Posted in Whathaveyou on April 15th, 2024 by JJ Koczan
With a quick round of lineup adds and the announcement of how the pre-show and three days of the festival-proper will play out, SonicBlast Fest 2024 continues to take shape, and golly it looks like fun. Germany’s Daily Thompson will make the trek westward to herald their new album, Chuparosa, and the everywhere-in-Europe-this-year-apparently duo Earth Tongue from New Zealand will appear in support of their upcoming sophomore LP, Great Haunting. Also new to the bill are Canadian psych-prog forebears Black Mountain and thrash outfit Fugitive, because sometimes you just need a punch in the face.
There are still some names to add, as you can see on the poster below. The day splits put Daily Thompson on the pre-show, and that will be a party. I’d expect at least one of the TBCs there, if not both, to be Iberian bands, as SonicBlast runs deep in support for its own regional underground, and given how packed the fest-Friday (Aug. 9) is, they could go just about anywhere in mixing it up, more thrash, hardcore, noise, psych, doom, stoner, whatever, and make it work. There’s a lot to like, even before you find yourself sitting on the beach in Âncora waiting for whoever to go on.
The below was culled from a couple different social posts, so if it reads weird, that’s why, but I expect you get the idea. Here you go:
Daily tickets are already on sale! Check the daily line-ups here 🔥 Looking forward for August!
*this is not in the order of performance
Psychedelic rockers @blackmountainarmy, thrashers supergroup @fugitive_tx (with members of Power Trip and Creeping Death), heavy psych rockers @earthtongue and sonic fuzzers @dailythompson_ will join us in this insane party, this August at Praia da Duna dos Caldeirões
There is a wonderfulness to being in a place where you don’t speak the language. People around you conversing, sorting things out, all this and that, where stuff needs to go and so on. I’m sitting in a smoker’s tent off to the side of the grass in front of the stage, Purple Dawn or somebody doing a soundcheck. It’s probably techs for Baroness, now that I think of it. But around me, between the riffs, I can hear the conversations, laughter floating in the air, peole who haven’t seen each other in a year or two and a half years. It’s beautiful.
And the setting is beautiful. It really is a valley. The little industrial-ish-feeling area where the fest takes place is surrounded on all sides by wooded hills, some of the trees eaten by a bug that apparently likes that kind of tree — I heard about it on the way in — and the warm air, blue sky dotted with some passing clouds, and green vegetation add to the idyllic feel. I got to go back to my hotel a bit ago, find out I didn’t then did have a room — magic! — change my clothes, do a quick cold water hobo bath, eat a thankfully not melted protein bar and abandon my adiletten in favor of actual socks and shoes, such as those shoes are at this point.
Doors are open. People are taking their picture with the Welcome to Freak Valley sign — I hope to do the same; a ritual with preserving — and I think the first band is on at 5PM. That works for me. At some point I’m going to crash from the travel, adrenaline, etc., but maybe I can find some coffee around here and stave that off for a while.
Lo-Fi Merchandise is here selling stuff and I want to buy all of it just to save on shipping to the US. Ditto the hippie pants place next door. The actual band area isn’t up yet. I’ve been back and forth, in and out of shade, finding a spot to be, etc. Saw the Duel guys when I got here, and Geezer have shown up at this point as well. The lineup for today has changed with Witchcraft dropping off. K bye. Purple Dawn will open and everybody else is pushed later accordingly from where they were. I’m bummed I won’t see My Sleeping Karma like I thought I might when I got here, but I’ll be alright.
First band in about 40 minutes. I’m here. It’s real. I made it. And I have a place to crash when the night is over. Mark that a win.
Here’s notes on the day:
Purple Dawn
A significant rumble from Cologne’s Purple Dawn, who did precisely what you’re supposed to do when you’re opening a festival and you bust a bass head on the first song. They covered it with a jam. That is how to do it, and they were back up and running soon enough. Their stuff was pretty fresh in my head from writing about the Peace & Doom Session Vol. II (review here) and the highlight “Old Fashioned Black Madness” seemed to be the moment where the crowd woke up. The quiet start of “The Moon Song” after led to some post-High on Fire gallip mixed in with the nod that would seem to be the trio’s stock and trade. I got my photos and went out front to watch them on the grass. I’m also falling asleep sitting up. I need to find some coffee like now.
—
Duel
Duel play like headliners. They’re in their songs, moving, professional, playing dynamic, heavy material that has yet to really get its due. They’re a band win people over, though as they hit into “Children of the Fire” after “Strike and Disappear,” it seemed like the crowd was well enough familiar with their wares. Either way, they destroy. This is my first time seeing them with this drummer and even the Rockpalast film crew had their work cut out for them in keeping up. But the thing is, they’re not sloppy at all. Even the three-part-vocal hook of “Children of the Fire,” they absolutely nailed it every time and didn’t look back. I’m very, very curious to hear the kind of band they are like seven or eight years from now, what their next few records might bring. A 50-minute set gave them some time to dig into their songs and get a flow going, and fucking a, of course that’s what they did. This cements them as reliable in my mind. I also downed three cups of coffee between the bands and that helped too. Fears of the fucking dead. Children of the fucking fire.
—
Geezer
I’ve got sentimental attachment here, but so good to see this band own such a large stage in front of this crowd. The NY-based three-piece did well by their new album, Stoned Blues Machine (review here), with the title-track, “Cold Black Heart,” and if I’m not mistaken the rest of side A represented. They’ve been over here for a couple weeks at this point, this is near the end of their tour, and sure enough they sounded like a band who’ve been playing every night for the last 14 — whether or not they have is beside the point and you’ll pardon me if I spare myself looking up the amount of days off they have or haven’t had — but they’re an absolute joy and I know from looking around that I was by no means the only one with a big smile on my face as they hit it. The lawn was grooving on “Atomic Moronic.” Pat introduced a mini-set of songs from 2020’s Groovy (review here) — he also introduced Steve and Richie — then hit inti the title-track with a finger plucked solo. “Dig” followed and shifted into a finale of “Awake,” ending on a hopeful note every bit worthy of the occasion, and Geezer got the biggest response of the day so far.
—
Villagers of Ioannina City
A whole bunch of people just showed up and I can’t say I blame them. I’ve never seen Greece’s Villagers of Ioannina City, but many of Freak Valley denizens plainly have — they were here six years ago — but between the meditative heavy psych vibe and the folk touch brought by their use of tsabouna and what might just be a clarinet alongside keys and the weighted roll of their riffs. They’re pushing atmosphere to the forefront in a way that no one has yet — you could probably call it post-something-or-other if you worked hard at it — but then they break out a bluesy organ solo and you realize Age of Aquarius is a story they’re telling in chapters, and its complexity goes beyond trading between loud and quiet parts. Their songs and style are thoughtful, melodic, rich in tone and purposeful in their delivery. I don’t know how it would go over in the States — they’d have to be supporting someone on tour their first time out and a lot would depend on who — but there’s a full on audience engagement happening here, and they have the audience to show for it. And I suspect once they make up the two years of road time they lost supporting that album, that audience will only continue to grow.
—
Black Mountain
Vibe in a can. Or at least a deep-running blend of classic, psychedelic, progressive and space rocks. It’s all the same when Black Mountain take the stage. I’ll admit to being more than a little distracted during their set as one of my camera lenses broke, leaving me with the wide angle option that will probably do really well for me all day tomorrow taking pictures of the stage monitors, but one way or the other, Black Mountain’s synthy brew will lift the spirit and soothe the soul if apparently not the contact sensor on that lens. Even before I inevitably have to shell out some stupid amount of cash to have that fixed, I’m going to be bummed out if I can’t get that thing to work. Black Mountain’s mellower vibe, despite being heavy and loud and the many, many other things they are as a band, seemed to be expanding on the more immersive end of Villagers of Ioannina City’s set, but this band is their own thing. The assembled heads are ready for it. The Freaks. As for me, I’m distracted by even in such a tizzy I’ve still got room in my heart for Mellotron. Nothing else sounds like that. And I guess that’s true of Black Mountain too, but individual as they are, but their sound still has an immediate familiarity to it, whether you know the songs or they know you. Also it’s nighttime now. Apparently that happened recently.
—
Baroness
Seems to me that if I really was dead set on becoming a real Baroness fan, the thing to do would be to see them play live every couple of weeks between now and whenever I eventually get on board. They deliver live. The set was similar to when I saw them a few weeks ago at Desertfest New York (review here), but there wasn’t even a question as to whether or not they were going to nail it, because yes, they were. And so it went. It had been a long day, and it was only with the help of respected-photog Falk-Hagen Bernshausen that I managed to make that seemingly-busted lens work for long enough to shoot a couple songs of the Baroness set, but the band’s energy was infectious, their rhythm a physical urging, like they’re trying to tell you it’s time to go for a run, except I guess without the running on the audience’s part. I honestly don’t know Baroness’ songs well enough to say whether the performance was flawless, and if it was, I suppose that’s nice in the way of such things, but from my silly little spot in the grass I was just happy to appreciate the headliner headlining (again) and a performance by a band who have so clearly mastered their craft.
—
06.16.22 – Thursday – 10:56AM – Hotel
A little after I get back last night someone knocks on my door. I open it and a dude is there, absolutely smashed, wearing some death metal shirt. I don’t remember who it was now, but it was someone decent. He starts talking and even though I don’t speak German I could tell his words were slurred. I slowed him down, apologized for not speaking his beautiful language in his beautiful country, and eventually he seemed to recall that he spoke perfect English.
He needed stairs, which seemed like a terrible idea to me given his state. Dude could hardly stand. I showed him where the stairs were but then he said he wanted his room and kept walking. It was the one with the stuff on the floor outside in the hallway. Room 29. Fair enough. Turned out he’d lost his room key. He told me to find it. In his pockets. No dice, bro, sorry. He empties his own pockets and discovers various stuff but no key. He is grumbling, agitated. For one brief second, he looks like he’s about to give up. He’s speaking syllables, in and out of German and English — the human brain is amazing, even addled — and kind of says “bwuh?” and shrugs his shoulders.
I ask if he has back pockets, and a few seconds later, tucked into a respectable wad of Euros emerges his room key. His eyes light up. I open his door for him and usher him inside. His relief is palpable. I tell him to sleep and he nods. Freak Valley is small enough that I could probably run into Mr. Roomtwentynine 100 times today. I don’t think I’d recognize him if I did. Festival life.
Posted in Whathaveyou on January 21st, 2022 by JJ Koczan
I’m not asking for much here, just let me go. I just want to go. It’s only a few days, and it’ll be June so whatever wave of whatever variant we’ll be in of this endless fucking pandemic shouldn’t be too terrible. But come on. Pelican and Supersonic Blues and Slomatics and Temple Fang and Elder and Geezer and IAH and Fu Manchu and The Midnight Ghost Train and Green Lung and Revvnant and Monster Magnet headlining and, and did I mention Slomatics yet because increasingly it’s starting to feel like Freak Valley Festival 2022 is being put together as a favor to me and it seems like the very least I can do is go. I just want to go.
That’s all I’ve got. I wrote this announcement for the fest. It’s a good batch of bands and that’s about the depth of insight I have on the matter just now:
Happy New Year, Freaks!
We know things are crazy right now just about everywhere, but we’re still doing our best to bring you the biggest celebration of Freak Valley Festival ever. How could we do otherwise?
Today’s announcement is huge and includes another headliner! Let’s welcome RED FANG to Freak Valley!
This will be the first time in Siegen for America’s overlords of Pacific Northwest rock and roll, and they come supporting their new album ‘Arrows,’ which reminds that nobody out there throws a party quite like they do. Their shows are the stuff of legend, the record rules, and the time is right. We can’t wait to see what they bring to our stage!
BLACK MOUNTAIN will also play on the Wednesday of the festival. If you’ve bought three-day tickets, we’re making more tickets available for the Wednesday show, so don’t miss out! It will sell out again!
Progressive heavy rock mainstays ELDER will also return, along with Chicago’s instrumental innovators PELICAN and even more!
Behold!
NEW ADDITIONS TO FREAK VALLEY 2022: Red Fang (headliner) Black Mountain (playing Wednesday) Pelican Elder Reignwolf Mondo Generator Daily Thompson Leech Green Lung Temple Fang Swedish Death Candy IAH The Re-Stoned Les Big Byrd Slomatics Supersonic Blues Revvnant
Still more announcements to come!
Freak Valley Festival // No Fillers – Just Killers
Posted in Whathaveyou on March 14th, 2019 by JJ Koczan
Psycho Las Vegas makes a point to say this isn’t the complete 2019 lineup — headliners and others are still to come. But if it was, would you really be able to complain? This is three days’ worth of bands, easy. But it wouldn’t be Psycho if it wasn’t completely over the top, and as it continues to solidify its primacy among American festivals that want anything whatsoever to do with the heavy underground, the latest batch of bands proves duly sick. The Crazy World of Arthur Brown, Triumph of Death — and what on earth will Tom G. Warrior make of the Mandalay Bay? — The Heavy Eyes, Grails, Black Mountain, a return from DVNE and Night Horse, Ex Minor and a host of others. All you have to do is look at the list bands to know it’s going to be wild.
So here’s that list of bands:
America’s rock ‘n’ roll bacchanal returns as PSYCHO LAS VEGAS brings its annual debauchery and unbridled volume to the Strip itself, with a move to the Mandalay Bay Resort and Casino that sets the stage for a Las Vegas Boulevard takeover, the likes of which have never been seen.
Lineup so far: Uncle Acid and the Deadbeats High on Fire Triumph of Death The Faint Cold Cave Nothing Tomb Mold Royal Thunder The Heavy Eyes Night Horse Ex Minor Candy Goatwhore The Crazy World of Arthur Brown The Obsessed Tobacco Glassjaw YOB Perturbator Kadavar Oranssi Pazuzu Electric Wizard Fu Manchu Graveyard Truckfighters WarHorse L.A. Witch The Black Angels Devil Master Godspeed You! Black Emperor Hangman’s Chair Amenra Deafheaven Old Man Gloom Clutch Power Trip Bad Religion Rotting Christ
Slated for August 16th through August 18th, PSYCHO LAS VEGAS 2019 will feature four stages, including the newly renovated Events Center, the iconic House Of Blues, the Mandalay Bay Beach, featuring a wave pool and lazy river, and an old-school Vegas-style Lounge smack dab in the middle of the casino floor. While all of the venues are located on the property, Mandalay Bay is connected by a complimentary tram service that provides easy access to affordable accommodations such as Luxor and Excalibur. Attendees will have access to discounted rates at all of these properties and other MGM hotels and resorts down the Strip.
The highly coveted “Psycho Special” passes, notorious for selling out instantly, are priced at $99, plus taxes and fees and go on sale Thursday, November 29th at 10:00am PST. Weekender General Admission passes are priced at $249, plus taxes and fees, and will increase to $299, plus taxes and fees, once the first tier sells out. Only 300 High Roller VIP passes will be sold at $499, plus taxes and fees, with package details to be announced in December. Single-day tickets will be available in the Spring at $109, plus taxes and fees. While the festival format will remain largely the same as previous years, the Thursday pre-party at DAYLIGHT Beach Club will be a more intimate event for attendees and will require a separate ticket from the festival pass. Tickets and more information available atVivaPsycho.com.
Posted in Whathaveyou on February 19th, 2019 by JJ Koczan
There wasn’t really any doubt, but it’s nice to have confirmation that the lineup for Stoned and Dusted is awesome. So there you have Melvins, Fu Manchu, Brant Bjork, King Buffalo, Yawning Man, Acid King, Black Mountain, Lo-Pan, REZN, BigPig, Del-Toros, Sgt. Papers and, oh yeah, Radio Moscow for a bit of the ultra-boogie. I was having a conversation not so long ago with an artist who played last year and was talking about how the sound guy was indeed spaced way the hell out, so when you look at the poster and see “Sound Guy on Acid” listed above the Mad Alchemy Liquid Light Show, you should know they may be speaking literally. No doubt that will only add to the one-of-a-kind experience of the desert’s own heavy party.
The lineup speaks for itself, so I’ll spare you the get-there-if-you-can-get-there rant and just drop the ticket link here for your purchasing and travel planning. There’s also a Spotify playlist below that, while I imagine you’re well familiar with the bulk of these acts, is no less welcome for that, as far as I’m concerned.
Dig:
Stoned and Dusted 2019
The California Desert Wizards Association will hold its second annual members’ gathering on May 25 & 26th, 2019 in the Southern California Mojave Desert, USA.
Total radness on Memorial Day weekend!
On Saturday May 25th we are doing it up at Pappy & Harriet’s, our favorite desert roadhouse and one of the world’s coolest music venues. Get ready for an outside show under the desert skies with Melvins, Fu Manchu, Brant Bjork, REZN, (Big) Pig, and lights by the Mad Alchemy Liquid Light Show.
Our desert party is back and it’s going down on May 26th at a secret location near Joshua Tree, CA with Black Mountain, Acid King, Radio Moscow, Yawning Man (Official), King Buffalo, Lo-Pan, Sgt. Papers, Del-Toros, and the Mad Alchemy Liquid Light Show. Limited tickets available, get yours now!
Posted in Whathaveyou on November 25th, 2015 by JJ Koczan
Canadian psych rockers Black Mountain released a soundtrack in 2012, and earlier this year they oversaw a 10th anniversary reissue of their 2005 self-titled debut, but it’s been five years since Wilderness Heart, their last proper studio LP, came out in 2010. That’s probably long enough. Whether or not they’ll have something in the works or done by the time they get to Roadburn 2016 in April, I won’t speculate, I’m just pointing out numbers. They headlined the Afterburner in 2011, so it won’t be their first time making the trip, but I can’t help but wonder if they won’t have more news to come in the New Year.
Roadburn 2016 has been adding bands in batches so far — see here and here and here and here and here — and, granted, some of those batches have varied in size, but Black Mountain are the first standalone announcement the Netherlands-based fest has made. Not a bad distinction to have:
Canadian Psychedelic Rockers Black Mountain Set To Return To Roadburn Festival
Five years after headlining the Afterburner, acclaimed Canadian psychedelic rock masters Black Mountain will return to Tilburg, The Netherlands to perform at Roadburn 2016 at the 013 venue on Thursday April 14.
With three full-length albums, a soundtrack album, and a host of EPs, the Vancouver band, led by guitarist / singer Stephen McBean, quickly became one of the most critically praised bands of the 2000s. Bridging the heavy rock of Blue Cheer and Led Zeppelin with the more abstract sounds of the Velvet Underground and Hawkwind, 2005’s Black Mountain and 2008’s In the Future cemented Black Mountain’s status as leaders of a new generation of rock bands embracing vintage sounds, and have since spawned countless imitators. Critics and audiences have responded in kind, as In the Future and 2010’s Wilderness Heart were both nominated for Canada’s prestigious Polaris Music Prize.
“Roadburn is the teenage wet dream for heavy metal outcasts,” says McBean, who is elated to return. “The people, the party and of course, the riffs! Black Mountain can’t wait to turn up, turn on and get down with some future right on. Thank you for all the years of face melting!”
Roadburn Festival takes place between 14 – 17 April 2016 at the 013 venue, in Tilburg, The Netherlands. Tickets are on sale!
Posted in audiObelisk on June 6th, 2011 by JJ Koczan
Not to steal thunder from this month’s just-posted podcast, but it just wouldn’t be a series if you missed an episode. Accordingly, here is the next batch of streams recorded live at this year’s Roadburn festival at the 013 Popcentrum in Tilburg, The Netherlands. Some cool stuff here from Voivod, Soilent Green,Blood Farmers and Black Mountain and a couple I didn’t get to see from The Kilimanjaro Darkjazz Ensemble and Jesse Sykes, plus Quest for Fire, who packed out the Bat Cave, a second set from Dragontears (if you missed the first, it’s here), and a few more, so there’s lots to check out.
As always, these links come at the generosity of Walter and the Roadburn crew and were captured/mixed by Marcel van de Vondervoort and his team at Spacejam. Heartfelt gratitude to all parties involved.
Posted in Features on April 17th, 2011 by JJ Koczan
1:46AM — Sunday Night/Monday Morning — Hotel Mercure, Tilburg
It’s over. I couldn’t even leave the building. I walked out of Sourvein more than three-quarters into their set, and still, it was another 15 minutes before I could actually bring myself to walk out of the 013 and head back to the hotel. I stopped along the way in Weirdo Canyon for fries, which, true to form, came buried under a heap of mayonnaise. Kind of a tradition at this point, though most of it I scooped off and sent down the sink in the bathroom here at the Mercure. Hot water on. Gross nonetheless.
Hard to know where to begin, really. When I got back to the venue, I hit up the Green Room to catch the start of The Machine, and of course it was packed. Amazing to see what a year’s done for them — although, granted, they weren’t on in the Bat Cave opposite Eyehategod like they were in 2010 — but I guess that’s part of it too. They sounded tighter, more mature, more together than they did when last I encountered them, but the material was no less vibrant and spontaneous for it. I was back and forth between them and Dead Meadow, who were on the main stage, and while they were a decent sonic complement for Sungrazer (a sort of new school European fuzz Green Room trilogy would be completed later in the evening as Samsara Blues Experiment closed out the night), they also did right in showing some of their own sonic personality, which they began to display on their recently-issued Elektrohasch debut, Drie.
Dead Meadow, on the other hand, brought out Sasquatch. Literally. There was a dude in a Sasquatch costume, and he came out during their set and stomped around the stage while they played. Clad in my Texas Bigfoot Research Conservancy t-shirt, I couldn’t have felt more appropriate. I’ve never seen Dead Meadow before, so I couldn’t say whether or not this is a regular thing, but either way, brilliant. Their music, sedate, meandering, cosmic, seemed to make a good impression on the furry beast, and everyone else there to see it (myself included), and with visual accompaniment from festival organizer Walter Hoeijmakers, who handled a video mixer of various psychedelic imagery, it was “a show” despite the lack of anyone losing their minds on stage.
Other than Sasquatch, of course. He seemed to be really enjoying Dead Meadow‘s set.
I stood and waited for Black Mountain to go on, thinking I’d catch their opening couple of songs and then head in for Black Pyramid, but before they even got on stage, I realized how dumb that was, that I’d never get a spot to watch Black Pyramid, and that Black Mountain‘s set was allotted enough time that I could see them after Black Pyramid were done anyway. So, without reason to stay in the main stage area, off I went to the Green Room, which was already mostly full — although nowhere near as full as it would be by the time they started playing — and set up shop there for the duration.
With their riffs of stone and language of doom, Black Pyramid inspire devotion. They played a couple new songs — “Stormbringer” from the 8″ vinyl of the same name — and when they were finished, the crowd wouldn’t let them go. True enough, they hadn’t yet seen their time-slot to its conclusion, but I don’t think they’d have been allowed to leave even if they’d wanted to, so they fired up the amps again and treated Roadburn to a new song from their upcoming second full-length. It was rough, but guitarist Andy Beresky was trying out some new things vocally, so it should be interesting to hear what they come up with on the next album. Everyone seems to go all-out for the fest anyway, but Black Pyramid really have become an excellent live act. I stayed for their whole set and regretted not a second of it.
And sure enough, when they were done, Black Mountain was still on the main stage. They’re one of those bands I keep hearing about, people recommending them and so forth, and good people, too, but although I have a copy of their latest CD, Wilderness Heart, I can’t say I’ve ever listened to it. I remember hearing them when they put out their first record and being unimpressed. Maybe I need to give them another shot. They were elaborate melodically, and probably not my thing on the whole, but decent enough for what they were doing. They sounded clean, which, with Sourvein following, was like wiping off the mirror before crushing up six vicodin and making an evening of it.
T-Roy Medlin fromSourvein‘s “Dirty South” was in full force when they hit the main stage. Before they even started, he urged the crowd to “get ghetto.” I’d already by then been in and back from the Green Room to see Samsara Blues Experiment, who were killer, and had Black Mountain not just played opposite Black Pyramid, I’d have a hard time coming up with a time when two more sonically incongruous bands were on simultaneously. Samsara Blues Experiment: warm, sweetly toned, jammy, laid back. Sourvein: like being punched in the face with the broken glass of the mirror from the paragraph above. They do abrasive and it’s about all they do.
If the two bands had anything in common — and it just might be the only thing — it was energy. Samsara Blues Experiment did well in not getting too lost in their material, in keeping the audience engaged, and Sourvein, complete with Dave Sherman from Earthride on bass, were personality on parade. For not the first time in the evening, I was reminded of Eyehategod doing an Afterburner set last year, but Sourvein might be even more demented. They were ridiculous in their heaviness and completely over-the-top in their stage antics, Medlin managing at one point to call European beer weak while asking for a whiskey from the stage, which aside from not being true was not exactly going to win him friends among the Dommelsch-downing audience.
But then, if he was even slightly concerned with being accessible or friendly, he probably wouldn’t be in Sourvein. They’re good at being mean, only thicker with Sherman (now bearded) on bass, and considering the last time I saw them was playing to an empty Europa club in Brooklyn, the response they got from the main stage was enjoyable to watch. After a festival with acts as diverse as Wovenhand and Wardruna, Sourvein and Samsara Blues Experiment were as fitting a finale (who likes alliteration?) as Roadburn 2011 was going to get.
I’m not exactly ready to wrap up the festival reporting yet, and I’ll allow that maybe that’s me just not wanting it to end and/or being too exhausted tonight to finish it off once and for all, but I’ll have a post to round out this series tomorrow, so keep an eye out for that. In the meantime, thanks to everyone who’s been reading and commenting. That kind of feedback means a lot and is greatly appreciated.
