Posted in Bootleg Theater on January 28th, 2019 by JJ Koczan
For those who think desert rock has to come from a desert, let alone any specific desert, Boston’s Sundrifter would stand in ready contradiction to such geographic prejudice. The trio issued Visitations (review here), through Small Stone Records last year as their label debut and second album overall, and its atmosphere, combination of laid-back roll, weighted tones and melodies — read: fuzz, fuzz, fuzz — situate it well within the parameters of a desert style. Shit, they’ve got desert rock in Finland. You can’t tell me it can’t come from the East Coast.
That said, one of the most fascinating aspects of Sundrifter‘s Visitations, which earns a revisit with the band’s new video for opening track “Sons of Belial,” is the band’s defiance of their climate. I’m not just talking about miserable Boston weather — though people in the area do, at length, as though they’re continually surprised by it — but also the greater Northeastern tendency toward an intensity of delivery. Visitations has its moments of push, as in “Lightworker” or parts of “Targeted,” which follows on side A, but even these are carried out with a sense of melody and serenity behind them, and at their most forward-directed, Sundrifter owe far more to Queens of the Stone Age than even to their Beantown forebears in Roadsaw. Coupled with the sense of atmosphere manifest from guitarist/vocalist Craig Peura, bassist Paul Gaughran and drummer Patrick Queenan, that mellow-ish overarching vibe does much to enrich the listening experience overall. It’s not that they’re lacking energy, they’re just not using that energy to shout shit at you from a moving vehicle.
They’ve reportedly started writing new material, which is plenty nifty, but Sundrifter will head out of New England as well as 2019 gets underway, hitting up SXSW in Austin, Texas, this March to play Small Stone‘s return showcase, dubbed ‘The Finest in Fuzz,’ alongside Tia Carrera, Dwellers, Irata, La Chinga and The Cold Stares. I have no doubt they’ll be made to feel duly welcome in that environment, even as they convey one so seemingly disparate from that which they left behind. More shows are reportedly to be added this Spring, so stay tuned.
And of course you can enjoy “Sons of Belial” on the player below, followed by more info from the PR wire.
Dig:
Sundrifter, “Sons of Belial” official video
“Sons Of Belial” [is] the latest video from New England-based desert rock trio SUNDRIFTER. The track comes by way of the band’s Visitations full-length released via Small Stone last fall.
Notes the band of the fittingly trippy performance clip, “The video for ‘Sons Of Belial’ was filmed at Futura Productions in Roslindale, Massachusetts. The space used to be an old Masonic Temple later converted into an orchestral recording studio. We have been fortunate enough to be able to use the space for tracking both our albums Visitations and Not Coming Back. The space has a certain feel and most importantly an incredible live sound for drums/ For the video, we wanted to glow the entire room red, similar to our live shows. The red glow can put us in a certain state of mind, and it creates an atmosphere which allows a complete experience for the audience. We strive to create imagery through song writing and set certain vibes for the listener and this video for ‘Sons Of Belial’ tries to capture that experience.”
In related news, SUNDRIFTER will play Small Stone’s special SXSW showcase this March alongside Tia Carrera, Irata, La Chinga, Dwellers, and The Cold Stares with additional live performances to be announced in the coming weeks.
SUNDRIFTER: 3/13/2019 Small Stone SXSW Showcase @ Lamberts – Austin, TX
Posted in Whathaveyou on January 28th, 2019 by JJ Koczan
Taking their moniker from the first track on the debut album from Uncle Acid and the Deadbeats, Raleigh, North Carolina’s Crystal Spiders have unveiled their aptly-titled Demo ahead of making their first live appearance on Feb. 7 in their hometown. The release is comprised of three cuts giving three distinct looks at the trio as they move from the rolling doom rock and layered harmonies of “Tigerlily” through the rougher-edged thrust of “Flamethrower” with a classic metal riff careening through its sub-two-minute runtime, and into the catchy cultistry of “Devil’s Resolve,” on which bassist Brenna Leath — also of Ripple-signed heavy rockers Lightning Born — steps back from lead vocals to allow a shift to sludgy shouts ahead of a delve into the riff from Electric Wizard‘s “Witchcult Today” repurposed as the bed for an impressive solo from Mike Deloatch, backed by the swing of Tradd Yancey, who wins at names, outright.
It’s 11 minutes of material and does exactly what something called Demo should do: it lets the band get their feet under them and gives anyone listening fodder for future interest. Certainly with such variety over a relatively short period of time and the fact that the band has been together less than a full year, it’s probably safe to say they’re trying things out, but in so doing, they nonetheless give an encouraging look at their songwriting modus as well as some killer performances. If I was gonna be at the gig, I’d show up early. That’s all I’m saying.
Info and whatnot came down the PR wire, but the real point here is the stream, which you’ll find at the bottom of the post. So have at it:
Crystal Spiders – Demo
Formed by a punk rock kid, a crazed rock and roller, and later joined by a doom veteran, Crystal Spiders are rising from Raleigh, unleashing dynamic and powerful sounds speaking to the fundamental power of fuzz rock. Inspired by a slew of acts ranging from the Melvins and Kyuss to Fu Manchu, these scene veterans are tried and true worshipers of the riff. Featuring members of local favorites such as Lightning Born, Mind Dweller and Thirsty Curses, Crystal Spiders’ diverse mix of influences makes for music that separates them from the stoner rock rat race.
Brought together by a love of vintage gear, nasty licks, and ratty pedals, Crystal Spiders revel in the waves of volume commanded by their roaring amps. Frontwoman Brenna Leath’s dynamic voice soars above it all, guiding listeners from peak to sonic peak and fascinating the palate with her powerful delivery. She is perfectly complemented by her bandmate’s heavy vocals, joined by the roaring guitars of Mike Deloatch and the high-powered drums of Tradd Yancey. The legendary Raleigh rock scene has been a band breeding ground for years now, but rarely has something emerged from the crypt with the same passion and drive of this fuzz-possessed crew.
Reeking of smoke and drenched in distortion, their demo has just been self-released in January of 2019 and is guaranteed to reap minds and destroy souls, foreshadowing a debut album that will make waves in heavy circles. Excited for the opportunities to come, Leath says, “You know you’re doing something right when you look down at the speedometer and you’re doing 20 miles over with no idea of how you got there. 1-part vintage gear, 1-part doom, a dash of punk and a sprinkle of germanium. That’s how.”
All songs written and recorded by Crystal Spiders (Mike Deloatch, Brenna Leath, Tradd Yancey). Mixed and mastered by Jim Griffin, Shadetree Studios, Raleigh, NC. Art by Tyler Pennington. Layout by Alex Traboulsi.
Posted in Whathaveyou on January 28th, 2019 by JJ Koczan
Not trying to be telling tales or anything, but I can’t be the only one who’s noticed that Louisiana’s Shadow Giant sign to Argonauta Records pretty recently behind New York’s Shadow Witch. Now, they’re totally different bands, with Shadow Giant dug into a bluesy workingman’s heavy rock and roll and Shadow Witch offering some more ethereal vibe to go with their own thick-toned riffery, but I mean, you’ve got two Shadow bands signed in rapid succession. Seems to me you’ve got the makings there of one shadowy-as-hell tour. Or maybe the US will finally get its own Argonauta Fest. Label head Gero Lucisano has to have enough American acts at this point to make that happen. If not, I’m sure there are one or two left looking for a deal. Ha.
Kudos to Shadow Giant on the signing, either way, and in joining the good company of Argonauta‘s ever-expanding roster, both with Shadow Witch and a ton of others domestic and international. The four-piece will reportedly have a new album out this year to follow-up 2017’s Honkytonk on the Moon, which you can stream below.
From Argonauta via the PR wire:
Shadow Giant – NEW DEAL!
We are proud to welcome a new member to our family and high class artist roster, as psychedelic doom blues rockers SHADOW GIANT have inked a worldwide deal with us!
Formed in 2015 in the greasy kitchen of a southern Louisiana bar & grill, SHADOW GIANT is a band to be experienced. It might be accurate to categorize them as a “stoner rock” band, but that description is too flat and one-dimensional.
Their skill as a band, and the individual contribution of each member creates not only a cohesive whole but also a collective emotion that transcends the genre completely. Their energy and emotional authenticity of their work makes you hover a bit with excitement. They have all of the best qualities of the modern bands like Kyuss, Fu Manchu and Clutch, but they also seem to recall a mystical allegiance to 70’s southern bluesy rockers such as The Allman Brothers and Golden Earring while exuding the sexy swagger of glam rockers like T-Rex.
SHADOW GIANT released their critically acclaimed debut album ‘Honkytonk On The Moon’ on Graven Earth Records in 2017, and will be following up with their anticipated, sophomore album on Argonauta Records during 2019.
Shadow Giant is: J. Harrison-Guitar/Vocals David Carroll-Drums Byron Daniel-Guitar/Vocals Tim Weaver-Bass
Posted in Bootleg Theater on January 25th, 2019 by JJ Koczan
If Nietzsche went beyond good and evil, then surely Fatso Jetson exist beyond weird and normal. They’re often credited as one of the principal founding acts of desert rock, and fair enough, but they’ve also always held a spot on a wavelength of their own, no less comfortable in strains of bizarre prog, manic surf-jazz or punk than in floor-of-hot-coals boogie. Their third album, Toasted, was recorded in 1998 for release through Bong Load Custom Records and was their first outing not to be issued by SST, whose founder Greg Ginn (also Black Flag), as legend has it, signed them on the strength of their first show for their 1995 debut, Stinky Little Gods and its 1997 follow-up, Power of Three. The latter title sums up an essential component of Fatso Jetson‘s strength, as it’s the power of the players involved in the band that’s always made them so head-spinningly good. Others have come and gone over time including family and friends, but the core trio of guitarist/vocalist Mario Lalli (also Yawning Man), bassist Larry Lalli and drummer Tony Tornay (now also of All Souls) has remained at the foundation of Fatso Jetson for the last quarter-century, and they remain an act unto themselves in style and substance alike.
Plenty of bands talk about being open in terms of creativity. Anything goes. Far fewer actually bring that to life in their output, but listening to Fatso Jetson immediately separate wheat from chaff in their listenership as Toasted opener “New Age Android” turns to biting freakout robot sounds on (I think) guitar, or the subsequent swinger “Magma” and the maddening multi-layered solo that would round out if they weren’t actually in control enough to turn back to the chorus at the end, the band make it plain right away that their scope isn’t one to be limited. Not that they’re inconsistent — Toasted, which was produced by the band with Chris Goss of Masters of Reality, flows easily from one song to the next — but that there’s a naturalistic component to what they do and the instrumental chemistry so much on display between the Lalli cousins and Tornay is a key uniting factor in their craft. Through the weighted garage thrust of “I’ve Got the Shame” and into the instrumental “She’s So Borg” that seems to complement “New Age Android” — the lyrics of which could be argued as prescient of the rise of mobile social media culture; self-as-product and all that — Fatso Jetson go where they want to go and have the means to get there, but even the fact that “She’s So Borg” is in conversation with the opener, without actually including words, while hinting toward it in the titles demonstrates just how conscious the band were at the time of what they were doing. Fatso Jetson always had a master plan, it was just on a wavelength all its own.
At their most frenetic, they are blindingly intense, and even when they lock into a groove as on “Swollen Offering,” they have the ability to utterly blindside their audience with changes. Toasted skronks out with some spoken word in the second half of “Swollen Offering” and pushes into full-on what-the-fuckery before the instrumental “Tutta Dorma” presents a bit of chill, which of course is a setup for “Rail Job” to sprint through its sub-two-minutes with maximum drive, leading to the mid-paced semi-stomp-into-psychedelia of “Procrastination Process” and the return to fits and starts of the instrumental finale “Too Many Skulls.” It’s a side B dense enough to be an entire full-length for most bands, but Fatso Jetson emerge, sweaty perhaps, but otherwise unscathed, and seem to look around after “Too Many Skulls” crashes into its finish and ask, “Okay, so what’ve you got for that?”
That’s pretty much the challenge Fatso Jetson are putting out there, especially in their earlier work — the first three records. Here’s who we are, what’ve you got for it? Though they did plenty of them along the way — including, in this era, with Fu Manchu, The Bloodshot and Fireball Ministry — they do not sound like a band with whom one would want to release a split, because contrary to the narrative of the laid back ideal of desert rock, Fatso Jetson are right in your face, and Toasted has a confrontational aspect to the music that’s unmistakable in its intent. Think of jazz soloists trying to outdo one another, and that might be Fatso Jetson on a bill with whoever. And as amorphous as it is, their style has always been recognizable, and no matter where they’ve taken it, they’ve done so with that core chemistry and no shortage of rough-hewn class that, even in their most willfully abrasive moments, serves as another crucial uniting factor. Plus, man, fuckin’ Tony Tornay on drums? God damn.
After recording Toasted, Fatso Jetson released Flames for All on Man’s Ruin Records in 1999 and Cruel and Delicious on Rekords Rekords (an imprint belonging to Josh Homme of Queens of the Stone Age) in 2001. They’d put out Live in 2007, but it wasn’t until 2010’s Archaic Volumes (review here) that they had another studio album, and though splits followed with Yawning Man, Herba Mate (review here) and Farflung (review here), and Toasted saw reissue in 2012, their next full-length was 2016’s Idle Hands (review here) on Heavy Psych Sounds. They’ve grown to meld psychedelic impulses and astro-jazz into their whatever-the-hell-they-want-to-do maturity of craft, and the last album found them bringing in Dino von Lalli (son to Mario; also of BigPig) on guitar to round out a four-piece lineup. As Mario Lalli splits time with Yawning Man and Tornay hit the road last year with All Souls, Fatso Jetson have been playing here and there but largely quiet since a late-2016 split with del-Toros (discussed here) in terms of studio work. I wouldn’t call them dormant, since they’ve toured regularly, but there’s been little word of new material kicked around and it may be a few years yet before they get another record together. Or it might be next month. 25 years later, who dare to predict Fatso Jetson?
Thanks for reading, and as always, I hope you enjoy.
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I have some cool stuff coming up next week — track premieres for Green Lung and Straytones and a video from Doctor Sax — but there’s other stuff I can’t talk about yet too, so you’ll hopefully indulge me if I don’t do proper notes this week. Keeping secrets, I guess. Not that anyone’s waiting with bated breath to know what I’ll be writing about, but please take my word for it when I say it’s going to be fun. I’m looking forward to it.
On Monday morning, The Patient Mrs., The Pecan and I hightailed it out of New Jersey. There was supposed to be a snowstorm that would’ve maybe kept us there an extra day — I wouldn’t have complained — but it dusted, and then was cold, and that was it. Don’t get me wrong, it was pain-in-the-ass cold, but it’s January and you have to live with that possibility. I loaded the car and off we went early in the morning, The Patient Mrs. doing the first shift of driving so I could finish putting together the news posts for the day, because that’s how I do.
She went back to work this week, did The Patient Mrs., for the start of classes for the Spring semester. She’s got tenure coming through this term, which is just the latest of many examples of her next-level utter goddamn brilliance, but it’s academia, so there are all kinds of hoops she’s had to jump through and it’s like a months-long wait for it to actually happen. These people wear robes and do everything slow as hell. It’s like if Sunn O))) could grant degrees.
The Fightin’ Dronies.
That’s what that university’s team would be called.
Anyway.
So we’re back in Massachusetts. I won’t lie, it was nice to come back and get the last four weeks’ worth of mail, but beyond that I’m hardly stoked at the return to New England. Seeing that Pecan get to know my family more and start to interact more with them and just have more space to run around and climb on stuff — which he does constantly; we have to overturn the chairs in the kitchen or he’ll be up on the table; he’s 15 months old today — was a joy. We’ll be back down there for spring break (woo!) in March and then again for at least most of the summer, but yeah. Kind of isolated up here.
At the same time, while I haven’t been looking forward to The Patient Mrs. going back to work, because, you know, I love her and enjoy spending time with her and all that, I have been excited to have more one-on-one time with the baby. He’s a monumental pain in the ass, like, wow, but fun. We read books together and go places and I get him out of the house and he gets me out of the house and some parts are challenging and some parts are a good time and some parts are boring and some parts are heart-racing — did I mention he’s a climber? — but I can’t ignore the fact of how lucky I am to be able to stay home with him, and I feel very much like what I’m doing now in terms of writing as much as I can and balancing that with daddy-time is the kind of work I was meant to be doing all along. He’s a madman, and there are definitely times where I just need to check out for a coupe minutes and get my head back, but that’s all part of the thing. Plus I get to make jokes — mostly to myself — about “dad rock,” and that’s fun too.
Well, it’s about quarter after five, and I expect he’ll be awake before six, so I’m going to punch out and get the day’s first post live before he’s up. I hope you have a great and safe weekend, and thanks again for reading. Really, stay tuned for next week. It’s going to be special.
Posted in Whathaveyou on January 25th, 2019 by JJ Koczan
So, uh, you wanna go get weird in the desert for a weekend? Sure, we all do. And if you’re up for making it the trip of a lifetime, Monolith on the Mesa has a bunch of decked-out vintage trailers available for you to hide from the New Mexico sun while you wait for the show to start. From the pre-party to The Obsessed headlining the second day, the inaugural edition of Monolith on the Mesa looks like the stuff of pilgrimage dreams. Om and Dead Meadow? Wovenhand? Tia Carrera jamming in a brewery? Duel? It’s an obviously curated lineup very purposefully put together with the setting in mind, and whether it’s the indoor or outdoor stage, it’s easy to see where it has the potential to be an incredible time. I’ve gone on at some length about the growth of US festival culture over the course of this decade. Look no further if you need an example of the fruit that would seem to be bearing.
If you make it down, congratulations on your life. You pretty much win.
Lineup and ticket links as per the social medias:
Monolith on the Mesa: A High Desert Rock & Art Experience
Join Us On May 16th, 17th, & 18th In Taos New Mexico At Taos Mesa Brewing Mothership For Monolith on the Mesa A High Desert Rock Experience Like Non Other! A Music Festival with Art Visuals & Installations from Local NM Artists. And Of Course Some Of The Worlds Finest Dark, Psych, Stoner, Doom & Heavy Rock from All Over the Globe and SW Region! Browse Our Websitemonolithonthemesa.comFor VIP And check out our Vintage Trailer Packages!!
MotherShip Outside Stage: Featuring Visuals By Mad Alchemist Liquid Light Show * Day 1: OM * Dead Meadow * Wovenhand * True Widow * EYE * Green Druid * Spirit Mother** Day 2: The Obsessed * Pinkish Black * Castle * The Well * Crypt Trip * WEEED * Cloud Catcher * The Munsens
Taos Mesa Worshipper Inside Stage: Day 1: * Tia Carrera * Wino (Acoustic) * Lord Buffalo * Pharlee * SuperGiant * YOU * Via Vengence * Deep Cross** Day 2 Duel * Stone Deaf * In The Company Of Serpents * Pale Horse\Pale Rider * Communion * Oryx * Sorex * Dysphotic * Devil’s Throne
Posted in Whathaveyou on January 25th, 2019 by JJ Koczan
Sludgy New York noisemaking concern Nerveshatter issued their debut full-length, Madhouse, on Jan. 9. The self-released offering contains a tight and pummeling eight tracks that meld the will to bludgeon with a bit of angular exploration and, as one might expect, a bit of that particular concrete intensity that is as much a part of NYC culture as “famous” pizza and bikers getting doored. Songs like “Death of a Spaceman” bring a sense of atmosphere to go with their crunching and nodding progressions, and no matter what’s happening at any given moment, the threat that at any point the four-piece might totally lose their shit is always lingering. Until they do, anyway.
Celebrating the release, the four-piece — which includes members of Devoidov and Thera Roya — will hit the road in March and head south along the coast to make their presence felt at SXSW for at least two listed shows in Austin, Texas. You’ll note they have a couple days off after the second, so you never know when they might pick up more, but the fact that they’re getting out at all to support their digital release speaks volumes as regards their overall intent. And speaking of volume, you can hear Madhouse below.
The tour’s called “Oh, the Humanity!” which is fair enough, and the list of shows as per the social medias is as follows:
Nerveshatter – Oh, the Humanity! Tour
We beckon the call of the road THIS MARCH!! Listed towns, beware.
03/08 Baltimore, MD – The Sidebar 03/09 Washington D.C. – Atlas Brew Works 03/10 Norfolk, VA – Charlie’s 03/11 Asheville, NC – Static Age Records 03/12 Nashville, TN – Springwater 03/13 Memphis, TN – Growlers 03/14 Baton Rouge, LA – The Woodshop 03/15 Austin, TX – The Lost Well 03/16 Austin, TX – Kickbutt Cafe 03/18 Chicago, IL – Livewire Lounge 03/19 TBA – TBA (want to help?) 03/20 Detroit, MI – The Sanctuary 03/21 Toledo, OH – Ottawa Tavern
See you out there.
Nerveshatter is: Richard Bukowski – guitars Tim Haney – drums Jonathan Cohn – bass Jan Solo – vocals
Posted in Reviews on January 25th, 2019 by JJ Koczan
The immediate question, of course, is what happens? What happens when you force a shadow into the light? As per the memorable, layered screams of the title-track to Finnish melodic death-doomers Swallow the Sun‘s seventh full-length, When a Shadow is Forced into the Light, “It rips through your chest and burns like a fire.” Fair enough. That chorus sweeps in from an acoustic-led verse and thanks in part to backing from string sounds — that is, whether it’s strings or keyboard — gives a sense of grandeur that very much works to define what follows across the 52-minute/eight-track Century Media release. A largesse of production value helps as well, and that’s nothing new for Swallow the Sun, who since their 2003 debut, The Morning Never Came, have melded emotional resonance, elements of extreme metal — Mikko Kotamäki has made a trademark of switching fluidly between screams, growls and clean singing, and stands among the finest metal vocalists currently active — and clarity of sound into a melancholic vision of death-doom that has only become more their own with time.
Cumbersome as it is, the album’s title derives from the lyrics to “Broken Mirror” from founding guitarist Juha Raivio‘s Trees of Eternity project, and much of the material here deals with the personal loss of Aleah Stanbridge, who was that outfit’s vocalist as well as Raivio‘s partner, and who passed away from cancer prior to the release of their 2016 debut, Hour of the Nightingale — Raivio would subsequently form Hallatar and release 2017’s No Stars Upon the Bridge (review here) using her poetry as lyrics. There is an according sense of longing and mournfulness to When a Shadow is Forced into the Light, which follows the late-2015 triple-album, Songs from the North I, II & III (review here), that can be heard in songs like “Firelights,” “Upon the Water” and even the guttural apex of the penultimate “Here on Black Earth.” Swallow the Sun are no strangers to working in an upfront emotional context, and one of their great assets as a band has always been their ability to balance aspects of extremity with a very human heart.
When a Shadow is Forced into the Light cannot and should not ultimately be separated from the circumstances surrounding its making any more than it should be from the rest of Swallow the Sun‘s catalog. In both it and its companion EP, Lumina Aurea (review here), there isn’t so much a feeling of catharsis — that comes later — as a palpable grief. Summarized best perhaps in the direct address in the lyrics to closer “Never Left,” there is little mistaking the in-the-thick-of-it feel of genuine mourning, but as the band — Raivio (who also handles keys and jouhikko, a bowed instrument used in Finnish traditional music), Kotamäki, guitarist Juho Räihä, bassist Matti Honkonen, drummer Juuso Raatikainen and keyboardist Jaani Peuhu, as well as guests here and there — move through “When a Shadow is Forced into the Light” and into “The Crimson Crown” and “Firelights,” neither do they let go of their craft. A complex style of songwriting is fitting for the richness of their sound, and they bask in it, but as noted, the title-track has a hook, and so do “The Crimson Crown,” “Firelights,” “Upon the Water,” “Clouds on Your Side” and “Never Left.”
“Stone Wings” and “Here on Black Earth” are directed otherwise structurally, but even they have standout moments, whether it’s the throat-ripping screams backed by melodic lines in the latter or the sudden volume swells of the former. And you know, I take it back, “Stone Wings” does have a hook, as well as Raivio‘s jouhikko while it makes its way to its engrossing, double-kick-bolstered crescendo. The point is that although there’s an obvious emotional consumption happening throughout When a Shadow is Forced into the Light, that’s brought into what Swallow the Sun do. They’ve always had a wistful sensibility to them. They’ve always dealt with loss as a working theme, and in some ways, the work they’re doing here is very much consistent with where they’ve been in the past, but the foundation they’re working from is different, and it’s real. The grief is real. The sadness is real. The loss is real. It’s performative by its very nature — as in, it’s an album and people are performing on it — but there’s no sense throughout that Swallow the Sun are doing anything other than seeing Raivio work through this pain.
The tagline for the record has been “love is stronger than death,” as posted by the band in discussions leading up to the release. If that’s their summary of the theme, fair enough — “Never Left” would seem to be the point at which that idea most comes to the fore — and it’s easy to argue that their ability to find balance between this point of view and an already established songwriting modus speaks to the experience and skill of the band as a group. When a Shadow is Forced into the Light is never more mired than it wants to be, never held back. The title-track and “The Crimson Crown” — both over seven minutes long and the only songs to hit that mark aside from “Never Left” as the corresponding bookend — form an initial salvo that characterize so much of the rest of the material.
In its immersive blend of acoustics, string sounds, differing vocal approaches and the smoothness of its overall craft, the song “When a Shadow is Forced into the Light” seems to accomplish everything Swallow the Sun brought to Songs from the North I, II & III in a single track. It is a cinematic arrangement and poised execution that nonetheless has its basis in an emotionalism that’s still raw. But what the song and indeed the rest of the album that shares its name do so well is to take that rawness and shape it into something encompassing and beautiful. If that’s what it means for love to be stronger than death, if that expression is what comes out of the brutality of the loss that’s behind its making, then When a Shadow is Forced into the Light is its own best argument for the maxim’s truth.
Posted in Whathaveyou on January 25th, 2019 by JJ Koczan
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.
