https://soundcloud.com/forte-distro/everything-greens-gone/s-jliCm

[Click play above to stream ‘Everything – Green’s – Gone” from Kandodo3’s K3. Album is out June 21 on Rooster Rock Records.]

Headphones at the ready for the third/fourth-ish full-length from Kandodo, this time incarnated as Kandodo3 and expertly delivering a packed 79 minutes of mostly minimalist psychedelic brainmelt. It’s been dubbed K3, simple enough, and its lengthy run plays out across seven tracks whose far-out sprawl is mitigated only by the distance the imagination of the listener is willing to follow them. At the nexus of all things Kandodo is guitarist Simon Price, also of garage-psych-fuzz scorchers The Heads, but Kandodo is a different bird altogether — not a bird at all, really; a supermarket in Malawi — and even as Price brings aboard The Heads bandmates Hugh Owen Morgan on bass and Wayne Maskell on drums to manifest the ‘3’ in Kandodo3, the identity of the project remains distinctly separate. It’s just something else, even if it’s some of the same people.

But what the three-piece construct, or anti-construct, in these tracks ranges from the 83-second guitar noise experiment of “Lapwinger” through the 39-minute final track “High on Planes/Drifter” that consumes sides C and D of the double-vinyl and finds Price re-teaming on the latter “Drifter” part with John McBain, as last heard in 2016’s dual-speed Lost Chants/Last Chance (review here), a record that itself was an experiment, intended for play at 33 or 45RPM depending on the listener’s preference and also presented as a 2CD with each version on its own disc. K3 doesn’t work with the same kind of meta-conceptual foundation, but its spaciousness in cuts like “Holy Debut,” the straightforward-in-comparison-to-what-follows opener “King Vulture” and of course the its-own-album finale, the record nonetheless weaves its narrative through open creativity and exploratory sensation. Its drone is droning and its layers are layered, but even in the lysergic music-box “Lounge Core” that closes side B and is just one of the two inclusions under six minutes long at 3:39, K3 basks in the unexpected and a vibe of weirdoist bliss that goes beyond “for art’s sake” and is headfirst into passion in the making.

And maybe that’s not immediately apparent in the 13-minute soundscape of “Everything – Green’s – Gone” at the close of side A after “King Vulture” and “Lapwinger,” but there is a joy in the creative process even in that piece’s moodier early stretch, where Price‘s buzzsaw guitar lead seems to be reminding of the forests lost to building empty shopping malls. The underlying low end — presumably that’s Morgan, but one never really knows and that’s part of the fun — gives that track its extra brood, and the drone would be enough to make Earth jealous, but the quiet key-like guitar (or keys), echoes “King Vulture” while foreshadowing “Lounge Core” to come, so even there, there’s some manner of intertwining “Everything – Green’s – Gone” to K3 as a whole. Similarly, “Holy Debut” feeds into “The Gaping Maw,” which is perhaps titled in honor of its spaciousness, in a way that highlights the overarching flow of the material. Not all transitions are so direct, but that change does make the point of how easily K3 has moved from one vibe to the next all along, doing so via long fades into and out of silence and the general open spirit of the material.

That is, it sets up the audience so that expectation mirrors breadth. That’s no small feat — putting the listener where you want them, without the aid of catchy hooks or other immediately accessible fare — but neither is this Price‘s first time at this particular dance, and though he seems in places to be willfully giving up command of the songs in the name of aural adventure, whether that’s improv or just putting consciousness to the side for a moment and feeling out where a piece like “Lapwinger” does and doesn’t want to go during its brief run. That in itself is a joyful act, embracing that task of helping a thing make itself, and Kandodo3, despite the obvious shifts in atmosphere throughout, seem to have a sense of when to let go and when to steer the direction more actively — though relativity applies in that regard as much as in everything else.

It’s hard not to think of “High on Planes/Drifter” as a highlight, focal point, whatever you want to call it, and maybe that’s fair enough. At 39 minutes, it’s about half the total runtime, and its droned-out ambience is an achievement apart even from a song like “Everything – Green’s – Gone” or “The Gaping Maw,” oozing out with a fluidity distinct enough to be placed on its own LP and making its way from minimal to minimal-est as it moves toward what one assumes is the near-midpoint transition between its two parts, drums gradually fading in after the arrival of the 23rd minute with a building tension of tom hits, eBow-sounding drone and a rhythmic line floating atop. That thud holds almost maddeningly steady over the next 10-plus minutes, with the arrival of McBain (ex-Monster Magnet, Wellwater Conspiracy, etc.) announced via a fuzzy solo that only adds to the immersion of the track as a whole and helps carry it toward its quieter finish.

With the title reference to High Plains Drifter, there is perhaps unsurprisingly some spaghetti west in the atmosphere, but however it might use a repeating figure, “High on Planes/Drifter” never really fully adopts that specific kind of presentation. Like the rest of the album before it, it almost can’t help but be its own thing. And that thing won’t be for everybody — what’s that you say? experimentalist drone isn’t universally approachable? tell me more! — but whether those who take it on do so for the almost-80-minute blissout or to sit and wade through each subtle turn of Price‘s guitar the various obscure elements as they wade in and out of the mix, K3 nonetheless makes a personal connection with the listener via the intimacy at play beneath its surface and the honest creative whim at its core. So maybe it’s not for everybody. Fine. Those willing to make the connection, however, will find it delivers on engagement to a degree worthy of its vast sonic reach.

Kandodo on Thee Facebooks

Kandodo on Bandcamp

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Forte Music Distribution on Bandcamp

It was last Friday about an hour before I had to head out for the start of Desertfest NYC that I cut the voice breaks for this episode, once again on my phone, while in transit. I did the same thing last time and it sounded like crap. I know the stakes are pretty low — that is, nobody really cares — but if you’re going to do a thing, at least try to do it well. I backed off the phone this time and hopefully that cut some of the overmodulation in my voice.

I say “hopefully” because I actually haven’t heard the show yet. I was at the fest on Sunday while it aired, so I’ll be catching the rerun at 9AM this Thursday when that’s on. This is the 15th episode of The Obelisk Show and it’s been an exceptionally busy few weeks, but it’s still fun to put together, and there were some killer tracks included this time from Worshipper, Abrahma, Molasses, Stone Machine Electric, The Well, Kandodo, Methadone Skies, and so on. Any opportunity to throw in some Øresund Space Collective makes me happy, so that was a must, and I was kind of also doing myself a favor in including Natas as the “classic track” (yay! classic track!) for the episode.

So basically, unless I crapped it up, at least the music is good. That’s what matters anyhow, or so I’m told.

Here’s the full playlist:

The Obelisk Show – 04.28.19

The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Thursday at 9AM. Next show is April 28. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

The last Kandodo-related release was Kandodo/McBain‘s might righteous late-2016 offering, Lost Chants/Last Chance (review here), and god damn it was awesome. New stuff from Simon Price, also of The Heads, is going to be welcome in whatever form it might take, but as Kandodo3 — otherwise known as Price and his The Heads bandmates Hugh Morgan and Wayne Maskell — get ready to issue their third full-length in the form of K3 this June and unveil the video for opening track “King Vulture,” the bliss seems particularly resonant. The only thing you really need to ask yourself is how much psychedelic mastery you can take before you need to quit. It’s okay, everyone has their lines.

Except this music. No lines. All go. Oh, and McBain sits in on “High on Planes/Drifter,” which is apparently enough on its own to consume a second LP. Just in case you needed good news to go with your good news.

Sign me up for wherever this trip is going:

Kandodo3 – K3

Brand new studio full length from Bristol based sike-o-nauts, orbiting in the Heads’ realm and led by Heads’ Simon Price.

k3 continues the trajectory of outer space excursions found on previous kandodo releases.

Out of focus, relaxed and expansive vibes fuse together into serpentine rivers of minimalist rhythms and echoed tones, drawing the listener into tunnels of sound and scorched sonic landscapes.

It’s one for the headphones at 30,000 feet or late night deserted drives.

k3 finds three heads taking time out to dive into the dronal repetitions of deep space, 3 psychonauts killing time in the only way they know how; head-nodding drumfuzz layered with creamed strings. Guest guitar from fellow sike-head John McBain on the final half of the 40 minute trip which makes up sides 3 and 4.

k3 takes the autobahn, veering left past the sun and heading on till morning. There are no black holes ‘cos we’re in it: just do the half. The colours will come back with the dawn.

Settle in for the long haul and …..

Recorded over the past three years and aided by fellow Heads types H O Morgan and Wayne Maskell, this album was recorded in Bristol and on Price’s 4 track.. Mastered once again at Optimum by Shawn Joseph.

Releases June 21, 2019.

1. King Vulture
2. Lapwinger
3. Everything – Green’s – Gone
4. Holy Debut
5. The Gaping Maw
6. Loungecore
7. High on Planes / Drifter

kandodo3 is:
Hugh Owen Morgan – Bass
Wayne Maskell – Drums
Simon Price – Guitars, vocals

https://www.facebook.com/Kandodo-168305819900725/
https://kandodo.bandcamp.com/
http://www.facebook.com/ForteMusicDistribution
https://fortemusicdistribution.bandcamp.com/

Kandodo3, “King Vulture” official video

The Heads were so goddamn good at Roadburn. As any edition will, Roadburn 2015 had some truly spectacular performances, both that I saw and that I heard about later and regretted not seeing, but one I consider myself very, very fortunate to have caught was that of The Heads on the Main Stage at the 013. Pure, raw and complete psychedelic mastery, it was probably in the top three heavy psych sets I’ve ever seen, and I’ve seen a few in my time. Bands sound molten on studio recordings all the time, but for them to bring that vibe to the stage was, well, it was The Heads, and they absolutely killed it.

But as I say, Roadburn 2015 had more than several spectacular gigs. Anytime Eyehategod go anywhere, they leave an impact, and I also managed to see that Kandodo set, which had Robert Hampson of Loop sitting in on guitar — speaking of molten psychedelics — as well as White Hills and Bardspec, the latter which was just Ivar Bjørnson and Arve “Ice Dale” Isdal of Enslaved experimenting with different chords and manipulations on a laptop. Very cool vibe there too.

The latest batch of Roadburn 2015 audio streams has all those, plus Botanist, Brimstone, Darkher and Zoltan, which makes it quite a batch indeed. Enjoy:

(Ivar Bjørnson’s) Bardspec – Live at Roadburn 2015

Botanist – Live at Roadburn 2015

Brimstone- Live at Roadburn 2015

Darkher – Live at Roadburn 2015

Eyehategod – Live at Roadburn 2015

The Heads – Live at Roadburn 2015 (Main Stage)

Kandodo ft. Robert Hampson – Live at Roadburn 2015

White Hills – Live at Roadburn 2015

Zoltan – Live at Roadburn 2015

04.09.15 — 23.37 — Thurs. Night — Hotel

Some good Roadburn‘ll cure what ails you. Especially if what ails you — it’s what ails all of us, really — is the fact that the rest of your life isn’t Roadburn. Today was my busiest day, and it felt like it. A lot of back and forth. My dogs, such as they are, are barking. It was an early start and a late-enough finish, though it’s worth noting that the finish could’ve been even later. One has to find balance in these things. It’s a four-day fest. This was day one.

I sat on the backside of the photo-pit barrier before Sólstafir went on. They were opening the fest at 15.00, the same time Bell Witch were taking the stage at Het Patronaat — Roadburn means hard choices, always. I sat there, early, alone, tilted my head back and closed my eyes, took a breath in through my nose and let it out through my mouth. My last quiet moment, you see. I let it go, and a short time later, the Icelandic outfit took the stage, performing a live soundtrack to the 1984 film, also Icelandic, Hrafninn Flýgur (translated: When the Raven Flies). It would be my first time seeing them perform, and my first time seeing the movie, so I was probably at a significant disadvantage to some in the crowd, but essentially I was glad to be seeing the band at all, and knowing they’ve got a regular set scheduled for tomorrow, I went in with a pretty open mind. Whatever they were going to do, I was happy to be watching Sólstafir play. Not the most impartial of attitudes, but I dig the band.

Interestingly, a lot of what they did to accompany the movie, was rework their material as instrumental or atmospheric rock. Parts from last year’s Ótta (review here), the back end of the title-track — a landmark for the album if there ever was one — was distinct as the film went on, subtitles in English at the bottom of the big screen behind the band, who were spread out in a manner almost orchestral on the Main Stage. Maybe not surprising, but their sound fit pretty well with images of revenge-seeking Viking-types on horseback, distant mountains, stone weapons and the like. I’m still not entirely sure what was going on, but even to catch Sólstafir playing parts of their songs, I was glad to see it, and it made me look forward to their regular set. They took a bow when they were done, after the credits had rolled, and it seemed like they earned it. Over in the Green Room — the middle-size space, smaller than the 013‘s Main Stage or Het Patronaat, bigger than 013‘s Stage01 or the back of Cul de Sac where the stage is (got all that?) — Salem’s Pot were setting up for a buffet of riffs soon to unfold.

Swing, swing, swing. Swing like madmen, and they dressed the part too, all in masks, one in a dress and fishnets, like a troop of droogs gone stoner cult. The Swedish five-piece released their …Lurar ut dig på prärien debut LP (discussed here) last year on RidingEasy Records, and they had a new song for the Roadburn crowd as well as stuff from the album, which was more than solid in that heavy but kind of familiar way, but took on a different character live. Even apart from the theatrics, I guess so much on …Lurar ut dig på prärien was down to the rhythm, but on stage, the songs had different off-kilter melodies in the guitars, the dual vocals worked more dynamically, and the synth and effects swirl was a major factor in how it all came together. “Creep Purple” and “Nothing Hill” were rolling-groove highlights, and the shorter “Ego Trip,” released as the A-side of a 7″ last fall, was right on as well. I hate to think I had dismissed them, but in presence and performance, Salem’s Pot exceeded my expectations and not only had swing, swing, swing working in their favor, but a more complex approach overall than I saw coming.

A pleasant surprise, then, even though I kind of knew what they’d get up to. In the next room, the Main Stage was being set up for Floor. Now, I’ve seen Floor a few times at this point, and even since they put out their long-awaited studio comebacker Oblation (review here) about a year ago, and my general rule for Roadburn is that the bands I’ve already seen get low priority. Lower, anyway. The difference with Floor was that I’d been hearing all along about how excited people were to see them. I’m not 100 percent, but I think that until this tour, the trio of guitarist Anthony Vialon, drummer Henry Wilson (also of House of Lightning) and guitarist/vocalist Steve Brooks (also of Torche) had yet to play Europe since getting back together half a decade ago. That would make them, if nothing else, due.

The bomb-toners lived up to what one might’ve hoped for on the big stage. As it will, their 2002 self-titled featured prominently in the set, starting off with the one-two-three of “Scimitar,” “Return to Zero” and “Downed Star,” Brooks and Vialon pushing out now-classic riffs as Wilson seemed to drum with his whole body behind the kit. The guitarists kept a more quiet presence, Brooks here and there on stage, moving with the music but hardly thrashing about, and Vialon more or less still in a zen-through-volume kind of fashion, but the thrust of those songs is undeniable, and as they moved into “Dove” and “Night Full of Kicks” and Oblation cuts like “Trick Scene” and “Find Away” and “The Key,” they kept their momentum, fast or lumbering. “Tales of Lolita” is always a good time, and it worked well next to the thudding “The Quill,” and closing duo “Loanin'” and “Triangle Song” wrapped up to ensure that no bases were left uncovered. They weren’t, and yeah, I’ve seen Floor before, but there was no question doing so again was the right choice.

That said, there was no way in hell I was missing Spidergawd. Largely unknown in the States, and I think known mostly to those in Europe who’ve heard their two Stickman/Crispin Glover Records LPs to date — 2014’s Spidergawd (review here) and 2015’s Spidergawd II (review here) — because of their affiliation with Norwegian prog magnates Motorpsycho, whose bassist, Bent Sæther, and drummer, Kenneth Kapstad, double in the more boogie-oriented outfit alongside saxophonist/vocalist Rolf Martin Snustad and guitarist/vocalist Per Borten, who is related to but not to be confused with a former Norwegian prime minister of the same name. Spidergawd were a must-see for me. One of several, but a must-see all the same, and they delivered all the way in the energy and upbeat feel of their songs. By the time they got down to “Fixin’ to Die Blues” from the new record, maybe three songs in, they had Het Patronaat eating out of their hands.

And rightly so. I saw a lot of music today and I’ll see a lot more before this weekend’s out, but I don’t know if anyone will give off a genuinely-happy-to-be-here vibe as much as Spidergawd did, still managing to both groove and be heavy while enjoying themselves. Their spirit was infectious, as are their hooks, and though it was hot in the church — damn hot — they had no letup, Snustad, Kapstad and Borten up front on the stage while Sæther played behind in a curious configuration, but one that obviously works for them. They’re a band more people should know, based solely on the merit of what they play and how they play it, never mind anyone’s pedigree or anything like that. They lit that room up, closing with the Thin Lizzy-style “Sanctuary” from Spidergawd II as if to portend even better things to come. They’ve been working quickly over the course of their first two records, and hopefully it’s not long before a third surfaces as well. The more the merrier.

I stopped by to see some of Primitive Man through the door of the Green Room before they finished. Unsurprisingly they were punishing as fuck. Floor had started something of a bang-bang-bang for the rest of my night, one to the next to the next, and I had planned on catching a bit of Uzala in the Green Room and moving on to the next set, but once they went on, the Boise, Idaho, three-piece held me in place. I didn’t know it at the time, but they were just what I was looking for. Guitarist Chad Remains, guitarist Darcy Nutt (also running her guitar through a bass rig, for extra low-end) and drummer Chuck Watkins had a new song in tow called “The Gallows,” and that moved a little faster than some of their more plodding material from 2014’s righteous Tales of Blood and Fire, songs like “Dark Days” and “Seven Veils,” but wherever they headed, they were just the right blend of beat-you-over-the-head heaviness in Remains and Nutt‘s tones, melody and lurching groove that I couldn’t have left even if I’d wanted to. They were not to be missed, in other words. Vocals were a little low, at least up front where I was standing, but Nutt has a powerful voice and as dense as those tones got — seriously, there were parts where they sounded like a machine grinding to a halt; I wondered how they’d restart it for the next measure — she cut through with little trouble and palpable soul.

Their set was a highlight of the day for me, all the more because I’d seen them before, knew what I was getting into and they still managed to surprise with how switched on they were. Remains shredded his solos in top form and had some technical trouble along the way that was fixed so promptly by the Green Room crew that I’m not even sure he noticed. Only complaint? No “Tenement of the Lost.” The closer from Tales of Blood and Fire that begins with a wash of feedback and culminates in one of the sweetest minimalist doom ballads my ears have heard in the last five years — it’s my go-to sad song — would’ve certainly been welcome, but honestly, I think the maximum-volume approach they took was probably a more practical call given the room. I could’ve gone to see Russian Circles on the Main Stage, or Thou at Het Patronaat, or Moaning Cities, whose merch I later looked for and could not find, in Stage01, but Uzala kept me where I was. They were a thrill to watch.

Somewhere in there, it would’ve made sense to have dinner. I did not. No time. Wovenhand would be on the Main Stage shortly, and I knew that was where I wanted to be. It was a return appearance for them and the second time I’d have seen them at Roadburn — never seen them anywhere else, come to think of it — but as I consider the set they played in 2011 a personal landmark, as in, “before I saw it” and “after I saw it,” I’d been very much anticipating their arrival. They were headliners this time along with Eyehategod, who’d play the Main Stage afterwards, but Wovenhand had the longer set, and put their 80 minutes to use in the most dynamic manner I saw all day, frontman David Eugene Edwards far to the left side of the stage while drummer Ordy Garrison had the middle, and guitarist/backing vocalist Chuck French and bassist Neil Keener anchored the right. Edwards is among the more charismatic stage presences I’ve ever seen, and though he said before they ended that they knew they were “out of their league” in coming back to Roadburn, I felt more like I was out of mine watching them.

Last year’s Refractory Obdurate (review here) featured prominently in their set, which opened with “Hiss,” arguably their heaviest work to-date. Ultimately, it would be a much different kind of intensity they brought than four years ago, when Edwards, seated, laid bare a deeply spiritual — religious, Christian — neo-folk, worldly in its arrangements and deeper than the eye could follow. Standing, the vocalist/guitarist still had a feather in his hat and still taunted or teased the audience in a kind of war-whoop, but he also softshoed while he played, and Wovenhand this time around was a much more stripped-down, rawer, meaner-toned outfit. Garrison‘s drums, aided now and then by some extra percussion by French, were a driving force, and the seething energy of their rhythm could be felt throughout the main hall, whether they happened to be raging at the time, as in “Hiss,” or engaged in a more quiet brooding, à la “Closer” from 2012’s The Laughing Stalk (review here). Opener “Long Horn” from that album was also a highlight, and I was amazed what a few years could do for band like that progressing in unexpected ways and pursuing different avenues of sound. “Good Shepherd” lacked nothing for its melody, but even that had a coinciding element of pummel.

It was to the point where, I knew I wanted to see Monolord. I’d wanted to see Monolord all along, and they were playing Het Patronaat at the same time Wovenhand were on the Main Stage — Roadburn giveth and Roadburn scheduleth conflicteth. I left Wovenhand and went down the block to the other venue just as Monolord were going on. How heavy were they? They were superlatively heavy. A monumental sonic impact that seemed to hit all at once, as though the guitar and bass were also kick drums. It was ridiculous, and the line outside the Patronaat was backed up the longest I’d seen it yet to get in, but as I stood there and watched them, I couldn’t take the fact that Wovenhand were playing Roadburn and I wasn’t in the same room where it was happening. Monolord slayed the place, absolutely. I saw people coming out of there when they were done and they looked even more in a daze than usual. But me, I had to back and watch Wovenhand finish. They were too good to let it pass. And when they were done, they came back out and did an encore. Fucking a.

My evening was more or less done and I knew it, but when Wovenhand finished their encore, I swung back to Het Patronaat to watch some of Kandodo, who are led by guitarist Simon Price of The Heads and were doing a special set with Robert Hampson of Loop sitting in as part of The Heads‘ residency. I didn’t know what that collaboration might bring, but it brought a fervent run of heavy psychedelia that was perfect for me to close out the night. They started in the dark, Price and Hampson on guitar on opposite sides of the stage, bassist Hugo Morgan (also The Heads) and drummer Wayne Maskell (also also The Heads) between, but the lights gradually came up as they jammed their way through a first song — read as “Kandy Rock” on the setlist — and into the next. Watching them made me want to buy many albums, I’ll say that, but time was getting on and I had a review to write, so I cut out after a bit and made my way back to the hotel. It was a mindbender of a first day, but I know there is still much more to come over this weekend.

More pics after the jump.

Read more »

The psychedelia fetish that led to reuniting Loop to play as headliners for Roadburn 2014 now enters its next phase with the announcement that The Heads will act as Artists in Residence, playing three separate sets over the course of the fest. The first will be Kandodo, a solo-project from The Heads‘ Simon Price, and that’s followed by two sets from The Heads proper, who’ll be joined for both by former Monster Magnet and Wellwater Conspiracy guitarist John McBain and for the second by Carlton Melton for a one-off collaborative freakout. One of those “you’ll only ever see this at Roadburn and be thankful everything is recorded” kind of situations. An endless flow of badassery continues.

In recent days, Conan, Locrian, True Widow and Freedom Hawk have also been added to the fest. For those fortunate enough to attend Roadburn in 2014, here’s who you’ll be relaxing with:

Beginning a new chapter of their ongoing legacy, Bristol’s psych rock band The Heads will follow in the footsteps of Enslaved, Circle, Justin K Broadrick and Neige (Alcest) as Artist In Residence at the 2014 Roadburn Festival.

With Heads’ members recording and releasing solo albums – Simon Price focusing on his solo project Kandodo (roping in Wayne Maskell and H O Morgan to augment the Kandodo live performance) and Paul Allen leaving the fold to focus on his solo venture ANTHROPROPH, it seemed that The Heads might be on a constant hiatus. However, rehearsals for Kandodo’s forthcoming live shows made the remaining trio – Simon, Hugo and Wayne – to reconsider The Heads as a band, and start working out new jams with a view to recording new Heads material purely as a studio project.

The band’s idea was to record some new tracks with various guest lead guitarists and re-connecting via mutual friends (having briefly met in Seattle in 2000 where they all shared the same bill) it was a proverbial lightbulb flash moment: ”Ask John McBain!” – a man who’s work with early Monster Magnet, was a major influence on the Heads in their formative years. Having recorded and toured with Hater and Wellwater Conspiracy and guested on recent Carlton Melton recordings, John McBain, now based in San Francisco, was immediately excited by the proposition and agreed to jump onto the ride.

Roadburn is The Heads’ spiritual home, and they are honoured to be asked to be the Artist in Residence and are excited to have John McBain join them for this and new recordings. As part of the Artist in Residence, Kandodo will perform as a three piece on Friday April 13th at Het Patronaat. The Heads will play a live set for the first time with John McBain on Saturday April 12th at the Main Stage. The Heads (ft. John McBain)’ residency will lead in to a collaboration with fellow psychedelic travellers Carlton Melton in a one-off Roadburn exclusive performance on Sunday April 13th at the Main Stage as well.

Carlton Melton will also be playing their own set at Roadburn (scheduled for Saturday April 12th)

Of course, the fact LOOP are headlining, well, that makes it even more amazing, over three days at Roadburn 2014.

Opeth’s Mikael Åkerfeldt To Curate 2014 Roadburn Festival

We’re elated to announce that Mikael Åkerfeldt has agreed to curate Roadburn Festival 2014 on Friday, April 11th at the 013 venue in Tilburg, The Netherlands. As curator, Mikael will personally select the bands for his special event, and play a headline show with Opeth, too!

Musically, Mikael has consistently pushed the boundaries. Over the last two decades, he guided Opeth‘s evolution, drawing the band out from under the doom-laden shade of occult-infused Scandinavian death metal and into a place in the sun as revered progressive rock / metal innovators, never once sacrificing the authentic spirit of previous artistic endeavours.

Mikael‘s steadfast devotion to aesthetic progression and perfection has proven ground-breaking and highly influential for an entire new generation of musicians practicing the art of progressive rock and psychedelica. At the same time, he has steadfastly honoured the mystical pioneers of late 1960s and early 1970s psychedelic folk, rock and prog — some of Opeth‘s albums are named after obscure psychedelic prog outfits or song titles — all of which is in perfect sync with Roadburn Festival.

Opeth‘s body of work is highly respected by Roadburn audiences, which makes Mikael the ideal choice to carry on the tradition that began in 2008 with David Tibet / Current 93, and continued with Neurosis, Tom G Warrior, Sunn 0))), Voivod and Jus Oborn / Electric Wizard.

“It’s with great honour that I accepted the invitation to be the curator for the 2014 Roadburn festival”, says Mikael Åkerfeldt, “I’m pretty damn far from being a professional booker / promotor, and I’ve never been part in choosing bands for an event apart from bands that Opeth has toured with. So this is a first for me, but I have to say I’m very excited.”

“I’ve reached out to a handful of my favourite bands from the past and present. As of now it looks like it will be an amazing musical event. Still brainstorming about possible bands for this glorious festival but I already know that I’m going to be like a kid at Christmas. It will be amazing! Plain and simple. Obviously Opeth will perform as well, but to be quite honest with you, our own performance doesn’t get me nearly as excited as the thought of experiencing the bands that have shown interest. It will be remarkable and memorable. A celebration, bitches!”

We are so excited and proud to be working with Mikael and to have Opeth headline his curated Roadburn 2014 event. It will truly be a celebration of progressive rock, psychedelic folk, the heavy 70s and beyond. We look forward to this collaboration and cannot wait to see how he will expand Roadburn Festival‘s musical horizons as well as explore more familiar territory from new angles. We will definitely be in for some artistic surprises.

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