Friday Full-Length: 7Zuma7, Untitled EP

Posted in Bootleg Theater on February 8th, 2019 by JJ Koczan

7Zuma7, Untitled EP (1998)

7Zuma7 — or 7 Zuma 7, if you’re feeling more spaced out — weren’t necessarily the earliest heavy rock band out of the Netherlands. That title might belong to the likes of 35007 or Beaver or Celestial Season, but the Eindhoven-based four-piece weren’t far behind either, and the 1998 arrival of their untitled debut EP put them right in line with what one might consider the MySpace era of heavy rock — a moment of burgeoning, pre-mobile social media engagement and, with the arrival of higher-speed internet in more places, the ability to stream media. They got their start in ’95, but by 1998, the “stoner rock” wave was well enough underway in the Europe and the US alike, and 7Zuma7 were particularly adept in taking influence from all that was going on around them and bringing it into their own context. Sure, their logo/cover art was of its era, but the straightforward push in their material on the five-song/22-minute outing, which presented a cover of Donna Summer‘s “Hot Stuff” as its centerpiece that turned disco fever into ’70s rock swagger and seemed to be in conversation with the likes of Kyuss, Roadsaw and Dozer on the six-and-a-half-minute closer “Nugtohs” — “shotgun” backwards — was righteously positioned the band in the dug-in style of the genre of the day.

More than two decades later, the work of vocalist/guitarist Jerry van Eyck, guitarist John Peate, bassist Nick Sanders and drummer Jacco van Rooij on this first EP might seem like something of a precursor. Prior to calling it quits, the 7Zuma7 released Deep Inside in 2000 as their lone full-length. And they’re further notable for in 1999 working with bassist Miranda van der Voort, who by then was already a founding member of Toner Low. But while that might be enough to make them a footnote in the Netherlands’ heavy rock family tree, it’s the songs on 7Zuma7‘s EP that continue to hold such relevance. I feel like I say this about bands from this era a lot — and I probably do, so apologies if I’m being redundant — but taking 7Zuma7 in comparison to some of the straight-ahead heavy and roll coming out now, and it’s like the 21 years between just melt away. If these guys were around today, they’d be signed to Ripple Music and I’d be writing about how awesome it was they were going to play at Desertfest and a bunch of other European festivals I won’t be fortunate enough to go to.

7zuma7 epIt’s not that heavy rock is a stagnant thing. If anything, the definition has expanded beyond recognition. But 7Zuma7, especially in tracks like the catchy opener “Velvet Slide” or “An Instant Cool” here, speak to a core groove and energy that in no small part works to epitomize the style then and now. You can hear it when you listen to Fu Manchu, and you can hear it when you listen to 7Zuma7. The inheritance of rhythmic swing is a big part of it, but it’s not the whole thing. In the second-half solo of “Velvet Slide,” or in the post-grunge drive of “Blue T.S.” and the slowdown that follows, it’s the kind of sound one has to step back from and say, “Yes. This is that thing.” To typify genre is not the same as to play to it, and in that regard, it’s important to remember that this was more than two decades ago, and even as 7Zuma7 weren’t the first to fuzz-blast their guitars and blow the doors off a surprising cover song, they were at very least earlier adopters of the style, and they would soon enough pay off the potential they showed on the EP with Deep Inside, while showing even more.

You know those hundreds of heavy ’70s bands who put out one or two records, were awesome, and then broke up? I’ll gladly put 7Zuma7 in that category. Listening to the rolling groove of “An Instant Cool” and the midsection break there that seems to foreshadow the outbound trip later in “Nugtohs,” yeah, the production might be somewhat dated, but the methods should still be familiar, and it’s hard to imagine that, sooner or later, some generous soul won’t dip back into this pool and bring similar “lost” outings to the surface for reissue and exposure to the now-two generations of listeners who’ve been turned on to heavy rock since it was first released. Maybe that’s wishful thinking, and I don’t imagine it’s the kind of thing that would entice much venture capital, but aside from its own merits, which extended both to songwriting and performance — that is, on the most basic level, it’s not 22 minutes of your life you’re going to regret spending — the tracks on 7Zuma7‘s EP represent a moment in the history of heavy rock that’s at this point relatively forgotten. And like all those bands from the ’70s who still seem to show up out of the blue, there’s a project waiting to be undertaken in exploring and rediscovering this moment. Where’s the Akarma Records of ’90s heavy?

While I, as ever, daydream about having things like money and time in infinite supply, I’ll go back and put on 7Zuma7‘s EP again and dig the raw drum sound, the way the vocals seem to ride over top of the riffs and the general swagger on display throughout. That’s all I’m advocating for here, ultimately. A revisit. Right now, we are once again awash in bands. It’s astounding how much stuff there is out right now. Between Bandcamp and a vinyl resurgence, a multifaceted movement of heavy is playing out. And it will recede for a time again, and take a lot of similar one-album or two-album groups with it as people move on to different stages of their life and other projects. It’s a life-cycle, basically. But even as there’s a constantly overwhelming forward motion, releases like this one underscore the importance of looking back and drawing the line from then to now. I’m pretty sure I’ve mixed metaphors irreparably throughout this post, but if you take away anything from it at all, understand that whatever your angle of approach to exploring heavy rock and roll, there’s always going to be more to find.

As always, I hope you enjoy.

I let myself sleep until 4:30 this morning, which felt like a luxury. Alarm went off an hour earlier, but in my head I saw myself yesterday afternoon, dead to the world on the couch during the baby’s second nap, and decided it was worth investing in the day now. I don’t know if it was the right call or not, but screw it. As The Patient Mrs. told me the other day, “You’ll get your shit done.” And so I will. The only question, I suppose, is the freneticism of pace at which that happens. I shouldn’t complain. I mean, I do anyway — constantly — but I shouldn’t.

The Pecan woke up at about 5:30. It takes him a bit to get going, but that’s when he really started to stir. I grabbed him a couple minutes before six, as usual, and that started the morning. I’m beat. The Patient Mrs. and I are pretty dug into the beginning of her Spring semester teaching, so she’s out most days for some measure of time or other, and there’s always grading besides. I’m just trying to get through the days. I’ve had some ferocious ups and downs the last couple weeks — more downs, if I’m honest — but whatever. I’m getting through the way I get through, which is by writing and trying to catch my quiet moments where and when I can.

One thing The Pecan is good for though is he gets me out of the house. The Patient Mrs. and I are sharing a car (her car, to be more precise), but even aside from dropping her off at work, the kid needs to get out of the house at least once per day, preferably twice. It was warm and sunny earlier this week so we spent the whole day more or less at different parks. There’s a skatepark down the way from where we live and I took him there just to run up and down the ramps and stuff. No one’s ever there — it’s right next to the police station, oddly enough — so we had it to ourselves and he had a good time. Then we went to the regular park and he faceplanted coming down a big-kid slide. He was fine, but displeased. Point is he’s happy getting out as much as he can. In Massachusetts winter, you have to take those days when you can get them. There’s usually one per month or so.

He’s down for a nap now — it’s a bit after breakfast — but I can hear him singing to himself upstairs. He’ll fall asleep eventually. Domestic bliss.

Agenda for the weekend includes getting the ball rolling for the Roadburn ‘zine and driving to CT to celebrate The Patient Mrs.’ upcoming birthday with her family. That, honestly, will probably be enough.

I’ve got notes for next week though. Here they are:

MON 02/11 OLD MEXICO REVIEW; THE OTHER SUN VID PREMIERE
TUE 02/12 SAVER PREMIERE/REVIEW; DUN RINGILL VID PREMIERE
WED 02/13 VAREGO ALBUM STREAM/REVIEW; HIGH BRIAN VID PREMIERE
THU 02/14 RED EYE PREMIERE
FRI 02/15 DEMON HEAD REVIEW

I’m also slated to go see C.O.C. next weekend in Boston and I’m already anxious about it. What if crowds, what if photos, what if parking, what if Boston. All that stuff. You know the deal.

Or more, I hope you don’t.

Thanks to everyone who’s bought a shirt or hoodie from Dropout Merch lately. I’m trying to save money for a new lens for the camera, so that is much appreciated.

No new ‘The Obelisk Show’ this weekend, but as you can see, plenty going besides. I’ll be around if you need anything though. You know where to find me.

Please have a great and safe weekend, and please, forum, radio, merch.

The Obelisk Forum

The Obelisk Radio

The Obelisk shirts & hoodies

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Roadburn 2019 Adds Another Fest’s Worth of Bands; Lineup “Complete”

Posted in Whathaveyou on January 25th, 2019 by JJ Koczan

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So, Roadburn 2019 has moved the pre-party from Cul de Sac — which was always packed — to the 013 proper, where it will be held in the Green Room for the first time. I’d expect that to fill up as well, as Temple Fang, Hellripper and one more band still to be announced take the stage to kick off the festival. It’s just one more example of how Roadburn keeps getting bigger. Sunday used to be the Afterburner, with fewer stages. Now it’s a full-blown fest day. The pre-party used to be two bands, then three, now a new venue. Pretty soon Roadburn is just going to be a full week long and will take over the entire town of Tilburg each April. You won’t hear me complain when it happens.

I’m thrilled to say I’ll be back in the Netherlands for Roadburn 2019 this April, once again serving as the editor of the Weirdo Canyon Dispatch daily ‘zine. I am honored and humbled to one again have the opportunity to be there and to do that work — I need to get an email out to the writing staff like yesterday, which is typical — as it’s a project I believe in deeply and an opportunity to work with a group of writers, photographers, graphic artists and others I deeply respect. Thank you to Walter and the 013 for having us back for another go. It’ll be fun.

With day schedules and the occasional TBA act still to come, I doubt this will be the last Roadburn 2019 announcement before April gets here, but the lineup is officially complete, so here’s how it rounds out. See you in Tilburg:

Final bands announced for Roadburn 2019

-Tomas Lindberg adds CRAFT to his curated event
-Roadburn’s pre-show party gets a new home
…and more!

Roadburn’s artistic director, Walter Hoeijmakers comments:
“Whilst this is our final band announcement for the 2019 festival, we’re still working on various other things behind the scenes which we’ll bring to you in due course, including the side programme and of course the day schedules. Once again, we’re delighted to have sold out the festival before Christmas and our gratitude to all those Roadburn supporters is unwavering. We’re extremely happy to be adding some true cult bands to the festival with this announcement.”

TOMAS LINDBERG’S THE BURNING DARKNESS

CRAFT
Rounding out the announcements for Tomas Lindberg’s The Burning Darkness curated event is the cult Swedish band, CRAFT. As ever, we hand over to our esteemed curator to tell us why this was such an essential pick for him…

“Craft was one of the first bands that I contacted for my announcement. I have been a big fan for a long time, and with the release of the astounding ‘White Noise and Black Metal’, it was a no brainer to include them.”
Read more here.

BOSSE-DE-NAGE
With each member initially only known by an initial, as though mere spectres channeling this labyrinthine music from some other galaxy, BOSSE-DE-NAGE have navigated the last decade expertly, creating five incredible records, of which last year’s Further Still is the culmination so far. Melding black metal, shoegaze, post rock and screamo, we’re prepared for a mind-melting experience when BOSSE-DE-NAGE take to the stage at Roadburn.

STREET SECTS
Check out any STREET SECTS album artwork, and you’ll feel like you’ve plunged into the gritty, harsh world of a hardboiled crime novel, a genre famous for its unflinching realism and toughness. Adjectives that can well be applied to the music this duo from Austin, Texas creates, as well. Music is often described as escapism, but when Leo Ashline hollers, shrieks and proclaims hard truths over Shaun Ringsmuth’s pounding, pulsing rhythms, it’s the absolute opposite – it’s as if someone’s forcing your eyes wide open, Clockwork Orange-style, to stare at the ugliest and harshest realities this world has to offer.

GLERAKUR
Founded by Icelandic composer and sound designer Elvar Geir Sævarsson in order to perform his contemplative yet titanic score for Fjalla-Eyvindur & Halla – a production by The National Theater – GLERAKUR (Icelandic for ‘Glass Field’) is currently one of the most important cornerstones of the country’s thriving music scene.

GLERAKUR’s debut album, The Mountains Are Beautiful Now – the soundtrack to the aforementioned play – is very impressive, and won Iceland’s prestigious Kraumur Award in 2017. Though the band’s cinematic take on Godspeed You! Black Emperor and Swans really comes to life over a full set, as we experienced at last year’s Eistnaflug. With two drummers, and four guitarists, GLERAKUR multiplied their hypnotic waves of dreamlike-atmospheres and harmonic feedback into such an overwhelming and mesmerising performance that we simply had to invite them for the 2019 festival.

MJ GUIDER
Melissa Guion will be at Roadburn performing as part of the Thou Artist In Residence extravaganza, which we are already breathlessly anticipating. However, we’re thrilled to announce that she will also be performing her own set – aided and abetted by live collaborators – under the moniker, MJ GUIDER.

If you’re unfamiliar with the hypnotic fayre of her 2016 release, Precious Systems, then the good news is that there’s just about 11 weeks before Roadburn to get yourself up to speed. Immerse yourself in the swirling landscapes and enchanting melodies on offer; lay back in the stream of lush instrumentation and let it wash over you. MJ GUIDERs output is a multilayered offering, and yet remains delicately sparse at times.

L’ACÉPHALE
Never the most prolific of bands, nor the most well-known, nevertheless L’ACÉPHALE have offered some of the most intelligent blackened folk music throughout the years. While this decade has only witnessed a few small releases – after Malefeasance and Stahlhartes Gehäuse, their only full-lengths, punctuated an unusually productive period in 2008 and 2009 – they have all been remarkable, and once we were made aware that the band was getting ready to become more active, we saw the perfect opportunity to satiate our hunger for more L’ACÉPHALE. With the announcement of their self titled, 74-minute album coming this April on Eisenwald, what better time to explore the abyss than now?

GREY AURA
As well as participating in the Maalstroom commissioned performance, GREY AURA, hailing from Utrecht, The Netherlands, will also bring their conceptual Black Metal to Roadburn 2019 on Sunday, April 14. GREY AURA are using their playful yet sometimes schizophrenic take on this genre (like some of the others participating in Maalstroom) as a vehicle to expose and explore the darker side of the mind.

ROADBURN’S PRE-SHOW PARTY: IGNITION
With a new home (the 013’s Green Room) and a new name, Roadburn’s pre-show party, Ignition, is primed and ready to get the festivities off to a killer start. Featuring TEMPLE FANG and HELLRIPPER – a third band will be announced in due course – Ignition is the perfect way to kick off your Roadburn on Wednesday, April 10 – and sticking with tradition, it will be free to attend.

Though there’s no release yet, TEMPLE FANG – featuring of Death Alley alumni, Dennis Duijnhouwer and Jevin de Groot – are currently making quite a name in the Dutch underground by way of hypnotic and overwhelming live shows. Channeling the spirit of Grateful Dead, Hawkwind, Blue Öyster Cult and Captain Beyond, some fuzzed-out rawk comes to the forefront of their sound as well!

While TEMPLE FANG will bring the psych and expand your mind and your senses, HELLRIPPER will be the perfect antidote for all that! If anything, the Scottish kings of old-school dirty black/speed nastiness will contract your mind into a tiny and super dense ball of steel! Formed in 2014 by backwards visionary James McBain under the spiritual guidance of Venom, Sabbat or Kreator, they’ve since expanded into a full live band and are now ready to tear our head off while thrashing like maniacs.

TICKETS & ACCOMMODATION
Roadburn Festival 2019 is SOLD OUT. Accommodation options remain in Tilburg and further afield – please check the website for more details.

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Temple Fang, Live at 013, Tilburg, the Netherlands, June 19, 2018

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Roadburn 2019: Grails, Hexvessel, Uran, Lucy in Blue, Bismuth, Third Commissioned Project and More Added

Posted in Whathaveyou on December 14th, 2018 by JJ Koczan

roadburn 2019 banner

I mean. Look. Hey. You know. It’s, uh. Yeah.

Roadburn and I kind of hit this point every year — at least we have for the last decade. The lineup announcements come through, and after a while, I just don’t even know what to say about it anymore. “Hey, so, look’s like Roadburn‘s gonna be all things to all people again” doesn’t really cut it as far as editorial content goes.

Here’s a point I’ll make: I think if you look at the Roadburn 2019 lineup, with its three commissioned projects — the third of which is newly announced — two career-spanning headline slots from Sleep, bands from multiple corners of the globe, a couple label showcases thrown in for good measure, and more still to come, it’s pretty safe to say it’s the biggest, farthest-reaching Roadburn yet. And even that. Is something I say. Every friggin’ year.

Doesn’t mean it doesn’t apply. It’ll be nice to see Grails again, and I was hoping Hexvessel would get added when their new video showed up earlier this week. A little more Aaron Turner doesn’t hurt either.

The PR wire has the lot of it, and you’ll see below the gorgeous individual day posters by Maarten Donders.

Dig:

More names announced for Roadburn 2019 including third commissioned project

– Tomas Lindberg adds more names to The Burning Darkness including GRAILS and URAN
– HEXVESSEL to perform All Tree in full
– Dutch black metal to be showcased in commissioned project MAALSTROOM
– Aaron Turner, Will Brooks and Dennis Tyfus to unite as DOOLHOF

Roadburn’s artistic director, Walter Hoeijmakers comments:

“We’re thrilled that 4-day tickets have sold out this side of Christmas – with still some of the line up to announce! Don’t delay on day tickets as we hope that they too will go quickly. We are nearing the end of our announcements, but there is still a handful of bands to present in the new year.”

TOMAS LINDBERG’S THE BURNING DARKNESS

GRAILS

GRAILS are set to return to Roadburn Festival exactly ten years after they performed at Neurosis’ curated event, Beyond The Pale back in 2009. We’re thrilled to announce that they’ll be making a return to join us in Tilburg – once again as a result of an invitation from our curator.

FONTÄN

“The whole vibe of FONTÄN reeks of folky, trippy melancholia, in the most unsentimental way. This is something that could easily have been produced by Brian Eno in his prime.” says Lindberg of his choice.

THE EXORCIST GBG

One of three Gothenburg based bands in this latest announcement, Lindberg describes THE EXORCIST GBG as: “a mind and time bending electronic psych experience, with a serious funk dance groove, like the legendary Goblin on dangerous cult-ritual-inducing drugs.”

URAN

When Tomas Lindberg describes a band as Sweden’s best kept secret, it’s time to start paying attention. He comments of URAN: “Imagine the heaviest psych, in a street fight with the most hypnotizing Stooges riffs, with an electronic Kraut edge and a monstrous Hawkwind presence.”

HEXVESSEL

HEXVESSEL’s new album, All Tree, will be released in February and the sole track released at the time of writing gives a tantalising glimpse of what to expect. It’s considered, haunting and – quite honestly – downright beautiful.
Prepare yourselves for some pin-drop moments amongst some soul shaking sonic shifts: Hexvessel are back!

DOOLHOF

The component parts of DOOLHOF are Aaron Turner, Will Brooks and Dennis Tyfus. Musically and artistically these three men appear to be worlds apart but look a little deeper and it’s obvious there’s a streak of experimental vigour and curiosity that runs through them all – and in this case, unites them.

When the idea of a collaborative project was floated, Turner singled out Will Brooks early on. Brooks made his Roadburn debut with Dälek in 2017; one of the most talked about performances of that edition, Dälek were instrumental in expanding the scope of the festival. Tyfus is a Belgian audio/visual artist whose Ultra Eczema label has served as the nucleus for a vast and eclectic array of creative endeavours.

That its participants have named it DOOLHOF (Dutch for ‘maze’) leads our minds to bubble over with possibilities.

MAALSTROOM

The third and final commissioned piece for Roadburn 2019 is a collaboration between a seething mass of up and coming – not to mention, vitally important – Dutch black metal bands. The project is titled MAALSTROOM and will unite over a dozen musicians from Laster, Verwoed, Witte Wieven, Turia, Fluisteraars, Grey Aura, Terzij de Horde, Folteraar, Nefast – and more.

Roadburn has showcased slivers of this innovative and burgeoning scene in previous years, but never before has such a heavy and accomplished array of Dutch musicians gathered together under one banner.

Exclusively for Roadburn Festival, MAALSTROOM will compose and perform a piece that spans five movements, with an evolving line-up of performers embellishing an ambient backdrop. This is not merely a show, nor a ritual; it is a current to be dragged along by.

MAALSTROOM is possible thanks to the continued support of the City of Tilburg and Brabant C.

As well as participating in MAALSTROOM the following bands will perform their own sets at Roadburn Festival 2019:
LASTER
TERZIJ DE HORDE
WITTE WIEVEN
DODECAHEDRON
TURIA
NUSQUAMA

ALSO ANNOUNCED TODAY:
BISMUTH bring ethereal doom to Roadburn
COILGUNS are primed to deliver an ear pummelling
CROWHURST will bring a world of pain
CROWHURST & GNAW THEIR TONGUES unite in harsh noise
FAUNA evoke manifestations of nature and wilderness through the lens of black metal
FOTOCRIME will shed light on a darkened room
LUCY IN BLUE set off on a psychedelic prog quest to Roadburn
PHARMAKON will summon disconnecting ambience and caustic crescendos of industrial noise
THOR & FRIENDS to bring their warm, hypnotic songs to Roadburn
TWIN TEMPLE’s Satanic doo-wop will reign supreme
WRONG will deliver angular melody and abrasiveness

TICKETS:
Single day tickets will go on sale on tonight – Thursday, December 13 at 8pm CET/7pm GMT/ 2pm EST. 4-day tickets are SOLD OUT, 3-day tickets are still available in limited numbers.

Tickets are be priced as follows:
3 days ticket (Thu-Sat) €181 + €4,50 service fee
Day ticket (Thu, Fri or Sat) €62 + €4,50 service fee
Sunday ticket €55,50 + €4,50 service fee

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http://www.roadburn.com

Hexvessel, “Old Tree” official video

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Roadburn 2019 Adds Commissioned Project Molasses with Members of The Devil’s Blood, Astrosoniq, Birth of Joy and More

Posted in Whathaveyou on November 27th, 2018 by JJ Koczan

roadburn 2019 banner

Roadburn 2019 has announced a second commissioned project for its lineup. Following word that Tom G. Warrior would complete Celtic Frost‘s ‘Requiem’ triptych at the festival to be held next April, as always, in Tilburg, the Netherlands, details of a new project entirely have emerged that seems to have come about at least in part at Roadburn‘s behest. Molasses hits close to home in the native Dutch underground, bringing together members of The Devil’s BloodDeath AlleyBirth of JoyAstrosoniq and Donnerwetter. On vocals is Farida Lemouchi, formerly of The Devil’s Blood and whose brother, Selim, was regarded as a figurehead in the scene around Eindhoven prior to his death in 2014 — one remembers the tribute in his honor at Roadburn 2014 and still feels like an intruder for having watched something so personal, even on such a large stage as it was — and on drums is no less than Marcel van de Vondervoort of Astrosoniq, who’s Roadburn fest-family in that it’s under his watch as engineer that so many sets are recorded, resulting in the glut of live albums that have surfaced over the years.

With Oeds Beydals of the newly-hiatused Death Alley and other The Devil’s Blood alumni Job van de Zande and Ron van Herpen, as well as Birth of Joy‘s Bob Hogenelst and Matthijs Stronks of Donnerwetter in the lineup, it’s bound to be a formidable showcase — their first live date — and it may not be a one-off by any means. You’ll note it says “a new beginning” below.

From the PR wire:

roadburn 2019 molasses

Second commissioned project for 2019 announced; MOLASSES will debut at Roadburn

Roadburn is ecstatic to announce the second commissioned piece of music to be performed at the 2019 edition of the festival. Following the recent announcement of Tom G. Warrior’s Celtic Frost/Triptykon Requiem which will be performed by Triptykon and the Dutch Metropole Orkest in April, and the success of the first commissioned pieces earlier this year – the series continues.

It’s time to redefine a bond that never ceased to ascend. Loosen the valve and let the blood flow!

A little over ten years since The Devil’s Blood made its live debut at Roadburn Festival, something is stirring once again in the souls of many of those involved in pulling that first performance together. The last track on Selim Lemouchi’s post-TDB album, Earth Air Spirit Water Fire, titled Molasses has lent its name to a burgeoning, specially commissioned project. An ensemble bound together by a unwavering thread, a shared bond and a definitive presence in their lives. The fragmented pieces of The Devil’s Blood are piecing themselves back together, bereft of a very specific physical form but enriched by his spiritual company.

Farida Lemouchi, Oeds Beydals, Job van de Zande, and Ron van Herpen – all former members of The Devil’s Blood – are joined by kindred spirits, Marcel Van De Vondervoort of Astrosoniq, Bob Hogenelst (Birth of Joy) and Matthijs Stronks (Donnerwetter) to form Molasses.

Those hoping to hear some tracks from The Devil’s Blood back catalogue will come away empty handed; if you’re keeping an ear out for some Astrosoniq, it won’t come. Molasses may be shot through with the DNA that made those bands tick, but this is very clearly – and definitively – a new beginning.

Artwork by Max Rovers.

Artistic director, Walter Hoeijmakers comments: “When we started to commission music for Roadburn, it was a given that I wanted to reconnect Farida, Ron, Oeds and Job, along with Marcel from Astrosoniq, as they are such a gifted musicians, who simply belong on stage together. Plus, I wanted to give them the opportunity to grow into a new space as artists, and really hope that Molasses will help them personally as well, giving them strength to embrace the future – whatever that holds.”

Molasses will be embracing the future on Thursday, April 11.

It reaches out to neverending times
Eats itself to be born again
There is just space but it holds the lines
For an ever growing love and deep affection
To rise and rise and rise and rise

TICKETS:
Single day tickets will go on sale on Thursday, December 13. Weekend tickets are on sale now

Tickets are be priced as follows:
3 days ticket (Thu-Sat) €181 + €4,50 service fee
4 days ticket (Thu-Sun) €204 + €4,50 service fee
Day ticket (Thu, Fri or Sat) €62 + €4,50 service fee
Sunday ticket €55,50 + €4,50 service fee

Click here for more ticketing information.

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Selim Lemouchi & His Enemies, “Molasses”

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Roadburn 2019: LOOP, Sumac, Crippled Black Phoenix, Sherpa and More Added

Posted in Whathaveyou on November 15th, 2018 by JJ Koczan

roadburn 2019 banner

A return appearance from Crippled Black Phoenix seemed like asking a lot. A return appearance from LOOP seemed unrealistic. A complete showcase from Exile on Mainstream? Well now that’s just silly. But silly’s how it goes for Roadburn, which in 2019 will apparently continue to exist on a plane all its own, much to the general betterment of humanity. I’ll happily take the chance to see Emma Ruth Rundle and Sherpa and to get exposed to Cave, who sound so much up my alley that I’m kind of embarrassed I’ve never heard them before. Plus underrated sludgesters Treedeon and you know, Sumac, because Aaron Turner hasn’t curated a Roadburn yet and we might as well build up to that seeming inevitability with an unofficial kind of residency, and Young Widows and enough others that I forgot what the point of this sentence was when I started out and it doesn’t even matter because the lineup is so staggeringly incredible.

Fuck it. Dive in:

loop roadburn 2019

More additions for Roadburn 2019, including curated acts; day tickets on sale in December

TOMAS LINDBERG chooses LOOP and SLÆGT for his curated event
SUMAC to perform
YOUNG WIDOWS to play Old Wounds in full
Return performances for CRIPPLED BLACK PHOENIX and EMMA RUTH RUNDLE

TOMAS LINDBERG’S THE BURNING DARKNESS

LOOP
LOOP are no strangers to Roadburn – they headlined the 2014 edition of the festival. The psych titans split in 1991, reforming in 2013 and cementing themselves as legends of the scene – and amongst other activities, brought their glorious technicolour to the Roadburn stage. We’re thrilled to welcome them back for a special, one off show as part of Tomas Lindberg’s curated event, The Burning Darkness.
Lindberg comments: “I expect to see you all in the front row for this one. I have goosebumps already.”

SLÆGT
As the frontman for At The Gates, we know Tomas is something of an extreme metal connoisseur. He’s flexing that muscle with his latest addition to the line up, which comes in the shape of SLÆGT. Tomas explains:
“When I think of heavy metal, there is a certain feeling I am after. A special haunting, emotional impact that I’m seeking. I will always be super excited when I get that same feeling that was there when I first got into underground metal. SLÆGT is one of those rare examples.”

SUMAC
Aaron Turner is not a man who likes to sit still. When he realised that he would technically have a day off at Roadburn, his brain started to click and whirr. And soon enough we had SUMAC on the bill.

When Love In Shadow landed in September, it was a swift reminder not to assume you know all there is to know about a band. Turner has promised us something special at Roadburn: a titillating promise. But we can’t help but feel that any SUMAC experience is going to be a special SUMAC experience – and surely better than a day off.

YOUNG WIDOWS
If it’s true that absence makes the heart grow fonder, it doesn’t discount the fact that the occasional tease of a live show can still be pure agony, especially when Europe has historically been somewhat starved of YOUNG WIDOWS. So it’s with something akin to relief mixed with pure joy that we announce YOUNG WIDOWS’ performance at Roadburn 2019. For fans of their 2008 release, Old Wounds, the treat is two-fold; the band will be playing the album in full for us!

CRIPPLED BLACK PHOENIX
Following their mind-warping set on Roadburn’s main stage in 2017, we welcome back the progressive darkness of CRIPPLED BLACK PHOENIX. In the band’s decade and a half career, they have released an incredible ten studio records, the latest of which Great Escape is a powerful, treacherous exploration into a the bleakest realms of Justin Greaves’ psyche. A CRIPPLED BLACK PHOENIX performance is the sound of a band following their own path, their own rules, for their own enjoyment. And ours.

CAVE
Channeling Krautrock staples like Can and Neu! with Miles Davis/Funkadelic style funk, CAVE offers an instrumental galaxy of hypnotic jams. It’s the band’s groove-heavy – yet loose – approach which gives way to an intricate backdrop for these spontaneous explorations; from fuzzy leads to free jazz fusion, from prog to psychedelic library music, from subtle funk to South American delights.

EMMA RUTH RUNDLE
Emma Ruth Rundle made such a mark on Roadburn 2017, we’re overjoyed to have her back for 2019 – and we expect the results to be just as powerful and mesmerising as the first time around.
Her first solo performance at the festival was a pivotal moment for us. Not only did it mark a definitive turning point for the artistic scope of the festival, it was also the moment that we adopted Emma as one of our own. A kindred spirit, a sonic explorer, a soul sister.

LINGUA IGNOTA
Boldly straddling the classical music world and the often hellish soundscapes of harsh noise, LINGUA IGNOTA plucks what she wants from both – and elsewhere – to form a towering inferno of raging fury, manifesting as sonic indignation. The challenge of a visceral and abrasive show is one that we relish. If you’re looking for an experience, something that that burrows into your consciousness and niggles at you for months to come, sign up now. LINGUA IGNOTA will deliver a masterclass.

EXILE ON MAINSTREAM X ROADBURN
EXILE ON MAINSTREAM Records is celebrating twenty years of existence with us at Roadburn 2019. The iconic label has released almost 90 records over the past two decades.The label’s history is somewhat entwined with our own; in fact they celebrated their 15th birthday with us too! We guess we make good cake!
The label will commandeer the Hall of Fame venue on Saturday, 13 April and the following bands will perform:
OSTINATO
NOISEPICKER
CONNY OCHS
TREEDEON
BELLROPE
CONFUSION MASTER

ALSO CONFIRMED:
FEAR FALLS BURNING will see Dirk Serries performing an exercise in minimalism
JAYE JAYLE will reprise their 2017 performance – in the more spacious Green Room
OVTRENOIR will deliver a dose of sludgy post-metal
SHERPA will perform Tigris & Euphrates in full
SOFT KILL will perform both Savior and Heresy in full
THROANE offer a cold and violent take on modern black metal
TREHA SEKTORI will bring an innovative and immersive take on dark ambient sound

TICKETS:
Single day tickets will go on sale on Thursday, December 13. Weekend tickets are on sale now

Tickets are be priced as follows:
3 days ticket (Thu-Sat) €181 + €4,50 service fee
4 days ticket (Thu-Sun) €204 + €4,50 service fee
Day ticket (Thu, Fri or Sat) €62 + €4,50 service fee
Sunday ticket €55,50 + €4,50 service fee

Click here for more ticketing information.

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

Roadburn 2019 November announcement video

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Komatsu to Begin European Touring This Friday

Posted in Whathaveyou on November 7th, 2018 by JJ Koczan

If you want to hear something funny, as I was first putting together this post about Komatsu‘s upcoming release show and tour, I had November listed as ‘next month.’ I guess I’m still in a pre-Halloween mindset, and fair enough because it’s pretty early in the morning and there’s a baby screaming upstairs who needs to go back to sleep, but you know, I could probably still get a handle on what month it is. I’m just happy that the post didn’t actually go up that way, though I can’t promise either that that’s a mistake I’ve never made in the past or that I won’t make it (again) sometime in the future. I know better than to swear to something like that.

Komatsu‘s tour actually starts not only this month, but this very week. They’ll play the release show for their new album, A New Horizon (discussed here), on Friday in Eindhoven, which is a city I’ve been to precisely once, and continue on from there with a stretch through Switzerland, Italy and Germany before hitting Iberia and turning back to their home in the Netherlands before closing out the month again in Germany. It’s a good run, all told, and should serve the record well, which as it happens is a cause worth supporting.

Dates come via the PR wire:

komatsu

Dutch stoner rock collective KOMATSU will embark on an European tour through 7 countries to present their brand new full-length “A New Horizon”.

See KOMATSU on the following dates:

FRI 09-11 – Blue Collar, Eindhoven (NL) (album release party EU)
SAT 10-11 – Pörompömpöm, Oberendfelden (CH)
SUN 11-11 – Krach Club, Treviso (IT)
WED 14-11 – Gaswerk, Winterthur (CH)
THU 15-11 – Ziggy, Turin (IT)
FRI 16-11 – 11er, Frankfurt (GER)
SAT 17-11 – Dirtfeast, Osnabrück (GER)
SUN 18-11 – Le Midland, Lille (FR)
TUE 20-11 – Metalpoint, Porto (PT)
WED 21-11 – Rock Beer The New, Santander (ES)
FRI 23-11 – Bibelot, Dordrecht (NL)
SAT 24-11 – Hedon, Zwolle (NL)
FRI 30-11 – Limes, Koln (GER)

Komatsu is:
Mo Truijens: Guitar + Lead vocals
Mathijs Bodt: Guitar + vocals
Martijn Mansvelders: Bass + vocals
Joris Lindner: Drums + vocals

https://www.facebook.com/komatsurock/
https://www.instagram.com/komatsurock/
http://komatsu.bandcamp.com/
http://www.komatsurock.com/
https://www.facebook.com/ArgonautaRecords/
http://www.argonautarecords.com/

Komatsu, “A New Horizon” official video

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Friday Full-Length: Mühr, Messiah

Posted in Bootleg Theater on November 2nd, 2018 by JJ Koczan

If you have headphones handy, go ahead and put them on. I’ll wait.

I’ve now false-started this post three times. That’s a lot. Usually, one, two at the outside. Three false starts — a sentence or two deep, then scrap, start over — means I’m having legitimate trouble framing a discussion of something, and when it comes to Messiah (review here), the lone full-length by Amsterdam-based cosmic doomers Mühr, I take it as a sign of how continually affecting I find the record. I’m closing out this week with it in part because it’s November, which means that we’re officially in the wind-down on 2018 (whew) and somehow I couldn’t let the year pass without marking a half-decade since this album’s release. Comprised of just a single track running 47 minutes, it was released on vinyl through Canardian Records and is as close to a perfect execution of weighted-soul psychedelia as I’ve heard. From the opening bassline to its many drones and swirls and explorations, the song “Messiah” operates on its own level entirely and five years later I’ve yet to hear a piece that captures a sense of majesty in the same way. I know it’s not the highest-profile outing that’s ever closed out a week around here, but I really do consider this one of the best records of the decade.

If you’ve never heard it before, the best advice I can give you is to be patient. Mühr certainly are. It’s nearly five minutes into the total stretch before one realizes the song has started, and longer still before the build that’s underway is really processed. Think of it as a stellar object in rotation. It’s moving, but that motion isn’t immediately apparent to the naked eye. Mühr‘s initials-only lineup included guitarists IJV and GW, drummer HH and bassist/vocalist ZALX also adds vocals to “Messiah” and FA keys, and there’s apparently a three-note sample of Ornette Coleman somewhere in there, but I won’t pretend to know where — and the flow they’re able to hone throughout the piece is graceful to the point of being balletic. Vocals arrive gently ahead of the first of two surges of volume. I won’t spoil it by giving the time stamp, but there’s a soft tension being build in the early going of the track and much teasing before it actually happens, flourish of harmonized Mühr, Messiahvocals somehow only adding to that. Knowing it’s coming makes it somewhat easier, but when that hugeness of tone finally takes hold it’s absolutely gotta-make-it-louder glorious; a consuming wash the likes of which I’ve rarely heard. Yes, I mean it. Listen for the little bit of feedback. That’s your clue that it’s arrived. And as the drums crash out a slow procession and one guitar scorches while the other holds together the rhythm with the bass — neither of them separate from the rest of the proceedings melodically, by the way — the space created is vast and expands the context of the rest of the outing that follows. About 10 and a half minutes total have passed before the drums cease their march for now, and the residual noise recedes gradually in a chaotic flurry of noise that somehow becomes lost-time hypnotic, the rumble of the low end, the melee of effects and the sort of swelling drones continuing the bear the heft of the volume that came before. It’s an aftermath, and one well earned, but it also becomes its own movement, and something I said about Messiah at the time and very much stand by is that these stretches and especially the long movement of noise at the end of the track are pivotal to its overall success.

There’s a second push no less gorgeously executed. At 15 minutes or so, the drums return to bring everything back to ground, and the bass progression locks step almost immediately to begin the next stage of the march. Again, it’s subtle, and so fluid, and so easy to get lost in, but it’s happening, and over the next few minutes, the vocals come back as an ethereal presence and soon lead the way into a bit of foreboding circa 20:30, and shortly thereafter the guitars lurch back and unleash the next voluminous cascade. Feedback and effects noise play out to accompany the central riff over the slowly churning drums and as it passes its halfway point, “Messiah” moves into a next stage of its loudest, most active manifestation. Then the real fun starts. At 27 minutes, things are quiet again, but the drums and bass are still holding the same pattern. The most affecting stretch of vocals happens almost a minute and a half later. Two quick (in the grand scheme of the piece itself), soulful verses obviously intended as a showcase work their way into a slow-motion guitar solo, and while it’s not nearly as loud as either of the bigger surges, that’s the actual apex of “Messiah.” The moment where the band seems to lay it all out and leave everything there for the listener to digest. What follows in the remaining 17 minutes is a trace of psychedelic drone and noise, working across different, improvised-sounding stages to build on the atmosphere thus-far conjured, as though they left the tape running after the song itself had finished and then — boldly, I’d argue — realized how necessary that last stretch is to the spirit of creation that so much abounds through the entire work.

Mühr had released the Shepherd / Blood EP (discussed here) in 2010, but Messiah was another level entirely. To date, it’s one of the best examples I’ve ever heard of a band absolutely putting everything into one offering and apparently obliterating themselves in the process. Mühr played three shows. Three. I was so fortunate to be there for one of them, at the Cul de Sac in Tilburg at Roadburn 2014 (review here), and watching them onstage lit by candles playing as a five-piece is still an experience for which I’m incredibly grateful. They played “Messiah” in its entirety. It was amazing. I get a chill thinking about it.

ZA, aka Dennis Duijnhouwer, played bass concurrently in the up-and-coming Death Alley, and would appear on the first of their full-lengths but depart before the second. He and guitarist Jevin de Groot, who appeared in Mühr as GW, have a new band together called Temple Fang, who’ve played a couple shows and seem to be just getting going. Needless to say, one eagerly anticipates finding out what the future holds there.

Either way, Mühr‘s sole long-player remains an entity unto itself, and as curious as I was to know how they might follow it up, the fact that it stands alone somehow makes its place even more special. It’s not just another album or just a first album. It’s a monument.

As always, I hope you enjoy.

Is this the part where I go on and on about how tired I am? Oh, okay, good. I’m glad. We made it. I’ve had the same headache for five days.

People come and go from your life. That’s what people do. That is the nature of things. A day doesn’t last. People usually don’t last. I know a lot of people, I’m fortunate to have a wife and a son, but I don’t have a lot of friends. That’s all I want to say.

Sunday at 7PM Eastern, episode three of “The Obelisk Show” airs on Gimme Radio. It’s a special recorded at the Høstsabbat Fest I went to in Oslo earlier this month and I’ve got interviews with Ole and Jens, who run the event, as well as Elephant Tree and Asteroid, and it’s all pretty awesome. You should listen. Thanks.

And thanks too to everyone who’s bought a shirt. If that’s not you, I get it, but if it is, your support of this endeavor is massively appreciated. More than a quarter of them are gone, and they’re available here: https://dropoutmerch.com/the-obelisk

Let’s do some notes and then I’m gonna try to crash out before the baby wakes up. Subject to change blah blah here we go:

Mon.: Hibrido track premiere/review; Pale Heart video premiere.
Tue.: Sadhus review/album stream; Sergio Ch. video.
Wed.: Causa Sui review; Maybe an Elephant Rifle video premiere.
Thu.: Vinnum Sabbathi/Cegvera review/premiere; maybe Birnam Wood video.
Fri. Belzebong review.

Busy, as ever.

The Patient Mrs. has been sick all week. It’s been a lot of me and The Pecan, and while she usually has minimal work obligations on Fridays, she’s gotta be there from like 1PM until god knows when. After bedtime. It’s a lot, but he’s a good kid, so that helps. We’ll play or go to Costco or read books or whatever this afternoon and he’ll be fine. I worry about poisoning him with my own wretchedness. My shitty posture. My frowny face. I suck. Ugh.

Okay, enough of that.

Please have a great and safe weekend. I’ll stay up all the way until 9PM on Sunday to be in the Gimme Radio chat while the show is on, so thanks if you get to check that out, and please don’t forget the forum and the radio stream here as well.

The Obelisk Forum

The Obelisk Radio

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Triptykon to Perform Commissioned Project at Roadburn 2019

Posted in Whathaveyou on November 2nd, 2018 by JJ Koczan

Triptykon (Photo by JJ Koczan)

Tom G. Warrior and Triptykon completing a triptych that Celtic Frost began 31 years ago on Into the Pandemonium with the never-heard second part and performing the whole thing in full with a complete orchestra accompanying? SuchRoadburn move. So Roadburn.

The first-unveiled of Roadburn 2019’s commissioned projects — it ain’t the last, folks — is precisely the kind of once-in-a-lifetime shenanigans the universe has come to expect from the festival. Year after year after year, Roadburn delivers incredible experiences, and since moving into commissioning bands and collaborations in 2017, the fest has basically not only become a proving ground for acts looking for a foothold in Europe, or, you know, the world, but a place where artists challenge themselves creatively as well as in performance and presentation. All kidding aside, it’s unreal.

If you’re scratching your head wondering just what the hell something like “Chapter One: Overture – Fourth Incarnation” means, I can’t imagine you’re alone. Just understand that it’s something that’s never happened before and could very well never happen again.

Typical Roadburn. Amazing.

PR wire:

roadburn 2019 tom g warrior

Tom G. Warrior returns to Roadburn to perform Celtic Frost/Triptykon Requiem in full

Triptykon will return to Roadburn Festival in 2019 to perform the complete Celtic Frost/ Triptykon three part Requiem, complete with orchestral accompaniment.

Having previously performed at the festival in 2010 and 2014 with Triptykon, and taken on curatorship duties for the former (selecting bands such as Sarke and Thorr’s Hammer to perform); it’s our pleasure to welcome Tom G. Warrior back to Roadburn on Friday, April 12.

The first part of the three-part Requiem appeared on Celtic Frost’s Into The Pandemonium, and was titled Rex Irae. The third part, titled Winter was brought to life on the Celtic Frost album Monotheist in 2006, and until now, the missing second part has remained incomplete.

Tom explains:
“The intention to finish the full Requiem remained with me. I was going to do it one distant day with Triptykon, the group I formed to continue to pursue the path I began in Hellhammer and Celtic Frost. It was 2018, yet again 16 years after I last worked on the Requiem, when Walter Hoeijmakers, founder of the legendary Roadburn Festival and one of my most beloved friends, contacted me to propose Roadburn as the venue to perform, at long last, the finished Requiem.

“Walter and his team very kindly provided for the resources necessary for such a substantial undertaking, and so, at 54 by now, I found myself commencing work on the second and thus final part of the Requiem this year.

“The three parts of the Requiem will therefore be performed by Triptykon at Roadburn 2019, with full classical orchestration, congregated specifically for this occasion by Florian Magnus Maier, who is our esteemed classical collaborator and arranger in this project, and whose patience with me appears to be limitless. We feel very proud and deeply honoured to be joined in this endeavour by the renowned Dutch Metropole Orkest.”

Click here to read more from Tom about the history of the Requiem.

Celtic Frost/ Triptykon Requiem, as performed exclusively by Triptkyon and the Dutch Metropole Orchestra at Roadburn 2019:

Rex Irae (Requiem, Chapter One: Overture – Fourth Incarnation)

Grave Eternal (Requiem, Chapter Two: Transition)

Winter (Requiem, Chapter Three: Finale – Ninth Incarnation)

The Requiem will be performed with the world renowned, Grammy-award winning, Dutch Metropole Orkest.

2018 marked the first occasion when Roadburn commissioned artists to create music especially for the festival, with Waste of Space Orchestra and Vánagandr: Sól án varma both delivering spellbinding performances to enraptured audiences. The commissioning of the Celtic Frost/Triptykon Requiem is possible due to the continued support of Brabant C and City of Tilburg

TICKETS:
Single day tickets will go on sale on Thursday, December 13. Weekend tickets are on sale now

Tickets are be priced as follows:
3 days ticket (Thu-Sat) €181 + €4,50 service fee
4 days ticket (Thu-Sun) €204 + €4,50 service fee
Day ticket (Thu, Fri or Sat) €62 + €4,50 service fee
Sunday ticket €55,50 + €4,50 service fee

Click here for more ticketing information.

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

Celtic Frost, “Rex Irae (Requiem)”

Celtic Frost, “Winter (Requiem)”

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