Posted in Whathaveyou on August 31st, 2023 by JJ Koczan
It’s the multi-generational cult doom tour of the year! Though I say that and have no idea how many other multi-generational cult doom tours have happened throughout 2023 — it’s been a busy nine months. But uniting cult rock legends Coven with doom rockers Lucifer to apparently co-headline with classic doom upstarts Early Moods — who are about to meet a whole lot of friends they didn’t even know they had — in the opener spot is a celebration of heavy forms past, present and future, and probably a killer show besides. There’s little here not to like, I guess is what I’m saying.
Assembled at the behest of Nanotear Booking, it’s an especially strong package of bands and will hit major markets coast to coast throughout most of November. I’m not sure what else you’d need to know. Anytime Jinx Dawson hits the road it’s an event, and Lucifer is the perfect support act, with Early Moods in the opener’s slot with their own hard-hitting style and ready stage presence.
Could go on here but what’s the point? Seeing Coven is a must, seeing Lucifer is a should, and seeing Early Moods is a potential years-down-the-line regret if you don’t. Can’t make it any simpler than that.
From Nanotear on socials:
At long last, we can announce the unholy alliance of Coven & Lucifer, touring America this November with support from Early Moods. \m/
Tickets on sale this Friday.
THE SATANIC PANIC TOUR with LUCIFER & COVEN Special Guest: Early Moods
Nov 8, Los Angeles, Teragram Ballroom Nov 9, San Diego, Brick By Brick Nov 10, Santa Cruz, The Atrium Nov 11, Berkeley, The Cornerstone Nov 13, Portland, Star Theater Nov 14, Vancouver, Hollywood Theatre Nov 15, Seattle, Substation Nov 18, Denver, The Oriental Theater Nov 19, Omaha, The Waiting Room Nov 21, Minneapolis, Fine Line Nov 22, Chicago, Bottom Lounge Nov 24, Toronto, Lee’s Palace Nov 25, Montreal, Le Studio TD Nov 26, Cambridge, The Sinclair Nov 28, Philadelphia, Underground Arts Nov 29, New York, Le Poisson Rouge Nov 30, Baltimore, Soundstage †
Posted in Whathaveyou on May 29th, 2023 by JJ Koczan
One doesn’t even have to click play to hear the original hook of Demon Head‘s “Demon Head” on the ol’, increasingly dusty mental jukebox. The song first appeared on a Danish doom rock traditionalists’ Caligari-issued Demo 2014 tape (review here), and would show up again on the two-songer Winterland (review here) later that year and on side B of their debut album, Ride the Wilderness (review here), in 2015.
It is their quintessential, in some ways defining, work, and in light of that, their revisiting the track to mark their 10th anniversary as a group could hardly be more appropriate. The ‘new’ single comes with the bonus of being made in collaboration with cult legends Coven, whose founding vocalist Jinx Dawson is positioned alongside the band’s own Marcus Ferreira Larsen in the verses and rolling hook. It was killer nine years ago, so it’s not really a surprise “Demon Head” holds up — hasn’t been that long — but the arrangement is creative here and it’s a reminder of how malleable a well-written song can be.
You can see the video at the bottom of this post, and yeah, it’s a little over-the-top with the skull and all that, but there are photos and memories from the band’s decade together, so a sweet undercurrent to the whole thing. Dig it:
Demon Head featuring Jinx Dawson & Coven
Today marks the release of a song that celebrates ten years of life, blood and demon adventures. A completely reimagined version of the very first one we ever wrote, a decade ago this month.
On this recording we are joined by our dear friends Jinx and Coven, Anders M Jørgensen and Brandon.
Thank you all for the support through the years, which has made this whole voyage worthwhile! The second decade looks to begin with a fiery spirit and there is much more to come …
Recorded at No Master’s Voice Mixed by Flemming Rasmussen at Sweet Silence Studios Mastered by Magnus Lindberg at VRTKL Video footage by Kristian Blond Møller, Alex Kercheval and Jess
Guests on this recording: Jinx Dawson – Vocals Chris Wild – Guitar solo and vocals Chris Vaughn Bird – Guitar solo Alex Kercehval – Zither harp Brandon Monohaus – Tape echo manipulation Anders M Jørgensen – Guitar solo
Demon Head line up: Mikkel Sander Fuglsang – bass Birk Gjerlufsen Nielsen – guitars Marcus Ferreira Larsen – vocals Thor Gjerlufsen Nielsen – guitars Jeppe Wittus – drums
Posted in Whathaveyou on July 28th, 2022 by JJ Koczan
The lineup for Desertfest Belgium 2022 in Ghent on Oct. 30 is starting to get awfully full for a one day festival. And weird, which of course is a good thing. Desertfest‘s second Belgian edition welcomes cult legends Coven here, most notably — and it’s interesting to note that Jinx Dawson has a “fresh new band” behind her — as well as Steak, Tau and the Drones of Praise, Celeste, Ggu:ll and The Devil’s Trade, so yeah, you could say that the bill is starting to get a little out there. So much the better. You’ve got Elder and Pallbearer up at the top — though I wonder if either is headlining — and Monolord to keep things grounded. Might as well indulge a freaky side too.
If you go, I bet this’ll be a trip. Would love to hear about it sometime:
DF 2022 GHENT: NEW NAMES! COVEN, CELESTE, AND MORE!
After last week’s name dropping avalanche for DF Antwerp, it was high time for us to deliver the goods for the Ghent edition, wouldn’t you agree? So here are some sweet additions to the 30/10 line-up.
COVEN is one of the most revered names in Occult Metal lore. After years of cult status, their legacy finally got the acknowledgement it deserves. Now backed with a fresh new band, legendary singer Jinx Dawson has taken Coven back on the road, and we’re excited to see them play Desertfest Ghent.
Also on the bill will be French post-metal sensation CELESTE, who certainly need no further introduction. Their extreme crushing power is known, loved and feared in equal measure. To further thicken the oppressive atmosphere at De Vooruit venue, we have engaged Dutch doomsters GGU:LL who will present their first new material in 6 years (out later this year on the Ghent label Consouling Sounds). And how about THE DEVIL’S TRADE, aka Hungarian singer-songwriter Dávid Makó and his very personal take on doom folk and Eastern European folklore?
We further welcome London-based rockers STEAK who have certainly turned heads with their adventurous new album ‘Acute Mania’. We’re very excited to see them bring this Floydian opus to our stage. And finally, Shaun Mulrooney’s musical spaceship TAU will be here, along with the mysterious DRONES OF PRAISE who will join him in his neo-folk psychedelic jam-outs.
You know where to find the tickets, and be aware you can get a reduced combi deal for the Antwerp & Ghent festivals combined. Day tickets for Antwerp have also been on sale since last week – so there’s plenty of opportunity to mix and match the festival days to your liking!
This year’s Maryland Doom Fest has already begun. It started last night and will continue through Sunday, packing as much volume as possible between the first switched on amplifier and the final, inevitable broom swept across the floor afterward at Cafe 611 in Frederick, MD, where the fest is held. These shows are jammed. They start early. They go late. There’s nothing else quite like Maryland Doom Fest out there, and when you go, you’re made welcome whether you’re a regular or not. It’s too intimate a space and too cool a crowd for bullshit attitudes to survive. Relax and enjoy the tunes.
I’m sad to say I’m not there this year — let’s call it “family stuff” and leave it there — but the lineup is incredible and I wanted to do at least some tiny measure of tribute to that, so here we are. Some of these bands are MDDF veterans — Apostle of Solitude, Zed, Foghound, Faith in Jane, Caustic Casanova, etc. — but some are new to the event as well — Coven, Great Electric Quest, Formula 400, and others — so it’s a good mix, and you know I’m a sucker for ending epic, so The Age of Truth seemed perfect for that. They’re gonna kill it this weekend playing songs from Resolute and everyone there will know it long before they go on and they’ll still kill it. That’s just how it goes down there. You’re gonna have a good time.
Thanks if you listen, thanks if you’re reading. Thanks in general. And if you’re at the fest this weekend, enjoy it.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.
Full playlist:
The Obelisk Show – 06.24.22 (VT = voice track)
Coven
Wicked Woman
Witchcraft Destroys Minds & Reaps Souls
Zed
Chingus
Volume
Apostle of Solitude
Apathy in Isolation
Until the Darkness Goes
VT
Problem With Dragons
Live by the Sword
Accelerationist
Horseburner
A Joyless King
The Thief
Thunderbird Divine
Qualified
Magnasonic
Heavy Temple
A Desert Through the Trees
Lupi Amoris
Great Electric Quest
Seeker of the Flame
Chapter II – Of Earth
Formula 400
Ridin’ Easy
Heathens
Horehound
Hiraeth
Collapse
VT
Shadow Witch
Witches of Aendor
Under the Shadow of a Witch
Faces of Bayon
Ethereality
Heart of the Fire
Ol’ Time Moonshine
Raven vs. Hawk
The Apocalypse Trilogies
Caustic Casanova
Truth Syrup
God How I Envy the Deaf
Foghound
Known Wolves
Awaken to Destroy
Orodruin
Into the Light of the Sun
Ruins of Eternity
Faith in Jane
Gone Are the Days
Mother to Earth
Alms
The Offering
Act One
Guhts
The Mirror
Blood Feather
VT
The Age of Truth
Return to the Ships
Resolute
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is July 8 (subject to change). Thanks for listening if you do.
Posted in Whathaveyou on December 31st, 2021 by JJ Koczan
As suspected, the lineup announcement for the 2022 Maryland Doom Fest is relatively short on fluff. No flowery descriptions of the acts involved, no hype about how important it is to get together in these times of plague and support the community, the underground, whatever it is. That’s all true enough, but as ever, Maryland Doom Fest is putting the name out there for you to see, and if you know, you know. If you’re a part of that family down there in Frederick, you’ve already got your calendar marked. This is who’ll be at the reunion.
And to that, with bands like Horehound, Thunderbird Divine, Caustic Casanova, fest-organizer JB Matson‘s own Bloodshot, Faith in Jane, ZED, Helgamite, Shadow Witch, The Age of Truth, Apostle of Solitude, Horseburner, Dead East Garden, Strange Highways and Foghound on the bill, this one will no doubt feel like a reunion in no small part. These acts and some of the others as well have shared MDDF bills in the past, and indeed, some were included in the announcement for January’s Doom Hawg Day as well, as was speculated. Still cool to see some of those returning coming across the country to do it, though, be it ZED or Formula 400.
Set for June 23-26 at Cafe 611 and Olde Mother Brewing in Frederick, MD, and of course subject to some changes between now and June, the lineup for Maryland Doom Fest 2022 is as follows:
Maryland Doom Fest 2022 Lineup
Black Road Dust Prophet Ol’ Time Moonshine High Priestess Wrath of Typhon Alms Black Lung Thunderbird Divine Atomic Motel Byrgan Faces of Bayon Grief Collector Crystal Spiders Helgamite Shadow Witch The Age of Truth Heavy Temple Problem with Dragons Strange Highways Fellowcraft Formula 400 Tines Indus Valley Kings The Stone Eye Crow Hunter Caustic Casanova Coma Hole Wizzerd Mythosphere Horehound Bloodshot NobleSoul Coven ZED Faith in Jane Future Projektor Apostle of Solitude Orodruin Dead East Garden Ritual Earth Grave Next Door Black Sabbitch Lost Breed Horseburner Foghound Hot Ram Flummox
Posted in Features, Reviews on August 20th, 2018 by JJ Koczan
08.19.18 – Let’s call it midnight – Sunday night – Hotel room
Every time I walk down a long hotel hallway I think of John Goodman in Barton Fink toting his rifle and yelling about the life of the mind. “Look upon me!” and so on. That’s a fun association to have.
I had breakfast this morning at the kind-of diner here in the Hard Rock and it was the first meal I’d had in a while not made of a protein bar or granola and cereal. Not much time for that kind of thing, but I wasn’t sleeping and a little extra fortification seemed like the right idea for the final day of Psycho. No regrets.
Another busy day. There’s no letup here. Sets are full, and there are breaks between, but if you’re up for going, you can just keep going the whole day. It’s astounding. I’ve been doing my best to see as much as possible, but even that’s a fraction of the whole.
But, today was also the last day, so a bit of adrenaline to carry through is a fortunate happenstance. Flight’s early tomorrow, but that’s tomorrow’s problem.
Here’s today:
King Buffalo
It’s not like I’ve never seen King Buffalo, but I think they might’ve been my most-anticipated band of the weekend. Their upcoming album, Longing to be the Mountain, is a big step forward in their sound, and 2016’s Orion (review here) was already right up there with that year’s best offerings. They opened with the title-track of the new record and then “Repeater” from the 2018 EP of the same name (review here) before digging back to Orion for its own title-track and “Kerosene,” both of which were met with a relative uproar from the knowing Vinyl crowd. At one point early on someone in the audience shouted between songs, “Why are you opening?” and drummer Scott Donaldson answered, “I don’t know!” I don’t really know either, but Donaldson, guitarist/vocalist Sean McVay and bassist Dan Reynolds were a perfect start to the day, with the latter adding a wash of loops and psychedelic noise and transitional drones for between the songs, the build and fluidity of which were immersive in their totality. There was no moment that pulled one out of the atmosphere they set, and when the three of them locked into the heavier end of “Kerosene,” the room became a lake of nodding heads. I will consider myself lucky have seen them here. They made that room their own.
Indian
The Chicago four-piece — playing as a five-piece with Primitive Man‘s Ethan Lee McCarthy sitting in on noise and backing vocals — were probably the angriest act I’ve seen all weekend. Or, you know, ever. The assault factor extended not just to the brutality of what they played, the chest-vibrating volume at which they played it or the harsh noise and feedback that infected every single break between riff after punishing riff, but even unto the bright wash of white light under which they played. It was blinding to stare at the stage for any length of time. So it was a challenge on almost every level it could be short of them spraying skunk scent on the crowd or something like that. The rhythms of bassist Ron DeFries and drummer Noah Leger hit through a surge of low end and were punctuated by a kick drum that could almost turn the stomach, and the tortured, disaffected screams from guitarists Dylan O’Toole and Will Lindsay that cut through all that not-just-aggro-but-really-pissed-off morass were just one more level on which Indian‘s bleakness was conveyed. If King Buffalo were easing the crowd into the final day of Psycho Las Vegas 2018, Indian were making sure no one left without a scar. Menacing.
Coven
Legends, of course. What’re gonna do, not watch Coven? Of course not. Frontwoman Jinx Dawson arrived on stage in a draped coffin and was let out by robed minions, wearing a silver mask for the first song to obscure her face and underscore the theatrical cult rock vibe. Their 1969 debut, Witchcraft Destroys Minds and Reaps Souls is the stuff of cultish blueprint — the style simply wouldn’t exist in the same way without it — and Dawson and her also-robed backing band honored that legacy well. I’ve wondered as Coven have gotten back to the live performance sphere if they might ever do another record. I don’t know that they would or wouldn’t, or if they did what it would sound like — the band behind Dawson definitely brought a modern edge to those classic sounds — but it seems like a worthy pursuit. As it was, the crowd headbanged and took phone pictures at the same time and were no less into the revelry than Coven itself, which brought the atmosphere of ceremony in a way that reminded of the roots not just of cult rock, but black metal and doom and so much more besides. They’re a feelgood story for a band finally getting their due appreciation, or at least Dawson getting hers, but Coven on stage demonstrate the timeless vitality of what they did nearly 50 years go.
Black Mare
I had no idea what to expect from Black Mare, and I was still surprised. Was it just going to be Sera Timms singing over drones, or her and a drummer, or anything. I don’t even know. It was a full band. Timms, who’s probably best known at this point as the ethereal frontwoman of Ides of Gemini but who was also in Black Math Horseman and shared vocal duties with John Garcia in Zun — which I’m still hoping wasn’t a one-off — was joined by her Ides bandmate J. Bennett on bass, as well as a guitarist and drummer, and with a swell of volume behind her, she came out an held the entire Vinyl room rapt. There were moments between songs of actual silence. No talking, no nothing. People were just waiting to see what happened next. With a cloak and face mask that were both gradually discarded, Timms brought her otherworldly vocal approach to a kind of dark-psych lounge feel, almost like she was about to book a show at the bar in Twin Peaks. Atmosphere and tones alike were thick as this version of Black Mare called back to the project’s 2013 debut, Field of the Host (review here) to open with “Blind One” before “Low Crimes” from the split with Lycia (review here) and “Death by Desire” from last year’s Death Magick Mother (review here) seemed to move further and further into an alluring murk of melodies and ambience.
Enslaved
Well, Enslaved played “Ruun,” so really anything else that happened, basically ever, takes a back seat to that. It would be impossible for the Norwegian progressive black metal powerhouse to capture the entirety of their 14-album catalog and their 27-year career, and to their credit, they didn’t try. With “Isøders Dronning” and “Yggdrasil” from 1993’s Frost included for longtime fans or those who’ve dug in deep, they were free to explore some more recent material — opening with “Roots of the Mountain” from 2012’s Riitiir (review here) before “Ruun” and including “Sacred Horse” from 2017’s E (review here) in a showing of just how proggy they’ve become. This was my first time seeing Enslaved with keyboardist/vocalist Håkon Vinje — about whose relative youth bassist/vocalist Grutle Kjellson joked twice on stage — and he absolutely nailed new material and old. Wasn’t even a question. With him, Kjellson, guitarist/vocalist Ivar Bjørnson and guitarist Arve “Ice Dale” Isdal, who I don’t think even owns a shirt at all, was new drummer Iver Sandøy. I didn’t know Cato Bekkevold wasn’t with the band anymore after 15 years, but Sandøy made his presence felt on vocals as well and like Vinje, was right at home in the songs. I’ve never seen Enslaved that they didn’t totally deliver, and I’m happy to report that streak is still alive.
The Hellacopters
There are some serious fans of The Hellacopters walking around Psycho Las Vegas this year. Decked-out rockers, heavy-garage types, fucking classic drinkers, trouble through and through. Don’t fuck with those people. They’re the drunkard’s drunkards. Turbojugend jackets have abounded all weekend and it would seem to be The Hellacopters that brought them out. Fair enough. The Swedish rockers made The Joint get down like no one I’ve seen this weekend, and it was superlative. Superlative rock, as a genre. Lot of punk in there, lot of garage as well, but all of it was distilled down to the essence of rock and roll, and as guitarist/vocalist Nicke Andersson came out to soundcheck with the rest of the band, it was clear the room had been waiting for The Hellacopters to arrive. Andersson, keyboardist Anders “Boba” Lindström, guitarist/vocalist Andreas “Dregen” Svensson, bassist Sami Yaffa and drummer Robert Eriksson handed that same room its ass in short order. Good times, absolute forget-about-tomorrow-let’s-kill-it-tonight mentality, all-in, all-go, all-fire. Just right on. I’ve dug Hellacopters records and such as much as the next who’s like, “Yeah, that’s pretty cool, right on,” but seeing it live it’s much, much easier to understand why they have the cult following they do. It’s well earned.
Dreadnought
For everyone who could pull themselves away from The Hellacopters or for those to whom the straight-up rock wasn’t maddening enough, Denver’s Dreadnought offered an alternative in Vinyl. I’ve seen some impressive shit this weekend. It’s been a good fest, okay? Then I saw Dreadnought drummer Jordan Clancy one-hand cymbals while using his other hand to press the notes on the saxophone he was also playing at the same time. Dreadnought‘s 2017 album, A Wake in Sacred Waves (review here), was lush in its layers and as creative in its arrangements as it could be scathing in its blackened extremity, but I don’t think I’ve ever watched somebody drum and play sax at the same time. That’s a Psycho Las Vegas 2018 first for me. Guitarist/vocalist Kelly Schilling was playing a flute at the time as well, so he was in good company, and bassist Kevin Handlon and keyboardist/vocalist Lauren Vieira stood ready at a moment’s notice to take off into the next movement, be it Vieira and Schilling on a quick melodic duet, or strobe-accompanied blasting black metal, heads banging and screams utterly vicious. I didn’t stay the whole set, I’ll confess, but I was glad to catch what I did, and it only reinforced my opinion that they’re a band whose scope and execution are likewise admirable.
Sunn O)))
As it happened, I had a couple minutes to spare. As it also happened, drone/amp/riff-worship magnates Sunn O))) were going on in The Joint. Playing as just the duo of Stephen O’Malley and Greg Anderson, they were decked out in full grimmrobe regalia and surrounded of course by a henge of speaker cabinets. The floor shook, it was so loud. I hadn’t seen Sunn O))) in a very long time, and even longer with just the two of them — maybe never — so while the timing worked out for me to catch them because Vinyl was running late, it was a fortunate bit of happenstance working in my favor. There’s been so much said about the poetry of what Sunn O))) do that I’m in no way about to add any insight to the canon, but as far out as they’ve gone over the years and their intermittent studio albums, incorporating vocalist Attila Csihar and various other players throughout their time, seeing just Anderson and O’Malley together on stage, bathed in fog as ever (though the ventilation system was almost too good and the fog kept swirling away, needing immediate replenishment), reaffirmed the raw power that’s always been at the root of the band. Their project has outgrown being just the two of them, and I don’t think I’d trade the Sunn O))) discography for a hypothetical, but the force of rumble emanating from the stage said everything that needed saying.
Eight Bells
What a way to cap the festival. One more show in Vinyl, one more band I probably wouldn’t get to see otherwise. I was dragging to be perfectly honest, and as noted, Vinyl was running late, but screw it, I was already in, and Eight Bells were going to be worth the wait. The Portland-based space-psych-post-whatever four-piece vary in volume, meter, melody and rhythm, but are persistently spacious, and especially digging 2016’s Landless (review here), I was doubly interested to see Eight Bells since guitarist/vocalist Meylinda Jackson had a completely new lineup with her. Comprised now of Jackson, keyboardist/vocalist Melynda Amann, bassist Alyssa Maucere and drummer Brian Burke, the experimentalist side came out before the set even started in earnest, with Jackson taking some kind of voice box and running it through what seemed to be a host of effects to create a foundation of atmosphere. Drift was a factor, but Eight Bells were never actually out of control, and even for being a new group working together, what they played seemed well-honed and there was none of that awkward everybody-in-their-own-sonic-space-on-stage thing you get when a band is recently formed or revamped. I don’t have anything to compare it to in terms of Eight Bells, never having seen them before, but they held together a ranging heavy psychedelia that seems to be individualized no matter who’s playing it at the time.
—
I fly out of Las Vegas in about eight hours. It’ll be brutal, but I’m pretty sure I’ll make it, and if not, well, there’s always ‘wandering the earth’ to try. I hear good things.
Tomorrow’s pretty much all travel, so unless I have space on the plane to open my laptop — which I sincerely doubt I will — I expect it’ll be Tuesday before I get a proper thanks-everybody post up to wrap up this coverage, so with pictures still to sort through and packing to be done, I’ll just bow out and say thanks for reading and more pics after the jump.
So… thanks for reading and there are more pics after the jump. Ha:
Posted in Whathaveyou on February 23rd, 2018 by JJ Koczan
It’s only taken a few years for Psycho Las Vegas to establish itself as the premier underground festival in the US. All well and good. With 2018’s lineup, though, it’s time to start thinking of Psycho among the best in the world.
Sounds like too much? Consider Godflesh and Dimmu Borgir sharing a stage, both for exclusive West Coast appearances. Think of Sweden’s Witchcraft playing one of the two shows they’ll do in the US at Psycho, and ditto that for Japanese riff-madmen Church of Misery. Think of US exclusives from Lee Dorrian’s With the Dead, or Lucifer, whose Johanna Sadonis will also DJ the Center Bar. The commitment to up and coming underground acts local, domestic and foreign like Temple of Void, King Buffalo, Dreadnought, The Munsens and DVNE. Picture yourself watching Wolves in the Throne Room headline a pre-fest pool party with Elder, Young and in the Way, Dengue Fever, Fireball Ministry and Toke.
2018 is the year Psycho Las Vegas outclasses even itself and pushes further than it ever has in terms of stylistic reach (Integrity walks by and waves… at Boris) and the sheer power of its construction. If you’re looking for the future, you’ll find it in scumbag paradise.
Here’s the lineup:
Psycho Las Vegas 2018
Hard Rock Hotel and Casino Las Vegas 4455 Paradise Rd, Las Vegas, Nevada 89169
PSYCHO LAS VEGAS 2018 lineup: DIMMU BORGIR (west of chicago exclusive) HELLACOPTERS (one of two shows to be played in the USA in 2018) SUNN 0))) GODFLESH (west of chicago exclusive) WITCHCRAFT (one of two shows to be played in the USA in 2018) ENSLAVED AMERICAN NIGHTMARE HIGH ON FIRE ROCKET FROM THE CRYPT RED FANG ZAKK SABBATH CHURCH OF MISERY (usa exclusive 2018 with exception to one other show in San Diego) TINARIWEN GOBLIN CKY VENOM INC EYEHATEGOD VOIVOD BORIS COVEN INTEGRITY PALLBEARER WITH THE DEAD (USA exclusive 2018) MONOLORD LUCIFER (USA exclusive 2018) ACID WITCH SURVIVE DOPETHRONE BIG BUSINESS UNEARTHLY TRANCE MUTOID MAN TODAY IS THE DAY HELMS ALEE SPIRIT ADRIFT BATUSHKA PRIMITIVE MAN DVNE ALL PIGS MUST DIE EIGHT BELLS WORMWITCH INDIAN NECROT HOMEWRECKER BRAIN TENTACLES CLOAK BLACK MARE MAGIC SWORD UADA TEMPLE OF VOID DREADNOUGHT WOLVHAMMER ASEETHE DISASTROID FORMING THE VOID VENOMOUS MAXIMUS GHASTLY SOUND HOWLING GIANT KING BUFFALO NIGHT HORSE THE MUNSENS GLAARE
Paradise Pool Pre Party
August 16th
WOLVES IN THE THRONE ROOM ELDER YOUNG AND IN THE WAY DENGUE FEVER FIREBALL MINISTRY TOKE
Center Bar DJ’s Andrew W.K. Nicke Andersson (Entombed/Hellacopters) Johanna Sadonis (Lucifer)
Posted in Whathaveyou on June 8th, 2017 by JJ Koczan
Losing Warning is a bummer, but Northwest Terror Fest 2017 is taking it in stride and taking its game to another level entirely by adding Coven to the bill for their first US show in 27 years. I had the good fortune of watching Coven play at Roadburn in April (review here), and their classic sound has never been more relevant than it is today, and Jinx Dawson remains a mystifying presence as frontwoman, even nearly five decades after the band issued their landmark 1969 outing, Witchcraft Destroys Minds and Reaps Souls, which you can hear in full below. The point of that massive fucking run-on sentence? Go see Coven if you can. There. I made it simple. I hear that’s what you’re supposed to do on the internet.
John Haughm of Pillorian and Agalloch will also play an acoustic set as part of the packed lineup, and as a side note, tomorrow I’ll have a Six Dumb Questions interview posted with David Rodgers of Godhunter, who organizes this fest as well as other Terror Fest incarnations like the Austin Terror Fest at SXSW and Southwest Terror Fest in Arizona. Dude breaks his ass in making these things happen, and you’ll note Godhunter aren’t on this bill, so it’s clearly not about just putting together an event to promote his own doings. Just something to keep an eye out for.
Northwest Terror Fest 2017 runs June 15-17. Here’s the latest from the PR wire, including the full schedule:
COVEN, JOHN HAUGHM JOIN NORTHWEST TERROR FEST
NORTHWEST TERROR FEST – SEATTLE JUNE 15-17
Due to matters out of control of Northwest Terror Fest, we regret to inform that Warning will no longer be able to perform during this specific weekend. But at the end of the darkness is light as we are proud to announce that the legendary Coven will be playing on the evening of Saturday June 17th in what will be their first stateside show in 27 years!
While its widely disputed that some have cited Coven as the first band to brandish the sign of the horns, their occult laced tunes have laid down an irrefutable influence on the world of metal and doom beginning with their mystic debut album, 1969’s Witchcraft Destroys Minds & Reaps Souls.
John Haughm of Agalloch will be performing an intimate set.
Inspired by Cormac McCarthy, Ennio Morricone, Neil Young’s “Dead Man” soundtrack, and the renegade years of the American old west, John Haughm’s solo performance is a haunting and sonic 30 minute journey through dystopian wastelands of the past. It is a bleak, atmospheric, and powerful droning Western soundscape in steadfast spirit of the years 1865 – 1895.
Northwest Terror Fest Schedule:
THURSDAY 6/15 Neumo’s: 10:10 – END – Wolves In The Throne Room 8:50 – 9:30 – Samothrace 7:35 – 8:10 – King Woman 6:30 – 7:00 – Lycus 5:30 – 6:00 – Uada
Barboza: 9:30 – 10:10 – Graves At Sea 8:10 – 8:50 – Take Over And Destroy 7:00 – 7:35 – Void Omnia 6:00 – 6:30 – Barghest 5:00 – 5:30 – Witch Ripper
THURSDAY AFTER PARTY
Highline: 1:00 – END – John Haughm 11:50 – 12:40 – Aerial Ruin 11:00 – 11:30 – Crowhurst
Barboza: 9:30 – 10:10 Cult Leader 8:10 – 8:50 – Call Of The Void 7:00 – 7:35 – Transient 6:00 – 6:30 – Endorphin’s Lost 5:00 – 5:30 – Recluse
FRIDAY AFTER PARTY
Highline: 12:40 – END – Usnea 11:50 – 12:20 – Burials 11:00 – 11:30 – Sol
SATURDAY 6/17
Neumo’s: 10:10 – END – Coven (First US Show in 27 years) 8:50 – 9:30 – Yob 7:35 – 8:10 – Marissa Nadler 6:30 – 7:00 – Young And In The Way 5:30 – 6:00 – Infernal Coil