ROADBURN 2017 Day Four: God Particle

Posted in Features, Reviews on April 23rd, 2017 by JJ Koczan

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04.23.17 — 22.26 — Sunday night — Hotel room

The last day of putting together the Weirdo Canyon Dispatch started with a panic when the office coffee machine was busted. At first I didn’t believe it and plugged the thing in to see if the sign that had been taped onto the front was bullshit, but indeed, it was not. Could’ve cried. Instead, went downstairs to the backstage area where they serve the meals and got coffee there. Survived.

Thus, the final issue of the 2017 Weirdo Canyon Dispatch came into being. Download the PDF version here.

What used to be known as the Afterburner, the traditional easing between a given Roadburn and the transition back to real life, is now basically just another day of the fest proper. They’ve dropped the name, and fairly enough so. Running across four stages this year, it’s hardly a means of becoming less immersed in the Roadburn experience at this point. If anything, it’s Roadscorch. The absolute last blast from the furnace that is this festival. My brain has turned into Roadchar.

I had no fewer bands I wanted to see today than yesterday or the day before, and a few others that I wouldn’t have minded catching had I been able to do so, so yeah, it was definitely Roadburn. It started early and went late and was packed for the duration. I did one more bounce between venues as I had earlier in the weekend — none at Cul de Sac for me today, but two at Het Patronaat — and was back and forth a few times between the Main Stage and the Green Room at the 013 proper, running past the merch area as well for good measure. Can’t be too careful. Wouldn’t want something to get by unnoticed.

It was a 15.00 start in the big room with Temple of BBV. I knew from seeing Gnod the other night (review here) that the culmination of their residency in a collaboration with Radar Men from the Moon was one I didn’t want to miss, so while it was early, I figured a head-first dive into willful prog oddity was well in order. I won’t like to you — it was a lot for three in the afternoon. Or three in the morning, for that matter. It was a lot, period. 10 people on Temple of BBV (Photo by JJ Koczan)stage, including two drummers, a near-constant throb and pulsations pushing outward into psycho-psychedelic reaches of the bizarre.

They were aggressively strange. On a strangeness crusade. They wore their strangeness like a badge of strangeness honor and as the room filled up slowly, people seeing to be hungover perhaps from the sensory assault Mysticum had provided the night before as much as from actual inebriation of whatever sort, the crowd had no choice but to be subsumed by what Temple of BBV were doing on that stage. Hair of the cosmic dog that gave you demonic space-rabies. Was it weird? Why, yes. Yes, it was.

I couldn’t help but try to remember when last I actually saw Pallbearer as their set got underway, also on the Main Stage. Turns out it was 2013 (review here). I’d also caught them at Roadburn that year (review here), as part of what was then the Afterburner in the Green Room. While I didn’t think it’d been that long at the time, the reason I thought of it was because of how much the Arkansas doomers seem to have stepped up their game in the intervening years. Their third album, Heartless (review here), is newly issued and fresh in mind, but live that material became heavier than it is on record and their presence in delivery was unmistakable. Since the last time I saw them, Pallbearer have become a headlining band.

No question they belonged on the Main Stage at Roadburn 2017. They not only held down that Pallbearer (Photo by JJ Koczan)spot well, but were in full command of their material and their sound, and with shared vocals across the front of the stage, they offered a richness to their doom that only underscored just how much they’ve made the genre work to their interests rather than working to the interests of genre. Heartless cuts like “I Saw the End,” “Thorns” and “Dancing in Madness” were high points in emphasizing their progression, but the churning heft of the whole set was dead on, whether it was those or “Fear and Fury,” “Worlds Apart,” or “The Ghost I Used to Be.” Remarking from the stage that playing Roadburn felt like coming home since it was where they’d done their first European show, they were welcomed as returning heroes and clearly rose to the occasion.

I know they’re like the hottest shit in the world and everyone knows it and Heartless is going to be everyone’s album of the year and blah blah blah so I’m giving away state secrets or anything, but Pallbearer fucking killed at Roadburn. I’ve seen them before and I was still genuinely surprised at how good they were.

Just for fun, I poked my head into the Green Room to catch a minute of Author and Punisher. A boy and his robots. The space was packed out so I didn’t linger, and instead sauntered back over to the big room again to watch Pallbearer finish and await the arrival of Les Discrets, who are also supporting a new album, Prédateurs, released just this week on Prophecy Productions. The moody vibes that the Parisian outfit proffered would make a lot of sense leading into Ulver, songs like “Virée Nocturne” having an element of the dark and urbane to them, progressive even beyond what one might’ve come to expect from their past work in post-black metal and Alcest-style melodicism. Guitarist/vocalist Fursy Teyssier, who also had a showcase of his visual art upstairs in the 013, had a quieter presence than when he led Les Discrets (Photo by JJ Koczan)the band when they played Roadburn 2013 at Het Patronaat (review here), but it worked for what they were doing.

In hindsight, it probably would’ve made narrative sense to stay put in the big room and await the arrival of the aforementioned Ulver. I didn’t do that. First, I went and grabbed dinner — chicken salad over lettuce and arugula with bacon and a bit of chicken/peppers in curry sauce; some bean sprouts in there, no corn, no onions, no celery; two plates, second void of curry and bacon — and was fortunate enough to sit in the company of Norwegian artist and Weirdo Canyon Dispatch contributor Kim Holm, and then I made my way back up to the Green Room to catch at least some of Valborg. I knew that I wanted to watch somebody from the Green Room balcony, and the underrated German martial metallers seemed like the perfect occasion.

And so they pretty much were. I watched as the space below filled up and when the German trio — whose new record, Endstrand, is also out on Prophecy this month (it came out April 7) — took stage, it was pretty clear the crowd knew them well. “Werwulf” from the 2016 single of the same name (review here) was like a riff-led wrecking ball that highlighted how perfectly paced Valborg‘s material is and the genre lines their songwriting so fluidly crosses between death metal, progressive synth textures Valborg (Photo by JJ Koczan)and goth atmospherics. They demonstrated clearly they can roll a groove with the best of them but seem to have little interest in heavy rock or anything quite so not-extreme, but wherever it was ultimately coming from, their sound was on its own wavelength and its complete lack of compromise notched a mark in the skull of everyone who was there to hear it, myself included.

I didn’t get to stay for Valborg‘s whole set because I knew Ulver were soon to go on the Main Stage. I worked my way off the balcony much to the delight of the person who’d been standing behind me while I leaned over the rail to take a couple pictures of the band and down around the back way to the Main Stage room — still kind of strange to me how the 013 works since it was remodeled last year; there’s a hallway with bathrooms there now that I think used to lead to the Bat Cave/Stage01, but jeez, don’t quote me on that. I’d have to look at the blueprints to be sure, and that would probably take hours because I’d have to find a YouTube video on how to read blueprints first. Sucks being useless sometimes. Most of the time, actually.

Anyway, I did manage to get myself one room over in time for the start of Ulver, and when the Norwegian more-post-everything-than-everything outfit got underway, I was really, really glad I’d already heard the new album which was the focus of their set: The Assassination of Julius Caesar (review here). Otherwise all that dark post-New Wave moodiness and nighttime ambienceUlver (Photo by JJ Koczan) might’ve thrown me for a loop. It’s usually safe to assume two things about Roadburn attendees. One, they’re open-minded. Two, they’re pretty well informed. Still, of all the men and women assembled at the 013 to watch Ulver play, I have to imagine there was at least one person who had no idea what they were in for, and so when the band broke out the laser light show and the electronica beats and the Depeche Mode gone prog sexytime vibes they were completely taken aback by all of it. Now that I think about it, it might’ve been fun to be surprised like that.

But when it comes to Ulver, part of the appeal is the band’s willingness to dismantle their own formula, or more precisely, to not have a formula in the first place, so it’s safe to assume that whether this hypothetical Roadburner knew or not what they were getting with the songs featured from The Assassination of Julius Caesar, they were still able to get on board. Still, one day someone’s going to trick Ulver into playing 2007’s Shadows of the Sun front to back — or at least doing live variations based thereupon — and that’s going to be incredible. One for Roadburn 2022, maybe?

I didn’t stay for all of Ulver either. Not for lack of patience or anything, but I could feel my Roadburn 2017 crunch winding down and knew I had to try to pack as much in as I could. That meant getting my ass to Het Patronaat to see The Doomsday Kingdom. Every year I’m lucky enough to be at Roadburn I let myself buy one piece of vinyl. This year it was the special edition 12″ The Doomsday Kingdom were selling at the merch stand. Why? Because Leif Edling, god damn it. The founding Candlemass The Doomsday Kingdom (Photo by JJ Koczan)bassist and crucial architect of what we know to be true and traditional doom metal — yes, I mean that — was making a live debut with this new four-piece at the church, and I knew I didn’t want to regret later not getting that record when I had the chance. It’ll probably get damaged in my luggage on the trip home. Still worth it.

Their set was likewise. Songs like “Never Machine” and “The Silence” offered classic doom very much of the style one might expect from Edling‘s long-established craft and methodology, but hell, I’ve got no problem with that whatsoever. It hasn’t been that long since Candlemass put out their 2016 EP, Death Thy Lover (review here), and they’re still doing shows as well, but before he took over lead vocals from mesh-shirt-clad frontman Niklas Stålvind — who’d been righteously belting out the material up to that point — for the set finale “God Particle,” Edling called The Doomsday Machine his “therapy band.” I wasn’t sure what he meant, but I sure was glad I stayed to watch their full set, because they were awesome. A couple first-show-type hiccups, but nothing major by any stretch, and after “God Particle,” they even came back out in made an encore of the metallic-galloping “Hand of Hell,” with Stålvind back on vocals, guitarist Marcus Jidell tearing into solo after solo and drummer Andreas Johansson fueling the big rock finish before coming out from behind the kit to take a bow with the band. If that was therapy, sign me up.

From Sweden to Boston. Come to Grief were on next at the church, and if I’d tried, I don’t think I’d have been able to come up with a more appropriate ending to my Roadburn 2017 than to watch the native Beantowner offshoot of Grief play a set of ultra-misanthropic extreme sludge. Tones of home. You Come to Grief (Photo by JJ Koczan)have no idea how hard it was not to shout out “Go Sox!” in a Boston accent before they played. You cannot possibly know. Fortunately, before I could muster the gumption to do same, guitarist Terry Savastano began to unleash maddening floor-shaking undulations of feedback. He, fellow guitarist/vocalist Jonathan Hébert, bassist Justin Christian and drummer Chuck Conlon would soon loose a set that spanned all the way back to the title-track from Grief‘s 1992 debut EP, Depression — which Savastano noted was the first song that band ever wrote — all the way forward to Come to Grief‘s new four-tracker compact disc, The Worst of Times.

“No Savior” and “JunkLove” from the latter (and later) release were featured, but at their core, wherever they were drawing material from, Come to Grief were a mainline shot of visceral abrasiveness. Intense, pummeling and straight from the gut, they crashed each riff with maximum intensity and left no mystery about the sincerity of their intent to kill. It was impressive the way one thinks of primitive humanoids bashing in each other’s heads as a sign of evolution at work. Like I said, the perfect finale to my Roadburn 2017 — one last raw scrub to get the unwanted pieces of myself gone before I get on that plane and go home tomorrow morning.

Did I just say tomorrow morning? Yuppers. It’s 01.40. Shuttle comes to take me to the airport in about five hours, as it happens. When I left Het Patronaat, in addition to looping through the merch area to pick up the aforementioned Come to Grief CD, I made one last run through the 013 hoping to find Walter and say goodnight and thanks, but no such luck. Tired, beaten, missing my wife and with my earplugs still in, I trod past the assembled throngs in Weirdo Canyon and back to the hotel, where packing still awaits and pictures want sorting.

So yeah, I’m going to go get on that.

I’ll have another post up at some point tomorrow, but in the meantime, thank you so much for reading and please find the rest of those pics after the jump here:

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ROADBURN 2017 Day Three: And Yet it Moves

Posted in Features, Reviews on April 22nd, 2017 by JJ Koczan

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04.22.17 — 22.23 — Sat. night — Hotel room

I don’t mind telling you I was a total wreck this morning. There we were, finishing up the third issue of Weirdo Canyon Dispatch (get the PDF here), and holy macaroni, I just couldn’t hack it. I’d gone to sleep at a semi-reasonable time, circa 2AM — which is pretty good, considering — but woke up at around three and was up past 4:30. Just up. Weirdo Canyon Dispatch Saturday issue.Brutally, brutally awake. I could’ve cried.

Instead, I put my head down on the desk in the 013 office while we waited for the test-print of today’s ‘zine and was granted a generous reprieve from the folding process that followed. I folded three copies of today’s WCD: my own. After that, I made the most of my special dispensation and high-tailed it back to the hotel to sleep for another two and a half hours, at the end of which time I pounded water, a protein bar and ibuprofen and it was enough to temporarily trick my body into believing it was human. This weekend has been pure madness, and there’s one day yet to go.

By the time I got back to the 013, I knew I’d missed my chance to hit the photo pit for day-openers The Bug vs. Dylan Carlson of Earth, the somewhat cumbersomely-named collaboration between, well, The Bug and Dylan Carlson, but I still had plenty of opportunity to be assaulted by their combined volume of drone and beats, soundscapes thick enough to swim through and handed out with enough force to vibrate the plugs in my ears and the teeth in my skull. Really. I think I lost a filling. They were very, very loud.

Two experimentalists like that working together, even as a one-off, carried an air of being something special to start the day, and so it was. The Bug‘s rig, flanked on either side by bass cabinets with two more laid down in front in such a manner as to make Carlson half-stack look positively minimalist in comparison, shook the upstairs The Bug vs. Dylan Carlson (Photo by JJ Koczan)balcony where I set up shop for the duration, and the clear impression that came through was that although they used different means of expression — Carlson with his guitar, The Bug with his laptop and mixing board — their work together was way less of a “vs.”-type situation than the name led one to believe. They were very definitely on the same side, but while they played, spotlights slowly hovered over Main Stage crowd, feeding the air of suspicion and paranoia in such a way that was eerily appropriate for what they were doing.

Speaking of collaborations, over at the PatronaatRazors in the Night — AKA John Dyer Baizley of Baroness and Scott Kelly of Neurosis playing oldschool punk and hardcore covers — were just getting started. I stayed put in the big room, however, because I knew I didn’t want to miss a second of Oranssi Pazuzu. The Finnish progressive/psychedelic black metallers have been an increasingly steady presence at Roadburn over the last five years, and after their own slots at the church, they managed to pack out the Main Stage to an admirable degree. People stood outside the open doors for not the last time today in order to catch a glimpse of their malevolent, ultra-deep swirl.

As immersive as it was dark, I couldn’t argue. Oranssi Pazuzu, who released their fourth album, Värähtelijä (review here), in 2016, may have conjured the finest blackened psychedelia I’ve ever seen. It was so much of both, so chaotic and yet purposeful, that to Oranssi Pazuzu (Photo by JJ Koczan)consider it anything less than the work of masters would be completely underselling it. When I was done taking photos, I went out into the hallway to walk around to the other side of the room and I couldn’t believe it was still daytime. And more over, the sun had come out! Something so cosmically abysmal just seemed like it should be swallowing any and all light around it, but so it goes. Stately and ferocious, they cast their waves of of bleakness over a sea of nodding heads, and after years of missing them here, I was finally glad to have been clued in, even if I seemed to be the last one in the entire Main Stage space to have caught on. Which I probably was, because that’s the kind of hip I am. Which is to say, not at all.

Maybe it was partially a case of going easy on myself, but I once again didn’t budge from the Main Stage following the conclusion of Oranssi Pazuzu. Today was minimal back and forth, actually, which suited me just fine after two busy days of Roadburn 2017 bouncing from this venue to that one. I’d hit the Green Room twice before my evening was over, but was at the 013 the whole day, which after all the Extase and Het Patronaat yesterday almost made me feel insecure and restless — “Don’t you have somewhere you need to be, sir? Oh yeah, here,” and so on. Sometimes this festival plays tricks on your mind.

My reasoning in staying put was more than justified, though, with Warning coming on to play 2006’s Watching from a Distance in its entirety. I knew some of what to expect from a Patrick Walker performance after seeing him front 40 Watt Sun here in 2012, but of course Warning brought a presence all their own in addition to his melancholic emotionalism. They struck a hard balance between sonic weight and sheer heft-of-sadness, and yet as morose as they were, and as understated as their aura was on stage, they were never anything but engaging. Rare band, rare album, rare set. Warning (Photo by JJ Koczan)This Roadburn has had its share of special moments, and Warning fit that bill as well. There was something empowering about them, or at least validating, and as deep into their own headspace as they went, they never seemed to get lost there.

It’s not often you see a band play a full album and then want to go and put on that album directly afterward, but Warning doing Watching from a Distance had that effect. I can’t claim to know the record inside and out, but I felt fortunate to have had the chance to see the band bring it to life, which much to their credit, they did without losing the heart-wrenching resonance of the studio versions of the material.

Next door in the Green Room, the focus would soon be about an entirely different kind of crushing execution, as Belfast dual-guitar three-piece Slomatics made ready to take the stage. I got there about 20 minutes before they went on and was still too late to get a spot right up front. Should’ve figured. I’d heard people talking about how stoked they were to see them, and after being lucky enough to see them in Norway last September at Høstsabbat (review here), I also knew they weren’t to be missed. My timing being what it was, I still got there to see Jon Davis from Conan soundcheck the guest vocals he’d provide for closer “March of the 1,000 Volt Ghost,” and it was good to know that was coming.

Davis also released Slomatics‘ fucking excellent 2016 album, Future Echo Returns (review here), on Slomatics (Photo by JJ Koczan)his Black Bow Records imprint, so all the better to have him there alongside guitarists Chris Couzens and David Majury as well as drummer/vocalist Marty Harvey, who even before Davis showed up stomped out the most pummeling tones I’ve heard over the course of the last three days. “Electric Breath,” “Return to Kraken,” “And Yet it Moves,” “Supernothing” — this is the stuff of lumbering, rolling, molten doom supremacy, and as they’re five records deep into a tenure that one hopes continues into perpetuity, Slomatics know how to wield these weapons to glorious effect. I felt like I was going to pass out and ran downstairs to hammer down a quick dinner — chicken in some kind of tomato-based sauce with green and red peppers, jalapenos and cheese over lettuce; two plates in about five minutes — and was back in the Green Room in time to catch Davis‘ guest spot from the side of the stage and jump up to take a picture of the band when they were done playing. I never do that kind of thing, but Slomatics were nothing if not an occasion worth savoring.

Shit would only get more doomed from there. Like I said yesterday, everyone here makes their own Roadburn, and I knew how I wanted my night to go. I wanted it to go doom. That meant hanging out in the Green Room more for Ahab, which I was more than happy to do. The nautically-themed German funeral doomers were not a band I ever really expected to be able to see, and knowing how packed it got for Slomatics, I assumed much the same would ensue. I was right. Ahab probably Ahab (Photo by JJ Koczan)could’ve filled the Patronaat if the press of the crowd behind me half an hour before they even went on was anything to go by, but as it was they beat the Green Room into submission with their guttural, ultra-slow lurch and churning devastation.

It was by no means the same kind of grind that Memoriam were doling out on the Main Stage, but watching Ahab play was like witnessing the giant, five-foot-thick gears of some industrial revolution shipyard turning the assembled audience into powder. The very means of production brought to bear on all of our caved-in skulls. Yes, they were hyperbole-level heavy. Unremittingly so, and to a claustrophobic degree. I don’t know if it was during “Old Thunder” or “To Mourn Job,” but there was a point at which I had to remind myself that I’d actively wanted to be so brutally overwhelmed and so overwhelmed by brutality. Did that make the effect any less punishing? Not in the slightest, but thanks for asking.

There was only one place left to go to continue my downer trajectory: back to the Main Stage for My Dying Bride. Having the UK doom legends play 1993’s Turn Loose the Swans in full made an awful lot of sense after special sets in 2016 from Paradise Lost and in 2015 from Anathema and Fields of the Nephilim — I’m keeping my fingers crossed for Katatonia in 2018; never seen them and they’d seem to be next in line, despite not being British — and the drama unfolded early as frontman Aaron Stainthorpe hit the stage with violinist/keyboardist Shaun Macgowan for “Sear Me MCMXCIII.” Soon enough, founding guitarists Andrew Craighan and Calvin Robertshaw, bassist Lena Abé and drummer Shaun Taylor-Steels would join, and the full fray would be unleashed. Chances are I don’t need to tell you how influential My Dying Bride have been on the trajectory of the last two decades of doom, but suffice it to say I’m not sure I could’ve found a darker way to round out myMy Dying Bride (Photo by JJ Koczan) Roadburn 2017 Saturday night than to watch them deliver that level of scathe with that level of professionalism.

And no, I’m not just saying that because Stainthorpe wore a tie. With animation by Costin Chioreanu behind them, My Dying Bride were the consummate headliners. Mysticum were still to follow on the Main Stage with a production I’d caught in soundcheck earlier in the day that was probably the most elaborate I’ve ever seen in the 013 venue, but for me, My Dying Bride marked a culmination of what I wanted the evening to be, and so I knew my night was done. There’s always more to see at Roadburn. Always something you don’t get to. Always someone who, years down the road, you wonder, “What the hell was I doing that I missed that?” but sometimes when you’re in Tilburg, you’ve crafted your experience in such a way that makes sense at the time, and that was me tonight. Would’ve been hard pressed to find anything to top My Dying Bride anyway.

One day left in Roadburn 2017, which is something I know to be true because I only have two protein bars remaining — one for before the show, one for after. Tomorrow’s another early start to fold Weirdo Canyon Dispatch issues, so I’ll leave it there once again and say thank you for reading and if you’re so inclined, you can check out more pics after the jump.

Which is right frickin’ here:

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ROADBURN 2017 Day Two: Death’s Dark Tomb

Posted in Features, Reviews on April 21st, 2017 by JJ Koczan

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04.21.17 — 23.22 — Friday night — Hotel room

Issue #2 of the Weirdo Canyon Dispatch is available here. Get it while the PDF is hot.

Because no attendee of this festival can possibly be in two or five places at once, something with which every Roadburner must contend is the notion of self-curation. You look at the schedule and you pick your own path. I’ve said time and again that every Roadburn means hard choices, but make no mistake, Roadburn is meticulously put weirdo canyon dispatch #2together to enable those who are fortunate enough to be here to be able to find their path among one of the most packed bills in the universe.

Case in point, today was John Dyer Baizley‘s curated day. I am not now, nor have I ever been, a Baroness fan. If you are, great. You certainly have plenty of company, especially here, especially this weekend. Just never been my thing. Yes, I’ve seen them. Yes, I’ve heard the records. Not my thing. My priorities, then, were inherently going to be much different today than many attendees. It was a light day for me. For many others, I very much suspect it was not. That’s cool. Like a good choose-your-adventure book, Roadburn 2017 accommodates any number of contingency plans.

Mine started early. I knew after watching them at Cul de Sac the other night (review here) that I was not done with California’s Atala. Today they opened Extase at 14.00. I left the 013 office mid-folding session and was already dragging ass as I have been the last couple days — I’ll explain why shortly — and headed around the corner to the smallest Roadburn venue, where I closed out last night with Backwoods Payback and to which I’d return twice again this afternoon and evening. Atala did pretty much the same set as the other night — reasonably so — but seeing it a second time gave me a better feel for the material that comprised it, whether it was the harshness in “Grains of Sand” and “Death’s Dark Tomb” or the textured hook of “I am Legion.”

But for the flashing strobe behind them, the Twentynine Palms residents were an easy band to watch again, drummer Jeff Tedtaotao and guitarist/vocalist Kyle Stratton both in YOB shirts while bassist Dave Horn represented Graveyard. Whatever the wardrobe, Atala were righteous again, but the light proved abrasive and hit me pretty hard, so I split after “I am Legion” and headed over to the Main Stage to catch the start of classic French mesmerproggers Magma. I was not the only person who had this idea, and like yesterday’s early headlining gigs from Crippled Black Phoenix and SubRosa, today it was Magma drawing an afternoon crowd into the big room. Soon Roadburn will just be headliners on the Main Stage. All sets headlining sets. Think it won’t happen? It’s already happening.

There was a point at which I was watching Magma, who were no less of a joy today than they were when they played in 2014 as part of the curated day helmed by Mikael Åkerfeldt of Opeth, and trying to imagine what it would be like for a normal person to bear witness to their set. That is to say, what does a square make of the band who for the last 40-plus years have been led by drummer Christian Vander in telling Magma (Photo by JJ Koczan)stories of the planet Kobaïa in a made-up language, who are positively orchestral on stage and so deadly serious about what they do that to insinuate otherwise could only offend band and assembled audience alike? Where I finally landed was that said hypothetical square — how that person would even get in front of a stage where Magma was playing, I don’t know, but for the sake of argument let’s say they did — would probably think they were from another planet.

So in other words, the group’s desired effect would be achieved. Whatever you’re doing, Magma, it’s still working. Keep it up, you legendary weirdos!

Before they were done, my wanderer’s soul had me headed back toward Extase to get a spot up front for Ruby the Hatchet. You know how sometimes you just get a feeling there’s a place you need to be? That was me watching the Philly-area troupe today. Not that I couldn’t see them in the States at some point, and not that I haven’t before, but especially at Roadburn you just know some bands are going to bring everything they’ve got, and the sense I had was that Ruby the Hatchet would be doing precisely that.

To absolutely toot my own horn, I was 100 percent correct in that impression. Getting underway with the new song “Planetary Space Child” from their recently-finished third album, which frontwoman Jillian Taylor announced would be out this summer on Tee Pee Records — they’d also share a cut called “Pagan Ritual” from the record and one or two others the titles of which I didn’t manage to remember when I asked the band about them later outside a cafe in Weirdo Canyon — Ruby the Hatchet completelyRuby the Hatchet (Photo by JJ Koczan) owned that stage and that room. Their organ-laced post-Uncle Acid garage-psych-doom was nothing short of a thrill to behold, and watching them play I look forward all the more to hearing how the obvious growth they’ve undertaken since the release of their 2015 sophomore album, Valley of the Snake (review here), manifested itself in the studio — because it certainly did in terms of their live presence. They were a blast; no question the most fun I could’ve been having at that moment was watching them play.

And yet, I had to bow out. Speaking of feeling like you need to be somewhere. I couldn’t rightly figure out what the problem was, but I made my way to the back of the room and decided to head back to the hotel before Joy went on. Instead of turning right, though, I turned left, and wound up directed back toward the 013. What was going on? I didn’t know. And why was it that the smell of the barbecue cooking outside the venue made me want to take my own life? And why was it that I wanted to build an altar to the French fries being served in paper cones to the eager, smiling denizens of Roadburn 2017?

Suddenly it dawned on me that today was Friday and the last time I had a meal it was Monday.

Joy (Photo by JJ Koczan)Since then it’s been nothing but protein bars and powder in coffee. I was, apparently, starving. And this was a genuine surprise for me to discover.

Well, I didn’t get barbecue and I certainly didn’t get fries — because, you know, self-denial and all that — but I did go downstairs into the basement of the 013 where the crew dinner was set up and have an arugula salad topped with some pesto-covered fresh mozzarella from a tomato dish, other shredded cheese and hot sauteed spinach. Look. I don’t know if you’ve ever felt like sauteed spinach saved your life before, but after two plates of this makeshift salad, I was pretty well convinced it had saved mine. And I was at least half-sure that shit came out of a giant can. Didn’t even care. I pounded as much as my ailing system could take and still made it back to Extase in time to catch a most-righteous pre-set drum solo from Joy‘s Thomas DiBenedetto.

One would not usually think of a drummer’s soundcheck as something earning audience response at all let alone rapturous applause, but the dude tore into it and the room was well on board — myself included. And no, it was just post-spinach euphoria on my part either, because once the rest of the San Diego three-piece was ready to roll, they were all-shred on all fronts. Guitarist/vocalist Zach Oakley punished both his whammy bar and his wah pedal thoroughly while ripping into choice leads and bassist Justin Hulson reminded me directly of the subdued presence of Anthony Meier from Radio Moscow — quiet, unassuming, and an incredibly adept player capable either of being the anchor while the guitar goes off or going off himself at a moment’s notice on a whim of winding basslines and classically rocking dynamic.

I dug Joy‘s third and most recent full-length, Ride Along (review here), plenty when it came out on Tee Pee last Spring, but like the best of the West Coast heavy psych set from Earthless on down through the Joy (Photo by JJ Koczan)aforementioned Radio MoscowMondo Drag, etc., they blew the record right out of the water with the energy and power behind their delivery. Head-spinning, really. I knew they were a band I wanted to watch today, but I didn’t know just how much I wanted to watch them until they were actually on stage handing Extase its ass like it was wrapped in a paper cone. Lesson learned.

Though today was a lighter day than yesterday in terms of what I needed/wanted to see, it did have probably my most mandatory performance of the weekend smack in the middle, which was SubRosa‘s mostly-acoustic “SubDued” set at Het Patronaat. I knew to get there early, so I scooted over from Extase as Emptiness were still pummeling the place with their blackened post-Goth and made my way toward the front in anticipation of what was to come. Sometimes in those instances one can wind up sitting in a spot for more than half an hour to watch 15 minutes of a performance before having to run off to the next thing. For SubRosa, however, I wasn’t budging. Clear my calendar! Hold all my calls! No email. No Facebook. No texts. Nothing. For a solid hour, I stood in front of the Patronaat stage and had my mind blown and my spirit lifted as SubRosa reinvented/revisited songs from their back catalog as dark, dramatic neofolk the likes of which seemed to offer nothing less than true Americana redemption.

Set of the weekend? How about set of the year? Every Roadburn brings some landmark moment — at least one — andSubRosa (Photo by JJ Koczan) for me, SubRosa‘s performance of “Mirror” was it. Lined up across the front of the stage, Rebecca Vernon led Sarah Pendleton and Kim Pack in harmonies while tapping one of Andy Patterson‘s drum sticks on the mic stand. It was gorgeous and devastating. Patterson backed on percussion, and though bassist Levi Hanna had that song off, his still-plugged-in low end gave heft to the rest of the band’s material, including set-closer “No Safe Harbor,” which with bars of light shooting down from the rig above them proved just as heavy as their runthrough of For this We Fought the Battle of Ages yesterday on the Main Stage. It was stunning. Something genuinely special. In my notes, I wrote, “How stupid I am to every do anything that’s not this. Unreal. In a way that makes reality itself the facade, while delving into its own vision of truth.” I’m not sure what that means, but give me a few years to process what I saw tonight and I’ll get back to you on it. By then I should’ve come to grips with it enough to have it make sense.

My brain duly melted, I stumbled out of the church and across the alley to the 013. I had decided I owed it to myself to check out tonight’s set from artists-in-residence Gnod, but there was still a while to go before they went on. Amenra were on the Main Stage as they were last year, and fair enough, but my interests were elsewhere. I decided to make my way back to the hotel to get a jump on dumping photos from my memory card, which seemed like an especially dangerous proposition only because there was a decent chance I wouldn’t leave again, would miss Gnod tonight and end up calling it a day at like 9PM or whatever time it was. Risky move.

Fortunately, it didn’t happen that way. I did take a brief respite, and was tempted to put my pajamas on to go see Gnod, but wound up in the Green Room still in jeans and all in time to see the dual-bass/dual-guitar UK heavy psych bizarros start their pulsating set. Ultimately, I’m not sure I owed to myself at all in the sense of having in some way earned it, but it was cool to see anyway, and as Sunday opens with a collaboration Gnod (Photo by JJ Koczan)between Gnod and Radar Men from the Moon called Temple of BBV that I’d like to see, catching the former on their own felt like a solid precursor to that. Or, at very least, a molten, liquefied precursor. It got really weird, really quickly, and clearly that’s what Gnod were going for. No regrets for being there to watch it happen, except maybe not wearing my pajamas for the occasion. That might’ve been fun.

Tomorrow’s another packed day here in Tilburg, starting with the ceremonial Weirdo Canyon Dispatch folding session bright and early, so I’ll leave it there and say thanks for reading and if you’re so inclined you can check out more pics after the jump. Bing bong.

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ROADBURN 2017 Day One: Wound of the Warden

Posted in Features, Reviews on April 20th, 2017 by JJ Koczan

roadburn banner (Photo JJ Koczan)

04.21.17 – 00.14 — Thursday night — Hotel room

The process of getting up and going to finalize and print out the first issue of the Weirdo Canyon Dispatch (download it here) probably couldn’t have been much easier than it was. I credit this entirely to Lee Edwards (of The Sleeping Shaman) and the 013 staff, all of whom expose me for the sulky amateur-hour schlub I am with their sheer professionalism. I continue to be astounded at how lucky I am to work with these people.

coven soundcheck (JJ Koczan)Whilst schlubbing and prior to folding my portion of the 1,000 copies of WCD, I caught a couple seconds of Coven‘s soundcheck, and so knew that was going to be a good time later in the day — not that Roadburn 2017 Day One was light on anticipation. Today actually was my busiest day here. It started intense and ended intense, with a fair bit of back and forth between, and I feel like I’m only being honest when I say I dragged ass for a decent portion of it, despite my best efforts to hyper-caffeinate and pound vitamins, but Roadburn only comes once a year. You stick it out as much as you can.

As such, I was over to Het Patronaat early to catch the start of Wretch. I’d rode in from the airport with the Indianapolis trio just by happenstance, and I knew it would be a quick stop through just to check out part of their set ahead of hoisting myself over to the Main Stage for the start of Crippled Black Phoenix, but the doom called me to the church and it was not to be missed. Before they got going, guitarist/vocalist Karl Simon recalled on stage when The Gates of Slumber played (they had canceled in 2010 owing to that goddamn volcano, only to make the trip a couple years later in 2012), only reinforcing how linked the two bands are, but that’s Wretch (Photo by JJ Koczan)not to take anything away from the presence bassist Bryce Clarke and drummer Chris Gordon bring to the rhythm section or what the new three-piece accomplished on last year’s self-titled debut (review here). Even if it’s grown out of another, it’s a new band.

They made that clear in cuts like “Icebound,” “Running out of Days,” “R.I.P.” and “Drown” from the record, and even managed to sneak in the Judas Priest cover “Winter,” as well as their take on Motörhead‘s “Sweet Revenge.” The hook of “R.I.P.” made it a personal highlight, and The Gates of Slumber‘s “The Wretch” was certainly a fit. I hear tell Wretch are recording a new single while touring the UK with Iron Void on this trip, so hopefully it’s not too long before we hear from them again. In the meantime, I rushed over to catch Crippled Black Phoenix on the Main Stage.

Call it an early headlining set from the by-now-long-ish-running UK avant rock outfit, whose blend of heavy indie, goth, melancholic rock and generally progressive undertone makes them a standout not only on this bill but also generally this planet. Crippled Black Phoenix (Photo by JJ Koczan)They’re simply like no one else. Supporting their latest album, Bronze (review here), they brought in a considerable crowd for it being so light out and managed to cast a balance between life-affirming and crushingly-depressive throughout. To wit, “No Fun” and “Scared and Alone” from Bronze were high points, the latter teased as being their last song without actually being it. They’ve become such an astoundingly different band than they were when they released their debut album, A Love of Shared Disasters, a decade ago, but have manage to lose neither their edge nor their will to push themselves forward. After being a dork for their work for so long, I felt lucky to finally see them play live.

I also knew that I was cool to stay put for the duration of Crippled Black Phoenix, because while much of Roadburn 2017 and indeed every single Roadburn involves bouncing around between stages, Salt Lake City’s SubRosa were hitting the Main Stage next, so I wasn’t going fucking anywhere. The string-laden outfit played the Saint Vitus Bar in Brooklyn last month and they’ll play here again tomorrow at Het Patronaat for a special “SubDued” mostly-acoustic set, but today was a front-to-back performance of 2016’s For this We Fought the Battle of Ages (review here), and as that was my pick for Album of the Year last year when it came out on Profound Lore, they were my most anticipated band of the entire festival. I didn’t cry to miss them in New York because I knew I’d see them in Tilburg.

However, I kind of did cry when they played “Troubled Cells.” At least teared up at the end when they SubRosa (Photo by JJ Koczan)brought out the backing chorus which, if I’m not mistaken, counted Nathan Carson of Witch Mountain among its ranks. Could be wrong, but the Magma shirt was a dead giveaway. Earlier in the set, I’d gone up after taking pictures to the side of the stage to watch from there for a couple minutes, which is something I let myself do only once per Roadburn. Like Crippled Black Phoenix before them, SubRosa carried the air of being early headliners, and at least for me, they most definitely were. If you’d told me I had to go back to the hotel, pack up my gear and get on a plane home when they were done, I’d have been bummed to leave the rest of the fest behind, but I wouldn’t be able to say I didn’t get my fest’s worth out of Roadburn 2017 after watching SubRosa. Yes, they were that unbelievable. “Black Majesty.” Holy shit. I scurried to the merch area when they were done like the beaten fool I was. Gladly.

There was something of a break for me when they were done. My next stop was Cul de Sac around the corner for Harsh Toke. I’d been fortunate enough to catch the San Diego jammers when they played Roadburn in 2014 (review here), and I’d taken due advantage of the lesson of watching them then, which was “Don’t Harsh Toke (sort of) (Photo by JJ Koczan)miss Harsh Toke,” and so I didn’t want to. Apparently I wasn’t the only one, however. I’d made a quick stop at the hotel to drop off my newly-acquired SubRosa merch, my laptop, coffee thermos, Weirdo Canyon Dispatch issues and other detritus from the early part of the day, and though I got to the smaller venue with 20 minutes to spare, it was still too late to get up front and get a spot where I could see. I bought a patch for five euros, took what wound up being the last open spot at the bar — a seat, no less! — and tried to let my head get into the flow. Given their propensity for groove, it wasn’t much of a challenge to catch my breath and chill out for a few minutes at least until the why-haven’t-you-ordered-a-beer stares of the staff got the better of me. I tried and failed to snap a decent picture of the band on my phone and once more sent myself packing back over to the 013, where Wolves in the Throne Room were on the Main Stage.

Didn’t take long to remember what was so easy to appreciate about them, what with their textured blackened approach, which sounded almost orchestral in that huge space. I hadn’t been in the Green Room yet, so I poked my head in to catch a couple seconds of Esben and the Witch — was bummed to see the miniature photo pit from last year was gone; that thing had been a godsend — ahead of Coven starting on the Main Stage. I didn’t know it until about 10 minutes before they went on, but apparently one needed a special photo pass to shoot Coven‘s set. Whoops. Just about everyone else and their cousin Coven (Photo by JJ Koczan)had one, but I guess I missed that memo. I went backstage to try my luck at getting one and was told in no uncertain terms in which direction to fuck (spoiler alert: “off”), so I went out to the front of the house and waited for Jinx Dawson to emerge in her sparkly mask from the coffin that had been placed in the middle of the stage. Not a hardship, but I felt like a dope. Not like I’m shooting pictures for a magazine or anything. It’s just me on here.

Once Coven got going, they dug wholesale into the classic heavy Satanic-ritual pop rock that’s made them the generational influence that they have been, and came across like the blueprint Ghost wish they could follow. Dawson was in complete command of the crowd and the sense of dark worship and drama was palpable. The biggest crowd of the day so far? I wasn’t counting heads in the Main Stage area, but it might’ve been, just by eyeballing it. i thought maybe I’d pop back over to the Green Room to watch Suma get going, but once again my timing was off and the place was packed out before I could get through the door. Would seem to have helped nothing in terms of timing that I left my watch at home this year. Speaking of amateur hour. Woof. One day I’ll have my shit together. Clearly that was not today.

Having thusly flubbed my shot at watching Suma, I lumbered over to Extase in plenty of time to await the start of The Devil and the Almighty Blues, whose second album, II (review here), was still pretty fresh in my mind. That helped — that always helps — but the truth of the matter is that in the energy of their delivery and their instrumental chemistry on-stage, the Norwegian outfit blew the record right out of the water. I looked around from in front of the stage and saw a lot of familiar faces from Roadburns past. Different genres here tend to attract niche portions of the overall crowd, and judging from how the temperature The Devil and the Almighty Blues (Photo by JJ Koczan)jumped in Extase shortly after The Devil and the Almighty Blues went on, the secret’s out. They came out to “O Death” and the mesh of blues and heavy rock they unleashed seemed in direct response to that fact. They were flat-out awesome, and the kind of act that, as an American, I simply don’t get to see anywhere but here. It wasn’t the first time in the day I felt lucky and it wasn’t the last, but the chance even to catch part of their set gave me a new appreciation for what they’re doing sound-wise, and for a band I already dug, the way they brought their material to life only added to their appeal.

My plan for ending the night would require better timing than I’d had all day, but I was relatively certain I’d be able to pull it off if I played my cards right. It meant skipping out earlier than I wanted to on The Devil and the Almighty Blues, but the basic fact of the matter is that particularly as someone who lives in New England, I’m way, way overdue for catching the reformed Scissorfight live on stage. In the back of my head, I’ve been able to justify not going to their local gigs in Massachusetts or their native New Hampshire by saying, “It’s okay; I’ll catch them at Roadburn,” so there was no way I was going to let myself not do that. Plus, it’s fucking Scissorfight. The band wrote “Granite State Destroyer.” “Blizzard Buzzards Bastards.” “New Hampshire’s Alright if You Like Fighting.” Not exactly like one needs to make excuses to show up.

To get to the bottom line of it, my ultimate opinion of the four-piece live wasScissorfight (Photo by JJ Koczan) pretty much the same as of their 2016 Salt of the Earth Records EP, Chaos County (review here), which is that if you miss this band, you’re only denying yourself an outlet of pure, crushingly heavy joy. I’m not saying that as someone who never saw Scissorfight in their original incarnation. In fact, I caught them multiple times with their original lineup, and whether they’re playing old material or new, Scissorfight in 2017 is no less a beast than they ever were. Guitarist Jay Fortin — of whom I remain embarrassed to take pictures, knowing him as an amazingly talented photographer — still has one of the finest tones in New England. Frontman Doug Aubin is absolutely insane on stage as well as off, as he showed by jumping into the crowd several times and starting a rare Roadburn mosh. Paul Jarvis‘ bass is still the source of heft behind their maddening impact, and newcomer drummer Rick Orcutt fits into those grooves with an ease and swing that makes the songs his own even as he does justice to their original incarnations. Shit was so right on. New songs or old, Scissorfight were a steamroller of riffs and growls that flattened the Green Room, and though the lesson that those who whine about this or that person not being in the band anymore are missing out was one I already knew, such fervent reinforcement of same was a pleasure to behold.

Scissorfight are touring with Backwoods Payback, and the latter Pennsylvania-based trio would be my final stop of the night, over in Extase once again. I got there early enough to get a spot up front and watched as Jeff and Kyle from Atala — labelmates all on Salt of the Earth — bonded over mutual desert connections, and kind of parked myself and made ready to round out the night, taking the last of my notes on Scissorfight — they read like, “Duh, they’re killer” — and asking and being shot done to take a photo with Jamie Cavanagh from Anathema, who was working sound at the venue. I’d already told him earlier that I thought their new record is great, which I do, so whatever. There you go. My nerd-out moment for Roadburn 2017 Day One.

Guitarist/vocalist Mike Cummings, bassist Jessica Baker and drummer Erik Larson compriseBackwoods Payback (Photo by JJ Koczan) Backwoods Payback at this point, and goodness gracious, what a band. What a band. Late last year, they snuck out the full-length Fire Not Reason (review here), but they were a different level of righteous on stage, and the balance of fury and melody in what they do remains underrated in US heavy rock. I get that they haven’t been the most active group in the States over the last, say, five years, but especially with Larson on drums, they were every bit as tight as that thrash band I saw last night at the Hard Rock Hideout and had a depth of character to offer in their songwriting that most acts just can’t compete with. Heavy, but emotionally resonant, punkish in their execution but with a touch of metallic aggression as well, they not only write a solid hook like that of “You Don’t Move,” but they give that hook a purpose and an underlying sense of humanity. I’ve missed seeing them play live, and though the last time I caught them — I don’t even know what year it was — was a while back and with a different lineup, what’s always worked at their core was exactly what made me so happy I was able to finish the first night of Roadburn 2017 by watching them play. Once again, the Extase was full. That little club has been a fantastic addition to this festival, and it’s where I plan to start my afternoon tomorrow, as it happens.

Plenty to do before then, however. Including sleep, which as we press on past 3AM local time seems like an increasingly good idea.

Thanks for reading. More pics after the jump.

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Death Alley, Live at Roadburn: Into the Supernatural

Posted in Reviews on March 16th, 2017 by JJ Koczan

death-alley-live-at-roadburn

Not going to attempt any impartiality when it comes to this release, and I’m starting to think anyone who does is approaching it wrong. Amsterdam-based Death Alley — somehow heading toward veteran status despite having only one record out in their 2015 Tee Pee Records debut, Black Magick Boogieland (review here) — aren’t trying to invoke impartiality. Just the opposite. The four-piece want to charge on a primal level and they want to charge outward from there into reaches unknown to player or listener alike. To be unaffected by that seems like an immediately incorrect starting point.

I was at the Green Room of the 013 Poppodium to see them perform the set last April (review here) that Astrosoniq drummer Marcel van de Vondervoort and his team captured and is seeing release as Live at Roadburn through Tee Pee and Suburban Records, and I watched as Death Alley — then the lineup of vocalist Douwe Truijens, guitarist/backing vocalist Oeds Beydals, bassist/backing vocalist Dennis Duijnhouwer and drummer Ming Boyer (the latter of whom has since left the band) — brought Ron van Herpen and Jevin de Groot onto the stage with them to share in the expanses they were creating. Also a member of Astrosoniqvan Herpen is a former bandmate of Beydals‘ in crucial cult rockers The Devil’s Blood, while de Groot was a member of the vastly underrated cosmic doom outfit Mühr alongside Duijnhouwer, so not at all strangers to each other. Friends. It was billed as Death Alley & Friends, and that’s exactly what it was in spirit as well as the plain reality of circumstance. By the time they got through the clarion set-opener “It’s On,” everyone in the room seemed to have been handed an invitation to be included in that as well. Death Alley and about 700 new and old friends.

Live at Roadburn only has four tracks — “It’s On,” “666666,” “Feeding the Lions” and “Supernatural Predator” — but it’s full-LP length at 45 minutes. The entirety of side B is dedicated to “Supernatural Predator,” which is drawn out from its already substantial 12-minute push on Black Magick Boogieland to a galaxial 22 minutes, a hypnotic and immersive jam taking hold that, having watched and heard it happen, hit like welcoming waves of soulful tone that seemed at once forward looking and an inherent homage to former The Devil’s Blood spearhead Selim Lemouchi, who took his own life in 2014 leaving a chasm in the Netherlands heavy underground. His sister and The Devil’s Blood vocalist, Farida Lemouchi, guests on the studio version of the track, but on Live at RoadburnDeath Alleyvan Herpen and de Groot sing her part as a full Hawkwindian chorus of “ahhs” to righteous effect, culminating a build that seems to have started with the motoring thrust of “It’s On” and continued into the mega-guitar vibes of “666666” and the more classically styled “Feeding the Lions.”

death alley roadburn 2016 jj koczan photo

Though the name comes across like a toss-off because there were six players on stage — in shows they’ve done since with this expanded lineup, they’ve used the moniker Death Alley 6 — “666666” is a key moment in the set. I don’t know if the set as a whole has been edited to fit on a single platter; my sense is it has but I wouldn’t guess how. Nonetheless, “666666” is the point of departure from which Death Alley take flight for the rest of their time on stage. It happens at about three and a half minutes in when, over a Butlerian bassline, the guitars begin to soar toward a linear apex that pays off in lockstep harmonized runs nearly four minutes later for a gorgeous and cohesive effect. It must have been worked out ahead of time to some degree — I don’t play guitar, but improv harmonies don’t seem like the kind of thing that happen often — but the feeling of warmth and spontaneity conveyed in that jam is a defining moment for Live at Roadburn as a whole, however long and however grand the finale might be.

“Feeding the Lions” picks up from there with bass and drums setting a tense tone amid initial wah swirl from the guitar, and though the vibe stays spacey, Truijens reassumes the fore as vocalist and his charisma and classic frontman strut is no less a part of making the mid-paced piece a standout than the depth of the instrumental progression playing out behind him. By this point, Death Alley are in utter command of the room and their sound, and they hint just past the midpoint at some Floyd-style theatrical weirdness to come but hold to a sense of structure all the same and purposefully so for where they’re about to head on “Supernatural Predator.” A short guitar solo circa 5:40 makes me wish it went longer, but “Feeding the Lions” ends in a wash of cymbals and wah as Truijens thanks the crowd and van Herpen and de Groot and Duijnhouwer thanks Roadburn organizer Walter Hoeijmakers, and then the quiet intro of “Supernatural Predator” starts, its sleek intertwining of guitar and bass — willfully restrained in comparison to what follows — an immediate signifier of arrival for the group and everyone in the room.

Once it bursts out, “Supernatural Predator” makes a resounding argument for rock and roll as means of attaining spiritual freedom, and its extra time is triumphantly spent in its already-noted jam, which rounds out by first teasing a turn back to the song itself and then actually making one, so that as far out as Death Alley (and friends) have gone, they finish clear-headed and give the audience a sense of the complete experience. This not only underscores the value of their songwriting, but also of the maturity the band has been able to hone over just a few short years. As they move away from Black Magick Boogieland toward an inevitable sophomore full-length, Death Alley seem poised to establish themselves in a major way, and to make a definitive statement of who they are as a group. Live at Roadburn shows in its blend of forward rhythmic drive and cosmic psychedelia just how multifaceted that statement can potentially be, and highlights the reasons why Death Alley are one of the most exciting and affecting bands in the worldwide heavy underground. Not an impartial statement, but yes, I mean that.

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Roadburn 2017: Pallbearer, Drow Elixir, Caïna, Naðra and Rome Added; Day Tickets on Sale

Posted in Whathaveyou on January 10th, 2017 by JJ Koczan

I guess when you’re Roadburn, you can pretty much make any occasion special by adding a handful of bands. So it is for individual day tickets going on sale, which comes accompanied by the news that, oh hey, Pallbearer are going to play, and the guys from Wolves in the Throne Room will debut a new ambient project called Drow Elixir, and because why not, Caïna, Naðra and Rome have also been added to the bill. And while we’re here, here’s more kickass poster art from Costin Chioreanu, highlighting each day’s lineup, already friggin’ staggering as it is, with more still to be added. As Mel Brooks once said, it’s good to be the king.

Click the posters below to enlarge and immediately begin sweating the making of your schedule. Then begin making your schedule. I’m thrilled, humbled and thrilled again to have also gotten confirmation of my own attendance this April, so if you’re going, I’ll see you there:

New additions to Roadburn 2017 line up; day tickets on sale this week

Ahead of day tickets for Roadburn Festival 2017 going on sale this week, a handful of new artists have been confirmed to play at the event which will take place between April 20-23 in Tilburg, The Netherlands.

PALLBEARER

Few bands have struck such a deep and emotional chord within the world of doom in the last few years as PALLBEARER. The band has spent the last couple of years touring massively around the world, sometimes headlining, sometimes supporting some of our favourite bands, like our beloved curator John Dyer Baizley’s band Baroness who have been on the road with PALLBEARER but a couple of months ago. John couldn’t resist adding an extra something to his curation, and although they will perform on Sunday, April 23, PALLBEARER will be included under John’s curatorship umbrella.

DROW ELIXIR

The masterminds behind Wolves In The Throne Room will present their new side project entitled, DROW ELIXIR. Shrouded in mystery for now, little is known about the project. The band commented: “Wolves in the Throne Room will debut our new dark ambient side project DROW ELIXIR at the Roadburn Festival. DROW ELIXIR is woven illusions, ethereal projections and sonic manipulations created with archaic techniques.”

It is an immense pleasure to host such a momentous, never before heard occasion at Roadburn; DROW ELIXIR will perform at the 013 venue on Thursday, April 20.

CAÏNA

In 2017, CAÏNA’s second album, Mourner, will be ten years old, and some opportunities just need to be seized. So we invited CAÏNA to celebrate this anniversary in the same form as Mourner was originally born – Andrew Curtis-Brignell, alone, as CAÏNA, will therefore perform the Mourner tenth anniversary set, a unique, once-in-a-lifetime occasion to hear this cult classic performed almost in its entirety, plus a few other bonuses Andrew has in store for us on Sunday, April 23.

NAÐRA

In 2016, we introduced our faithful Roadburners to the obscure might of the Icelandic black metal underground. By having Misþyrming as our artist in residence, we were able to feature a series of other bands connected to them on our bill; NAÐRA, which features four Misþyrming members plus the unhinged demon that is vocalist Ö, gave us one of the most enduring experiences of them all.

Like opening a Pandora’s box, all those tortured, twisting hymns of sickness that made Allir Vegir Til Glötunar one of the most harrowing records of 2016 will now resonate inside the Het Patronaat, on Friday, April 21 as if they were hissing, soul-consuming demons flying free.

ROME

ROME has been the creative vehicle for Luxembourgian singer/songwriter Jerome Reuter for over a decade already. Throughout this time, his prolific output has seen him traverse several musical plains, building what is by now a genuinely unique, distinctive and recognisable personality. ROME will have their long overdue and much anticipated Roadburn debut at the Het Patronaat, on Thursday, April 20 in Tilburg, The Netherlands.

Day tickets for Roadburn 2017 go on sale at 18:00 CET on Thursday, 12 January, priced at 59 Euro. Three and four day weekend tickets are already on sale, and links for all tickets are below. In addition, due to overwhelming demand, more flextotels have been added to the urban campsite and are now available to purchase.

Roadburn’s artistic director, Walter Hoeijmakers, commented:
“Weekend ticket sales are already in full swing, and we know a lot of people have been eager to get their hands on day tickets so here we are! I’m thrilled with the response to the line up so far; Roadburn is an artistic and creative endeavour, into which a lot of thought and energy goes. It’s such a positive feeling to get feedback that people are on board with what we’re doing here.

“The line up is very nearly complete now – just a couple more surprises up our sleeve, plus of course, announcements regarding our side programme are also in the pipeline. All of this, plus the always-anticipated running orders, will be along in due course. We’re already looking forward to April, and sincerely hope that you are too!”

Artists already announced for Roadburn 2017 include Coven, Warning (playing Watching from a Distance in full), Artists in Residence – GNOD, My Dying Bride (performing Turn Loose The Swans in its entirety), Ulver, Hypnopaz?zu (David Tibet & Youth), Zeal & Ardor, Mysticum, Deafheaven, Chelsea Wolfe, and our 2017 curator, John Baizley who will perform with Baroness, plus many more. Roadburn Festival will take place 20-23 April, 2017 at the 013 venue, Tilburg, The Netherlands.

Tickets (and campsite tickets) are on sale for Roadburn 2017 and can be purchased from this link.

4 day – 195 Euro
3 day (Thu, Fri, Sat) – 172 Euro
Thursday only – 59 Euro
Friday only – 59 Euro
Saturday only – 59 Euro
Sunday only – 54 Euro

Campsite tickets including flexotels are on sale for Roadburn 2017 and can be purchased from this link.

Day posters below have been created by Costin Chioreanu.

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

Pallbearer, Fear and Fury (2016)

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Roadburn 2017: My Dying Bride, Scissorfight, Backwoods Payback, Come to Grief and More Added

Posted in Whathaveyou on November 15th, 2016 by JJ Koczan

Roadburn 2017 banner

Roadburn 2017 adds 26 new bands to its lineup. Let me spell that out: TWENTY-SIX. And from My Dying Bride to Sumac to Scissorfight to Memoriam to Valborg, it’s precisely the kind of all-things-to-all-people mix that one has come to expect from the annual April festival, promising an experience like no other in John Dyer Baizley‘s curated event, as well as sets from the likes of Gong and Backwoods Payback and Suma and Unearthly Trance, the latter two who were former US tourmates once upon a time and will reunite in Tilburg this coming Spring. Blown away by how huge this event has become, and how every year it just seems to keep growing and moving forward. Sit back and look at the poster below for today’s adds. It’s astounding.

Tickets on sale now. From the PR wire:

roadburn-2017-new-adds-my-dying-bride

Twenty six new bands added to the Roadburn 2017 line up

My Dying Bride will take to the Roadburn stage for the first time
David Tibet and Youth will perform as Hypnopaz?zu
Wolves In The Throne Room return from hibernation
Memoriam breathe new life into death metal
Wear Your Wounds show a different side to Jacob Bannon as part of John Dyer Baizley’s curation
Carpenter Brut take synthwave to new and exciting places
Those Poor Bastards conjure up the image of two undead holy preachers
….and more

MY DYING BRIDE:
My Dying Bride have been confirmed to make their Roadburn Festival debut at the 2017 edition of the festival. As one of the leading lights of metal during the 90s, where they helped to further define what doom metal really was and where it could still go, this West Yorkshire bunch earned a place in metal history. They’ve done it all and somehow have managed to remain fresh and inventive.

The influential British doom band will perform a suitably mournful doom-filled set on Saturday, 22 April, 2017 at the 013 venue.
Read more about My Dying Bride here.

HYPNOPAZ?ZU:
It’s PixieTime

Girls and Boys—

For our HypnoPickNick

Bring Moons and Toys!

We are thrilled to announce that Hypnopaz?zu (David Tibet of Current 93 and Youth of Killing Joke) will perform at Roadburn Festival 2017, alongside Ulver, on Sunday, April 23 at the 013 venue, Tilburg, The Netherlands. Their album, Create Christ, Sailor Boy, ranks among our albums of the year at Roadburn HQ, and we cannot wait to witness it brought to life on stage at Roadburn 2017.

WOLVES IN THE THRONE ROOM:

Wolves In The Throne Room will be returning to Europe for the first time since 2012, and since they announced their subsequent hiatus. The band will steer away from the ambient and ethereal landscapes they created on their 2014 album Celestite, instead setting their sights on the more raw and earthy sounds from earlier in their back catalogue. Whatever choice cuts they select to serve up, the set is sure to be a masterclass in atmospheric black metal from one of the most important bands to leave their mark on the genre in recent years.

Wolves In The Throne Room will play at Roadburn Festival 2017 on Thursday, April 20, at the 013 venue, Tilburg, The Netherlands.

MEMORIAM:

Bolt Thrower’s Karl Willetts started Memoriam as “a celebration of life through death metal”, and the results are exactly as one might expect. Having recruited Benediction bassist, Frank Healy, former Bolt Thrower drummer, Andy Whale, plus guitarist Scott Fairfax, Memoriam are clearly on an old school, death metal mission.

Willetts commented: “Memoriam are pleased to announce that they will be playing at the acclaimed Roadburn festival in 2017.

“We have seen this festival grow over the years and for us to be among the illustrious selection of bands playing this year is an honour!!! With our debut album to be released sometime early 2017 Roadburn will give us the opportunity to showcase our new material. Memoriam will unleash its devastating weaponry upon Roadburn 2017 and provide a true celebration of life through old school death metal.”

Follow Memoriam onward into battle on Saturday, 22 April when they play at the 013 venue, Tilburg, The Netherlands.

WEAR YOUR WOUNDS:

Wear Your Wounds – Converge vocalist Jacob Bannon’s intensely personal project – is an outlet he has been quietly feeding over the years, a repository for his lo-fi solo recordings that will now finally see the light. Scheduled for April 7th, just a couple of weeks before Roadburn, Wear Your Wounds’ first self-titled full length has us sitting on our hands with excitement.

John Dyer Baizley comments:
“I’ve never seen them perform (who has, really?) so it goes without saying that I will be front and center for this moment. The lineup for Wear Your Wounds will include the following, in addition to Jake Bannon himself: Chris Maggio (Sleigh Bells, Trap Them, Coliseum), Mike Mckenzie (The Red Chord, Stomach Earth, Unraveller) Adam McGrath (Cave In, Zozobra, Nomad Stones), and Sean Martin (Hatebreed, Twitching Tongues, Kid Cudi, Cage). Don’t let that list fool you, THIS IS NOT A SUPERGROUP, but its hard to deny the talent and power within those musicians and collaborators. Please don’t miss the opportunity to witness their first-ever performance.”

CARPENTER BRUT:

Carpenter Brut take the essence of metal that you like, the parts of techno that you used to like and the atmospheric film music of Carpenter/Argento/Goblin that you love, to create a heady, melodic and intense genre. This French outfit is taking the synthwave to new and exciting places.

Carpenter Brut play on Saturday, 22 April at the 013 venue, Tilburg.

THOSE POOR BASTARDS:

Sounding like two undead holiness preachers, crawling out of an abandoned Mississippi graveyard consumed by the foul bog and delivering their message of the endtimes, Those Poor Bastards will hover around the next edition of Roadburn determined to convince you that your eternal soul is already damned beyond redemption.

With the devil on their trail and the graveyard constantly looming ahead, Those Poor Bastards will ruin Het Patronaat when they play their ghoulish songs on Thursday, 20 April at Roadburn 2017 in Tilburg, The Netherlands.

ALSO CONFIRMED:

(DOLCH) lined up to shapeshift and mystify
ASH BORER deliver innovative Cascadian black metal to the Roadburn masses
BACKWOODS PAYBACK deliver honest expressions of heartfelt, heavy rock and roll
CASUAL NUN to deliver downright heavy psych
COME TO GRIEF will pay homage to Grief’s legacy
EMMA RUTH RUNDLE will perform a set thick with emotion and densely packed with honesty
ESBEN AND THE WITCH promise to delight with atmospheric, apocalyptic rock
FANGE make their debut with heaps of D-Beat and amplifier worship
GONG will lead us into psych rock sonic anarchy
NO SPILL BLOOD to demonstrate a fusion of muscular, sludgy punk energy and swirling synthesiser noise as part of John Dyer Baizley’s curated event.
OXBOW will release their next album, Thin Black Duke, shortly ahead of their Roadburn performance
SCISSORFIGHT promise to “unleash some New Hampshire backwoods debauchery”
SUMA bring their abrasive doom from Sweden
SUMAC sees the return of Aaron Turner to Roadburn with his denser-than-a-black-hole outfit
UNEARTHLY TRANCE set to combine the nihilism and confrontational approach of real sludge, both in lyrics and in actual musical delivery
VALBORG return to deliver another dose of their bleakly elegant presence.
VANUM will set Roadburn ablaze with a blend of icy melody and blackened atmospheric majesty
WOLVENNEST will churn up some utterly hypnotic, sonik soundscapery
YOUTH CODE show off their aggressive and expansive modern take on the EBM sounds of the 80s as part of John Dyer Baizley’s curated event.

Artists already announced for Roadburn 2017 include Coven, Warning (playing Watching from a Distance in full), Artists in Residence – GNOD, Mysticum, Oranssi Pazuzu, Deafheaven, Chelsea Wolfe, and our 2017 curator, John Baizley who will perform with Baroness, plus many more. Roadburn Festival will take place 20-23 April, 2017 at the 013 venue, Tilburg, The Netherlands.

Tickets are on sale for Roadburn 2017 and can be purchased from this link.
4 day – 195 Euro
3 day (Thu, Fri, Sat) – 172 Euro
Single day ticket, Sunday only – 54 Euro

Thursday, Friday and Saturday single day tickets will be on sale at a later date.

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

Scissorfight, Chaos County (2016)

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Roadburn 2017: Ulver Added; Tickets on Sale Now

Posted in Whathaveyou on October 21st, 2016 by JJ Koczan

We’re mere days from the previous, massive Roadburn 2017 lineup announcement, but if there’s ever been any act to grace a stage and stand alone, it’s Ulver, so I can hardly argue with the festival giving them their due space. The Norwegian post-black metal innovators are all the more worthy of highlight for the fact that they’ll arrive in the Netherlands this April in order to present a brand new full-length, to be titled The Assassination of Julius Caesar. I was fortunate enough to be there four years ago when Ulver played Roadburn 2012 (review here), and it was a similar openness and spirit that the band sought to capture with earlier-2016’s improv-based collection ATGCLVSSCAP, so while I wouldn’t dare hazard a guess as to what The Assassination of Julius Caesar might have in store in sound or theme, it speaks to the forward-thinking nature of both the band and the fest that it would be the latest work coming into focus on the Roadburn stage. They are a good match for each other.

Tickets for Roadburn 2017 may well be sold out by the time this post goes live, but here’s what came off the PR wire:

ulver-roadburn-2017

Ulver added to Roadburn 2017 line up; tickets on sale today

ULVER will present their new album, The Assassination Of Julius Caesar, at Roadburn 2017
Full current line up listed below – with dozens more artists still to be announced
Tickets on sale now

Ahead of tickets for the 2017 edition of Roadburn Festival going on sale, ULVER have been announced to perform on Sunday, April 23.

The highly revered Norwegian band will present their upcoming album, The Assassination Of Julius Caesar, at the album’s release show at the 013 venue. With little known about the album besides the title at this point, with only the vaguest of hints being dropped by the band, our appetites are well and truly whetted.

Back in 2012, ULVER delighted us with the first and only rendition of the songs on Childhood’s End, their album of obscure 60s psychedelia covers. It was a unique and unrepeatable treat that still resonates deeply within our collective Roadburn memory bank.

The release show for ULVER’s The Assassination Of Julius Caesar takes place on Sunday, April 23, at the 013 venue in Tilburg, The Netherlands.

Read more about Ulver.

The current line up for Roadburn 2017 is as follows:
Ahab
Aluk Todolo
Audn
Baroness
Chelsea Wolfe
Coven
Crippled Black Phoenix
Dalek
Deafheaven
Emptiness
Gnod (Artist in Residence)
Inter Arma
Les Discrets
Magma
Mysticum
Oranssi Pazuzu
Perturbator
Pillorian
Schammasch
Slomatics
SubRosa
The Bug vs. Dylan Carlson of Earth
The Doomsday Kingdom
Ultha
Ulver
Warning
Woe
Wretch
Zeal & Ardor
Zhrine
Zu

There are still dozens more acts to be announced, including artists as part of John Dyer Baizley’s curation.

Tickets go on sale today for Roadburn 2017. They can be purchased in person from 6.30pm local time at the 013 venue box office, where there will also be a pre-sale party featuring Ortega and Gomer Pyle.

Tickets will go on general sale at 9pm (NL and mainland Europe)/ 8pm (UK)/ 3pm (East Coast USA)/ 12 noon (West Coast USA). Tickets can be purchased from this link
.
4 day – 195 Euro
3 day (Thu, Fri, Sat) – 172 Euro
Single day ticket, Sunday only – 54 Euro

Thursday, Friday and Saturday single day tickets will be on sale at a later date.

For more information on the pre-sale party, click HERE.

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

Ulver, ATGCLVSSCAP (2016)

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