer/vocalist Zach Wheeler and bassist Mike Kerr took the stage in Vinyl with an immediately outgoing personality. Actually, they showed that before they even went on, hopping down front after they set up to talk to the crowd on the other side of the barricade, but it was for sure in the performance as well. Their 2017 EP, Black Hole Space Wizard: Part 2 (review here), and its 2016 predecessor, Black Hole Space Wizard: Part 1 (review here), featured heavily in the set, and all around they put on a show that was definitely about having fun, being loud, rocking out and all that happy whatnot, but also deceptively intricate and progressive. Their studio material has carried that over to some degree, but it’s clear they’re moving forward with their sound, and one hopes they continue to do so as they move toward their inevitable, awaited full-length debut. They and Forming the Void were my two totally-gotta-see bands for the day, and they would seem to share a bright future in developing their own take on heavy rock. For Howling Giant, not even a busted snare stand could stop them, as Polzine and Kerr treated the crowd to an improv psych jam while Wheeler got a new one and they were back up and running in no time, pro-style. Nicely done.

Spirit Adrift

There seemed to be some trouble with the monitors before they went on, but once Phoenix four-piece Spirit Adrift got going, the project spearheaded by guitarist/vocalist Nate Garrett (ex-Take Over and Destroy) brought out a vibe that spoke even more to classic metal than the doom with which the band is so often lumped. Their late-2017 sophomore LP, Curse of Conception, brought progressive tendencies to bear following their 2016 debut, Chained to Oblivion (review here), and while the band was founded by Garrett as a solo-act, there’s no shortage of chemistry that’s come up between Garrett and his cohorts, guitarist Jeff Owens from Goya, bassist Chase Mason (also Gatecreeper) and drummer Marcus Bryant, and with the recording of that second album and a load of touring leading up to this show and their stop Aug. 21 at Brick by Brick in San Diego, they they were on fire the whole way through. Taking the stage to Buck Owens‘ “Big in Vegas,” they took the prime slot at the pool — CKY would play, but a few hours later — and never looked back, their performance duly energized to suit the occasion. If this was what their tour was leading up to, then it seemed to be worth it.

—

Got up stupid early this morning and seem to be undergoing a science experiment whereby I trade out sleep for coffee. Hour per 24 oz. cup? Hell if I know. What, you’re supposed keep track of your findings?

Today is the final day of Psycho Las Vegas 2018, which is an utterly bizarre beardo circus to behold, and it’s also Gene Roddenberry‘s birthday, which is as much an occasion to celebrate as I can possibly think. All the more reason to bash one’s head once more on the skull-cracking granite that is Psycho Las Vegas, and leave it to tomorrow to reassemble the pieces.

If you’re here, have fun. If you’re anywhere, thanks for reading.

More pics after the jump:

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04.20.18 – 11:25PM CET – Friday night – Hotel Mercure Rm. 224

You know what I did this afternoon before the show started? I slept. For about an hour. It was fucking crazy. A post-‘zine, pre-Roadburn-day-two nap. I’m not sure I can convey to you the novelty of such a thing. With a 3:10PM start to the day, it never would’ve been possible before, as I’d be folding copies of the Weirdo Canyon Dispatch. Yesterday, today and tomorrow that task is outsourced. Sunday will be folding penance. But damn I enjoyed that nap.

I also enjoyed an inhuman(e) amount of espresso today. You might say I’m sipping one right now. By the time Motorpsycho took to the Main Stage for their two-hour early-headlining set, I’d certainly had a few, and they came in handy in keeping up with the Norwegians’ semi-psychedlic heavy progressive rock. I will not at all pretend to be an expert on the band — I saw the a few years ago in Eindhoven and they were doing a concept show or something and it didn’t really hit a nerve — but what may or may not still be their latest LP, 2017’s The Tower (review here), was a thrill, so to hear cuts from that like “In Every Dream Home (There’s a Dream of Something Else)” was likewise and as they settled in for the longest haul to feature today on the Main Stage, the crowd seemed to do much the same.

For anyone in the US who might be reading this, Motorpsycho are a huge deal over here. They are legends, legitimately. They’ve been at it for nearly 30 years, and they have a discography that at this point is nigh on insurmountable to which they continuously add releases. They’re relatively obscure in America compared to some other progressive rock-type outfits, but they’re the kind of band who can get on stage, play a song called “Starhammer” from an album called Heavy Metal Fruit and have a couple thousand people absolutely wrapped around their collective finger. Their material is enticingly complex, with ebbs and flows in energy and volume, and when they want to, they can be quite heavy, but while their delivery is technically precise, they’re not overly showy, and the sense of class with which they play holds firm throughout. They, and the response they got, were both a joy to watch.

There was, however, a reason I only stayed for an hour and 45 minutes of their full two-hour set, and that was because over at Cul de Sac, Toronto’s Comet Control were on next, and I was taking zero chances when it came to the potential of missing them. I showed up too late for Insect Ark yesterday and missed my shot. Getting to see Comet Control meant showing up as Ulsect were finishing and waiting the 40 minutes for them to load their gear in, set up, soundcheck, etc. Time well spent as far as I’m concerned, because as I think I’ve said several times by now, there was simply no way I wasn’t going to see them.

My vigilance in doing so was rewarded with a shit-eating-grin-on-my-face life-affirming set the likes of which I’ve only ever experienced at Roadburn. I stayed down the front of the Cul de Sac and stood in front of the stage the entire time. They were my first complete set of the weekend (and only one to this point) and were so good that I wanted to sit it down and explain it to them. Or write a letter. “Dear Comet Control: You guys and gal are fucking awesome. When you played ‘Blast Magic’ I thought my heart was going to explode.” They did that track and “Dig out Your Head” from their excellent 2016 sophomore full-length, Center of the Maze (review here), and were joined on stage by Mario Rubalcaba from Earthless who took over on guitar from Chad Ross for a song — holding the instrument upside down to play left-handed — before they dug back into Ross‘ and fellow guitarist Andrew Moszynski‘s former outfit, Quest for Fire, to play “Greatest Hits by God” and “Sessions of Light,” the opening and closing cuts from 2010’s Lights from Paradise (review here; discussed here).

That. Well. That. That kind of felt like a birthday present to the universe. Quest for Fire played Roadburn in 2011 in what was then called the Bat Cave. I remember standing there in the hallway of the pre-redo 013 and watching them through the door in the smallest of the then-three rooms in the building. Cul de Sac isn’t the smallest venue at Roadburn 2018 — that honor goes to Hall of Fame, up by the Kopelhal and the merch area — but it was an intimate, packed show all the same, and it was the only time so far this weekend that I pulled my earplugs even part of the way out of my ears during a set to let the loudness in. Ross‘ and Moszynski‘s guitars were a wash across two channels, and even though the skin on the kick drum broke, the band made it work. They were my one “must” of the day, and completely justified my anticipation. I sincerely hope this isn’t the only time I get to see them.

When they were done, I lumbered clumsily back to the 013 proper to check out Crowbar on the Main Stage playing Odd Fellows Rest in full as part of Jacob Bannon from Converge‘s curated day. They very much sounded like Crowbar, and that’s not a complaint. The New Orleans sludge purveyors are pro-shop the whole way through and their set was likewise. It’s always interesting to see who gets into the spirit of Roadburn and who plays it like another gig. Again, nothing against Crowbar, who’ve no doubt played European fests in front of tens of thousands of people, and it being a full-album performance, it was still something special to see, founding guitarist/vocalist Kirk Windstein thanking the crowd profusely as well as Jacob Bannon and Walter for having them back.

I dipped out to grab a quick bite for dinner — there’s this fish in like a lemon cream sauce kind of thing this year in the catering room backstage; I felt like I didn’t want to stop — and made it back in time to catch Crowbar play their cover of “No Quarter” and close out their set with a couple other tunes before Windstein said they were gonna “do that gay thing everyone does” and take a picture on stage with the crowd behind them. Pulled the wind right out of my enjoyment of seeing them. Like a balloon making a fart noise as the air escapes. Bummer. You can call me PC or whatever. I don’t give a fuck. Crowbar has ruled for a long-ass time, but that shit is lame. Moving on.

The delightfully punctuated Seinäjoki, Finland, progressive psych outfit Kairon; IRSE! were wrapping up in the Green Room around the same time, so I waddled in there and caught the end of their set from the balcony. The assembled masses before them were clearly loyal to the cause and it was easy to see why. Heady stuff. They’re on Svart, which is all the endorsement they need as far as I’m concerned, and I may yet pick up their albums in the merch area, where the label has a table all set up that I’ve now visited twice, but I was really in the Green Room to catch Minami Deutsch.

My thinking was that I owed it to myself to catch at least some of the Japanese Psych Experience while I was here — set up by Walter with the label Guru Guru Brain in a similar kind of thing to the San Diego Takeover, only, you know, from Japan, with acts like Kikagaku Moyo, Dhidalah and Minami Deutsch playing — and I’d heard all along that Minami Deutsch were the mellowest of the bunch. That suited me just fine. I waited for them to go on and when they did, it was easy-groove spacial drift the whole way through and it turned out to be just the vibe I was looking for. I was not the only one, as the room was loaded with people all the way out the door. How many times in my life will I get to see them? I don’t know. Maybe twice if I’m lucky. Point is they were right on and especially as a part of the J-psych theme, a band I felt extra fortunate to be able to catch.

Speaking of possibly-once-in-a-lifetime experiences, up at the Koepelhal — which is on the other side of the train tracks from the 013 in what, with the weather so nice and all the people laying in the grass outside smoking, drinking, whatever, looked like the Roadburn Annex — it was nearly time for Earthless and Damo Suzuki to fuse their mind energies for a set of what I believe was fully improvised psychedelic wandering. There was a little time, so I hobbled next door to the Hall of Fame to watch Petyr play heavy ’70s covers for a minute or two, and perused the merch again, only making myself sad in the process on any number of levels. These are interesting days. Did I mention I ate dinner?

Anyhow, when it was time for Earthless and Damo Suzuki to play their set — which, once more, is the kind of thing that may or may not ever, ever happen again — the Koepelhal was absolutely rammed with bodies looking for a bit of psychedelic communion. As it happens, that is precisely what they got. The mood started out quiet and built up and came down, with Suzuki on mic, someone else playing another stringed instrument, and Earthless‘ Isaiah Mitchell, Mike Eginton and Mario Rubalcaba not quite playing the role of the backing band, but definitely giving Suzuki respect on stage and the space to do what he does in terms of proclamations largely indecipherable but completely in the moment. The whole thing, really. Completely in the moment. That seemed to be the entire point.

And maybe it was the heat, or maybe it was the humidity, or maybe it was just me being a sucker and remembering how good they were last time I saw them here in 2013, but something drove me back toward the 013 Main Hall in order to catch the start of Godflesh performing 1994’s Selfless in its entirety. I knew I wasn’t going to see the whole thing — writing to do — but I also knew there was no way I’d be able to consider the night complete without watching them at least for a while. So I did. I peeled myself out of Koepelhal and floundered back to the 013, where Justin K. Broadrick — with hair, no less — and G.C. Green went on about 10 minutes past their allotted start time and only built on the tension that late start created with their dissonant, crushing industrial aggression.

Like few bands I’ve ever seen, Godflesh seem to have the power to just reach into your lungs and squeeze them until they’re all the way empty. It’s something to behold. Selfless had them beginning to experiment with melody, but the electronic beats and the intensity were (and still are) there to be sure, and Broadrick and Green captivated a full Main Stage area, spaced out across the stage just as they were when I saw them play their 1989 debut, Streetcleaner here in 2011. That was also an adventure in sonic brutalism.

—

After a while, the get-to-work itch started to become unbearable and I blundered my way back through Weirdo Canyon to the hotel where so-much-and-yet-not-enough coffee awaited. It had been another excellent day — it was hard to believe it was only the second one of the fest itself — but Roadburn 2018 picks up early tomorrow with Bell Witch playing Mirror Reaper in its entirety, and well, if I’m going to have my head cleaved open with doom, the very least I can do is be well rested in advance for it.

Thanks for reading. More pics after the jump and more to come tomorrow.

Read more »

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

Tickets: https://www.vivapsycho.com/pages/tickets

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)

https://www.facebook.com/psychoLasVegas/
https://www.facebook.com/events/125340824913552/
http://vivapsycho.com

High on Fire, Live at Psycho Las Vegas 2016

Today is the last day of The Obelisk’s Quarterly Review, and it’s kind of hard to believe it’s gone so fast. Before I put the Big Boot to the proceedings like Hulk Hogan getting ready to call it a day with an elbow drop at Wrestlemania — yup, just like that — I have to take a special moment to thank The Patient Mrs. for allowing me the time this week to bang out all of these reviews and get everything sorted on the back end, etc., for these posts. She, of course, as always, perpetually, has been unbelievable, and especially with The Pecan to manage, she’s earned her title more than ever. It is thoroughly, deeply, appreciated. Much love, baby. Thank you.

Okay, Big Boot time. Let’s do this thing.

Quarterly Review #41-50:

Godflesh, Post Self

Guitarist/vocalist/programmer Justin K. Broadrick and bassist BC Green return with Post Self, their second post-reunion full-length behind 2014’s A World Lit Only by Fire (review here) and a collection of churning electro-noise hymnals that work in a sphere that should by now be well familiar to their multi-generational fanbase. The groundbreaking industrial pioneers sound decidedly led by the guitar on the chugging “Parasite” and the airy, almost Jesu-style wash of “The Cyclic End,” but the intensity of the beat behind “No Body,” bass and noise onslaught of “Be God” and synth-driven soundscaping of “Mortality Sorrow” recall the sonic diversity that’s always been as much a part of Godflesh’s approach as their signature cyclical rhythmic style. More perhaps than ever, Broadrick and Green seem to be aware of what defines Godflesh as a band in terms of sound, and as they make the crucial move from a “reunion” band to a working one, they seem as glad as ever to push those boundaries once more.

Justin K. Broadrick on Thee Facebooks

Avalanche Recordings on Bandcamp

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Serpents of Secrecy, Uncoiled: The Singles

This two-song single may end up bring the only offering Serpents of Secrecy ever make public, and it was years in coming together. In December, the Chesapeake region group with members of Foghound, Borracho and King Giant suffered the loss of bassist Jim Forrester, who was murdered in Baltimore, and while a debut long-player was in discussion, to-date the five-piece have only issued “Warbird’s Song” and “The Cheat” as Uncoiled – The Singles, and obviously now any kind of follow-up is in question. Whether it’s the raucous burl of “Warbird’s Song” or the bluesy, organ-topped fluidity of “The Cheat,” the J. Robbins-produced tracks demonstrate the potential at heart from the lineup of vocalist Mark Lorenzo – who wound up in the role after members of Alabama Thunderpussy and Mister Bones vacated – guitarists Steve Fisher and Todd Ingram, Forrester and his former Sixty Watt Shaman bandmate Chuck Dukehart III. The only question at this point is whether that potential will ever see further realization. Right on as these songs are, I’m torn on the idea, to be honest.

Serpents of Secrecy on Thee Facebooks

Salt of the Earth Records website

—

 

Vymaanika, Spectroscope

Multinational space rockers Vymaanika debut with the 20-minute two-songer Spectroscope EP, comprised of its 10-minute opening title-track and the subsequent “Golden Void,” which may or may not be named in honor of the side-project of Earthless guitarist Isaiah Mitchell. I’d believe it either way. The band comprises members from Catalan – guitarist/vocalist/synthesis Carles Esteban and bassist Andrés Paniagua, Chile in drummer/synthesist Jose Jünemann, and the US in guitarist/vocalist/synthesis Benjamin Mahoney, but they all seem to have come together to record in Barcelona, and the breadth of “Spectroscope” and serene psychedelic mantra-making of “Golden Void” benefit from that band-in-the-room vibe. Especially so the latter, which touches early on vocal harmonies over drifting guitar strum, steady synth drone and percussive pulsations before building to a more active apex in its second half. After the cacophony taking hold in the back end of “Spectroscope,” it’s a clear demarcation of a varied sonic persona, and while I don’t know how often Vymaanika will be able to get everyone together with the geographic spread, it’s easy to be glad they did it for this first EP.

Vymaanika on Thee Facebooks

Vymaanika on Bandcamp

—

 

Zong, Zong

Flowing arrangements abound on Zong’s self-titled four-track debut full-length. The Brisbane, Australia-based heavy psych three-piece are well within their genre sphere, but from opener and longest track (immediate points) “Cosmic Embryo” (13:00) through “Arcane Sand” (8:10), the perhaps-Zardoz-referential “Giant Floating Head” (11:48) and closer “Return of the Alien King” (10:32), they demonstrate a natural chemistry, patience and warmth of tone that is no less comfortable in the march and lurch of its penultimate cut than in dug-in repetition-born hypnosis of the leadoff. Deceptively weighted from almost its beginning point with the low end of Michael Grinstead’s bass and the rolling drums of Henry Bennett, there’s also a balance of airiness from guitarist Adam Anderson that adds nuance when called upon to do so, though there are plenty of moments where Zong’s Zong seems perfectly content to cave-jam its far-out atmospheric fluidity. Not an ethic and not a result you’re going to hear me complain about.

Zong on Thee Facebooks

Cardinal Fuzz Records webstore

Praying Mantis Records on Bandcamp

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Vitriol, Pain Will Define Their Death

Brutal tech-death pervades Vitriol’s first EP, Pain Will Define Their Death – a three-song onslaught the violence of which is writ large over every minute of its total 12. Sharing a penchant for opening to bigger-sounding choruses like that of its opening title-cut with peak-era Hate Eternal, the pummel factor, ultra-tense push and unmitigated viciousness eschews some of the more machine-like aspects of such technically-minded fare, and while Vitriol’s overarching groove, gutturalist execution and hammer-swing breakdowns are casting out their own assault on the aforementioned opener as well as the subsequent blast-laden “Victim” and “Violence, a Worthy Truth,” they’re working in service to songcraft much more than to an indulgent showcase of prowess, and that makes all the difference in terms of the material’s ultimate impact. That impact? When was the last time you were actually kicked in the face? Nothing if not aptly named, Vitriol’s death metal seethes and rages in kind and bodes remarkably well for future manifest devastation.

Vitriol on Thee Facebooks

Vitriol on Bandcamp

—

 

Pillars, Pyres and Gallows

Hailing classic doom and darker atmospheres, French four-piece Pillars debut on Seeing Red Records via the Pyres and Gallows EP. Its four songs run a gamut of traditional grooves, but lumber with a balance between their rawness and a spirit of underlying riffy nuance that adds texture beneath the gruff, dudely vocals of frontman Klem, the tones of guitarist Djé and bassist Disaster well suited to the plodding companionship of drummer JJ on a song like the problematically-titled second cut “Dirty Whoreshippers” or the 10-minute title-track that rounds out. At 33 minutes, I’m not sure what’s stopping Pyres and Gallows from being a full-length, but if that’s a hint that Pillars have more to say going forward, then fair enough. They may be preaching to the converted in these tracks, but they’re doing so in righteous fashion and with a sense of their own identity under development. Doom on? Yeah, totally doom on. By all means. Please do.

Pillars on Thee Facebooks

Seeing Red Records on Bandcamp

—

 

Lamp of the Universe & Kanoi, Split

Among the fascinating factors at work on this cross-continental Clostridium Records split release between long-running New Zealand acid folk outfit Lamp of the Universe and Austrian psychedelic fuzz purveyor Kanoi is the fact that both parties involved are solo-projects. For Lamp of the Universe’s Craig Williamson (also Arc of Ascent), he brings three tracks of his signature drenched-wet lysergism in “In the Beginning,” “The Cosmic Body Track,” “Father” and “Space Chant,” while Kanoi’s Benjamin Kantschieder revisits two cuts from 2016’s Mountains of the Sun full-length in the extended “I’m Gone (I’m Gone)” and “Mountains of the Sun” itself. The novelty of having two single parties match wits on such fluid arrangements – my head always begs for collaboration in these instances – is offset by the quality of their work itself. Neither is new to their sphere, but both seem keen to continue to experiment and explore, and it’s from that commonality that the split most benefits.

Lamp of the Universe on Bandcamp

Kanoi on Bandcamp

Clostridium Records website

—

 

Azonic, Prospect of the Deep Volume One

The first Azonic offering since the mid-‘90s finds Brooklyn-based experimentalist Andy Hawkins reviving the project alongside his Blind Idiot God bandmate Tim Wyskida as a melding of drone/noise and percussive ideas. Released through Hawkins’ own Indivisible Music, Prospect of the Deep Volume One – pretty ambitious to put a “volume one” in the title of your first record in 20-plus years – presents two expansive works in “Oblivion of the Deep” (18:53) and “The Argonauts Reckoning” (18:42) as well as the CD bonus track “Voices of the Drowned” (10:12) that brim with atmospheric intent and have an underlying sense of control on the part of Hawkins that speaks to some measure of steering what might in other hands simply feel like sonic chaos. You can hear it early into “The Argonauts Reckoning,” as the layered wash seems to want to fly off the rails and swell and Hawkins’ guitar simply doesn’t let it go, but it’s true elsewhere on Prospect of the Deep Volume One as well, and in listening, it’s the difference between the album being a joy in the immersion, which it is, and a self-indulgent misfire, which it very much is not.

Azonic on Thee Facebooks

Indivisible Music website

—

 

Thousand Vision Mist, Journey to Ascension and the Loss of Tomorrow

Named for the lone 2002 full-length from Maryland doomers Life Beyond, in which guitarist/vocalist Danny Kenyon also featured, newcomer trio Thousand Vision Mist debut with the progressive-leaning edge of Journey to Ascension and the Loss of Tomorrow, a 52-minute 10-tracker. Yes, Rush are a factor in terms of influence. However, propelled by the drumming of Chris Sebastian, whose frenetic snare adds a Mastodonic feel to “Headstones Throw,” the otherwise classic-vibing “Final Flight of Fall” and the later “Darklight,” among others, the cumbersomely-titled offering sets its balance between modern prog metal, doom and classic heavy rock, with bassist Tony Comulada adding vocal harmonies alongside Kenyon and providing a needed anchor to keep songs like the penultimate “Skybound and Beyond” from actually taking off and leaving their audience behind. Reportedly long in the works, Journey to Ascension and the Loss of Tomorrow isn’t a minor digestion process at its busy and extended runtime, but while the recording is raw, there’s no shortage of fodder for engagement throughout its swath of choruses and head-spinning turns.

Thousand Vision Mist on Thee Facebooks

Thousand Vision Mist on Bandcamp

—

 

Arcadian Child, Afterglow

Though not at all without its more driving aspects, some of the most satisfying moments on Arcadian Child’s debut album, Afterglow, come from a soothing hook like that of “Rabbit Hole,” which finds the Cypriot four-piece more fully embodying a laid back desert rock atmosphere that underpins the Fatso Jetson-esque opener “She’s on My Mind” and subsequent “Little Late for Love.” As the feels-short-at-29-minutes record unfolds, “Electric Red” blends fuzz and Mediterranean rhythmic push, “Irresistible” toys with layered swirl beneath a solidly-weighted verse and chorus, “Run” makes itself a highlight around a post-Lullabies to Paralyze atmospheric lead and start-stop riff, and the title-track casts momentum in melody and groove into closer “Used,” which pays one more welcome visit to the more serene side of their personality before they’re done. It might be a sleeper, but I’d be surprised if someone didn’t pick Afterglow up for a vinyl release sooner or later; the songwriting, performance, presentation and potential for future growth are all there waiting to be found by the right ears.

Arcadian Child on Thee Facebooks

Arcadian Child on Bandcamp

—

 

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.

ALSO CONFIRMED

Classic heavy doom from Khemmis

Move or be moved by Wolfbrigade 

Tribulation’s Jonathan Hultén will haunt Het Patronaat

Worship will perform Last Tape Before Doomsday in its entirety

Get sucked into a cold, dark void by Fuoco Fatuo 

Welcome the wild and unrestrained spirit of Alda

Zuriaake will be the first Chinese band to perform at Roadburn Festival.

Some nightmares take us towards Vampillia

VMO will prove they are more than “just” a side project

Head out on an exhilarating ride with Watter

Allow yourself to shape shift with Hail Spirit Noir

Watch Kairon; Irse! defy time and space

Dive headfirst into Horte‘s dreamy slumber

Old Tower make their live debut 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.

Click here for more information on tickets and the campsite

https://www.facebook.com/roadburnfestival/
http://www.twitter.com/Roadburnfest
http://www.instagram.com/roadburnfest
http://www.roadburn.com

Roadburn 2018 Fourth Announcement Video

As Godflesh make ready to perform Streetcleaner in full this coming Sunday night, Nov. 5, at Warsaw in Brooklyn to mark the 20th anniversary of Hospital Productions, the legendary Justin K. Broadrick-led outfit are preparing to unveil two new releases. First is a new studio outing titled Post Self, which is a follow-up for 2014’s return long-player A World Lit Only by Fire (review here), and second is a CD reissue Dec. 1 on Burning World/Roadburn Records of the 2013 live outing, Streetcleaner Live at Roadburn 2011, capturing the performance six years ago that basically kicked off the duo’s resurgence, Broadrick and Benny Green taking the stage together and laying waste to the entire fest. I was there. It was a work of technology advanced enough to be considered magic by my feeble brain.

The title-track of Post Self is streaming now and the PR wire brings the latest on both releases:

Godflesh share the title track of their new album, Post Self; the legendary duo’s first album in three years, due out on November 17th

Godflesh Streetcleaner Live At Roadburn (CD) out Dec. 1

Industrial metal pioneers Godflesh will release their new album Post Self on November 17th via Justin K. Broadrick’s Avalanche Recordings on CD, digital and LP formats, with a cassette version incoming on Hospital Productions. Over two years in the making, Post Self explores a different side of Godflesh, taking in their formative influences to conjure something informed by late 70’s/early 80’s post-punk and industrial music. The album deals with themes of anxiety, depression, fear, mortality, and paternal/maternal relationships.

The previous Godflesh album, A World Lit Only By Fire, was released in October 2014.

Post Self track listing
1. Post Self
2. Parasite
3. No Body
4. Mirror Of Finite Light
5. Be God
6. The Cyclic End
7. Pre Self
8. Mortality Sorrow
9. In Your Shadow
10. The Infinite End

GODFLESH performed their seminal debut full-length album, 1989’s “Streetcleaner”, in its entirety at the 2011 edition of the Roadburn festival on Thursday, April 14 at the 013 venue in Tilburg, Holland. In addition, founding members Justin Broadrick and Benny Green played the “Tiny Tears” EP, which was conceived as part of the overall “Streetcleaner” vision, in full as well.

– Mastered specially for cd by James Plotkin.
– Originally released as a double album on Roadburn Festival Records in 2013. Now for the first time out on cd.

Tracklist
1. LIKE RATS (LIVE) 05:34
2. CHRISTBAIT RISING (LIVE) 07:46
3. PULP (LIVE) 04:21
4. DREAM LONG DEAD (LIVE) 05:36
5. HEADDIRT (LIVE) 04:20
6. DEVASTATOR / MIGHTY TRUST KRUSHER (LIVE) 09:40
7. LIFE IS EASY (LIVE) 04:25
8. STREETCLEANER (LIVE) 06:47
9. LOCUST FURNACE (LIVE) 04:36
10. TINY TEARS (LIVE) 03:21
11. WOUND (LIVE) 03:12
12. DEADHEAD (LIVE) 04:06
13. SUCTION (LIVE) 08:48

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Godflesh, “Post Self”

Goodness gracious. There wasn’t really any doubt that Desertfest London 2016 meant business when it came out of the gate with Electric Wizard, Elder and Conan in the lineup, but the Camden Town festival has continued to swing hard with its next batch of adds, which includes Godflesh, Crowbar, Truckfighters, Wo Fat, Mothership, Egypt (if those last three aren’t touring Europe together around their Desertfest appearance, they should be), Monolord, Rotor and Planet of Zeus. It’s a pretty significant round two from Desertfest London 2016, which, again, wasn’t exactly struggling to make its quota of awesome to start with. If I had a bank holiday weekend, that would seem to be the way to spend it.

Tickets are on sale now. Details follow, as seen on the PR wire:

Godflesh, Crowbar, Truckfighters, Egypt and more acts confirmed to play DESERTFEST LONDON 2016!

UK’s #1 stoner, doom, sludge and psych event DESERTFEST LONDON is thrilled to announce the second wave of artists who will be taking the stage at the 2016 edition, taking place in April 29th to May 1st across multiple venues in the legendary musical hub of Camden Town…

NOLA’s sludge metal heroes CROWBAR will be heading back over seas to make ears bleed, bringing their influential slow-and-low sound to an eager, ready, and willing Desertfest. Kirk Windstein and his crew of titans haven’t graced UK revellers with their rowdy presence since 2014; and Crowbar has never played Desertfest London. Making for a truly exciting, and long over-due, addition to the already stellar proceedings next year has in store.

Desertfest are also pleased to reveal that our friends at Old Empire will once again be curating a stage, bringing an eclectic and exciting array of acts to broaden the pallet. First to be announced are industrial legends GODFLESH, who will be headlining the Old Empire offerings. Their experimental and aggressive sound has established the Birmingham-based duo as one of the most innovative bands in industrial music, cited as influencing everyone from Metallica to Faith No More.

As if all that wasn’t enough to process, there’s of course a healthy helping of doom and stoner rock goodness joining the mix for Desertfest 2016. Heavy-hitting warriors TRUCKFIGHTERS will be chucking riffs left, right and centre, alongside fellow Swedish fuzz lords MONOLORD, who will be riding easy and destroying all in one slow, hard and loud blow. Psychedelic monsters WO FAT are a welcome return, having well and truly mastered the art of trippy doom – many can do it, but few do it as well as the Dallas desert trio. EGYPT will also be heading over and hitting the bill hard to bring some Dakota doom goodness to the haze, alongside eccentric instrumental gurus ROTOR. Southern rock lovin’ PLANET OF ZEUS are bringing their raw grooves out of the Greek underground and into thirsty a London, and finally heavy rockers MOTHERSHIP will be taking fans well out the galaxy – musically speaking, of course.

– DESERTFEST LONDON 2016 –
April 29th to May 1st in Camden, London (UK)
Weekend tickets available AT THIS LOCATION

Current lineup is as follows:
ELECTRIC WIZARD
GODFLESH
CROWBAR
TRUCKFIGHTERS
ELDER
EGYPT
CONAN
WO FAT
MOTHERSHIP
MONOLORD
ROTOR
RAGING SPEEDHORN
PLANET OF ZEUS
WITCHSORROW

https://www.leedstickets.com/eventinfo/4804/Desertfest-2016
http://www.thedesertfest.com/london/
https://twitter.com/DesertFest
https://www.facebook.com/DesertfestLondon
https://instagram.com/desertfest
http://desertfest.bigcartel.com/

Truckfighters, Live at Desertfest London 2013