Ritual Festival 2017 Makes First Lineup Announcements; Ihsahn, Serpent Venom and More to Play

Posted in Whathaveyou on November 14th, 2016 by JJ Koczan

Not every band in the lineup really applies around here, but I seem to care way less about that kind of thing these days than in the past, and if I need an excuse to post the first lineup announcement from April’s Ritual Festival 2017 in the UK, I’ve got it in taking it as a reminder of how righteously doomed London’s Serpent Venom are. If you didn’t hear it, their 2014 album, Of Things Seen and Unseen (review here), is streaming at the bottom of this post and so worth your time it’s ridiculous to think you’re still reading this sentence and not already listening. I mean, really. Get on it.

As for the rest? Well, I’ve seen Misery Index before, believe it or not (might’ve been 2003?), and as regards Ihsahn, I’m as much of an Emperor fan as the next guy, unless the next guy is one of those super-pretentious Emperor megafans — which, let’s face it, he probably is — so yeah, seems like Ritual Festival 2017’s mission to blend extremes in death, doom and beyond is well underway in the stylistic mix they’re presenting thus far. I’ll keep an eye out for how it continues to come together.

From the PR wire:

ritual-festival-2017-poster

Ritual Festival announces Ihsahn, Misery Index, Afternoon Gentlemen, Crepitation, Corrupt Moral Altar, Conjurer, Serpent Venom and Groak

Ritual Festival, which aims to be bring the best in doom and death metal to Leeds will return on 8th April 2017. Following the success of this year’s festival which boasted the likes of 40 Watt Sun, The Body, Conan, Venom Prison and Full of Hell, Ritual have announced that Norweigan black metal pioneer Ihsahn will headline next year. He states:

‘I am honoured to headline Ritual Festival next year, and I´m looking forward to bringing you a set of Ihsahn past, present and maybe a dash of future as well. See you all there!’

Best known for his work with Emperor, he released his latest solo album ‘Arktis’ back in April. Alongside Ihsahn the festival have also announced Misery Index, The Afternoon Gentlemen, Crepitation, Corrupt Moral Altar, Conjurer, Serpent Venom and Groak with more additions to follow in the coming months. The organisers comment:

‘Firstly thanks to all of you that supported Ritual this year. I’m happy to say the festival will be returning to Canal Mills, Leeds in April 2017 with a diverse and unique line-up. We have taken the time to combine some of the UK’s newest, as well as established talented acts along with some special and exclusive favourites just for you. We are honoured to have Ihsahn headline the festival but we also can’t wait to reveal many more incredible bands for you over the coming months.’

The first 100 early bird tickets are on sale now priced at just £25 rising to £30 – http://ritualfestival.bigcartel.com/

Alongside 2 rooms of live music the festival will also feature art exhibitions, a wealth of merchandise, as well as local food vendors.

Line-up so far:
Ihsahn
Misery Index
The Afternoon Gentlemen
Crepitation
Corrupt Moral Altar
Conjurer
Serpent Venom
Groak

www.ritualfest.co.uk/
www.facebook.com/RitualFestivalUK
http://ritualfestival.bigcartel.com/
www.canalmills.com/

Serpent Venom, Of Things Seen and Unseen (2014)

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audiObelisk: Stream Roadburn 2013 Sets from Eternal Tapestry, Ihsahn, Moss, Mournful Congregation, Penance and Switchblade

Posted in audiObelisk on July 15th, 2013 by JJ Koczan

Already the announcements have started up for Roadburn 2014 — as demonstrated last week by the landmark revelation that a reunited Loop will headline — but in the meantime, there are still more audio sets from the 2013 fest to unveil, and the latest batch has a little something for everyone. From the ambient post-everything of Eternal Tapestry to the crushing tonality of Switchblade and the trad-doom plod of Penance, it’s like a sampler platter that still only begins to give some hint of the stylistic ground the highly-varied festival has come to cover in recent years.

As always, these recordings were overseen by Marcel van de Vondervoort and it’s through the courtesy of Walter and the rest of the Roadburn crew that I’m able to host them here for your streaming pleasure. Much thanks to all involved.

Please enjoy:

Eternal Tapestry – Live at Roadburn 2013

Insahn – Live at Roadburn 2013

Moss – Live at Roadburn 2013

Mournful Congregation – Live at Roadburn 2013

Penance – Live at Roadburn 2013

Switchblade – Live at Roadburn 2013

Keep up with the latest Roadburn 2014 announcements here or by checking out roadburn.com. Check out the rest of 2013’s streams here.

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Ihsahn: Standing on the Shores of a Black Sea

Posted in Reviews on January 13th, 2010 by JJ Koczan

Oh sure, I’ve serenaded the dusky welkin with the occasional anthem, I’ve been disciplined in fire and demise, I’ve enjoyed the periodic nightside eclipse and even [insert something clever about the self-titled Emperor album here], but there is a fandom cult league for highly influential Norwegian black metallers Emperor to which I simply don’t belong. Not that I can’t or don’t appreciate the records, I just don’t salivate like a Pavlovian dog at the mere mention of their titles.

Accordingly, I feel in some strange way qualified to review After, the third post-Emperor solo outing of frontman Ihsahn (né Vegard Sverre Tveitan). I’m familiar with his work, but not masturbatingly so; having heard both 2008’s angL and 2006’s The Adversary, it’s possible to have some sense of what he’s done since Emperor’s disbanding and what exactly he’s changing up with After. You know, other than throwing in some free jazz saxophone and that kind of thing.

Ihsahn, who also recorded After in his Symphonique Studio, still plays with the melodies and progressive death metalisms he showed on angL, it it’s not until the title track, third of the total eight, that that side really shows up. The first two tracks, “The Barren Lands” and “A Grave Inversed” — the latter featuring that aforementioned free jazz saxophone — are righteously heavy and nearly if not completely blackened metal. Even on “After,” Ihsahn’s vocals morph into his trademark throaty approach, although they do so over an angular Opethian riff with single notes layered before shifting back into a melodic chorus. Nothing’s ever the same.

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