Posted in audiObelisk on July 15th, 2013 by H.P. Taskmaster
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.
It was a really, really busy weekend. I’m glad to say I did actually get to stand still for a bit and watch each of the 19 acts performing at Days of the Doomed III at The Blue Pig in Cudahy, Wisconsin, but I was just as likely to be parking myself somewhere to pop open the laptop or back and forth in front of the stage taking pics.
At one point, one of the dudes working at the venue said to me while I had the computer open, “You’re supposed to be enjoying yourself, not working.”
And it occurred to me that this is how I enjoy myself.
A 20-minute break between each band didn’t leave much wriggle room to go searching for the perfect shot of each band and still give the actual set the clacky-clacky it deserved. As such, I wound up with a lot of photos, and since I wouldn’t have time to include them in the actual live-blog posts (day one and day two), it only seems fair to give them their own post.
Below — with setlists when I could get them — you’ll find pictures of Iron Man, Penance, Venomous Maximus, Kings Destroy, Lucertola, Moon Curse and Gravedirt from day one, and The Gates of Slumber, In~Graved, Dream Death, Pale Divine, Earthen Grave, Leather Nun America, King Giant, Spillage, Chowder, Beelzefuzz, Gorgantherron and Whaler from day two.
Posted in Features on June 21st, 2013 by H.P. Taskmaster
06.21.13 — The Blue Pig — Cudahy, WI
4:24PM: Welcome to Cudahy, Wisconsin. Were I one of the homeowners living on the residential street off the corner where The Blue Pig is located, I’d probably already be pissed. I’m not, though. I’m here for the show. Hence, doom on.
The venue — kind souls — gave me the wifi password, so over the course of tonight and tomorrow I’ll be updating live with words and pics from the Days of the Doomed III fest. Tonight, the lineup features Gravedirt, Moon Curse, Kings Destroy (go hometown heroes), Lucertola, Venomous Maximus, Iron Man and Penance. The show kicks off in about half an hour and there’s the usual pre-fest milling about, plus a DJ spinning the usual suspects — Pantera, AC/DC, etc. — drinks at the bar and already a cool vibe in the air. I’m looking forward to seeing how the night plays out.
I’m sitting in the back by the merch area, but judging by the people rolling in, it looks like I’m going to have to find a different spot to set up shop, so that might be an adventure, but I’ll do my best to make it work. Long night and day tomorrow ahead, but I’ve got a doomburger — yes, it’s a special at the Best Western — in my gut and spirits are high. Let’s do this thing.
5:39PM: Nothing to dive headfirst into a night of riffs like some low-end-centric, extreme sludge. Native Milwaukee trio Gravedirt do it muddy. The snare was cutting through high in the mix, but beyond that, they slung ooze like they meant it, bassist Chris Cottreau adding low, death metallic growls over top (or at very least, buried within) that reminded me almost immediately of earliest, pre-psychedelic Zoroaster. Within that, their stuff was straightforward and they seemed to be getting their bearings in on stage, but they had a lot going for them and by the time they were finished, I had forgotten it would still be light out when I turned around and looked out the window, so I guess that’s saying something. A heavy start to what seems like it’s going to be a heavy evening.
6:37PM: Another local trio, Moon Curse had a sound that almost couldn’t help but be their own. Guitarist/vocalist Matt played through a custom rig on a custom guitar, drummer Keith brought his own kit and let loose his swing-heavy grooves in front of the riser, and bassist Rochelle anchored the lumbering riffs with thoroughly weighted runs. They hovered mostly around traditional doom riffing, but every now and again, they locked into a marching plod that showed some awareness of Red Fang or even High on Fire‘s second-gear moments. Matt kept his vocals mostly clean, and I suspect that much of what they played came off their recently-released self-titled vinyl, which they’re selling here in a number of editions. I may or may not get the chance to pick one up, but they impressed all the same and out of the two bands who’ve played so far, I’ve found two whose work I’ll look forward to following from here on out.
7:55PM: Some high order horror vibes permeating Lucertola‘s set, driven forward at a doomly crawl by the dual guitars of Tad Leger (also Blood Farmers) and Zack Breiman, the latter of whom tossed off fuck-you-up leads at a whim and broke his strap during the first or second song. Otherwise, the young six-stringer made hard shred look easy while Leger held down rhythm lines alongside bassist Chris Konys. I had meant to see them a while back in Philly, so they were something of a must to catch at Days of the Doomed III, and while they were still pretty clearly sorting out their material, they ended strong and had some potent chugging lines along the way, not lacking in classic atmosphere or doomly vibing, tossing in some variety (just enough) and keeping people hooked with a cover of Witchfinder General‘s “Burning a Sinner” that was greeted with universal welcome.
9:08PM: Not sure if I’ve ever seen Kings Destroy so much live up to their name. It’s terrifying how good these guys have gotten, from the flow they build during a set to their tones, to how they all slam together at the end of “Turul” and the time changes it brings. Fucking terror, I tell you. I wasn’t sure if they were going to break out “Turul.” Early on, it seemed like they were sticking to some of the earlier, first album stuff, rather than the A Time of Huntingmaterial, which is more diverse-sounding — they were sticking to the doom as befitting the occasion, in other words. But not only did they play it, they closed with it, using it to follow up “Blood of Recompense” in a one-two punch of gloriously heavy oddness. I’m hardly an impartial source, but god damn, I fucking dig this band. “Planet XXY” and “Medusa” were pleasant surprises, but really, the whole time, they were tighter than one generally thinks of doom as tight and showed that you can play heavy, downer music and still not lose all life from the performance.
10:14PM: It’s hard to argue with a professional presentation. And now having seen them live, any question I might’ve had about how Napalm Records came to pick up Houston four-piece Venomous Maximus has been answered. It’s easy: They saw them live. From “Path of Doom” to “Give up the Witch” to the grandiose ending of the finale “Hell’s Heroes,” Venomous Maximus were a pro job all the way. Stage costumes, their own lighting — they even brought their own photographer! The songs were no less dead on for the band being so aesthetically focused, though, and having experience with their Beg upon the Light full-length and the prior The Mission EP, the songs came right back, delivered with power and finesse and a raucousness all their own. I’d have signed them too. It would be foolish not to. If these dudes can get out and tour, their ascent could be quick. They brought the audience with them for a run through powerful riffs and over-the-top metal that was self-aware but not at all ironic. Again, it’s hard to argue.
11:36PM: Filling in for vocalist Lee Smail, who couldn’t make it to Days of the Doomed III, Brian “Butch” Balich (who’s wrapping a new album with Argus) took the frontman role for Penance‘s set. They opened instrumentally, bassist Richard Freund, drummer Mike Smail and guitarist Terry Weston, and were joined shortly thereafter by Butch, whose presence was announced by launching into “Words Not Deeds.” Hell of an introduction. Butch wouldn’t be the only guest, either. Several songs in — “Monster I’ve Become” and “Reaching” among them — guitarist/vocalist Brian Lawrence came out for a few from 1992’s The Road Less Traveled. “A Wayfarer’s Tale” was perhaps the highlight of the whole set, but I won’t discount either when Butch came back out and they closed out as a five-piece with “Misgivings” off the same album. I knew when I saw the band with Smail at Roadburn that this would be their crowd, and it was. Penance received a hometown-esque welcome at The Blue Pig, and proceeded to earn it with crunching tones as doomed as the emotionality both Balich and Lawrence brought to the vocals. I considered myself lucky to have seen them once, so to do it twice in a matter of months with three different singers, all the more so.
1:12AM: Somehow it always seems to be Iron Man rounding out all the doomliest evenings. Only fitting, I guess. Tonight the Maryland — vocalist Dee Calhoun, in a Ravens jersey, said they were from Baltimore tonight, D.C. other nights — stalwarts gave Wisconsin a taste of classic riffing the likes of which it probably hasn’t had since, well, since Days of the Doomed II last year. Tonight they were showing off new material from the forthcoming South of the Earthfull-length. Cuts featured included “The Worst and Longest Day,” the extended “A Whore in Confession” and the title-track, which the band put next to the title-track from I Have Returned, maybe for a bit of symmetry, maybe not. Calhoun and guitarist “Iron” AlMorris III command a lot of attention, but the rhythm section of bassist Louis Strachan and drummer Jason Waldmann sounded especially on tonight (Strachan added some wah on “A Whore in Confession” that was a nice touch), and the band seemed most gelled of all on the new material, which was encouraging for the results on that album whenever it surfaces. As ever, Iron Man closed out with “Black Night” from the classic 1993 album of the same name, but the crowd wouldn’t let them go when they were done, so they followed it with “Run from the Light” from I Have Returnedand capped day one of Days of the Doomed III with a fitting summary of what I take away as the whole idea behind the fest: Good people, good riffs, good times. You won’t hear (or read) a complaint out of me. Tomorrow we go again.
Posted in Features on April 18th, 2013 by H.P. Taskmaster
04.19.13 — 00.17 — Friday morning — Hotel Mercure, Tilburg
I was early to the Green Room, which is the middle-sized space at the 013. The first band on for Roadburn 2013 would be Black Bombaim, and if you’ve been here before, you know the crowds are serious and that if you’re not careful, you can wind up watching an act through an open doorway — which also happened to me more than once throughout the course of the evening. Plenty on time to see Black Bombaim, though, and no regrets for taking the head-first dive into jamming European heavy psychedelia, instrumental meandering to the cosmos. Man, all of a sudden it was a hell of an afternoon.
They were, as was somewhat expected, blissed right out, all-natural, all-jam, immediate swirl. The day had other starts on other stages, but for me, this was what it was about. I was stocked to watch them after digging last year’s Titansand 2010’s Saturdays and Space Travels(review here), and Tojo‘s bass tone served as an immediate reminder of why I can’t get enough of this kind of thing. Warm, grooving and perfectly suited to the band’s extended wandering progressions, I couldn’t have asked for more than I got as a way to kick off this year’s Roadburn. Watching guitarist Ricardo signal changes to drummer Senra, the whole thing had a very organic, very spontaneous vibe, and that’s just what you want. The first song was a little rough, but after that, they settled into a solid groove and stayed there.
Today was a fair amount of running around — less than some, more than others. Pallbearer were on the Main Stage shortly, and after the heavy dose of salivating they got in the US last time I saw them in New York with Enslaved (whose own Grutle Kjellson was kicking around here at some point today, seemingly just to hang out and why not?), I was curious to see how the Euro crowd would respond. Answer: Much the same. I knew what to expect in terms of performance, as it wasn’t that long since I last saw the band, but they still didn’t disappoint, and thinking about it in hindsight after seeing them on this stage, which is sizable to say the least, they were cramped at Bowery Ballroom. Tonally and in terms of presence, they more than held their own as a main stage act, which for only having one record out is all the more exciting.
Most of what they played I recognized from that record, early 2012’s Sorrow and Extinction(review here), and seeing them again, it was easier to get a sense of the four-piece’s live dynamic, Brett Campbell holding down the drama on guitar and vocals while bassist Joseph D. Rowland and guitarist Devin Holt bang their heads like they’re trying to get them to come off on the other side of the stage, and behind, drummer Mark Lierly steadily holding songs together and adapting fluidly to what would otherwise be stark tempo changes. The contrast of Rowland and Holt to Campbell is striking, but it makes Pallbearer a richer experience to watch. They’ve certainly had no shortage of hype around them since cropping up, but whatever else you might say about them and however loudly or emphatically you might say it, they’re well on their way to becoming a really great live act. Hopefully they continue to tour and carve out their sound and chemistry on the road.
Now, at every Roadburn, you’re going to see some things that you’ve never seen before and you’ll probably never see again. And even the stuff you have seen before — like tonight’s headliners, Primordial, for example, who came though NYC years back on the first Paganfest — is special here. Bands play better, play different material, and for an American coming over, it’s a chance to see European acts who probably aren’t going to be touring the States anytime soon. I say this so you understand why I left Pallbearer to go back and watch more of Black Bombaim. Since there’s so much going on at every fest, sometimes you have to make hard choices, and I almost always try to lean toward that which I’m less likely to run into later on or that which I’ve never seen before.
However, the Green Room was full to capacity and then some, so I wound up standing in the hallway in a cluster of people to watch for a couple minutes and then hit up the merch area across the way. I’d figured on picking up some discs and was pleased to find a host of Nasoni stuff again at the Exile on Mainstream table, including Johnson Noise and Vibravoid, as well as Burning World Records discs from The Angelic Process and Slomatics. Later on, I’d roll back through and grab more CDs from Svart and finally get a copy of The Midnight Ghost Train‘s Buffalo(review here) on CD. It wasn’t long though before I had to be back at the Main Stage for the start of Penance. Vocalist Lee Smith prefaced their set by saying it was the first time they’d played together since 1993, which math tells me was 20 years ago.
Don’t get me wrong, I like Butch Balich-era Penance a lot. I thought Spiritualnatural was a killer record and Proving Groundstill kicks my ass on occasion, but 1994’s Parallel Corners, with the lineup of Smith on vocals, guitarist Terry Weston, bassist Rich Freund and drummer Mike Smail has to be their high-point. The Pittsburgh natives resided at exactly the juncture where doom becomes metal, and with a riffy looseness and ultra-straightforward Sabbath-loving ethic, cuts like “Crosses” and “Words Not Deeds” brought out more than a fair share of righteous grooves. Both of those were standouts of their set — “Crosses” I took as a personal favor though I’m sure it wasn’t one — though long breaks between songs and surprisingly quiet banter from Smith seemed to undercut the momentum their riffs were building when they were actually playing, so it was hard for them to get on a roll.
No-frills trad doom, Penance nonetheless got their point across in beefy riffs utterly lacking in pretense. I checked in on Blues Pills in the Green Room from the hallway, and they seemed to be holding it down with no trouble, so I wandered back into the Main Stage area in time to catch “Words Not Deeds” round out the Penance set. From there, it was back to the Green Room to catch Pilgrim, who started early following a guitar and bass classic rocking-type jam during the setup that I’d be interested to hear them take elements from for their next album, which reportedly is in the works. They played new material and cuts from 2012’s Misery Wizarddebut like the immediately recognizable lumber of opener “Astaroth,” and not at all surprisingly, had the Green Room packed out the door. I don’t know if the Rhode Island trio are friends with the dudes in Pallbearer or what, but that’s a tour that should probably happen at some point. I’ve seen Pilgrim four times now since they put out that album, and they’ve only gotten stronger as a live act.
Though, to be fair, they did seem a little amped up at the start of their set, but the muscle memory kicked in before they were through the first song — you could actually see it — and they were locked in thereafter. I took pictures and then started to make my way through the crowd to watch from the back, and before I knew it, had kind of a, “Well shit, now what?” moment when the only place to be was outside the room. The answer to that question was “dinner.” I started to head out and get something to eat on the quick when I saw Gravetemple were just getting ready to hit the Main Stage for their start. With a lineup of a pedigree like that of Stephen O’Malley, Oren Ambarchi and Attila Csihar, popping my head in seemed like the least I could do on my way by. Csihar stood in front of a table of who knows what kind of manipulation devices, while O’Malley and Ambarchi came in soon enough on drone guitar. It was super-artsy in that particularly O’Malley kind of way, a different take on some of SunnO)))‘s atmospheres with Csihar‘s vocals providing a distinguishing element along the way. I dug it, but time was a factor, so I moved on to get a bite to eat.
Wound up with some salad, fish and plain pasta which I mixed in with the greens and the dill dressing. It was the first thing I’ve really eaten since I got on the plane that wasn’t a protein bar, and — here’s something that’s not at all shocking — I felt much better afterwards. My brain was like, “Dude, you’re the worst at life. You probably should’ve had a meal yesterday, jerk,” and I tried to argue back but there’s really no talking to that guy, so whatever. The salad was glorious in context for being just an ordinary salad, and though I got a piece of clam stuck in my tooth, the mixed fish was most welcome too. Nothing like actual protein drawing a direct comparison to the would be substitutes for it. By the time I was done, I felt like someone had just given me a piece of particleboard with macaroni glued onto it in the shape of the cover to Volume 4, and by that I mean ready to take on the world. This was fortunate, because High on Fire were getting ready to go on the Main Stage and play The Art of Self Defensefront to back.
Or maybe they weren’t getting ready. They kind of took their time coming out from the back, but with a backdrop behind them modified from the album’s original cover from its 2000 release on Man’s Ruin, High on Fire stormed — what else would they do, really? — through the riffy sludge of their first record in a manner befitting its grooving bombast. “10,000 Years” and “Blood from Zion” still feature in their set on the regular (they were aired when I saw the band in Philly late last year), but to get a song like “Fireface” out and have bassist Jeff Matz start off its viscous slog, it was a treat the three-piece seemed to enjoy as well, guitarist/vocalist Matt Pike cutting smiles every now and again between solos and the galloping riffs that started it all for the band. Tucked away in the back, drummer Des Kensel punctuated the stomp of “Last” and “Master of Fists” made for a suitably riotous finish, deconstructing at the end to leads and noise.
But they weren’t done. The bonus tracks from the 2001 Tee Pee Records reissue were also included, including the punkish rush of “Steel Shoe” and the Celtic Frost cover “The Usurper,” which Pike called the encore before they started. The room was the most packed out I’d see it the whole day, and it was the first complete set I watched. Elsewhere, other bands were playing, other special gigs taking place, but how could I not watch High on Fire do The Art of SelfDefense? In reception, the crowd was unanimous in fervent approval — heads banged, fists pumped, madmen shouted along to Pike‘s long-heralded battle cries — and particularly as the last High on Fire studio outing, De Vermis Mysteriis(review here) was so crisp and tight, it was striking to hear them take on the earlier material. Almost like they were letting their hair down a bit, though as anyone who heard that record can tell you, they’ve hardly lost their edge in the decade-plus since the first record came out.
Rounding out with “The Usurper,” High on Fire still finished early, a good 15 minutes before their scheduled end. I guess there’s only so much album to play. Fair enough. I took notes in my fancypants license place notebook and went back to the merch to pick up some more of the aforementioned odds and ends, and then headed back to the big room in plenty of time for the start of Primordial, who if nothing else were the most thoroughly fronted act I’ve seen so far. The Irish double-guitar five-piece were helmed by vocalist Alan “Nemtheanga” Averill, who came out with a bottle of Jameson and a bottle of wine and was through the better part of both by the time their 90 minutes were done, and from his stage makeup — that’s not to say corpsepaint, because it wasn’t really corpsepaint — and costuming to his intense on-stage persona, Averill positively owned the 013. I saw Primordial years back when they came through New York on the PaganFest tour (it was a lot of glockenspiels to get to a Primordial set, but worth it), so I knew just how much of a factor the performance element was, but like many before him, the singer stepped up his game to match the occasion, and in a space so large, it was an impressive feat of showmanship.
He also noted more than once from the stage that it was the band’s first time playing Roadburn, and made it clear he felt they were overdue in this — provocateur, I suppose, could be part of the role, but either way — and I wondered if perhaps he was putting in a bid for curator next year. That would assure Pilgrim a return slot (Averill released Pilgrim‘s Misery Wizard via his Poison Tongue imprint through Metal Blade Records), and I wouldn’t mind seeing them take on 2007’s To the Nameless Deadin its entirety, were it in the offing. His other band, the nascent and doomier Dread Sovereign, also play tomorrow, so there’s room to work with, I guess. In the meantime, this set touched on To the Nameless Deadand several others in Primordial‘s seven-album discography, beginning with “No Grave Deep Enough” from 2011’s Redemption at the Puritan’s Hand (review here) and spanning genres as much as full-lengths, running from post-black metal to Celtic-inspired progressions and keeping at times a doomly edge, particularly on newer material like “The Mouth of Judas” or “Cities Carved in Stone,” which closed 2005’s The Gathering Wilderness.
That LP’s title-track and “The Coffin Ships” also featured, the latter penultimate to To the Nameless Deadopener “Empire Falls,” with which they closed. In introducing “The Coffin Ships,” Averill mentioned it was about the Irish famine in the 1800s, and said they were bringing a bit of their history and culture to the here and now. By all accounts I’ve seen, he does seem to think of Primordial‘s music as a sort of ambassadorship — they were very much representing the Republic of Ireland on stage — and though I wondered if maybe there was anyone in the audience who hadn’t already heard of the famine, the song left little to want. Averill had slowed some by then, less foot on the monitor, less back and forth from one end of the stage to the other, tossing around the mic stand, calling everyone present including the band lazy cunts, and so on, but revived with “Empire Falls,” letting adrenaline carry him through the end of the set as he got on his knees and shouted the chorus at the somewhat-dwindled but still strong crowd, who were only too glad to return the favor.
So the headliners were done, but the night still had its closing acts to go. Averill had plugged fellow Irishmen Mourning Beloveth‘s set at Het Patronaat a couple times, and former Hawkwind/Meads of Asphodel bassist Alan Davey was doing Space Ritualin full on the Main Stage, but what I really wanted to see was The Midnight Ghost Train, who were playing at Stage01, formerly known as the Bat Cave, the smallest of the three rooms at the 013. It was full by the time I walked over, and I probably could’ve stood there and gotten bumped into again, and again, and again, but after 16 or 17 times, I started to get claustrophobic and had to get out. Much to my surprise, the band followed not long behind me.
Guitarist/vocalist Steve Moss, drummer Brandon Burghart and yet another new bassist walked through the crowd and out of the room. From my spot in the back, I got to say hi to both, and Burghart explained they were doing a stagger-on, one member at a time. Moss had left his guitar feeding back, so there was a steady hum, and I suppose walking back through the audience (no backstage to come out from) there was something of a delay, so that went long, but once their crazed, blues-infused rock got going, the full room of people there to see them had no trouble getting on board for the wild shuffling riffs and Moss‘ throaty vocals. From Kansas to Roadburn. They’re always a lot of fun to watch, and in Tilburg was no exception.
I stayed and got bumped into a few more times and then decided to check out a couple minutes of The Psychedelic Warlords, who were just getting ready for launch at the time. Space rock, man. It sure is spacious. They pulled a good crowd as well of loyal lysergeons and Davey, along with a full lineup of keys, guitar, vocals, drums and sax, were in the process of giving Space Ritualits due. By that point, the “get back to the hotel and start writing” urge was coming on pretty strong, and I didn’t resist. Outside, people sat at the picnic tables (new this year) or ate grub from the outside food stand (also new this year and just closing as I walked by) and smoked whatever they may have felt like smoking. Needless to say, Weirdo Canyon was also abuzz.
Jus Oborn and Liz Buckingham of Electric Wizard were also hanging around the 013 lobby. The band curated tomorrow’s lineup under the heading of “The Electric Acid Orgy,” which one can only imagine will leave but a modicum of survivors. Looking forward.
Extra pics after the jump and more to come tomorrow. Thanks for reading.
The lineup is set for the two-day Days of the Doomed III fest out at The Blue Pig in Cudahy, Wisconsin, and it’s looking to be fairly monstrous again in 2013. June is a ways off, so obviously anything can change at any time, but hell, pretty much pick any five of the bands on this list, put them on a bill together, and it’s a show worth making a trip to see. Dream Death and Orodruin within the span of 24 hours of each other? Penance leading into Iron Man? Well, I guess you’re just gonna have to sign me up for that one.
A new trailer, put together by Kathy Reeves, has surfaced for the fest that gives a glimpse at the lineup and sets the tunes to, what else?, old public domain car crash footage. Awesome. Enjoy and here’s looking forward:
Posted in Whathaveyou on November 13th, 2012 by H.P. Taskmaster
Time marches on and the Roadburn 2013 lineup becomes increasingly unfuckwithable. In this latest update we learn that High on Fire will play The Art of Self-Defense in its entirety (as well as do a regular set), and that among others, The Midnight Ghost Train have joined the lineup! Those dudes kill live and have just toured Europe again, so it’s awesome to see their hard work paying off with a gig at a fest like this. Congrats to the band. Also included is info about Jus Oborn of Electric Wizard‘s curated event, and announcements of Penance, Dream Death (their first Euro show!), Maserati, Ash Borer, Intronaut, The Atlas Moth, and more.
Massive as ever:
HIGH ON FIRE TO PLAY TWO EXCLUSIVE SHOWS AT ROADBURN 2013, DREAM DEATH & PSYCHIC TV/PTV3 CONFIRMED FOR JUS OBORN’S CURATED ROADBURN EVENT, DOOM PIONEERS PENANCE AND MORE CONFIRMED
Here are the latest updates from Roadburn headquarters:
We’re elated to announce that Oakland, CA heavy metal juggernaut High on Fire will bring their enormous sonic assault to Roadburn Festival 2013 for two exclusive shows.
On Thursday, April 18th, High on Fire will play their landmark debut, The Art of Self Defense, in its entirety. Initially released in 2000 by Man’s Ruin Records (and now reissued by Southern Lord), The Art of Self Defense displayed a new, intensely primal attitude for stoner rock / metal that broke away from the laid back desert bands.
On Saturday, April 20th, Matt Pike, Des Kensel and Jeff Matz will bring their brute force musicianship and thundering roar, anchored in an endlessly captivating, punkishly frantic sound to Roadburn 2013. This set will showcasing High on Fire’s obsession with Motörheadish thrash, stunningly renderd on instant classics like De Vermis Mysteriis, and Snakes for the Divine. More info on High on Fire here:http://wp.me/p1m0FP-6zY
Electric Wizard is proud to present two more mindblowing freakouts for The Electric Acid Orgy: “Cult (and we mean really fuckin kkvvuullttttt!!???) Pittsburgh Doom pioneers Dream Death are back from the dead!!, says Jus Oborn. “1987’s Journey into Mystery LP was a blueprint for a ‘chosen few ‘doom freaks… evil churning riffs, proto 70s influences, HP lovecraft / weird tales inspired lyrics and tortured ‘real’ vocals.”
“Everyone else was ‘thrashing’ but this was it… ominous, foreboding, twisted and evil and it definitley pointed us in the right direction. We are unbelievably excited to witness them live at last and hope you will join us in screaming every word from Back From The Dead: “I hope you enjoyed the living me cos the dead one never ends.” More info on Dream Death’s first ever European performance here:http://wp.me/p1m0FP-6yU
“And from even further into the abyss we present legendary aural terrorists and brain agitators Psychic TV / PTV3!!! Formed in the early 80’s after the disbanding of Throbbing Gristle, this legendary outfit was always a dark subliminal influence. Their live performances would still haunt various festivals when we were teenagers and they were always scary… their fans , their image. Back then it meant something to shock people, to wake them up from their government imposed comas.
“I also remember their fake (?) cult Temple Ov Psychic Youth”, says Jus, “which had a huge influence on us and the early black metal scene, they even got satanic ritual footage on the BBC. Its all been done before kids and it started here.” More info on Psychic TV / PTV3 here:http://wp.me/p1m0FP-6zS
Their name has perennially appeared on Roadburn Festival wish lists. Like many of you, we have been dreaming of finally getting a chance to see them live. And now, for the first time since touring with Cathedral and Sleep in 1993, doom pioneers Penance (the Parallel Corners lineup) will return to Europe for an exclusive appearance at Roadburn 2013! More info on Penance here:http://wp.me/p1m0FP-6yO
Ash Borer, Fell Voices, The Atlas Moth, Intronaut, Maserati, The Midnight Ghost Train and Raketkanon are also confirmed for Roadburn Festival 2013.
Roadburn Festival 2013, including Electric Wizard, Godflesh playing Pure in its entirety for the first time ever, Neige (Alcest) as Artist-in-Residence , Spiritual Beggars, Ihsahn and Die Kreuzen reunion among others, will run for four days from Thursday, April 18th to Sunday, April 21st, 2013 (the traditional Afterburner event) at the 013 venue in Tilburg, Holland.
Posted in Whathaveyou on October 29th, 2012 by H.P. Taskmaster
Don’t get me wrong, I was gonna go to Days of the Doomed III anyway, but adding a Penance reunion and Victor Griffin‘s new In~Graved project with Guy Pinhas from The Obsessed sure does make that 15-hour drive to Wisconsin seem shorter. Over the weekend, fest organizer Mercyful Mike Smith unveiled the two additions to the third annual event, set to take place June 21 and 22 next year, also noting that Pale Divine have joined on as well and that While Heaven Wept have had to back out owing to family concerns. As in, starting one, or at very least adding to it.
Here’s the announcement, followed by a video trailer. Something to look forward to:
I know you’ve all been waiting patiently for this announcement, myself included! We have a lot of ground to cover, so let’s get to it, shall we?
I am excited to say that my first announcement is actually breaking news, and this will be the first anyone has heard of it!!! It is with great honor that I announce Victor Griffin’s IN~GRAVED will taking part in Days Of The Doomed Fest III! Consisting of Victor Griffin (Pentagram/Place Of Skulls) on vocals/guitars, Guy Pinhas (The Obsessed/Goatsnake/Acid King) on bass, Pete Campbell (Place Of Skulls/Sixty Watt Shaman) on drums, and Derek Hall on keyboards, IN~GRAVED will be performing songs from their highly anticipated upcoming debut album due out early this spring, as well as a few choice Place Of Skulls tunes. Do not miss this opportunity to witness doom metal royalty and his brand new band! Victor Griffin’s IN~GRAVED will make believers of us all!
Next up, something I wasn’t sure was going to be possible to pull off, but through several conversations and a great line of communication, I am announcing to all of you today to brace yourselves for the return of PENANCE!!! Here is the official statement provided by the Penance camp:
“Not since vocalist Lee Smith sang with PENANCE in support of their 1993 European tour with CATHEDRAL & SLEEP have these two forces come together in a live setting. It has been nearly 20 years since PENANCE followed up that tour with their now legendary sophomore release Parallel Corners on Century Media records, long considered a classic record and the band’s strongest effort to date. Many consider it to be one of the greatest post Sabbath records of all time, including Fu Manchu who recently covered “Words To Live By”. With their rich lineage as pioneers of Doom firmly intact, the time is now right for the lineup of guitarist Terry Weston, bassist Rich Freund, and drummer Mike Smail to reunite with vocalist Lee Smith as PENANCE. Their exclusive appearance and only U.S. show will take place at Days Of The Doomed Fest III on the weekend of June 21st and 22nd, 2013 in Milwaukee, Wisconsin. See you all there!” Parallel-fucking-Corners! That’s all I’m saying folks!
As if this isn’t enough, we’ll also be welcoming back another Days Of The Doomed Fest alumni… PALE DIVINE! We’re all familiar with their stellar back catalog, but next June, we’ll all be treated to some of the instant classics off of “Painted Windows Black”, undoubtedly one of the top releases of 2012. So get ready… PALE DIVINE IS BACK!
I’m also extremely happy to announce that Infernal Rock Radio will once again be sponsoring our Thursday night pre-show! Chicago’s SPYDERBONE is the first band to be announced for the pre-show, but others will be announced soon!
I also have some bitter-sweet news to report. WHILE HEAVEN WEPT has been forced to pull out of Days Of The Doomed Fest III, but for good reason! There will be a new addition to the WHILE HEAVEN WEPT family due right around the weekend of the fest next June! So obviously, this is a “family first” situation! I wish the band and family all the very best! Congrats!!!
The official Days Of The Doomed Fest website, www.daysofthedoomed.com, has been updated, and you will want to check out the “Lodging Options” link! Best Western Milwaukee and Super 8 Milwaukee are the exclusive hotels of Days Of The Doomed Fest!!! There are links to both hotels, and each one has a special “fest rate” for rooms!!! They also offer free shuttles to and from the airport, and we are working on setting up a shuttle to and from the fest! I encourage you to take advantage of this special offer!!! Both hotels are only a 5 minute drive to the venue!!!
I am also very proud to welcome back Pabst Blue Ribbon Beer as one of our main sponsors!!! Tallboy specials and PBR swag will once again be available at Days Of The Doomed Fest III!
I should also mention that I am working on setting up a shuttle bus from Chicago to Milwaukee and back to help out all of our Illinois friends who would like to attend the fest but may not want to drive. More info on this as it becomes available!
So get ready! Days Of The Doomed Fest III is returning to the Blue Pig Bar/Venue and is going to be the biggest one yet! Online ticket sales begin 12/1/12 – just in time for X-mas! Grab your tickets early and book your rooms! I am fully anticipating a sell out next year! Oh, and I’m not quite done yet… one more trick left up my sleeve! Big, massive, giant size bag of Ruffles goes to Kathy Reeves for creating our teaser trailer below! Cheers everyone!!! Happy Halloween!
The new CD from one-time Penance drummer Mike Smail‘s band, Under the Sun, showed up in today’s mail, to be retrieved when I arrived (early!) back in the valley from the office, so I figured something off Penance‘s 1994 masterpiece Parallel Corners would be a good way to end the week. I’ll have that Under the Sun review up as promptly as possible, which I know isn’t saying much these days.
On that note, I’ve noticed lately that The Obelisk has gotten a lot of requests from people looking for reviews and such. That’s great, but here’s the thing: As much as I love helping people get the word out about their bands — and I do, really — I’m just about through pretending to dig stuff I don’t. So the On the Radar posts for bands who just email me and say “hey, cool site, write about my band,” are done. I like this site the best when I’m talking about stuff I legitimately dig and bands I want to help out. If I wanted more obligation in my life, I’d procreate.
And on that note, there’s a new podcast coming this weekend. The plan is to put it together tomorrow and have it posted by Sunday. Keep your eyes open.
Keep your eyes on the beer thread on the forum too to find out where the night’s drinking adventures lead. It’s been quite an evening already, if you couldn’t tell by the bold proclamations above.
Aside from being the resumption of the semester following this week’s “spring break,” next week I’ll have my long-overdue interview with Danny Nick of Suplecs posted, as well as reviews of Subrosa, The Osedax, and probably about three others if past is prologue.
I’ll also have a live writeup (hopefully with photos and maybe even video) of Clamfight‘s show tomorrow night at the Brighton Bar in Long Branch, NJ. If you missed the news, Clamfight will be forum040, the fourth release on The Maple Forum.
As to what the third is, it’s reportedly getting mastered this week, and I’ll have the announcement sometime soon about that as well. Stay tuned, and as ever, have a great and safe weekend.