Posted in Whathaveyou on July 12th, 2021 by JJ Koczan
This is its own excuse for being, as far as I’m concerned. I was fortunate enough to be in the room for day three of Roadburn Festival 2017 when long-gone UK doomers Warning made a return to perform their 2006 album, Watching From a Distance, in its entirety. It was heavy — even more so emotionally than tonally or in a sense of “doom” as a heavy genre. It was a heavy experience. Patrick Walker had a singularly depressive charisma from the stage, and I’m not sure I’ve seen someone before or since so willing to put himself completely into a performance. Or if he wasn’t, he’s easily the best at selling it that I’ve ever seen, and either way, it was a striking performance.
Cappio Records, run by Roadburn‘s own Becky Laverty, will oversee the release of Watching From a Distance – Live at Roadburn on Sept. 24 as a limited 2LP. Preorders start tomorrow and I’d be surprised if copies lasted much longer than that. If you’re on the fence, come on down.
Info and links follow:
Warning: Watching from a Distance – Live at Roadburn
Cappio Records is creaking back into life to issue the label’s first physical release: Warning – Watching from a Distance – Live at Roadburn.
Recorded live in 2017 at Roadburn Festival in The Netherlands, this live album captures the return of this legendary doom band after an extended hiatus.
Recorded by Marcel van de Vondervoort and his team on site, audio was mixed by Chris Fullard, and mastered by Michael Lawrence at Bladud Flies!. The double gatefold vinyl features exclusively commissioned artwork by Finnish artist Tekla Vály, who has created photographic interpretations of all the studio album’s original sleeve artwork.
The pressing is limited to just 500 hand-numbered copies. It will be available in ‘blue steel’ and ‘sea foam green’ colour variants.
Pre-orders will go live on Tuesday, July 13 at 6pm.
Posted in Whathaveyou on November 27th, 2017 by JJ Koczan
Not that you needed it, but if you wanted further proof that Napalm Death could go just about anywhere on this silly planet of ours and find welcome, they’ve just been added to Desertfest London 2018. Fancy that. They’ll play the Old Empire stage, along with Winterfylleth, Warning and others. I’m curious to see as the festival continues to take shape, if the aesthetic expansion will keep on or if Napalm Death‘s pioneering grindcore will be a one-off. Certainly the stalwarts are no strangers to standing out in a crowd or on a bill, but maybe this is the year Desertfest gets metal? I don’t know. Could be interesting.
We live in a universe with many different kinds of heavy. In some ways it’s cool to see them getting all crossed up. That’s how new art happens.
From the PR wire:
Napalm Death to headline Old Empire Stage at DESERTFEST LONDON 2018 + more bands announced
DESERTFEST LONDON are thrilled to reveal the bands taking part in the festival’s annual Old Empire stage, that will be hosted on Friday 4th May at the Electric Ballroom in Camden.
Old Empire is now a household name in the London scene, working across an array of acts, venues and cities – we are stoked the heaviest crew, and our favorite drinking buddies, are back in the fold to bring us a stage with some of their most treasured bands! Taking place on the hallowed ground of the Electric Ballroom on May 4th, Old Empire gives you the lowdown below…
For the first time in DF history, Friday will see two headliners sprawled across town – with Swedish stalwarts GRAVEYARD making their long awaited return to London at the iconic Koko, we had to rustle up something of equal measure. An act we have wanted to book across the festival since our first year of involvement, it’s a true honour to announce that British trailblazers of the extreme NAPALM DEATH are the headline act for the OE ritual – their influence on the world of heavy music is undeniable and hard to truly fathom. Never one to disappoint live, a set of insanity is upon us.
Our second artist comes in a wave of God-like reverence to Old Empire, a master of his craft – Patrick Walkers’ WARNING will bring the Electric Ballroom to its knee’s. One of the most poignant and genuinely dark British doom bands of all time, ‘Watching from a Distance’ is a masterpiece of the highest order. Having reformed for Roadburn 2017, we are thrilled WARNING will be joining us in London – all should know and all should follow.
Next up is an act that needs little introduction to the world of Desertfest, and one who perfectly embody the spirit of the Empire – the mighty EYEHATEGOD make their long awaited return. A little bit heavy metal, a whole bunch of venom and buckets of dirty groove – we’re all well aware of the party that ensues when these NOLA legends hit the stage, so it felt about damn time to bring ‘em back!
Another familiar face to the London scene comes in the form of WINTERFYLLETH. Hitting the Old Empire spectrum back in 2011, the Mancunian quartet have since consistently impressed with their unique and anthemic take on black metal. Helping to round of proceedings is FIVE THE HIEROPHANT, whose dark jazz soundscapes and eclectically heavy, yet perfectly refined, mix of sounds will make the live debut at Desertfest 2018. Alongside newbies to the scene ACDX – equal parts Isis, Hawkwind and Opeth. The dictionary definition of this Essex group would simply say, ‘indefinable’.
Old Empire & Desertfest are beyond excited to be brothers in arms once again; we hope our assorted and all-embracing heavy picks have hit the palette in the most satisfying and exciting of ways.
Desertfest London 2018 4th-6th May in Camden Town, London 3-day pass (£115) now on sale AT THIS LOCATION
Our special split payment plan is available until December 12th! Pay half of your ticket now and the other half in January. Find more info HERE.
Posted in audiObelisk on September 15th, 2017 by JJ Koczan
It’s been tradition around these parts for I don’t even know how long to post the annual audio streams as they come out from each Roadburn, and I hope the case will be no different as we move further away from Roadburn 2017 this past April in Tilburg, the Netherlands, and inexorably toward the first announcements for Roadburn 2018 to come. This process — the posting — used to require a slew of links and media players, which I actually kind of liked because it allowed for emphasis on just how much material there was emerging from the festival, how much work Marcel van de Vondervoort and his team put into the recording and mixing of these sets for all the bands, and so on.
Well, it’s the future now — or I guess it was the future like five years ago? I may have missed when it actually became the future; whatever — and we apparently don’t even need to have 22 different media players to post 22 different streams from Roadburn 2017. We need one. Netherlands-based media company 3voor12, which has always hosted the sets, brings forth a mega-batch today featuring the likes of (alphabetically) Atala, Author and Punisher, Bongzilla, Carpenter Brut, Casual Nun, Cobalt, Disfear, Forn, GNOD, Inter Arma, Joy, Les Discrets, Nadra, Pontiak, Serpent Venom, Slomatics, Temple ov BBV, Trans Am, Ultha, Valborg, Warning and Wolvennest.
Not inconsiderable. It’s been mere hours since Slomatics‘ Futurians: Live at Roadburn was reviewed here, but I also had occasion to see Warning (pictured above), Joy, Les Discrets, Atala, Valborg and others on that list, and I can attest to their being a joy to behold. Part of the fun of these streams is also getting some sense of what you missed at Roadburn due to making the inevitable hard choice of a schedule conflict, so I guess this is my shot at hearing what Bongzilla got up to during their time on stage. If you need me I’ll be doing that.
Hope you enjoy as well:
Thanks as always to Walter for sending the embed my way. For all this site’s Roadburn 2017 coverage, click here.
Posted in Whathaveyou on July 21st, 2017 by JJ Koczan
After playing the album in full earlier this year at Roadburn 2017 in the Netherlands and very nearly doing so again last month at Northwest Terror Fest in Seattle, UK doomers Warning will hit the US next month to perform 2006’s landmark Watching from a Distance in its entirety at Psycho Las Vegas and at a one-off show alongside Conan in San Diego. Not only that, but as previously announced, the three-piece will be back Stateside in Oct. to take part in the inaugural Days of Darkness Festival put on by the Maryland Deathfest crew in Baltimore, MD.
So what’s new? What’s new is the tour surrounding that latter performance, which will include support from the likes of The Body, Worm Ouroboros and Thou — nothing against the other two, but I’d love to see Warning and Worm Ouroboros together — and lead up and through the Baltimore festival gig. They’ll hit both coasts in short order on a major-market run that also includes Austin, Chicago and New York before wrapping on Halloween at the ONCE Ballroom in Somerville, Massachusetts. Not sure who’s opening that one, but it’s sure to be a drunken madhouse, as Boston always is on Halloween. Go Sox and whatnot.
Dates posted via the social medias follow here:
Warning – Watching from a Distance US Tour
We’re happy to at last be able to announce our October US Tour dates. We’ve done our best to find replacements for the cancelled shows from last month and we’re still hoping to bring you an LA date. Thanks for your patience and we hope to see you along the way.
Warning live: 08/20 Psycho Las Vegas, Las Vegas, NV 08/22 Brick by Brick, San Diego, CA
Warning with support from The Body, Thou and Worm Ouroboros: 10/15 Seattle: Highline^ 10/17 Portland: Tonic Lounge^ 10/18 San Francisco: DNA Lounge^ 10/20 Phoenix: Club Red^# 10/22 Austin: Barracuda# 10/26 Chicago: Reggies# 10/28 New York: Le Poisson Rouge# 10/29 Baltimore: Days Of Darkness Festival 10/31 Boston: ONCE Ballroom
^=support from The Body #=support from Thou 10/15-10/20 = support from Worm Ouroboros
Posted in Features, Reviews on April 22nd, 2017 by JJ Koczan
04.22.17 — 22.23 — Sat. night — Hotel room
I don’t mind telling you I was a total wreck this morning. There we were, finishing up the third issue of Weirdo Canyon Dispatch (get the PDF here), and holy macaroni, I just couldn’t hack it. I’d gone to sleep at a semi-reasonable time, circa 2AM — which is pretty good, considering — but woke up at around three and was up past 4:30. Just up. Brutally, brutally awake. I could’ve cried.
Instead, I put my head down on the desk in the 013 office while we waited for the test-print of today’s ‘zine and was granted a generous reprieve from the folding process that followed. I folded three copies of today’s WCD: my own. After that, I made the most of my special dispensation and high-tailed it back to the hotel to sleep for another two and a half hours, at the end of which time I pounded water, a protein bar and ibuprofen and it was enough to temporarily trick my body into believing it was human. This weekend has been pure madness, and there’s one day yet to go.
By the time I got back to the 013, I knew I’d missed my chance to hit the photo pit for day-openers The Bug vs. Dylan Carlson of Earth, the somewhat cumbersomely-named collaboration between, well, The Bug and Dylan Carlson, but I still had plenty of opportunity to be assaulted by their combined volume of drone and beats, soundscapes thick enough to swim through and handed out with enough force to vibrate the plugs in my ears and the teeth in my skull. Really. I think I lost a filling. They were very, very loud.
Two experimentalists like that working together, even as a one-off, carried an air of being something special to start the day, and so it was. The Bug‘s rig, flanked on either side by bass cabinets with two more laid down in front in such a manner as to make Carlson half-stack look positively minimalist in comparison, shook the upstairs balcony where I set up shop for the duration, and the clear impression that came through was that although they used different means of expression — Carlson with his guitar, The Bug with his laptop and mixing board — their work together was way less of a “vs.”-type situation than the name led one to believe. They were very definitely on the same side, but while they played, spotlights slowly hovered over Main Stage crowd, feeding the air of suspicion and paranoia in such a way that was eerily appropriate for what they were doing.
Speaking of collaborations, over at the Patronaat, Razors in the Night — AKA John Dyer Baizley of Baroness and Scott Kelly of Neurosis playing oldschool punk and hardcore covers — were just getting started. I stayed put in the big room, however, because I knew I didn’t want to miss a second of Oranssi Pazuzu. The Finnish progressive/psychedelic black metallers have been an increasingly steady presence at Roadburn over the last five years, and after their own slots at the church, they managed to pack out the Main Stage to an admirable degree. People stood outside the open doors for not the last time today in order to catch a glimpse of their malevolent, ultra-deep swirl.
As immersive as it was dark, I couldn’t argue. Oranssi Pazuzu, who released their fourth album, Värähtelijä (review here), in 2016, may have conjured the finest blackened psychedelia I’ve ever seen. It was so much of both, so chaotic and yet purposeful, that to consider it anything less than the work of masters would be completely underselling it. When I was done taking photos, I went out into the hallway to walk around to the other side of the room and I couldn’t believe it was still daytime. And more over, the sun had come out! Something so cosmically abysmal just seemed like it should be swallowing any and all light around it, but so it goes. Stately and ferocious, they cast their waves of of bleakness over a sea of nodding heads, and after years of missing them here, I was finally glad to have been clued in, even if I seemed to be the last one in the entire Main Stage space to have caught on. Which I probably was, because that’s the kind of hip I am. Which is to say, not at all.
Maybe it was partially a case of going easy on myself, but I once again didn’t budge from the Main Stage following the conclusion of Oranssi Pazuzu. Today was minimal back and forth, actually, which suited me just fine after two busy days of Roadburn 2017 bouncing from this venue to that one. I’d hit the Green Room twice before my evening was over, but was at the 013 the whole day, which after all the Extase and Het Patronaat yesterday almost made me feel insecure and restless — “Don’t you have somewhere you need to be, sir? Oh yeah, here,” and so on. Sometimes this festival plays tricks on your mind.
My reasoning in staying put was more than justified, though, with Warning coming on to play 2006’s Watching from a Distance in its entirety. I knew some of what to expect from a Patrick Walker performance after seeing him front 40 Watt Sun here in 2012, but of course Warning brought a presence all their own in addition to his melancholic emotionalism. They struck a hard balance between sonic weight and sheer heft-of-sadness, and yet as morose as they were, and as understated as their aura was on stage, they were never anything but engaging. Rare band, rare album, rare set. This Roadburn has had its share of special moments, and Warning fit that bill as well. There was something empowering about them, or at least validating, and as deep into their own headspace as they went, they never seemed to get lost there.
It’s not often you see a band play a full album and then want to go and put on that album directly afterward, but Warning doing Watching from a Distance had that effect. I can’t claim to know the record inside and out, but I felt fortunate to have had the chance to see the band bring it to life, which much to their credit, they did without losing the heart-wrenching resonance of the studio versions of the material.
Next door in the Green Room, the focus would soon be about an entirely different kind of crushing execution, as Belfast dual-guitar three-piece Slomatics made ready to take the stage. I got there about 20 minutes before they went on and was still too late to get a spot right up front. Should’ve figured. I’d heard people talking about how stoked they were to see them, and after being lucky enough to see them in Norway last September at Høstsabbat (review here), I also knew they weren’t to be missed. My timing being what it was, I still got there to see Jon Davis from Conan soundcheck the guest vocals he’d provide for closer “March of the 1,000 Volt Ghost,” and it was good to know that was coming.
Davis also released Slomatics‘ fucking excellent 2016 album, Future Echo Returns (review here), on his Black Bow Records imprint, so all the better to have him there alongside guitarists Chris Couzens and David Majury as well as drummer/vocalist Marty Harvey, who even before Davis showed up stomped out the most pummeling tones I’ve heard over the course of the last three days. “Electric Breath,” “Return to Kraken,” “And Yet it Moves,” “Supernothing” — this is the stuff of lumbering, rolling, molten doom supremacy, and as they’re five records deep into a tenure that one hopes continues into perpetuity, Slomatics know how to wield these weapons to glorious effect. I felt like I was going to pass out and ran downstairs to hammer down a quick dinner — chicken in some kind of tomato-based sauce with green and red peppers, jalapenos and cheese over lettuce; two plates in about five minutes — and was back in the Green Room in time to catch Davis‘ guest spot from the side of the stage and jump up to take a picture of the band when they were done playing. I never do that kind of thing, but Slomatics were nothing if not an occasion worth savoring.
Shit would only get more doomed from there. Like I said yesterday, everyone here makes their own Roadburn, and I knew how I wanted my night to go. I wanted it to go doom. That meant hanging out in the Green Room more for Ahab, which I was more than happy to do. The nautically-themed German funeral doomers were not a band I ever really expected to be able to see, and knowing how packed it got for Slomatics, I assumed much the same would ensue. I was right. Ahab probably could’ve filled the Patronaat if the press of the crowd behind me half an hour before they even went on was anything to go by, but as it was they beat the Green Room into submission with their guttural, ultra-slow lurch and churning devastation.
It was by no means the same kind of grind that Memoriam were doling out on the Main Stage, but watching Ahab play was like witnessing the giant, five-foot-thick gears of some industrial revolution shipyard turning the assembled audience into powder. The very means of production brought to bear on all of our caved-in skulls. Yes, they were hyperbole-level heavy. Unremittingly so, and to a claustrophobic degree. I don’t know if it was during “Old Thunder” or “To Mourn Job,” but there was a point at which I had to remind myself that I’d actively wanted to be so brutally overwhelmed and so overwhelmed by brutality. Did that make the effect any less punishing? Not in the slightest, but thanks for asking.
There was only one place left to go to continue my downer trajectory: back to the Main Stage for My Dying Bride. Having the UK doom legends play 1993’s Turn Loose the Swans in full made an awful lot of sense after special sets in 2016 from Paradise Lost and in 2015 from Anathema and Fields of the Nephilim — I’m keeping my fingers crossed for Katatonia in 2018; never seen them and they’d seem to be next in line, despite not being British — and the drama unfolded early as frontman Aaron Stainthorpe hit the stage with violinist/keyboardist Shaun Macgowan for “Sear Me MCMXCIII.” Soon enough, founding guitarists Andrew Craighan and Calvin Robertshaw, bassist Lena Abé and drummer Shaun Taylor-Steels would join, and the full fray would be unleashed. Chances are I don’t need to tell you how influential My Dying Bride have been on the trajectory of the last two decades of doom, but suffice it to say I’m not sure I could’ve found a darker way to round out myRoadburn 2017 Saturday night than to watch them deliver that level of scathe with that level of professionalism.
And no, I’m not just saying that because Stainthorpe wore a tie. With animation by Costin Chioreanu behind them, My Dying Bride were the consummate headliners. Mysticum were still to follow on the Main Stage with a production I’d caught in soundcheck earlier in the day that was probably the most elaborate I’ve ever seen in the 013 venue, but for me, My Dying Bride marked a culmination of what I wanted the evening to be, and so I knew my night was done. There’s always more to see at Roadburn. Always something you don’t get to. Always someone who, years down the road, you wonder, “What the hell was I doing that I missed that?” but sometimes when you’re in Tilburg, you’ve crafted your experience in such a way that makes sense at the time, and that was me tonight. Would’ve been hard pressed to find anything to top My Dying Bride anyway.
One day left in Roadburn 2017, which is something I know to be true because I only have two protein bars remaining — one for before the show, one for after. Tomorrow’s another early start to fold Weirdo Canyon Dispatch issues, so I’ll leave it there once again and say thank you for reading and if you’re so inclined, you can check out more pics after the jump.
Posted in Whathaveyou on March 9th, 2017 by JJ Koczan
The first lineup announcement for the inaugural Days of Darkness festival came through last month and brought with it confirmation that the autumnal two-dayer presented by the crew behind the Maryland Deathfest wasn’t screwing around either on scale — Neurosis headlining — or in scope, bring on board multi-genre acts from across a swath of underground styles. Well, the lineup is now complete. Om join Neurosis as headliners, and Cirith Ungol act as classic metal counterpart to the previously-announced Manilla Road near the top of the bill. Sizable additions like Captain Beyond, and Boris join the likes of Warning, Dälek and Elder — whose new album will be out by then — and Bongripper and Unearthly Trance find further tonal-onslaught companionship with word that Cavity will take part. All in all it looks like a pretty fucking good show.
Tickets are on sale now, and though they might not go before Maryland Deathfest proper, held in May as ever, I would be surprised if there were any left by the time Oct. 28 and 29 gets here. I’d think Neurosis or Om could probably sell out Rams Head on their own, never mind with the stellar support cast they’re both given across the Saturday and Sunday event. Bringing in Om has me wondering if maybe they’ll have a new record release coming up — that’s a long trip to the East Coast — but that might just be wishful thinking on my part. Either way, they’ll of course find welcome once they hit the stage, because they’re Om, and only jerks don’t like Om. That’s science. It’s proven.
Here’s the poster and the lineup as posted by the fest, as well as the link to get tickets:
Maryland Deathfest presents: Days of Darkness Festival
October 28 & 29, 2017
@ Rams Head Live, Baltimore, MD
Saturday, October 28th: Neurosis Manilla Road Captain Beyond Perturbator Elder Cavity Dance with the Dead Dälek Computer Magic Crypt Sermon Alms
Sunday, October 29th: Om Cirith Ungol Warning Boris GosT Unearthly Trance Le Matos Bongripper Magic Sword Night Demon Asthma Castle
Posted in Whathaveyou on February 10th, 2017 by JJ Koczan
Expand or die, right? Certainly the idea isn’t a new one for the crew behind the famed Maryland Deathfest, which already has brand extensions in place in California and the Netherlands, but the newly-announced Days of Darkness Festival — for which early-bird tickets are on sale circa now — feels immediately different. Set for late October at the Rams Head Live, for one thing, it takes place in Baltimore, the home-base of the Maryland Deathfest itself. Second, it abandons the “Deathfest” title, in favor of the less genre-adherent “Darkness.” Third, its lineup seems way more of the doomed/post-metal/psychedelic/classic metal variety than any of the extremity one might find at the other Deathfest-promoted fests. These things make Days of Darkness 2017 distinct. The fact that Neurosis headline and Warning will appear playing Watching from a Distance in its entirety — something they’re also doing at Roadburn this April — means they mean business.
Compared to the core Maryland Deathfest, which runs four days at this point, the two for Days of Darkness feels a bit like testing the waters, and indeed that may be exactly what’s happening, but while a number of heavy festivals have popped up and disappeared after one shot — whither thou, Planet Caravan? — far fewer have the kind of production machine behind them as this one. Accordingly, one looks forward with great anticipation to seeing how Days of Darkness 2017 continues to develop its lineup and set itself apart not only from the central Deathfest brand, but also the slew of heavy fests in what seems to still be a surging US sphere.
More to come, in other words. Here’s the initial word in the meantime:
Maryland Deathfest presents: Days of Darkness Festival
October 28 & 29, 2017 @ Rams Head Live – Baltimore, MD
Lineup: Neurosis Warning (Watching from a Distance set) Manilla Road Elder GosT Unearthly Trance Dälek Bongripper
Posted in Whathaveyou on October 5th, 2016 by JJ Koczan
So, uh, 2017 over. Roadburn wins.
The Netherlands-based festival comes out of the gate with its first announcements for Roadburn 2017 and immediately proves why it’s like nothing else happening on this poor pitiful planet we happen to occupy. To bring Coven back to the stage for the first time in untold decades and for their first European show ever? Come on. I don’t care where you live, that’s worth getting on a plane for.
But of course, this is just the start of announcement season for Roadburn 2017. Over the next several months, in addition to these revelations that John Dyer Baizley of Baroness will curate and Baroness will perform as a part of that, that Warning will show up to play Watching from a Distance in full, that Gnod will be artists-in-residence and that Oranssi Pazuzu, Les Discrets, Pillorian, Perturbator, Schammasch and Zeal & Ardor will also play, Roadburn 2017 will spend the next several months unfolding its unparalleled creative progression as an event. Expect once-in-a-lifetime sets — see the ultra-pivotal cult rock progenitors named above — and an amazing and diverse roster of acts such that, by the time they’re done, the biggest complaint people will have is that there are too many incredible things to see that it’s impossible to do it all in the five days between the Hard Rock Hideout on Wednesday and the Afterburner on Sunday. Tough times, to be sure.
Enter Roadburn 2017. Mind already blown:
Roadburn 2017: A Coven, a comeback, a curator and more
COVEN will play their first show in decades, and for the first time ever on European soil.
Jinx Dawson quote: “Roadburn Festival’s intrepid ring master, Walter, hath stirred us from our Coven lair. We shall be performing a musickal ritual for the first time in many ages. We are wickedly delighted to travel to the Netherlands for this very special festival concert, and to bring our musickal form of Witchcraft once again to the live stage.”
JOHN DYER BAIZLEY will curate Roadburn 2017 – the main stage on Friday 21 April, and Het Patronaat on Saturday 22 April. BARONESS will perform on the Friday night as part of his curated event.
John said: “It is such a high honor to have even been considered for the role; I feel genuinely privileged to have fostered so many wonderful relationships within the microcosmic-world that surrounds this incredibly unique festival. Without revealing anything too specific concerning the lineup, I can confidently say that the groundwork that Walter and I have laid in the preceding months is staggering, both in it’s scope and it’s diversity. I could never have dreamed that I’d get to communicate with, let alone invite and present so many incredible bands during this one consolidated musical event. I am proud to have the opportunity to showcase so many of those artists, who have had an indelible impact on my own work, so many esteemed friends and tour-mates, and people/ bands with whom so many in our community share fundamental creative ideals.” http://wp.me/p1m0FP-aKb
WARNING will perform Watching from a Distance in its entirety at Roadburn 2017. Please write the album title as here!
Quote from Patrick Walker: “I am humbled that there is still an interest in Watching from a Distance all these years on, and I’m going to be very moved to be able to play it for an audience at Roadburn 2017.”
GNOD will be Roadburn 2017’s artist in residence, which means they will perform four times throughout the festival. This will mark their tenth anniversary as a band. http://wp.me/p1m0FP-aJH
ZEAL & ARDOR will perform on Friday, April 21 at Het Patronaat –http://wp.me/p1m0FP-aJQ PERTURBATOR will perform Friday, April 21 at Het Patronaat –http://wp. me/p1m0FP-aK8 SCHAMMASCH will perform on Friday, April 21 at Het Patronaat –http://wp.me/p1m0FP-aJT PILLORIAN will perform on Sunday, April 23 at the 013 venue –http://wp.me/p1m0FP-aK2 LES DISCRETS will perform on Sunday, April 23 at the 013 venue –http://wp.me/p1m0FP-aK4 ORANSSI PAZUZU will perform on Saturday, April 22 at the 013 venue –http://wp.me/p1m0FP-aK6– OP played Roadburn 2016 but a lot of people missed out on them as they played at Het Patonaat and we were overwhelmed by the number of people who wanted to see them. So this time around they will play the MainStage so everybody gets to see them!
