Posted in audiObelisk on May 30th, 2016 by JJ Koczan
This invariably happens every year. I’ll grant that the audio streams from Roadburn 2016 seem especially quick in arriving — the last batch was only 10 days ago — but at some point every year there’s a round during which the majority of the bands are ones that I didn’t see. The catchphrase here is “Roadburn means hard choices.” You can’t be everywhere at once, and usually my agenda involves trying to focus on things I’ve never seen before and might not again. Fortunately there’s always plenty of that to go around.
Out of the seven bands included in this third batch of Roadburn 2016 streaming full sets, I only caught one band, and that was CHRCH. Frankly, if it was only going to be one, I’m glad it was them. The West Coast extreme doom powerhouse made their debut through Battleground Records in 2015 with Unanswered Hymns (review here) and received due praise for their efforts, and they were among my most gotta-see bands for this year’s fest, playing in the smallest venue, Extase, around the corner from the 013 proper. They packed that room out through the hallway and just about out the door and closed out my first night of Roadburn 2016 with resonant, swirling darkness that I’m glad to have the chance to revisit.
And of course, getting to hear some of what I missed elsewhere is always part of the fun of hosting these streams, so if you need me, I’ll be digging in. I hope you’ll enjoy doing the same.
Much audio follows:
Bliksem – Live at Roadburn 2016
Chaos Echoes – Live at Roadburn 2016 (Transient in its entirety)
CHRCH – Live at Roadburn 2016
Hell – Live at Roadburn 2016
Naðra – Live at Roadburn 2016
Daniel Payne – Live at Roadburn 2016
Yodok III – Live at Roadburn 2016
Gratitude as always to Walter for letting me host the streams. To hear the first batch of Roadburn 2016 audio streams, click here, to hear the second one, click here, and for all of this site’s coverage of Roadburn 2016, click here.
Posted in Features, Reviews on April 14th, 2016 by JJ Koczan
04.15.16 – 00:16 — Hotel room, Tilburg
Already it seems like Roadburn is in full swing. There’s no sense of the outside world, only Roadburn, which always has and always will. Familiar faces abound, and new ones too. A lot of them. That build-out on the 013 allowed for more tickets sold, so inarguably Roadburn 2016 is the most crowded this event has ever been. That’s saying something. Mostly, it’s saying, “get there early if you want to get up front.”
I did just that what seems like a million hours ago for The Poisoned Glass starting the day — the first day; my god, it’s still the first day — at Het Patronaat, aka the church. The band is new, but the players involved were clearly known to the early crowd, vocalist/noisemaker Edgy59 and bassist G. Stuart Dahlquist both veterans of widely influential doom extremists Burning Witch. By astounding coincidence, their debut album, 10 Swords, came out this week via Ritual Productions, and they played the vast majority of it and then some, the volume of Dahlquist‘s bass loud enough to vibrate earplugs and dissuade any accusations of minimalism one might try to make.
With Edgy59 switching between harsh screaming rasps and cleaner vocals, it was entertaining to look around the room and see so many smiling faces among those in attendance. Yes, the music is unspeakably dark. Yes, it sounds like your soul in a trash compactor. Doesn’t mean you can’t enjoy it. Their post-Khanate dystopian oppression found its audience for sure, and it was gripping to watch the seething intensity in Edgy59‘s performance particularly, his movements restless in comparison to the slow motion tempos of the material. They were as heavy in mood as in Dahlquist‘s tone, and inescapable in their rumbling churn. Perfect for the church.
As they were wrapping up, Inverloch were taking the stage in the redone Green Room. I tried to catch some of Mantra Machine, but already the Cul de Sac was full and it would remain so for the duration. I thought about running over to Extase, which is around the other side of the alley behind the Patronaat, to get a sample of Grafir, but wound up marauding through the merch section — like a fucking champ — and back at the church to catch Der Blutharsch and the Infinite Church of the Leading Hand, who, as it turns out, were exactly what I was looking for.
Later on, I’d go back to the merch area to pick up a full copy of their new record, The Wolvennest Sessions, which came out in December, and grabbing 2012’s The Story About the Digging of the Hole and the Hearing of the Sounds from Hell on a whim, basically because that’s how good Der Blutharsch and the Infinite Church of the Leading Hand Were, the Austrian experimentalists celebrating their 20th anniversary with a short tour in the winding-down stage. Their blend of classic krautrock and forward-thinking psychedelia was a joy to take in, and since their stuff is so far out, I didn’t really know what was coming. Anything would’ve been a surprise. With founder Albin Julius on synth and vocals, they spread their sound out over their hour-long set and seemed right at home in the flow.
There seems to be some threat that this is their last tour. Obviously, I don’t know if that’s true or not, and since they’re pretty prolific, I wouldn’t take that to mean they’re done overall — though one never knows — but even if it’s a year or a few years before they get out again, I felt fortunate to watch them play. It’s the kind of thing I’d never get to see anywhere but at Roadburn, something I didn’t even know how badly I wanted to watch, and though I checked out a little early to go catch The Skull on the Main Stage back at the 013, Der Blutharsch and the Infinite Church of the Leading Hand left one of the day’s most memorable impressions. Considering the course of the day, that’s saying something.
Yeah, I watched The Skull last night at the Hardrock Hideout (review here). It’s a fact. I thought this was their set of Trouble songs, and there were a few sprinkled in for good measure, of course — “R.I.P.,” “At the End of My Daze,” “Come Touch the Sky” and so on — but was awfully Skull-y for being the Trouble set, which as it turns out is late tomorrow night. Go figure. No harm done, of course. Let “A New Generation” and “The Longing” be the worst things that ever happen at Roadburn. They riffed on “I Want You/She’s so Heavy” and tossed “Till the Sun Turns Black” into the set, which was certainly welcome, and after the swinging “Send Judas Down,” which included a nod to “In-a-Gadda-Da-Vida,” it was once again the title-track from For Those Which are Asleep (review here) rounding out.
To see them on such a huge stage less than 24 hours after seeing them in a club that holds about 200 people was something of a trip, but The Skull were no less in command of the cavernous space than they were the tiny Cul de Sac, where New Keepers of the Water Towers were going on shortly. I ran over quickly to see if there was any room in the building. There was enough for me to buy a copy of their new album, Infernal Machine(review here), but by the time you walked to the bar in the much-longer-than-it-is-wide venue, there was basically no passage through the throng of humanity. Buying the record seemed like the least I could do for having made the attempt to see them and failed, and once I got it, I headed back to the Main Stage to watch The Skull finish and to wait for Hexvessel, who were one of my most anticipated bands for the entire fest, to take the Main Stage.
I said as much in today’s Weirdo Canyon Dispatch (issue here) but nature-worshiping Finnish outfit Hexvessel‘s new record, When We are Death (review here), stands among the best albums of 2016 so far. Before they went on, I ran over to the merch area — more of a waddle, really — and picked up the artbook edition of the album as well as a patch with a fish head on it. They also had owls and bears and several other wildlife options, but you don’t see a lot of fish in underground heavy, so I was all about it. No idea what I’ll do with the thing, not being the battle-vest type, but whatever. For three euro? Sold. Their set more than justified both purchases, focused heavily on the new album and a huge shift in dynamic from when they were here in 2012, having departed from their folkish roots on the strength of infectious, progressive and deeply nuanced songs like “Mushroom Spirit Doors,” a set highlight, and “Cosmic Truth,” which frontman Mat McNerney prefaced by saying it was about, “true love and spaceships.” Needless to say, right up my alley.
Quietly percussive, “Hunter’s Prayer” finished off what seemed to be Hexvessel‘s regular set, after “Cosmic Truth,” “Mushroom Spirit Doors,” “Transparent Eyeball,” “Teeth of the Mountain,” “Mirror Boy,” and “Sacred Marriage” and the earlier “Woods to Conjure” from 2012’s No Holier Temple, but the band did an encore of sorts with “Earth over Us” and “When I’m Dead” back to back, both maddeningly catchy, the former delivered with surprising heft from the stage, before closing with “Invocation Summoning” from their 2011 debut, Dawnbearer, McNerney encouraging the crowd to sing and clap along, which of course it did.
Timing worked out that as Hexvessel were finishing, Bang were starting in the Green Room, so I hobbled over there and waited for the Franks and Jake to follow-up their Hardrock Hideout set with another runthrough of their heavy ’70s lost classics. They did not disappoint, and their warm, laid back take on heavy rock continues to thrill. I’ve seen the band I don’t even know how many times at this point — let’s say circa 15 — but their vibe is always right on, and I don’t think I’ve heard bassist Frank Ferrara‘s tone sound as full and inviting as it has last night and tonight. He and guitarist Frankie Gilcken founded the band in 1969 and their self-titled debut was released two years later, and Ferrara remarked from the stage that their first European appearance — this one — was 46 years in the making. Time flies.
Much to their credit, they lived up to the occasion, and though he’s far from being an original member of the band, Jake Leger‘s drums have become essential to Bang‘s live presence. Maybe they’ll do another record, maybe they won’t, but with Leger swinging away behind, Gilcken and Ferrara are that much more able to nail that spirit every time out. “Lions, Christians” was a highlight, and of course “Our Home,” both from the self-titled, but in the live setting, the much newer “The Maze” is no less vintage-sounding. I think Leger is a big part of that. A third in the power trio, at very least. As they always do, Bang looked to be genuinely enjoying making their European debut, and a crowd that already knew their songs made it seem all the more overdue.
Back on the Main Stage, Converge were finishing up their set playing 2001’s Jane Doe in full: The album that launched 100,000 metalcore bands who were nowhere near as interesting as Converge ever were. Hard to hold that against it, I suppose. I caught the tail end of the set, which was as furious as it would have to be, and the four-piece of vocalist Jacob Bannon, guitarist Kurt Ballou, bassist Nate Newton and drummer Ben Koller brought out former bassist Stephen Brodsky (also Cave In) to join them on guitar and melodic vocals for the closing title-track from Jane Doe, its sweep well on the other side of epic. Not really my thing stylistically, but people were jammed into the Main Stage space for them, and I watched as dudes had to be helped out of the front for what I guess was a rare Roadburn pit — unless someone just stepped on that guy’s foot, which would be sadder somehow — so it was clear the room was making the connection to the off-genre elements Jane Doe brought to hardcore, or more likely, they made that connection 15 years ago. Either way.
My second failure at Cul de Sac came after Converge were done when I ran over to try to see the reunited Gomer Pyle. No luck. Same as with New Keepers: I bought a CD and that was about as close as I could get. Fair enough. By this time, I was reconciling myself to the fact that I’d probably not get in to see either Zone Six at Cul de Sac or CHRCH at Extase, both of which were bigtime mental bummers. Still, as consolation, Paradise Lost playing their defining 1991 opus, Gothic, in its entirety ain’t bad. That album turns 25 this year, has been reissued multiple times over, and its influence continues to spread, now feeding a new generation a blueprint of how to do death/doom so very, very right.
It would’ve been an event to see Paradise Lost play anything, but “Gothic,” “Shattered,” “Dead Emotion” — this is the stuff of which doom extremity is made. I stayed a while to pay my respects and then did decide after all to not be a defeatist jerk and see if I could get in for Zone Six after all. I could. The key was to be early as hell. That’s an old Roadburn trick. The German space jammers, who feature in their ranks Dave “Sula Bassana” Schmidt and Komet Lulu, both of Electric Moon, played as a trio with Rainer Neeff on guitar, which meant that synth specialist Modulfix was missing, but the jams were happening either way. I dug the gosh darn heck out of last year’s Love Monster (review here), and they were another act where the safer assumption probably would’ve been that I’d never get to watch them do a set save at Roadburn. I am very, very fortunate to be here.
Zone Six played in the dark. I mean it. Cul de Sac isn’t exactly bright to start with, and Lulu asked before they went on to have the lights turned down so it was like shooting a show in Boston in there. With Sula filling in on synth, their swirl was certainly colorful enough that it would’ve justified a bit of brightness, but I’ll take what I can get and the pictures can work themselves out. I got to see Zone Six. That’s a win. And since I had a hot streak going, I thought maybe I’d give Extase a shot for CHRCH to round out the night on a bludgeoning note of tonal mass, their Unanswered Hymns (review here) debut album on Battleground Records continuing to resonate as one of 2015’s best. As fate would have it, my luck held.
My two gotta-sees for today were Hexvessel and CHRCH. I wish I could say I stayed for the latter’s full set, but between the fact that it was getting on midnight and I had writing to do and the full-crowd press up against the stage in Extase bringing on a need for breathable air that smelled like something other than beer sweat, I indeed did not. Was enough to see them play “Unanswered Hymns” though to justify my anticipation. The Sacramento five-piece are touring to support the aforementioned first LP, and they’re doing numerous fests in the US as well as putting in this abroad road time, so it probably won’t be the last time in my life I run into them, but I was extraordinarily glad I did. Partially veiled frontwoman Eva played up a ritualistic sensibility with incense at the front of the stage, but really, so much of what they did was about absolutely crushing everything in their path — which is a kind of ritual, granted — that their primary impression was one of sheer impact. Switching between screams and cleaner croons, Eva shared vocal duties with guitarist Chris, whose growls underscored the death/doom aspects of CHRCH‘s sound, making them all the more crushing.
Listening to Unanswered Hymns, it was clear CHRCH (who were called Church at the time) were onto something that could be really special. After watching them bring that material to life, I feel no less vehement in my appreciation for just how on-the-right-path they absolutely are. Their second offering will be a big tell. I can’t wait to hear what it has to say.
When it was time to go, I fought my way through the wall of humans at Extase and eventually out into the street where some non-Roadburn-type tourists were taking their picture in front of the big cathedral. Dudes were plastered. I took their picture with one of their phones and told them to have a good night. Theirs might’ve just been beginning, and I suppose in a way mine was too, but with Day One of Roadburn 2016 down, I felt like something really substantial had been accomplished even as I looked at the schedule for tomorrow and Saturday and Sunday and knew that there remains so much more to come.
Posted in Whathaveyou on March 15th, 2016 by JJ Koczan
Granted, the type of extremity might vary, but five editions deep, Southwest Terror Fest is on its shit. Southwest Terror Fest V, set for this October in scenic — literally; the desert is gorgeous — Tucson, Arizona, brings together long-running grind horrifiers Pig Destroyer, post-metal inheritors Sumac, psych-sludge purveyors CHRCH, heavy prog-metallers Behold! the Monolith, and a whole lot of others in the micro-subgenre game for a weekend that I’m sure is only beginning to take shape with this initial lineup announcement. The fest has only grown more organized and more lethal with time, so keep an eye out for more news in the months to come.
For now, if you want to get your tickets, the links for that came with the PR wire info below:
SOUTHWEST TERROR FEST V: Houses Of The Unholy — Initial October Festival Lineup Announced + Advance Tickets Available
The initial lineup for Arizona’s SOUTHWEST TERROR FEST V: Houses Of The Unholy has been announced, as early bird tickets for the event have been made available this week.
For the fifth installation of the annual SOUTHWEST TERROR FEST, this year’s edition will once again overthrow Tucson, the 2016 installment of the annual gathering running from October 20th through 23rd, with forty-five artists from across the US and Canada converging on three stages, including venues 191 Toole, Club Congress, The Flycatcher, and Gary’s Place..
The SOUTHWEST TERROR FEST V: Houses Of The Unholy initial lineup has been announced, this first wave of bands featuring Pig Destroyer, Agoraphobic Nosebleed, Infest, Nails, Power Trip, Final Conflict, Full Of Hell, Sumac, Kowloon Walled City, Khemmis, CHRCH, Behold! The Monolith, Theories, Wake, and The Drip!
A very limited number of early bird tickets are now available.
The second wave of artists set to play SOUTHWEST TERROR FEST V: Houses Of The Unholy will be announced April 18th, the same day VIP passes and individual tickets go on sale.
Since 2012, the SOUTHWEST TERROR FEST gathering has seen hordes flock to the desert city of Tucson for several days of music, the event rooted heavily into the community through local business sponsorship and cooperation. Prior festivals have seen dozens of extreme artists from across the spectrum, including Neurosis, Sunn O))), Sleep, The Body, Goatsnake, Pelican, Author & Punisher, Kylesa, Red Fang, Hull, and countless others performing, and there are several dozen more acts still to be announced for the upcoming fifth gathering.
Posted in Whathaveyou on March 10th, 2016 by JJ Koczan
Fucking a, Crucialfest 6. You win this round.
The Salt Lake City-based festival has announced its 2016 lineup, and it’s both all over the place stylistically and awesome, so kudos all around. My understanding is early-bird tickets are on their way to being sold out, and with the likes of Russian Circles, SubRosa, Mos Generator, Form of Rocket, CHRCH, Mammoth Salmon and a slew of others I both have and haven’t heard of, I can’t say it’ll be a surprise when they’re gone. Hell, Ape Machine are gonna be there. You know it’s a party when they show up.
I’m not sure if this is the full roster of bands or if Crucialfest 6 will be adding more, but it’s a killer assemblage as it is, as the PR wire can confirm:
Crucialfest 6 lineup announced
Salt Lake City, UT
Russian Circles, Helms Alee, SubRosa, Wizard Rifle, Mos Generator, Theories to headline Crucialfest 6 with historic reunion sets from SLC natives Form of Rocket, Ether, The New Transit Direction
When: June 15-18, 2016 Where: The Urban Lounge, Metro Bar, Kilby Court, The Art Garden Web:Crucialfest.com Tickets:bit.ly/1QLqLPN-Early bird discount wristbands still available
Crucialfest announces its most incredible lineup to date with Crucialfest 6! This June 15-18th CF6 brings the heavies to downtown Salt Lake City. Hosting 10 showcases and 50+ bands over 4 days (plus a warm up show June 11th), CF6 promises to deliver high-energy live performances from local and national bands alike, and a memorable experience for all. Crucialfest aims to heat up the local rock/metal scene & the touring environment for Utah bands by putting them on the stage with internationally recognized bands. It revitalizes the local scene with reunion sets from some of Salt Lake’s most influential bands. Info and tickets at:www.crucialfest.com
Confirmed Lineup: Russian Circles, Form of Rocket, The New Transit Direction, Ether, Helms Alee, SubRosa, Wizard Rifle, Mos Generator, Theories, Gaytheist, INVDRS, The Drip, InAeona, Immortal Bird, Ape Machine, Greg Bennick, CHRCH, Colombian Necktie, Baby Gurl, Elephant Rifle, Heartless Breakers, Fuzz Evil, Mammoth Salmon, Throes, Oxcross, Worst Friends, Mercy Ties, Muscle Beach, Sol, Bereft, Die Off, Handicapitalist, Thunderfist, I Buried The Box with your Name, MKNG FK, Donner Party House, Discoid A, Exes, Moon of Delirium, Turbo Chugg, Cicadas, Wulf Blitzer, Yeti Warlord, Former Tides, The Future of the Ghost, Scary Uncle Steve, Turtle Neck Wedding Dress, Cactus Pharm
Posted in Whathaveyou on March 8th, 2016 by JJ Koczan
Both Behold! the Monolith and CHRCH were announced for Roadburn 2016 back in November, but they’ve solidified a full round of European dates leading up to and through that fest that begins March 20 in Italy and includes stops at other fests like Tube Cult, Impetus and Doom over Leipzig as well. Each band is out supporting a 2015 release — in the case of Behold! the Monolith, it’s last fall’s Architects of the Void (review here), and for CHRCH, it’s their wildly well received debut, Unanswered Hymns (review here), initially self-released and then pressed to vinyl by Battleground Records.
The shows? They’ll be very, very heavy, and they’re part of a round of fests that the bands will play in the months to come. Behold! the Monolith and CHRCH will also feature together at Psycho Las Vegas in August, and CHRCH will also be at Crucial Fest 6 and Southwest Terror Fest later this year. Not too bad.
Dates for the European tour follow here, as well as both bands’ album streams:
Behold! The Monolith and CHRCH European Tour 2016
In case we haven’t mentioned it, Behold! The Monolith will be touring Europe very soon with CHRCH! Hope to see as many of you as possible out there! Here are the dates:
30-3 – Horizon Club – Bolzano – Italy 31-3 – Shai Hulud – Carpi Modena 01-4 – Tube Cult Fest – Pescara – Italy 02-4 – Circolo La Mesa – Montecchio Maggiore – Italy 03-4 – Les Pavillons Sauvages – Toulouse – France 04-4 – Glazart – Paris – France 05-4 – La Scène Michelet – Nantes – France 06-4 – Hipster Café – Rouen – France 07-4 – The Pit’s – Kortrijk – Belgium 08-4 – AZ Wuppertal – Wuppertal – Germany 09-4 – Impetus Festival – Lausanna – Switzerland 10-4 – AVAILABLE 11-4 – venue TBA – Berlin – Germany 12-4 – Magasin4 – Brussels – Belgium 13-4 – Antwerp Music City – Antwerp – Belgium 14-4 – Roadburn – Tilburg – The Netherlands 15-4 – Innocent – Hengelo – The Netherlands 16-4 – Doom Over Leipzig – Leipzig – Germany 17-4 – Hafenklang – Hamburg – Germany
Posted in Features on December 18th, 2015 by JJ Koczan
Please note: This list is not culled in any way from the Readers Poll, which is ongoing. If you haven’t yet contributed your favorites of 2015 to that, please do.
—
I’ll note right away that this list started out as a top 10. When it came to it, it didn’t seem fair to cut it off. Too much left out. It gets to a point where you look at your list of honorable mentions and it’s like three times as long as your list itself and you realize maybe you should up the numbers and give a few more records their due. So yeah, a top 20 it is.
The temptation with a list like this, especially since it’s dealing with bands working on their first full-length albums (EPs are counted separately), is to think of it as indicative of future movement overall, to try and measure some overarching trend from some of the best outings of the year. I’m not sure that’s a fair approach either to the bands who made these records or to everyone else who might come after, but if we step back and look at what’s presented in the list below, we see veterans resurfacing in new incarnations, new, young groups coming together with classic ideologies, a bit of heavy extremity, psych melding with pop, heavy rock going prog and much more.
What all that tells me is that notions like “underground” and “heavy,” these vague terms that get applied so liberally, are constantly expanding. Whatever their individual sound might be, these bands all pushed ahead an overarching stylistic progression in whatever they’re doing, and like the best of debut albums, they held promise for further growth beyond this already impressive output. It’s less about which seems like an immediate landmark, touchstone, whatever, than it is about what sets up and effectively begins that development going forward, though striking a chord in the present never hurts either.
To that end, here we go:
The Obelisk Presents: The Top 20 Debut Albums of 2015
1. Brothers of the Sonic Cloth, Brothers of the Sonic Cloth
2. Death Alley, Black Magick Boogieland
3. Cigale, Cigale
4. Kind, Rocket Science
5. Fogg, High Testament
6. Crypt Sermon, Out of the Garden
7. CHRCH, Unanswered Hymns
8. With the Dead, With the Dead
9. Demon Head, Ride the Wilderness
10. Sacri Monti, Sacri Monti
11. Stars that Move, Stars that Move
12. Chiefs, Tomorrow’s Over
13. Sunder, Sunder
14. Ecstatic Vision, Sonic Praise
15. Bison Machine, Hoarfrost
16. Serial Hawk, Searching for Light
17. Cloud Catcher, Enlightened Beyond Existence
18. Khemmis, Absolution
19. Sumac, The Deal
20. The Devil and the Almighty Blues, The Devil and the Almighty Blues
Honorable Mention
By way of honorable mentions, first I have to give a nod to Foehammer‘s self-titled debut EP, which would be on this list probably in the top five if not the top three were it not for the fact that, as noted, it’s an EP. Its list will come. The 2015 release of Horsehunter‘s self-titled on Magnetic Eye was killer as well, but since the album initially came out in 2014, it didn’t seem fair to include it in the list proper.
Releases from Killer Boogie, Snowy Dunes, Sweat Lodge, Planes of Satori, DoctoR DooM, Lasers from Atlantis and Lords of Beacon House (I heard the EP, not the LP) also provided thrills a-plenty, and while I recognize that sounds like sarcasm, please rest assured it’s not. I’m sure there are others, and as always, I reserve the right to tweak mentions and numbers over the next however many days, weeks, years, etc.
Notes
There wasn’t much mystery to this one for me. Brothers of the Sonic Cloth held onto that top spot for most of the year, and it seemed like no matter what came along, the wall of sound that Tad Doyle and company built on that record simply would not be torn down. As oppressive in tone as it is in atmosphere, it was a long-awaited debut that produced devastating results the ripples from which I expect will continue to resonate well into 2016 and beyond.
Brothers of the Sonic Cloth is one example of a veteran presence finding a new home, as several did this year. See also, Sumac with former members of Isis, Ecstatic Vision with players from A Life Once Lost, With the Dead with members of Cathedral and Ramesses coming together for the first time, Kind drawing its lineup from the likes of Roadsaw, Milligram, Rozamov and Elder, and even groups like Sunder, who previously released an album together under the moniker The Socks before abandoning that project in favor of the current one, as well as Sacri Monti, with a member from Radio Moscow in tow, Cigale, who had two members from Sungrazer, Stars that Move which sprang from Starchild, and Death Alley with members of Mühr, Gewapend Beton and The Devil’s Blood showcased how one band flows out of another and out of another, and so on.
That Death Alley debut had charm worthy of its title — which was also my favorite of the year — and showed the potential of that band to set up a real stylistic range going forward. I hope they continue to expand, get a little weird and freaked out and keep that core of songwriting and forward drive that makes Black Magick Boogieland so propulsive. For new bands, Cigale‘s self-titled was beautiful, but would later become tinged with tragedy following the death of guitarist/vocalist Rutger Smeets earlier this year. Not to mention friends and family, his is a significant loss for European psychedelia as a whole, and while that was inarguably one of the low points of 2015, the album itself remains a gorgeous statement.
Young acts like Fogg, Demon Head, Bison Machine, Sunder, Cloud Catcher and even Sacri Monti showcased varied takes on classic heavy, some more into boogie and jams and some looking for something a little rougher edged. Cloud Catcher‘s progressive take was a particularly pleasant surprise, while Sunder‘s psychedelia teemed with melody and a cohesive presence born out of what could’ve been unhinged otherwise. Between these, the heavy riffing of The Devil and the Almighty Blues and Serial Hawk, the formative fuzz of Chiefs, the resonant doom of Khemmis and the righteous traditionalism of Crypt Sermon, the notion of genres and subgenres as an ever-expanding universe seemed to be playing out on a weekly basis.
This, invariably, leads to new extremes, which in turn brings me to CHRCH. Like Foehammer, whose EP is in honorable mentions, the Unanswered Hymns long-player from CHRCH was a bright spot especially for how little light it seemed to let escape its abyssal grasp. They’re an easy bet for a band to catch on because they’ve garnered a formidable response already, but what sticks out to me most about them is the sense of pushing established parameters into fresh territory. What they’ll do in the months and years to come of course remains to be seen — they could break up tomorrow; it happens — but where a group like Primitive Man are almost singularly based on extremity of pummel and brutality (not to take away from them), CHRCH have the space in their sound for a multi-faceted progression, and that’s a huge part of what made Unanswered Hymns so encouraging.
—
I know there were many more debut LPs than these released this year, and even more debuts that were EPs and demos of note and things like that. The reason I single out debut albums for a list is because it’s among the most pivotal offerings a band can make. You’ll never get to release a second debut record. Some bands never live theirs down, some never attain quite the same level again and struggle with it for decades. Either way, it’s no small thing to get a group together and bring it to the point of putting out a first long-player, and that accomplishment in itself, regardless of the results, is worth highlighting.
No doubt I’ve left a few excellent offerings out. I hope you’ll let me know in the comments what debut albums landed hardest with you in 2015. In any case, thanks for reading.
Posted in Whathaveyou on November 19th, 2015 by JJ Koczan
Another day, another sigh heaved by Roadburn 2016 and a list of, I don’t know, like, 45 lineup additions expelled. Like it’s just happenstance, no big deal. Oh, Repulsion are playing Lee Dorrian‘s curated day. Oh, Bang are doing their first European show ever and they’ve been a band since 1970. Oh, G.I.S.M. are playing outside Japan for the first time ever. Ho hum. Meanwhile skulls around the planet cave in simultaneously, mine included.
Particularly noteworthy? CHRCH. The Sacramento five-piece released their devastating full-length, Unanswered Hymns (review here), earlier this year, and it’s quite simply one of 2015’s best debut albums. Also BloodCeremony, who’ll reportedly have a new record out by then,and Behold! the Monolith, whose new one, Architects of the Void (review here), came out this fall.
All this and more. Here are words from the PR wire:
Cult of Luna, G.I.S.M, Repulsion, Bang, and more added to Roadburn 2016 lineup
• CULT OF LUNA to celebrate tenth anniversary of Somewhere Along The Highway with a special performance. • G.I.S.M, REPULSION, and BLOOD CEREMONY added to Lee Dorrian’s curated events • BANG play their first show in Europe at Roadburn 2016.
CULT OF LUNA
2016 will mark a decade since CULT OF LUNA unleashed Somewhere Along The Highway – catapulting them to the top of end of year lists, and in to prized positions in record collections the world over.
Whilst the last ten years has seen the ascendency of CULT OF LUNA’s star, as well as two further stunning albums, Somewhere Along The Highway remains something of a marker in this history of the band. It seems fitting then, that just a week shy of the album’s official anniversary, CULT OF LUNA will be performing the album in full at the 013 venue on Thursday 14 April 2016.
It’s an honour to welcome back CULT OF LUNA to Roadburn Festival; the threads of their influence are weaved throughout many of the bands that have appeared on our line ups over the years. Join us as we honour the seminal importance of Somewhere Along The Highway, and celebrate all that CULT OF LUNA have achieved since its inception.
To find out more about CULT OF LUNA at Roadburn, clickHERE
LEE DORRIAN’S RITUALS FOR THE BLIND DEAD
Joining Pentagram, Galley Beggar and With The Dead at Lee Dorrian’s curated events will be three newly added bands.
• G.I.S.M
Over a decade after ceasing activities, G.I.S.M. reappear for their first concert ever outside their native Japan – at Roadburn 2016. The absolutely legendary Japanese band embody the true meaning of cult – one of the first acts to bridge the gap between hardcore punk and metal, and in the process redefined danger and unpredictability with violent stage antics and the insane aggression of their music
Lee Dorrian comments: “I thought it was an extremely long shot for many reasons. Mainly because I knew that they had never performed outside of Japan but also, they hadn’t even performed a show in Japan for over a decade. I still can’t quite believe that this is actually happening but the flights are booked and they are getting ready to come and boot you so brutally fucking hard in the ass!”
G.I.S.M’s Sakevi added: “It’s my pleasure to be involved and to be part of such a cool festival. It’s our first time ever playing outside of Japan, and it will be our fist show at all since February 2002! We’ll be playing a so-called “classic set” – and I’m already looking forward to having a lot of fun at Roadburn.”
Over 25 years after the release of REPULSION’s standalone masterpiece Horrified, still stands as one of the major cornerstones of not only grindcore, but extreme metal as a whole.
Lee Dorrian, a pioneer in the scene himself, says: “The line-up for my curated event is getting more and more exciting as we go along. I can’t tell you how happy I am that REPULSION are still playing live and crushing skulls wherever they appear. The legacy of this amazing and extremely influential band continues to grow and spread like wildfire as the years go on. It is a great honour that Matt and Scott accepted my invitation to come and destroy you all at Rituals For the Blind Dead.”
REPULSION will rip the 013 venue apart on Friday, April 15.
Canada’s BLOOD CEREMONY delivers the finest progged-out, occult-inspired acid folk this side of the early 70s, replete with an atmospheric Wickerman vibe, Hammer Horror organ, seriously doomy guitar riffage, and the sometimes soft, sometimes soaring vocals of Alia O’Brien, who’s also BLOOD CEREMONY’s flautist.
The band’s tales of witch-cult gatherings in wooded glens, pacts made in torch-lit abbeys and Victorian magic made such a huge impact on Roadburn back in 2011, thus we’re spellbound to report that Lee Dorrian has invited BLOOD CEREMONY to return to the 2016 festival on Saturday, April 16 as part of his curated Rituals For The Occult Pt.2 event.
Unsung heroes of the heavy ‘70s may be plenty in number, but few can offer the sweetness of groove that BANG bring to the stage, and we’re thrilled to announce they’ll be playing their very first European show ever at Roadburn 2016!
Says BANG of playing Roadburn, “We are incredibly excited to play Roadburn and for BANG to rock Europe for the first time. We know we have a lot of fans across the pond who are excited as well, and it’s going to be amazing to connect to that audience. We even heard they have amps over there that go to 11, so we will be extra loud!”
Naðra, NYIÞ and Grafir – clickHERE The Body – clickHERE Full of Hell – clickHERE John Haughm – clickHERE Behold! The Monolith – clickHERE Chrch – clickHERE Night Viper – clickHERE Sinistro – clickHERE Hair of the Dog – clickHERE
FURTHER TICKETING INFORMATION
Tickets to Roadburn Festival 2016 are now on sale! Ticket sales got off to an incredible start with many of the available weekend tickets being snapped up within the first few days. There are still 3-day, 4-day, and Sunday tickets on sale. Thursday, Friday, and Saturday day tickets will be released at a a later date. It is also possible to book camping tickets via Ticketmaster.
Posted in Whathaveyou on August 24th, 2015 by JJ Koczan
Sacramento five-piece CHRCH — who were Church when they first digitally released their debut album, Unanswered Hymns (review here), back in April — are getting ready to oversee the vinyl issue of that same full-length via Battleground Records. The headline from the PR wire below cuts to the chase with its direct urging toward a preorder, and while I’m usually somewhat shy about engaging directly in telling someone to spend their money, if you take a listen to the stream of the record at the bottom of this post, you might agree a preorder makes some measure of sense. First-pressing appeal aside, the album stomps souls. A band like CHRCH doesn’t come along every day, is all I’m saying. In the end, you have to make up your own mind.
To help in that process, the PR wire:
CHRCH: Preorder Unanswered Hymns On Vinyl Now
Sacramento, California’s fresh-faced psychedelic outfit CHRCH crushed their way onto the scene with their stunning debut cassette Unanswered Hymns to overwhelmingly positive response back in April, enchanting even metal’s toughest critics and bringing crowds to their knees all over the west coast.
The group signed to Battleground Records to release the vinyl version of the debut on September 18. We are proud to announce that for the first time, the LP is available for preorder. Better grab it quick–this one’s not going to last long.
The old and oft quoted adage about “the music speaking for itself” is not a callous or casual statement when applied to the Sacramento, California based doom quintet CHRCH, who have been hard at work crafting their particular brew of sound since late 2013. There is no image or campy gimmick to uphold, only the humble continuation and glorification of those fundamental musical elements that first built and then sustained the genre and it’s offshoots over the course of decades.
This purity and honesty comes across in a striking manner on the band’s debut Unanswered Hymns, a sprawling roller coaster of an album that plumbs the heights and depths of emotion, whether be it sorrow, loss, or redemption. Recorded, mixed, and mastered by Patrick Hills at Earthtone Studios in Rocklin, CA, the recording exudes a warm, organic tone that draws the listener in to music heavily influenced by traditional doom, psych rock, drone, and ambience. CHRCH cannily wields dynamic songwriting, musicianship, and raw power to spin a spellbinding tale of occult darkness that clashes with illuminating melodies and riffs drenched in grimy reverb. Minimalistic, indulgent, or straightforward, the music of CHRCH is simply whatever the listener wants it to be.
CHRCH tour dates: August 29th – Santa Cruz, CA @ Catalyst Atrium w/ Pentagram October 3rd – Record Release show: Sacramento, CA @ Starlite Lounge w/ Special guests November 13th – Long Beach, CA @ The Breakers (Midnite Communion III)
CHRCH is: Eva – Vocals Matt – Drums Shann – Guitar Ben – Bass Chris – Guitar, backing vocals
