When it comes to festival survival, the value of being able to take a shower in your own shower is not to be understated. I wanted to scrub myself with dish detergent just to cut through all that rock and roll greasiness. Alas, resisted the impulse. Still, your own water, soap, toothpaste, towel? These are luxuries not everyone gets to enjoy at an event like this, and which, most of the time, I don’t either.

The tradeoff is commuting to NYC four days in a row, but whatever. The ride today was easy enough, and the ride home last night was bearable even with traffic because the lower level of the GW was closed. There need to be at least three more Hudson River crossings from the Jersey side, though I think you’d have to level Weehawken to make that happen. Eminent domain.

Second day of the fest proper. I’m hanging in. Ground myself macadamia nut butter for the car ride, had a protein bar this morning. Saw a wonderful bunch of people yesterday and expect the same tonight; such are the comings and goings. A boost of energy from that. I was beat to crap by the time C.O.C. went on though, and managed about five decent hours of sleep once I got home, a little after 1AM. You get what you can get when you can get it. Showing up early today, I got to watch WarHorse soundcheck, and that was a win, as I expect much of the day will be. Doors are in an hour.

Green Druid

A fresh take on atmospheric sludge that, when they decide it’s time to slow it down, is god damned brutal. It’s easier to get a handle on where they’re coming from live than on record, big crash, big lurch, plenty of creeper vibes, but delivered with an element of rawest-style post-metal. Low end is ferocious with bass and two guitars and the vocals swapping between cleaner singing and harsher screams is arranged more creatively to suit the mood. Quick set, but they made a positive impression on an already-warm room and for a day that’s more about weight and extremity at least in parts than was yesterday, they seemed to be just right in terms of bridging worlds. If you need me I’ll be at the merch stand. So long as there’s no cartoon boobs, I’m all over it. [Actually, turned out I barely looked at the shirt before I bought it. It’s got a big ol’ bong on it. Probably won’t wear it much, but screw it, gave the band some money. Gas ain’t cheap.]

—

 

WarHorse

I like to think of WarHorse playing 20 years ago and clearing out rooms of people who just don’t get it. As they are now, they manage to be both devastatingly heavy and a good time. You can tell watching them that they’re having fun playing the songs, and while their sound remains utterly miserable and Jerry Orne’s gurgle is as guttural as ever, he and Terry Savastano are into it immediately while Mike Hubbard lays suitable waste behind them. For a reunion that started kind of casually, not a ton of hype around it, WarHorse have become a force. They were one before, obviously, but the appetite for such things has clearly changed in the last two-plus decades. I don’t know what label I’d put them on — Profound Lore? Season of Mist? — but they sound like a band too dead on in their game not to put out new material. I love watching wretched sounding metal played with a smile. Also with a grimace.

—

 

Somnuri

Nothing follows slow-brutal-fun like periodically-thrashz-fast-brutal-fun, and I’ll tell you, that thrash with a ‘z’ was a typo but I’m leaving it because fuck it, it works. Like Green Druid, they change it up arrangement-wise, but their take is more directly lethal, and they manage the balance between heavy tones and rip-face thrust well on stage. Justin Sherrell is stupid talented. They got a new bassist since the last time I saw them, but so it goes. Last summer’s Nefarious Wave full-length has held up, and frankly it deserves every airing it gets. I seem to recall they did a tour for it earlier this year, and they opened one of the YOB shows at the Saint Vitus Bar — not the one I saw, but still — their stuff is a rager unto itself and the latest incarnation of the regional penchant for creative confrontationalism that once birthed Hull. That’s good company to keep as far as I’m concerned. The fog machine was rolling and the riffs were bludgeoning breakdown-style and offset by ambient stretches like a seething just waiting to explode. Like me on the George Washington Bridge last night at 12:30. Their version of that feeling is better.

—

 

Cloakroom

Not a band I knew a ton about prior to their taking the stage, but they were a big swap-out in mood from Somnuri and the fact that they carried their shoegaze-informed take on heavy across so well and so immediately transformed the spirit of the big room after WarHorse is much to their credit. I’ll admit that I didn’t stay probably as long as I should have because I knew I wanted to be up front for Brume, but their roll was like a deep, fresh, cool breath and watching them I got shades of early Jesu and newer Elephant Tree both — neither of whom I imagine they sound like on record, but that’s where my brain went; I heard tell later that the guitarist is a big Weezer fan, which makes as much sense as anything — and there’s nothing but to dig about that. True to their style, they were pretty subdued on stage for the most part, but their combination of depth of tone, volume and melody made them immersive in a way that no one else up to this point has been. Five years from now, when I’m probably sweating everything they do like the Johnny Comelately poseur I am, I’ll probably brag about having seen them at Desertfest.

—

 

Brume

There have been and still are a lot of bands I want to see this weekend, but Brume were my most eagerly anticipated. They offer something that nobody else on this bill does in the same way, and the spaces they create with their material are incredible. I was right to look forward to it. I ended up taking pictures blah blah and then just stayed up front for all but about the last two minutes of the set, and goodness gracious I’m glad I did. The addition of Jackie Perez-Gratz on cello and a couple backing vocal spots puts them in another echelon. Put out another record already. [Edit: I talked to them later in the night and told them I wanted to hear it finished by Tuesday; they said they needed a deadline.] The stage energy was surreal and I did, I just planted myself up front and that was it. Every bit what I hoped their set would be and when I went over to the main room for the start of Inter Arma, I was annoyed with myself for not seeing the last 30 seconds or whatever it was of Brume. Yeah, I know how the song ends, but still. At least I can take comfort in knowing what’s in store for next time. Back to Rabbits I go until then.

—

 

Inter Arma

Like, six dudes? Yeah, I think six. Could’ve been 40, they were so intense. Fucking death metal. Inter Arma’s Sulphur English was so widely hailed it actually got annoying, but they brought that chug and death stomp to the stage with all due brutality and then just a little extra on top. First theremin of the weekend, which is always a good sighting, but the core of the band is the fact that they’re punishingly extreme and still manage to evoke some presence beyond that in their sound. I was more into it than I expected to be, especially coming off Brume, but there was no real question about their intention from the start, and it was a reminder that I actually enjoy death metal even if it’s not what I always write about. But even in that sphere they’re a legit creative band with less genre-strictness than many, and that’s a thing to be respected. I don’t reach for their stuff all the time, and I don’t think I’ve seen them since their first record, but they were killer.

—

 

Yatra

Yatra are a death metal band. They started out as kind of a deathly sludge act and have leaned decidedly into the more teeth-gnashing side of their approach. Their new album is their first for Prosthetic, which is a good fit for them label-wise since that’s where metal bands go who do more than one thing, and they played the title-track “Born Into Chaos.” I’ll confess I haven’t really dug into the record yet — I think the promo came in my email on Thursday? — but their last one wasn’t exactly subtle about the course they were setting and that’s just fine. They can play here, they can play Maryland Deathfest, they can play a kid’s backyard birthday party and get arrested, whatever. Let them be the death metal band who heavy rockers are into, or at least one of a very select few. It’s gotta be somebody, and the more direct route to aural decapitation suits them. Only surprised there was no mosh, even when the blastbeats started.

—

 

King Buffalo

What catharsis. I feel like I’ve been waiting the whole pandemic to see King Buffalo again. Admittedly, there have been opportunities in the last year as they’ve gotten back out, so it’s me, but to finally be in the same space as these songs. They opened with “Silverfish.” That’s the whole story. What more do you need than that? This trilogy of albums, The Burden of Restlessness, Acheron, and the third to come, are a fucking document of this era and if you don’t realize how fortunate you are that this band is doing this work right now, you’re missing it. You’re fucking up. It’s not too late. I was all set to go watch Silvertomb, who I hear do Type O Negative songs too and that’s great, but King Buffalo started to play “Orion” and I knew that if I moved I’d regret it no matter what. Then they break out “Loam?” Come on. Where in earth could you possibly need to be more than you need to be here? Huh? King Buffalo stand among the best and most forward thinking heavy psych bands of their generation and there’s nothing to make me think their best work isn’t ahead of them. Bands like this don’t happen all the time. This. Is. A. Special. Band. Tell your friends. Shit, tell your mom. She’ll be into it. You know how good it was? It was so good that I just stood there and enjoyed it.

—

 

Silvertomb

Somebody’s going home with covid tonight. Kenny Hickey. He called it a rite of passage. Maybe it is. He also called the crowd a bunch of potheads, which is fair considering the smell in the room right now. I was late to the start of the set, but managed to finagle my way around the side to catch what remained. Of course the relation to Type O Negative gives a nostalgic feel. Hearing Kenny Hickey sing brings back fond memories, but also in reminded of a time when no less than 80 percent of the metal bands in Brooklyn sounded like this, about 20 years ago. Getting to see a guy who was in no small part responsible for that — especially on the last two Type O records, both of which I continue to love — is probably enough of an appeal to earn Silvertomb the spot on the bill, honestly, but they also rocked. I whiffed completely on their last album, but had checked out the one before. Kenny teased an “Oh Darling” cover on acoustic guitar, which might’ve been fun, but no dice.

—

 

Torche

Impossible to watch them play and remove it from the context of Steve Brooks announcing on Thursday that he’s done in the band after their Fall tour with Meshuggah. Still don’t know if that means the band are done, but they played as trio, owing to Jon Nunez getting covid. So it goes. They did “Mentor,” and they did Floor’s “Iron Girl,” and they closed with “Tarpit Carnivore,” is if this is the last time I ever see them play, I can’t possibly feel like Torche owe me anything. For them, there was a pit. And yeah, that makes sense. I put myself in the crowd to watch, and there were some laughs, some fuckups, and so on. It was not the tightest Torche set I’ve ever witnessed — have I ever told you about the time I saw Torche and Black Cobra circa ’06 in a shoe museum in Los Angeles? yes? well anyway they rocked the shit out of that footwear and the lucky several individuals who happened to be in attendance — but it’s hard not to be in a good mood when they play regardless of the circumstance. Bomb string, man. Maybe they’ll get back together at some point in some incarnation. Isn’t that what bands do at this point? A six-week hiatus? That’d be fine. Not that they owe it or anything.

—

 

Baroness

I’ve never successfully managed to get on board with Baroness. I’ve tried — I promise, I have — but it just hasn’t happened. Even knowing this, and knowing there’s a good lot of modern heavy that has operated and continues to operate under their direct influence, I did my best to keep an open mind and try to catch the vibe. And I think I succeeded in that at least to some extent. They’re like Rush. You listen to Rush, and a whole lot of other bands across a bunch of different styles start to make sense. Baroness engage with a lot of different forms of rock and heavy music, metal, punk, prog and so on, and they’ve turned it into their own thing. I might not dig it, but I’m not going to rag on them either because what they’ve accomplished is significant even before you get to what they sound like, their massive, won-the-hard-way chemistry as players, their attention to presentation (a setlist with lighting instructions being just one example), or their stage presence. In many respects, they are the quintessential headliner. So, they headlined.

—

Other Random Observations:

– I don’t think I’d be a very good bartender, and for someone who’s spent so much of his life daydreaming about opening a venue, I’ve considered it a fair amount.

– On the other hand, someone drove through with a forklift before doors and that looked like good fun.

– Tried not to be starstruck when Jackie Perez-Gratz walked past me wheeling her cello in its case. Did it work? Maybe. Still gonna put on Grayceon’s All We Destroy on the way home.

– Can hear the Morbid Angel influence both in Yatra and Inter Arma. Ties them together in a way I wouldn’t have expected.

– Wow.

– Slower start to the day in terms of crowd, but it filled up. The party must’ve gone late last night.

– Again, folks be inebriated. Guess it’s Saturday. Get home safe.

– That macadamia nut butter may have saved my life.

More pics after the jump.

Read more »

Gadzooks! You’d almost think I planned these things out in advance. Please rest assured that this 84th episode of The Obelisk Show on Gimme Metal is as conceptually haphazard as usual — I’d say it’s as haphazard in execution as well, but Dean Rispler does a banger job putting it all together, editing, etc. — so it’s really just my end that’s a wreck. In any case, today begins Desertfest New York 2022 proper at the Knockdown Center in Brooklyn, and I’m thrilled to have this playlist as a selection from among the bands playing it.

Some are New York or area natives — Geezer, King Buffalo from Upstate, Somnuri from Brooklyn itself — but whether it’s WarHorse coming down from Boston to play or High on Fire, Brume, Red Fang, Dead Meadow, Sasquatch and others coming from the other side of the country to Orange Goblin making the trip from the UK, it’s a rager. The playlist is killer because the fest is killer. Simple as that.

I won’t be in the chat this time because, well, I’ll be at the fest, but I’ll check in if I can. Thanks if you listen, and thanks for reading.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.

Full playlist:

The Obelisk Show – 05.13.22

Corrosion of Conformity	Deliverance	Deliverance
Torche	Mentor	Torche
High on Fire	Hung, Drawn & Quartered	Surrounded by Thieves
VT1
John Garcia	Chicken Delight	John Garcia & The Band of Gold
Sasquatch	It Lies Beyond the Bay	Fever Fantasy
Dead Meadow	Sleepy Silver Door	Live at Roadburn 2011
Brume	Despondence	Rabbits
Red Fang	Number Thirteen	Murder the Mountains
Somnuri	Watch the Lights Go Out	Nefarious Wave
King Buffalo	The Knocks	The Burden of Restlessness
Orange Goblin	They Come Back (Harvest of Skulls)	Healing Through Fire
VT2
Inter Arma	A Waxen Sea	Sulphur English
WarHorse	Lysergic Communion	As Heaven Turns to Ash
Yatra	Terminate by the Sword	Born Into Chaos
Valley of the Sun	The Chariot	The Chariot
Druids	Path to R	Shadow Work
High Reeper	Plague Hag	Higher Reeper
Greenbeard	Diamond in the Devil’s Grinder	Variant
VT3
Geezer	Atomic Moronic	Stoned Blues Machine
Howling Giant	Nomad	The Space Between Worlds

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is May 27 (subject to change). Thanks for listening if you do.

Gimme Metal website

The Obelisk on Facebook

A tribute to Roadburn Festival is about as close as I can come to an absolute no-brainer. My life is a Roadburn tribute. Nonetheless, to look directly at the 2022 lineup and consider everything the Netherlands-based festival has been through over the last three years — everything everyone has been through — it seemed like the least I could do. I’ve been to every Roadburn since 2009. This will be the first I miss in all that stretch.

In 2021 when they did the virtual Roadburn Redux, I didn’t watch most of it. It was cool, I saw the whole setup they had with the virtual meeting room and I watched some of the streams, but yeah, I just kind of felt sad about the whole thing. And I saw the writing on the wall this year with the daily festival ‘zine I’ve been editing for the last seven or however many years even before I was told it wasn’t happening. Roadburn never needed me, but knowing that it’s happening next week and not being able to be there is sad. This isn’t really a consolation prize so much as a short love letter to the fest and best wishes to anyone who finds themselves in that space. I will miss it.

Thanks if you listen, thanks if you’re reading. Thanks in general.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.

Full playlist:

The Obelisk Show – 04.15.22

Year of No Light	Interdit aux Vivants, aux Morts et aux Chiens	Consolamentum
Sum of R	Lust	Lahbryce
Alcest	Spiritual Instinct	Spiritual Instinct
VT1
Sólstafir	Ljós Í Stormi	Svartir Sandar
Lingua Ignota	Katie Cruel	Katie Cruel (single)
Mizmor	Wit’s End	Wit’s End
Cloud Rat	Mouse Trap	Cloud Rat
Warhorse	Black Acid Prophecy	As Heaven Turns to Ash
Emma Ruth Rundle	Blooms of Oblivion	Engine of Hell
Årabrot	Feel it On	Norwegian Gothic
VT2
Kanaan	Return to the Tundrasphere	Earthbound
Smote	Moninna	Bodkin
40 Watt Sun	Until	Perfect Light
Messa	Pilgrim	Close

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is April 29 (subject to change). Thanks for listening if you do.

Gimme Metal website

The Obelisk on Facebook

They say there’s more to come and given the scope of past editions of Monolith on the Mesa, one expects that’s the truth. It’s a different universe since the last time the El Prado, New Mexico-based festival was held, and I’d be remiss if I didn’t note — as you can read below — that this is the first Monolith on the Mesa to be held without co-founder Dano Sanchez, who passed away last Fall. Fellow founder Roman Barham, along with Ashley Sanchez and the Taos Mesa Brewing director Jayson Wylie have continued forward in collaboration, and the first lineup announcement is a celebration of the underground deep and high. Mars Red Sky, WarHorse, The Obsessed, The Otolith, Duel, Love Gang, and Red Mesa are the initial cohort, and that’s an admirable grouping on the levels of style and geography alike, representing West Coast, East Coast, in between and Europe in the span of seven bands. Right on.

I’m glad this festival is moving forward with Monolith on the Mesa 2022, and I’ve no doubt it’ll be a party.

To wit:

MARS RED SKY, THE OBSESSED, WARHORSE, THE OTOLITH, DUEL, RED MESA, LOVE GANG, AND MORE SET TO PLAY MONOLITH ON THE MESA: MUSIC AND ART FESTIVAL IN TAOS, NEW MEXICO

SEPTEMBER 16-17-18, 2022

located at Taos Mesa Brewing The Mothership the festival is open air

Monolith on the Mesa takes the cosmic opportunity of the vernal equinox to announce its return to Taos Mesa Brewing The Mothership, after the forced two year hiatus due to the global pandemic. Dates are set for September 16th, 17th, 18th, 2022. The festival is proud to share part of the line-up today including Mars Red Sky, The Obsessed, Warhorse, The Otolith, Duel, Love Gang, Red Mesa and visual magicians: Mad Alchemy Liquid Light Show.

The line-up remains “true to concept” and will focus on heavy riff-rock acts from across multiple sub-genres including stoner rock, heavy psych, doom metal, sludge, drone, and retro rock. The festival will once again be billed as “a truly singular and mystical experience. A weekend of live music heaviness blasting onto the high desert mesa in full view of the Sangre de Christo mountains.”

This past September the festival lost visionary co-founder, Dano Sanchez. In a statement Monolith on the Mesa producers Ashley Sanchez and Roman Barham, together with brewery director Jayson Wylie, say: “the festival experience is dedicated to our dearly beloved, fallen brother, and co-founder Dano Sanchez. Dano’s contribution has influenced only great times, as summed up in his signature phrase: “Hey bud, let’s party!” We’ll honor Dano by putting on an amazing festival featuring specialty crafted beers from Taos Mesa Brewery (served in reusable cups to reduce single use plastic), interactive art installations in conjunction with Revolt Gallery, and some of the best bands from around the world.”

This year the festival will be open air and focused around the “earthship” amphitheatre which holds 1,500 people. Upcoming festival announcements will detail efforts to make the event more eco-friendly, with less single use plastic and other disposables.

DATES AND TIMES:
September 16th, 17th, 18th, 2022
Doors at 12:00 pm. Bands start at 1:00 pm.

VENUE:
Taos Mesa Brewing The Mothership
20 ABC Mesa Rd, El Prado, NM, 87529
https://www.taosmesabrewing.com/mothership

TICKET INFORMATION:
Monolith on the Mesa will honor tickets and other arrangements purchased in 2020 and 2021. Tickets will be rolled over to this year’s Will Call list.

Single Day Pass $60 ticket link:
https://holdmyticket.com/event/preview/event/be9b80e802fe934571af2d383f254a67

Two Day Pass $100 ticket link:
https://holdmyticket.com/event/preview/event/a2d1bf3d2a361e7df590738ee74e72c4

Three Day Pass $150 ticket link:
https://holdmyticket.com/event/preview/event/79c197fd39ff30a21f68fc545f003cb1

Rain or shine event!

monolithonthemesa.com
facebook.com/monolithonthemesa
instagram.com/monolithonthemesa
twitter.com/onmonolith

Mars Red Sky, “Crazy Hearth” official video

Are you paying attention here? I certainly hope so, because this is some world-class-festival shit that’s happening in Brooklyn. After a successful initial public offering in 2019, Desertfest NYC 2022 has upped the stakes to a staggering degree. Look at those headliners. Shit, look at the fact that they’re bringing Stoned Jesus from the Ukraine and Planet of Zeus from Greece to play. That alone. Then you get into cross-continental fare like Brume and Dead Meadow and Big Business and so on, and the broader ambitions of Desertfest‘s New York incarnation seem clear. This is a festival that’s still building and still looking to reach out, get bigger. Staggering. Pay attention. Bands will start because the people in them go to this.

The day splits have been announced and the righteous likes of Geezer, Howling Giant, Warhorse and the aforementioned Brume, among others, have been added.

Four day passes are gone. I wouldn’t expect any of the others to last.

From the PR wire:

Desertfest New York announces day splits for 2022 edition, plus adds Cloakroom, Warhorse, Black Tusk and more to line-up

Europe’s leading stoner rock collective Desertfest returns to New York in 2022.

Taking place in the unique arts space of the Knockdown Center from May 13th – May 15th, with an exclusive pre-party at Saint Vitus Bar on May 12th.

Following a momentous first announcement, which saw the festival welcome the likes of BARONESS, HIGH ON FIRE, CORROSION OF CONFORMITY, TORCHE, ORANGE GOBLIN, DEAD MEADOW, INTER ARMA & GREEN LUNG, Desertfest New York now announces day-splits & day tickets, plus the final few acts to complete the second edition of the transatlantic heavy rock bacchanal.

Joining the bill on Saturday will be genre defying dream-gazer’s CLOAKROOM alongside doom legends WARHORSE. Whereas Friday’s main-stage will host the guttural thud of BLACK TUSK. Plus, revellers can expect to see BRUME, GEEZER, MOTHER IRON HORSE, HOWLING GIANT, GREEN DRUID & GREENBEARD all storm the Knockdown Center.

Unfortunately, Fatso Jetson are no longer able to play the pre-party & are replaced by riff demons FREEDOM HAWK.

Day tickets & 3-day passes for Desertfest New York 2022 are on sale NOW via the following link – https://desertfest.eventbrite.com

4-day passes (includes access to Saint Vitus pre-party on Thursday 12th May) are SOLD OUT, there will be no single day tickets available for the pre-party.

Full Line-Up:
Knockdown Centre May 13th – May 15th 2022
Baroness | High on Fire | Monster Magnet | Red Fang | Corrosion of Conformity | Torche | Orange Goblin | Dead Meadow | Cloakroom | Inter Arma | Big Business | Warhorse| Green Lung | Stoned Jesus | Black Tusk | Left Lane Cruiser | Sasquatch | Silvertomb | Telekinetic Yeti | Stinking Lizaveta | High Reeper | Yatra | Holy Death Trio | Geezer | Brume | Somnuri | Mother Iron Horse | Green Druid | Leather Lung | Greenbeard

Saint Vitus Bar May 12th 2022
The Atomic Bitchwax | Planet of Zeus | Freedom Hawk | Druids

https://facebook.com/Desertfestnyc/
https://www.instagram.com/desertfest_nyc/
http://www.desertfestnewyork.com

Brume, Rabbits (2019)

I guess we could go on and on about badass festival lineups — and in a way, it feels very, very good to even think that’s true — but you’ll pardon me if I sort of bow under the spectacle here and just say I’m glad Warhorse are getting another chance to go to Roadburn after 2020 falling apart, and that Tau and the Drones of Praise will play. The latter not the least because it gives me an excuse to revisit their set from earlier this year at Roadburn Redux in putting this post together. I hope they play right before the devastating LLNN, but either way, it’s great that along with the huger acts like Lingua Ignota, Emma Ruth Rundle, Russian Circles, and so on, Roadburn remains committed to forward-thinking artists of such various stripes. See also Oslo Tapes playing the Pelagic showcase with Årabrot headlining.

I don’t know if I’ll get to go to Roadburn next year. The fest would be well within its rights to nix the Weirdo Canyon Dispatch ‘zine after so long and adverse circumstances, and it’s not like they need my review or photos badly enough to warrant having me there, but whatever happens, I love this festival, support its growth and direction, and I always will for as long as it goes. No one knows at this point what April 2022 is going to look like. I’m happy to proceed into the fest’s last announcement of 2021 with some sense of optimism, even if I need to force that a bit.

From the PR wire:

New additions to Roadburn 2022 including second Artist In Residence and label showcase

Roadburn has today announced another 17 artists for the 2022 edition of the festival, which will take place between April 21-24 in Tilburg, The Netherlands.

Artistic Director, Walter Hoeijmakers, comments:

“With our last announcement before the end of 2021, we are super proud to have Pelagic involved again in Roadburn after their virtual Redux showcase earlier this year. And we know SLIFT will broaden our psychedelic horizons with three shows as artist-in-residence. Further, we offer this announcement in hope that 2022 will see a full return to international touring for festivals and club shows and we can all be together and celebrate in April. We wish you the happiest of seasons and hope you’re looking forward to Roadburn Festival 2022 as much as we are. Thank you for your continued support, faith and trust.”

French psych trio, SLIFT, have been announced as the second Artist in Residence for the 2022 edition (joining Full of Hell who were announced earlier this year). The band will perform three times over the course of the festival, including a collaborative performance with pioneering French musician, Etienne Jaumet (Zombie Zombie).

Pelagic Records will host a label showcase at the festival highlighting the diverse array of talent found on their roster. The showcase will climax with three interconnected performances courtesy of Lustmord, Lustmord and Karin Park performing cuts from their collaborative album, Alter, and finishing off with Årabrot. The showcase will also feature Year Of No Light, LLNN performing Unmaker, new signings Bruit≤, Oslo Tapes and a solo set from Karin Park.

Psych-heads rejoice – Die Wilde Jagd will perform at Roadburn, following two awe inspiring live performances at Roadburn Redux earlier this year. TAU & the Drones of Praise will also reprise their Redux appearance and make their way to Tilburg for an in-person performance.

Hangman’s Chair will complement their already-announced album set with a collaboration with Regarde Les Hommes Tomber. Originally commissioned by Red Bull and performed only once to date; the two bands have written additional material to extend the performance further into the reaches of their collective imaginations.

Originally scheduled to perform in 2020 Warhorse will finally perform at Roadburn 2022. Huntsmen will kick off their first trip to Europe with a special performance at Roadburn where they’ll play their 2018 album, American Scrap, in full.

London’s Five The Hierophant will make their Roadburn debut, as well as performing a collaborative piece with Wyatt E. and MC Slice titled Atonia.

These artists are added to a line up that already features Ulver, Lingua Ignota, Liturgy, Emma Ruth Rundle, Russian Circles, 40 Watt Sun, Backwash and many more. Click here to view the full line up and below to read more on these newly announced artists.

ÅRABROT
ATONIA: A COLLABORATION BETWEEN WYATT E., FIVE THE HIEROPHANT & MC SLICE
BRUIT ≤,
DIE WILDE JAGD
FIVE THE HIEROPHANT
HANGMAN’S CHAIR X REGARDE LES HOMMES TOMBER
HUNTSMEN
KARIN PARK
LLNN
LUSTMORD
OSLO TAPES
SLIFT (ARTIST IN RESIDENCE)
TAU & THE DRONES OF PRAISE
URAL UMBO
WARHORSE
YEAR OF NO LIGHT
ZETRA

Weekend tickets, and Friday and Saturday day tickets are sold out. Thursday and Sunday day tickets remain in limited numbers. Tickets and accommodation options are available to view via ticketmaster.nl

https://www.facebook.com/events/964112394348925
https://www.facebook.com/roadburnfestival/
http://www.instagram.com/roadburnfest
http://www.roadburn.com

Tau and the Drones of Praise, ‘Dream Awake’ live stream for Roadburn Redux

Slift, “Lions, Tigers & Bears” live video

I’ll be 100 percent honest with you and say I don’t know how recent the lineup additions are here, but I’m trying basically to keep up with Monolith on the Mesa 2020 and there are names listed below that weren’t included in the last lineup update I got from the PR wire, so if I’m a month behind, I’m sorry. It’s been a busy month. Some of those additions are significant as well, from Warhorse, Heavy Temple and Yatra making the trek from the East Coast to Mondo Drag coming from San Diego, Khemmis from Denver and Distances from the relatively nearby Albuquerque. All these and the others listed below will convene at the Taos Mesa Brewing Mothership for what’s the second Monolith on the Mesa Festival, which I have very little doubt is precisely the kind of party it looks like on paper. To wit, it looks like quite a party.

I went to the fest’s website and cut and pasted the lineup. That’s what I did. Swiped the logo while I was there too. Full confession.

With dreams of the desert in Springtime:

 

Monolith on the Mesa 2020

May 28-30, 2020 at Taos Mesa Brewing

Monolith on the Mesa, a “High” Desert Experience, is an independent three-day festival entering its second year in 2020. The festival takes place at the Taos Mesa Brewing Mothership, and on the grounds of Hotel Luna Mystica, just outside of Taos, New Mexico. The festival is focused on heavy riff-rock acts from across multiple sub-genres including stoner rock, heavy psych, doom metal, sludge, drone, and retro rock. The festival includes interactive art installations and visual projections throughout the grounds to compliment the mind bending sounds of the bands. Festival capacity is limited to 1,500 to provide an intimate experience. Bands perform on the club-style indoor stage, and the scenic “earthship” outdoor amphitheater stage.

Bands Playing at Monolith on the Mesa:
Black Maria
Destroyer of Light
distances
Duel
Earthride
Fatso Jetson
Great Electric Quest
Heavy Temple
Khemmis
Love Gang
Magic Castles
Mark Deutrom
Mars Red Sky
Mondo Drag
Mondo Generator
Mountain of Smoke
Nebula
Prism Bitch
Ruby the Hatchet
Sons of Otis
Sun Dog
Warhorse
Wo Fat
Yatra
Yawning Man
Year of the Cobra

DATES AND TIMES:
Box office opens at 9 a.m. Thursday, Friday and Saturday.
May 28th doors at 4 pm til 1:30 am
May 29th doors at 12 noon; outside stage til midnight; indoor stage til 1:30 am
May 30th doors at 12 noon; outdoor stage til midnight; indoor stage til 1:30 am

VENUE INFORMATION:
Taos Mesa Brewing: The Mothership
20 ABC Mesa Rd.
El Prado, New Mexico 89529
https://www.taosmesabrewing.com/

TICKET INFORMATION:
Rain or shine event! No refunds!
https://tickets.holdmyticket.com/tickets/344140

https://www.monolithonthemesa.com
https://www.facebook.com/monolithonthemesa
https://www.instagram.com/monolithonthemesa

Monolith on the Mesa 2020 promo

God damn, Roadburn 2020. Warhorse AND a Red Sparowes reunion? And yeah, there’s a ton of off-the-wall stuff here and Emma Ruth Rundle‘s picks are every bit as adventurous as no doubt the festival hoped and intended they would be, but I can’t help but be hung up on the fact that Torche have never played at Roadburn before. How is that possible? Frickin’ Floor have played Roadburn! It seems crazy to me that Torche wouldn’t have been there before. Russian Circles have, and they’ll be there again. Dead Neanderthals have, and they’ll be there again. Rorcal haven’t played before to my knowledge, but they’ll be there with a new record too, and Alber Jupiter and Die Wilde Jagd, and that’s all pretty sweet. And oh, hey, tickets are on sale as of just a couple hours from now, so let’s say if you want one, today’s probably the day to make that happen before they’re gone.

Kaboom goes the brain:

– Roadburn 2020: new announcements ahead of ticket on sale date
– Tickets on sale September 24
– New additions to Emma Ruth Rundle’s curation inc. Red Sparowes and Torche
– Plus Russian Circles, Brutus, Warhorse and more…

With tickets due on sale in a little over 24 hours, Roadburn’s artistic director, Walter Hoeijmakers comments:

“I’m thrilled with the direction that Roadburn is taking this year – more than ever I feel like it is a real celebration of creativity and an opportunity to give a platform for bands to explore their artistry – hence inviting several bands to perform more than once. The response has been overwhelming so far, and we still have so much more to announce.”

EMMA RUTH RUNDLE’S THE GILDED CAGE
As one of our two curators for 2020 (the other being James Kent AKA Perturbator), Emma has added new names to her curated event, The Gilded Cage.

RED SPAROWES
Red Sparowes have been on hiatus for several years. Their component parts scattered in the wind, occasionally bumping into each other, collaboratively, musically or otherwise. Each piece of the Red Sparowes puzzle has their own tale to tell of where the intervening years have taken them, but we can give you a spoiler right now: all roads lead to Roadburn.

Emma comments:

“It is with great joy that I am able to announce that after a ten year hiatus, Red Sparowes will be reuniting for Roadburn 2020 for an exclusive performance. It’s a huge honor to resurrect the band that really brought me into the fold of the Roadburn family.”

TORCHE
The stars have aligned, under the watchful eye of Emma Ruth Rundle, we’re thrilled to announce that Torche will finally make their Roadburn debut in 2020. Long-time fan, Emma Ruth Rundle explains her pick:

“Torche have long topped my favorite current bands list, with Meanderthal still being a record I reach for while driving on tour. The energy and weight of the riffs are always exciting and I can’t wait to see them perform cuts from their awesome new album, Admission.”

MISERABLE
Within her Miserable project, Kristina Esfandiari combines the finest hooks of grunge with the lo-fi haze of shoegaze, creating an alluringly dark vista to lose oneself in. Invited back to Roadburn – having already played 2017 with King Woman – as part of Emma Ruth Rundle’s ‘The Gilded Cage’ curated event – Kristina is set to drench us all in her misery next April.

NGHTCRWLR
NGHTCRWLR is yet another vehicle for the creative impulses of Kristina Esfandiari – only this one is yet to be fully unleashed on the world. As NGHTCRWLR, Kristina has already notched up plenty of live shows including a US stint with Boy Harsher and soon she will bringing the project to Roadburn. Combining elements of noise, ambience, trap and techno, the dizzying results are a pulsating mass of slithering audio missives.

CLOUD RAT
Cloud Rat’s vast discography is a testament to their prolific nature and excess of talent, ripping and spilling at the seams – an unending stream of audio abrasion busting to get out there in the world. If they’ve remained under your radar until now, then their most recent release, Pollinator, should – or rather will – be the album to change that. Unsurprisingly, Cloud Rat have caught the eye of Emma Ruth Rundle and in her position as one of our curators, she has invited the extraordinary trio to perform at Roadburn 2020.

ALSO ANNOUNCED…

RUSSIAN CIRCLES
It seems we have inadvertently set a five year pattern, and we’re thrilled to announce that bang on time, Russian Circles will return to Roadburn for the third time in 2020. If you, too, think you already know what to expect then we respectfully urge you to reconsider. The band comment:

“We’re happy to be invited back for a third performance at Roadburn. Not only is it an honor to be a part of such a meticulously curated festival, it’s a personal affirmation of the power of art and music, as seen in the bonding of artists and fans from all across the globe in the immersive experience of this special annual event.”

BRUTUS
Continuing a strong tradition of power trios, Brutus serve up equal parts intensity, emotion, melody and sheer musical chops. Residing just over the border in Belgium, we’re delighted that they’ll be making the short trip to join us in April to deliver all of those parts on a Roadburn stage.

“It’s an honour to be part of what we always thought was a true pioneering event. Year after year, Walter succeeds in bringing the most inspiring bands of the moment together. We’re not only going to try to play a great show, but we’re also looking forward to be inspired by the other artists, as individuals and as a band.”

WARHORSE
In 2018, tragedy struck as Warhorse guitarist Todd Laskowski sadly passed away, aged 46. The rest of the band reunited for a one-off performance to honour their fallen comrade, and also marking the 20th anniversary of the band. Drummer Mike Hubbard explained:

“What started as a one-off tribute to Todd’s passing has become so much more. After all these years, we never expected to get this sort of response to us playing live again. It’s really quite amazing. Breathing new life into these songs has reinvigorated us. Walter was an early supporter of the band, so playing his Roadburn Festival is like coming full circle, and it’s pretty emotional. We are extremely honoured to be invited to play, and we plan to make this performance something that we, and our fans, will never forget.”

HANTE.
A one-woman powerhouse of electronic might and pulsating energy, Hante. AKA Hélène de Thoury will be bringing her Parisian darkwave to Roadburn 2020. Nestling in well with the other electronic-based artists we have at Roadburn 2020, Hante. is still a distinctly enigmatic prospect; glacial, assured and compelling. De Thoury possesses an imperturbable composure as she delivers with what appears to be effortless cool.

RORCAL
Rorcal will bring their pitch black brand of sludgy, high impact post doom/metal/everything to our stage. Better yet, they will come bearing gifts, in the form of their brand new album, Muladona, which will be presented at Roadburn.

ALBER JUPITER
Heavily inspired by Chilean Krautrock-afficinados Föllakzoid, the beautifully acceding trajectory of their hallucinatory grooves, drenched in pulsating washes of delay and reverb, makes their debut full-length, We’re Just Floating In Space, such an intoxicating affair. No wonder that Alber Jupiter’s throbbing soundscapes will appeal to fans of Neu!, Can, Godspeed You! Black Emperor, as well as those of Dutch trance-rock legends 35007. Read more about Alber Jupiter.

DIE WILDE JAGD
Channeling the playful, experimental slant and electrical throb of retrofuturism with Krautrock intensity and genre-bending, ritualistic, dark textures, Germany’s Die Wilde Jagd is definitely a breath of fresh air within the currently somewhat stagnating and over-saturated psych scene.

DEAD NEANDERTHALS
Dead Neanderthals will celebrate their tenth anniversary in an extremely on-brand fashion during Roadburn 2020. They plan to mark the occasion with a collection of four celebratory performances including collaborations with Sly & The Family Drone, Scott Hedrick of Skeletonwitch and more.

ROADBURN 2020 TICKETS

Tickets to Roadburn 2020 will go on sale on Tuesday, September 24 – 8pm CEST, 7pm BST, 2pm EDT via Ticketmaster.nl or from 6pm at Sounds Tilburg. More information about tickets and accommodation options can be found HERE.

Already announced for Roadburn 2020 is: Emma Ruth Rundle and James Kent as curators, commissioned projects from James Kent & Johannes Persson, Jo Quail, and Vile Creature & Bismuth, the return of Julie Christmas, Boy Harsher, Acid Rooster, Bada, Dool, Health, Hide, She Past Away, and two Artists In Residence: Full of Hell and Lingua Ignota. Check the full line up HERE.

https://www.facebook.com/events/1081424195382564/
https://www.facebook.com/roadburnfestival/
http://www.instagram.com/roadburnfest
http://www.roadburn.com

Die Wilde Jagd, Uhrwald Orange (2018)