Amsterdam-based dark-progressive heavy outsiders Iron Jinn celebrated the release of their 2023 self-titled debut (review here) by playing the release show at Roadburn Festival, bringing their sprawling, melodically-thoughtful and above-all-adventurous material to life in front of a packed Green Room at the 013 in Tilburg, the Netherlands. You can see in the video premiering below for “Lick it or Kick It” from that set that it was packed. With guitarist/vocalist Wout Kemkens, guitarist/vocalist Oeds Beydals, bassist/backing vocalist Gerben Bielderman and drummer/backing vocalist Bob Hogenelst, along with guest keyboardist Jarno van Es, on stage playing Iron Jinn in full save only for “Relic,” the resultant Live at Roadburn — why call it anything else when you can call it that? — is a new format to showcase the songs, the complement to the studio release it’s their stated intention it should be, with a vibrancy and personality of its own, and an emphasis on the distinct sounds through which the band conjures a style lush, fluid and creepy. Able to speak to the long history of European heavy weirdoism and off-kilter prog, they’re nonetheless fluid in their execution across songs like “Soft Healers” and “Winding World,” and the audio mixed/mastered by the esteemed Pieter Kloos from the front-of-house board helmed by Rutger Drenth finds them balancing the restlessness of a band playing their release party for their first album against the willful patience of the material.

There’s a bit of push-pull there, and there should be. That would have been part of the experience on stage/in the room, and the tension Iron Jinn create in their material — you can certainly hear it on “Lick it and Kick It,” a video for the studio version of which also premiered here — is an energy that band and audience both seem to feed off. Iron Jinn are methodical in their delivery, touching on folkish melody in “Blood Moon Horizon” before casting themselves into the ether in “Ego Loka” to set up an explosive cathartic shove, and thereby making clearer the dynamic within the group, who twice now have shown themselves ready to go where they must to meet the demands of their craft, which are significant considering the ambitious and encompassing sprawl both of Live at Roadburn and Iron Jinn when taken in their entirety. But what’s true of the studio record is true of the live one too — there’s no getting away from the potential of this band or the fact that, from here, they can become anything they want. They can be firebreathing monsters or psychedelic explorers, freely dropping subtle references to the krautrock of eld while in a creative pursuit that seems so forward-minded — so eager to make manifest the band’s progression; so ready to grow — that one can hardly think of the past at all while listening for the prominence of the future on one’s mind.

It would be fun to speed up time and see, all other things allowing, where Iron Jinn are sound-wise 10 years from now, because what I can’t get away from is how Beydals, Kemkens, van Es, Hogenelst and Bielderman have been able to bring their collective experience to the band and immediately create something new from it. You can dig back all you want through their pedigree, and you might find some commonality of atmosphere with Beydals‘ work in Molassess or Kemkens‘ in Shaking Godspeed, but it’s pieces from everything being put together in a different way, and the more one immerses in the proceedings, the greater the reward. It may be that over time Iron Jinn‘s sound will streamline, whittle down some of the aesthetic elements in this material to become something more straightforward, or they might push the structural experimentalism of the self-titled into exponential spaces, stepping into the realm of the avant garde and remaining probably several years ahead of their time forever how long they go. The answer is probably somewhere between, but right now it’s a joy not to know in addition to being fun to speculate. To listen to Live at Roadburn in all its grim vitality and imagine, if they can do this now, the places they may yet take their listeners in the years and songs to come.

The Roadburn set, filmed/edited by Tijmen Hobbel in its entirety, is a full dive. From thoughtful harmonies to crushing noise, contemplative spaces and caveman thud, the band leave little in reserve as they push into the foreboding “Truth is Your Dagger” and “Bread and Games,” which ends with a righteous charge and a sense of blowout that the set has by then more than earned. My friends, I will tell you in all honesty that I think these guys are onto something special, and that given the trajectory of their past work, where they are now as songwriters and players, they have an opportunity to step forward from their influences and define their own path in a way not every band can or gets to do. If you struggle to find positive prospects in the next few years, watch “Lick it or Kick It” below and just think for a minute about what Iron Jinn‘s second and third albums might sound like if this is them supporting their first.

PR wire info and the e’er crucial preorder link follow below. The 2LP Live at Roadburn releases April 5 through Lay Bare Recordings.

Please enjoy:

Iron Jinn, “Lick it or Kick It (Live at Roadburn)” video premiere

Iron Jinn Unveils Mesmerizing Video and Track from Upcoming Live At Roadburn Double Album and Announces Vinyl Pre-order

Experimental psychedelic rock sensation Iron Jinn, hailing from Amsterdam, is set to captivate the music world with the release of the first video and track Lick It Or Kick It from their highly anticipated live album. Recorded during their spellbinding performance at the renowned Roadburn Festival in 2023, the album promises to be a musical journey, showcasing the band’s unique blend of psychedelic rock and experimental sounds.

Iron Jinn comprises the exceptional talents of Oeds Beydals (The Devil’s Blood, Death Alley), Wout Kemkens (Shaking Godspeed, De Niemanders), Bob Hogenelst (Birth of Joy), and Gerben Bielderman (Pauw). The collaboration of guitarists and songwriters Oeds and Wout traces back to their shared history in Death Alley and Shaking Godspeed, united by a passion for challenging the norms of heavy rock music.

The band’s inception took place at the Last Night On Earth festival, organized by Oeds and Wout, and subsequently evolved into Iron Jinn with their second performance at Roadburn 2018.

“The Iron Jinn 2023 Roadburn performance was the perfect opportunity for us to present our debut album in the flesh. Roadburn’s Walter Hoeijmakers made it possible for us to expand the band’s line-up for this show with the addition of Jarno Van Es on keys, so we could recreate the layered density the album has to offer,” said Oeds Beydals. “This show is a moment in time that we are thankful to have captured: a band getting into its own at a very early stage.”

Expertly produced by Pieter ‘Pidah’ Kloos at The Void studio, the album promises to be a sensational auditory and visual experience. Iron Jinn aims to transport listeners into a realm of sonic exploration, weaving spontaneous improvisation and new energy into their studio-produced material.

“Creating fresh counterparts to the more produced studio versions by adding spontaneous improvisation and new fire to the music. Although we hope to keep evolving, this show is a moment in time that we are thankful to have captured: a band getting into its own at a very early stage,” added Oeds Beydals.

Live At Roadburn is set for release on 2 x 180g heavy weight black vinyl on the 5th April via Lay Bare Recordings. The double album captures the essence of Iron Jinn’s musical evolution and creative process perfectly.

Pre-order The Album Here: https://laybarerecordings.com/release/live-at-roadburn-by-iron-jinn-lbr055

Tracklist
1. Soft Healers
2. Blood Moon Horizon
3. Ego Loka
4. Lick It or Kick It
5. Cage Rage
6. Winding World
7. Truth Is Your Dagger
8. Bread and Games

Iron Jinn invites you to relive the magic and immerse yourselves in an unforgettable experience at the album release show on the 5th April at Ekko’s in Utrecht.

Buy Tickets Here: https://ekko.nl/event/iron-jinn-presents-live-at-roadburn/

Iron Jinn are Oeds Beydals (The Devils Blood/Molassess/Death Alley), Wout Kemkens (Shaking Godspeed/De Niemanders), Bob Hogenelst (Birth of Joy/Molassess) and Gerben Bielderman (Pauw).

Video credits:
Filmed and edited by Tijmen Hobbel
Audio recorded by Pieter Kloos & Loet Braamkolk
Audio mixed and mastered by Pieter Kloos
FOH sound by Rutger Drenth
Lights by Robbie van Reen
Monitors by Lars Spijkervet
Recorded April 22nd 2023 at Roadburn Festival at 013 Tilburg, The Netherlands
All songs written by Iron Jinn
Performed by Oeds Beydals, Gerben Bielderman, Jarno van Es, Bob Hogenelst and Wout Kemkens

Iron Jinn, “Winding World” from Live at Roadburn (2024)

Iron Jinn, Iron Jinn (2023)

Iron Jinn on Instagram

Iron Jinn on Facebook

Iron Jinn on Bandcamp

Lay Bare Recordings on Facebook

Lay Bare Recordings on Instagram

Lay Bare Recordings on Bandcamp

A little bittersweet, to be honest. Roadburn 2022 was the first one to be held since 2009 that I didn’t attend, and among the great swath of performances I missed out on that weekend was that of Italy’s Messa, who were there supporting their 2022 release, Close (review here), which by all accounts was a breakthrough for the band. I’m glad they’re releasing the set, and anytime I get to write about something Marcel Van de Vondervoort (also of Astrosoniq) recorded, I’m happy to do so, but yeah, thinking about not being in Tilburg last year, thinking about not being there again this year, maybe never getting to go back, is pretty sad for me. That was a big part of my life for a long time, a rejuvenation, a home I returned to each April. Things change, and I know that. I change. The festival certainly has changed. But there’s a place in my heart that might always pang for that experience. If that’s nostalgia or just missing friends, fine.

Live at Roadburn is out April 28. Perhaps if you, like me, have never had the chance to see the band live, it will give some sense of what they do on stage. Context. I haven’t heard it yet so can’t really say, but preorders are up as the PR wire informs:

MESSA to Release New Album ‘Messa – Live at Roadburn’ Out April 28th

Pre-Save HERE: https://orcd.co/messaliveatroadburn

Preorder on Bandcamp: https://messaproject.bandcamp.com/album/live-at-roadburn

Italian Doom trailblazers, MESSA captured live at the Roadburn Festival 2022 with a special extended lineup, have been immortalized on LP, CD and digital via Svart Records with their new Album, ‘Messa – Live at Roadburn’.

Relive MESSA’s main-stage Roadburn Festival triumph, featuring songs from album ‘CLOSE’, and joined by a unique constellation of musicians and instruments that give their massive new album its distinctive sound.

This stunning new live album presents select cuts from the band’s critically acclaimed album ‘CLOSE.’ MESSA’s packed out Roadburn set was one of the most talked about of the 2022 edition, and left the audience gob-smacked in their wake.

‘Messa: Live at Roadburn’ CD/LP/Digital
1. Suspended
2. Orphalese
3. 0=2
4. Pilgrim

Of their Roadburn set MESSA said:

“Our appearance at Roadburn 2022 saw us performing a specially dedicated and one of a kind set. We played songs from our new record ‘CLOSE’ with a unique line-up that included other fellow musicians within our project. We involved Giorgio Trombino (Oud, Duduk, Saxophone), Alex Fernet (Mandolin, Acoustic Guitar) and Blak Saagan (Synthesizers) to recreate the sounds of ‘CLOSE’ in their true form.Our aim with MESSA’s performance was to embrace a musical wandering that could allow all of us – on and off stage – to drift away into another place. We couldn’t wait to be on Roadburn’s stage again and we were very excited to be part of the 2022 edition.”

Seeming to both embrace and defy everything it means to be a metal band, MESSA mesh Mediterranean sounds with crushing doom riffs, with an emphasis on atmosphere and unusual use of instrumentation. MESSA are one of the leading lights in the heavy underground, and this performance at Roadburn saw the band shine forth with a brilliant and dominating presence. Get closer than ‘CLOSE’ and witness for yourself what the bottled magic of MESSA’s live alchemy can bring. ‘Messa – Live at Roadburn’ is out on April 28th via Svart Records.

https://www.instagram.com/messa_band/
https://www.facebook.com/MESSAproject
https://messaproject.bandcamp.com/

www.svartrecords.com
www.facebook.com/svartrecords
www.youtube.com/svartrecords

Messa, Close (2022)

Not going to attempt any impartiality when it comes to this release, and I’m starting to think anyone who does is approaching it wrong. Amsterdam-based Death Alley — somehow heading toward veteran status despite having only one record out in their 2015 Tee Pee Records debut, Black Magick Boogieland (review here) — aren’t trying to invoke impartiality. Just the opposite. The four-piece want to charge on a primal level and they want to charge outward from there into reaches unknown to player or listener alike. To be unaffected by that seems like an immediately incorrect starting point.

I was at the Green Room of the 013 Poppodium to see them perform the set last April (review here) that Astrosoniq drummer Marcel van de Vondervoort and his team captured and is seeing release as Live at Roadburn through Tee Pee and Suburban Records, and I watched as Death Alley — then the lineup of vocalist Douwe Truijens, guitarist/backing vocalist Oeds Beydals, bassist/backing vocalist Dennis Duijnhouwer and drummer Ming Boyer (the latter of whom has since left the band) — brought Ron van Herpen and Jevin de Groot onto the stage with them to share in the expanses they were creating. Also a member of Astrosoniq, van Herpen is a former bandmate of Beydals‘ in crucial cult rockers The Devil’s Blood, while de Groot was a member of the vastly underrated cosmic doom outfit Mühr alongside Duijnhouwer, so not at all strangers to each other. Friends. It was billed as Death Alley & Friends, and that’s exactly what it was in spirit as well as the plain reality of circumstance. By the time they got through the clarion set-opener “It’s On,” everyone in the room seemed to have been handed an invitation to be included in that as well. Death Alley and about 700 new and old friends.

Live at Roadburn only has four tracks — “It’s On,” “666666,” “Feeding the Lions” and “Supernatural Predator” — but it’s full-LP length at 45 minutes. The entirety of side B is dedicated to “Supernatural Predator,” which is drawn out from its already substantial 12-minute push on Black Magick Boogieland to a galaxial 22 minutes, a hypnotic and immersive jam taking hold that, having watched and heard it happen, hit like welcoming waves of soulful tone that seemed at once forward looking and an inherent homage to former The Devil’s Blood spearhead Selim Lemouchi, who took his own life in 2014 leaving a chasm in the Netherlands heavy underground. His sister and The Devil’s Blood vocalist, Farida Lemouchi, guests on the studio version of the track, but on Live at Roadburn, Death Alley, van Herpen and de Groot sing her part as a full Hawkwindian chorus of “ahhs” to righteous effect, culminating a build that seems to have started with the motoring thrust of “It’s On” and continued into the mega-guitar vibes of “666666” and the more classically styled “Feeding the Lions.”

Though the name comes across like a toss-off because there were six players on stage — in shows they’ve done since with this expanded lineup, they’ve used the moniker Death Alley 6 — “666666” is a key moment in the set. I don’t know if the set as a whole has been edited to fit on a single platter; my sense is it has but I wouldn’t guess how. Nonetheless, “666666” is the point of departure from which Death Alley take flight for the rest of their time on stage. It happens at about three and a half minutes in when, over a Butlerian bassline, the guitars begin to soar toward a linear apex that pays off in lockstep harmonized runs nearly four minutes later for a gorgeous and cohesive effect. It must have been worked out ahead of time to some degree — I don’t play guitar, but improv harmonies don’t seem like the kind of thing that happen often — but the feeling of warmth and spontaneity conveyed in that jam is a defining moment for Live at Roadburn as a whole, however long and however grand the finale might be.

“Feeding the Lions” picks up from there with bass and drums setting a tense tone amid initial wah swirl from the guitar, and though the vibe stays spacey, Truijens reassumes the fore as vocalist and his charisma and classic frontman strut is no less a part of making the mid-paced piece a standout than the depth of the instrumental progression playing out behind him. By this point, Death Alley are in utter command of the room and their sound, and they hint just past the midpoint at some Floyd-style theatrical weirdness to come but hold to a sense of structure all the same and purposefully so for where they’re about to head on “Supernatural Predator.” A short guitar solo circa 5:40 makes me wish it went longer, but “Feeding the Lions” ends in a wash of cymbals and wah as Truijens thanks the crowd and van Herpen and de Groot and Duijnhouwer thanks Roadburn organizer Walter Hoeijmakers, and then the quiet intro of “Supernatural Predator” starts, its sleek intertwining of guitar and bass — willfully restrained in comparison to what follows — an immediate signifier of arrival for the group and everyone in the room.

Once it bursts out, “Supernatural Predator” makes a resounding argument for rock and roll as means of attaining spiritual freedom, and its extra time is triumphantly spent in its already-noted jam, which rounds out by first teasing a turn back to the song itself and then actually making one, so that as far out as Death Alley (and friends) have gone, they finish clear-headed and give the audience a sense of the complete experience. This not only underscores the value of their songwriting, but also of the maturity the band has been able to hone over just a few short years. As they move away from Black Magick Boogieland toward an inevitable sophomore full-length, Death Alley seem poised to establish themselves in a major way, and to make a definitive statement of who they are as a group. Live at Roadburn shows in its blend of forward rhythmic drive and cosmic psychedelia just how multifaceted that statement can potentially be, and highlights the reasons why Death Alley are one of the most exciting and affecting bands in the worldwide heavy underground. Not an impartial statement, but yes, I mean that.

Death Alley BigCartel store

Death Alley on Thee Facebooks

Death Alley website

Tee Pee Records website

Suburban Records website

We press on with the Quarterly Review and writeups #41-50 of the total 60 to be featured. Some considerable names in this batch, as I suppose there have been all along, but one of the functions this feature has come to serve is to allow me a space to offer some comment on bigger records that, let’s be frank, are being covered everywhere in the universe, while fleshing out coverage elsewhere of things like bands’ debuts and some other less-ubiquitous offerings. That’s become the idea anyway. Doesn’t always go like that, but it’s kind of a relief to have somewhere I can put the extra 200 reviews per year rather than miss out. We’ll wrap this one up on Monday, but just because it’s the end of the week and because it’s my general sentiment, thanks for reading.

Quarterly Review #41-50:

40 Watt Sun, Wider than the Sky

With their second album, the awaited Wider than the Sky, London’s 40 Watt Sun continue to be defined by their depressive expressionism. The six-track/62-minute follow-up to 2011’s The Inside Room (review here) finds guitarist/vocalist Patrick Walker (ex-Warning), bassist William Spong and drummer Christian Leitch opening with the longest inclusion (immediate points) in the gorgeously mournful 16-minute unfolding of “Stages.” Sonically lush but still somehow raw and minimal in its emotionality, a slow drear sets the tone for what will follow in “Beyond You” and “Another Room,” “Pictures and “Craven Road,” which alternate on either side of the 10-minute mark until closer “Marazion” (3:57) seems to resonate a less-hopeless spirit. More than The Inside Room, Wider than the Sky realizes itself in emotional rather than tonal weight, and while one often identifies these feelings with things cold and grey, it would require a willful blindness not to recognize the humanity and warmth coming through in Walker’s delivery of this material. Wide it may be, but not at all distant.

40 Watt Sun on Thee Facebooks

40 Watt Sun website

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Worm Ouroboros, What Graceless Dawn

The duality of Worm Ouroboros’ third album for Profound Lore, What Graceless Dawn, is almost as prevalent as the irony that its title should include the word “graceless” when the 63-minute six-tracker itself is so melodically poised. It’s dark, but hopeful, spacious and compact, challenging but simply and often minimally arranged, patient and emotionally intense, and heavy even as it seems to float from one extended piece to the next on a current of intertwining, nigh-operatic vocals from bassist Lorraine Rath (ex-Amber Asylum) and guitarist Jessica Way (World Eater) while Aesop Dekker (Agalloch, Vhöl) seems just as comfortable in the quiet midsection stretch of 13-minute centerpiece “Ribbon of Shadow” as in the rumbling payoff of “Suffering Tree” just before. Running from opener “Day” to closer “Night,” What Graceless Dawn is nothing if not coherent, and while the band’s core approach has been largely consistent across their 2010 self-titled debut (review here) and 2012’s Come the Thaw, the Bay Area trio maintain a clear commitment to forward-moving artistry that stirs the consciousness.

Worm Ouroboros on Thee Facebooks

Profound Lore Records website

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The Heads, Burning up With: Live at Roadburn 2015

I was fortunate enough to be there when UK heavy psych legends The Heads played the Main Stage set at Roadburn 2015 captured on the Burning World Records release Burning up With…, and indeed the preservation of the band’s utter liquefaction of that large room is well worth preserving across the four sides of a double-LP. The only drawback to a vinyl version of their set is that while the individual songs are presented as side-consuming medleys – “Cardinal Fuzz/KRT,” “Gnu/Legevaan Sattelite/U33,” and so on – that still requires some measure of break to flip from one to the next, whereas in the all-at-once linearity of a CD or digital listen, one finds the overwhelming lysergic proceedings intact as they were from the stage, gloriously molten and entrancingly jammed out by the longtime masters of the form. I won’t even attempt to give its spaciousness a proper assessment since just about anything The Heads do is a gift defying impartiality, especially something like this, but yeah, get on it.

The Heads on Thee Facebooks

Burning World Records website

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Jason Simon, Familiar Haunts

Back in 2010, Dead Meadow frontman Jason Simon released an eponymous solo debut on Tee Pee that found him working in a folkish sphere, and his six-years-later follow-up, Familiar Haunts (on Tekeli-Li, Cardinal Fuzz, Burger Records and Blind Blind Tiger), has some of those elements as well on the twanging, finger-plucking “Pretty Polly” and subdued strum of “Seven Sisters of Sleep,” but Simon has also assembled a four-piece band here, and from the pickup of opener “The People Dance, the People Sing,” through the fuzz experimentalism of “Now I’m Telling You” and the airy linear build of the penultimate 11-minute highlight “Wheels Will Spin,” there’s no lack of fullness in the sound. One finds a particularly engaging blend on “Hills of Mexico,” a six-minute rambler that fluidly brings together neofolk and desert ambience, though as Simon and company play sounds off each other in this material, “engaging blend” would seem to be the underlying theme of Familiar Haunts as a whole.

Jason Simon on Bandcamp

Cardinal Fuzz Records

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Danava, At Midnight You Die

Over a decade removed from their 2006 self-titled debut and five years past their third album, 2011’s Hemisphere of Shadows, one might easily argue that Portland, Oregon’s Danava are due for a full-length release. Sure, the band led by guitarist/vocalist Gregory Meleny have toured plenty in that time in the US and abroad, put out splits and so on, and that has consistently and organically grown their fanbase. Sating that fanbase would seem to be the motivation behind the two-song 7” At Midnight You Die (on Tee Pee), on which the titular A-side finds the four-piece making the most of their dual guitars – Meleny and Pete Hughes (Sons of Huns) shredding in proto-NWOBHM fashion – while the B-side takes on the bizarre and foreboding folk ambience of “My Spirit Runs Free,” short at three minutes, acoustic and sourced from 1979’s The Capture of Bigfoot. So yeah, it’s like that. No new record, but a ripper and some delightful weirdness on hand, and I suspect at this point many of their followers will take what they can get.

Danava on Thee Facebooks

Danava at Tee Pee Records

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Pylar, Pyedra

Some bands are just on their own wavelength, and as much as one might be tempted to relate Sevilla’s Pylar to SunnO))) with their robes and their drones, the Spanish troupe’s four-track full-length, Pyedra (on Alone Records), sees them emitting a slew of horrors all their own. Working as a five-piece, Pylar open with “Menga” (10:57), their longest cut (immediate points) and establish a basis of amelodic, largely arrhythmic noise-jazz. There are more straightforward currents in the subsequent rumble and roll of “Megalitos” (10:33), and “Menhir” (9:37) would seem to draw both sides together before “Meteoros” (9:07) rounds out with an airy, horn-topped alternate-universe victory, but the whole of Pyedra remains informed by the way-off-kilter challenge it poses at the outset, and part of the thrill is making your way through with no idea of what’s coming next other than another extended song beginning with the letter ‘m.’ Will be too much for some, but Pylar’s bleak experimentalism assures cultish appeal worthy of those robes the band wears.

Pylar on Bandcamp

Pylar at Alone Records

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Domkraft, The End of Electricity

Proliferating a combination of speaker-punishing low-end riffs and post-rock-derived spaciousness, Swedish trio Domkraft debut on Magnetic Eye Records with the wholesale immersion of The End of Electricity and evoke heft no less substantial than their stated theme. They begin with their two longest tracks (which I guess is double points?) in “The Rift” and “Meltdown of the Orb,” and by the time they’re through them, bassist/vocalist Martin Wegeland, guitarist Martin Widholm and drummer Anders Dahlgren have already doled out a full LP’s worth of nod, which would seem to make what follows after the momentary breather of “Drones” in “Red Lead,” “All Come Hither” the shorter “Dustrider” and closer “We Will Follow” a bonus round – in which Domkraft also dominate. Because its heavy is so heavy and because Wegeland’s vocals arrive across the board as far-back, shouted echoes, it’s easy to lose sight of the ambience that goes with all that roll, but what ultimately gives The End of Electricity such character is that it creates as much of a world as it destroys.

Domkraft on Thee Facebooks

Magnetic Eye Records on Bandcamp

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Picaporters, El Horror Oculto

Back in 2013, Buenos Aires outfit Picaporters made an encouraging debut with Elefantes (review here). They’ve teased the follow-up, El Horror Oculto (on South American Sludge), over the last year-plus with several digital singles, but the album’s arrival hits with a distinct fleshing out of atmosphere, as heard on the grueling second cut “Diferentes Formas de Ostras” or the manner in which the centerpiece title-track departs from its raucous opening into a heavy-psychedelic meander, never to return, feeding off of the structure of “Humo Ancestral” directly before. An interlude “Etude 6” leads into the opening drift of “Ra,” but it’s a ruse as Picaporters offer some of the album’s most driving heavy rock in that cut’s second half, and close out with Sabbath-darkness-via-Zeppelin-noodling on “War is Over,” the trio coming together in a molten psychedelic doom that seems to draw from the various sides they’ve shown throughout without losing sight of pushing further in its summary.

Picaporters on Thee Facebooks

South American Sludge Records on Thee Facebooks

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Deamon’s Child, Scherben Müssen Sein

It would be a mistake to judge Deamon’s Child’s second full-length, Scherben Müssen Sein (on Zygmatron), by any single one of its tracks, as the German trio makes plain in the dramatic shift from the crushing sludge of “Zucker” into the raw punk thrust of the subsequent “Keine Zeit.” Elsewhere, they find funky footing before punking out once again in “Schweinehund, Kimm Tanz Mit Mir!” and rumble the outing to a finish consuming in its largesse on the 10-minute “Nichts,” so yes, as they follow-up their 2014 self-titled debut (review here), Deamon’s Child hold fast to the sense of the unhinged proffered therein while uniting their material through an intensity that comes across regardless of tempo or surrounding purpose. They are on the beat, not behind it, pushing forward always. That can make Scherben Müssen Sein difficult to keep track of as it moves swiftly through the blast of “Monster” and the manipulated samples of “In Kinderschuhen” toward that finale, but the mission here is far, far away from easy listening, so all the better.

Deamon’s Child on Thee Facebooks

Deamon’s Child on Bandcamp

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Fungal Abyss, Bardo Abgrund Temple

Adansonia Records offers a bonus-track-laden revisit of the 2011 debut release, Bardo Abgrund Temple, from Seattle shroom-jammers Fungal Abyss, whose improvisational sensibility comes through the original four extended cuts with no diminishing of their otherworldly trip-out for the half-decade that’s passed since they first surfaced. Those looking for a US counterpart to European psych-improv outfits like Electric Moon or Øresund Space Collective – i.e., me – would do well to dig into opener “Arc of the Covenant” (20:12) or closer “Fungal DeBrist” (24:07) as a lead-in for the earlier-2016 follow-up, Karma Suture (review here), as well as their companion live outings, but whatever contextual approach a listener might want to take, the instrumental stretch of Bardo Abgrund Temple is a serenely heavy and meandering path to walk, given to bouts of space-rock thrust and long passages of low-end droner nod, as heard on the 10-minute “Timewave Zero,” turned on and duly ritualized in its swirl and far-off vocalizations. A reissue well-earned of a gracefully cosmic debut.

Fungal Abyss on Thee Facebooks

Adansonia Records on Thee Facebooks

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Earthless, Live at Roadburn (2008)

Among the hallowed ranks of performances at the Netherlands-based festival, there are few that have earned the legendary status of that which would become Earthless‘ Live at Roadburn. Four songs, more than 80 minutes long, it’s a mammoth, beast of an undertaking. The year was 2008. I wasn’t there to see it, much to my chagrin, but Earthless had played earlier in the weekend and were taking somebody’s place or something like that, and next thing anyone standing at the 013 knew, the San Diego trio of guitarist Isaiah Mitchell, bassist Mike Eginton and drummer Mario Rubalcaba blew everyone’s ass out of the room. The proof is in the pudding and the pudding is pressed to plastic on Live at Roadburn — the three-piece rip into “Blue,” “From the Ages,” “Godspeed” and “Sonic Prayer” with authority well beyond what they showed on the prior Sonic Prayer Jam live outing or their two studio albums at that point, 2006’s Sonic Prayer and 2007’s Rhythms from a Cosmic Sky, which, like Live at Roadburn, was released on Tee Pee Records.

Though Earthless offered a number of splits in the interim, it would be another five years before Live at Roadburn got a proper follow-up in the 2013 studio album, From the Ages (review here), which not only featured a solid half-hour’s take on the title-track, which made its first appearance here, but fostered the same kind of command. In the years since, Earthless have been at the spearhead of a West Coast heavy psychedelic movement, touring the US, Europe, Australia — I don’t know off-hand if they’ve been to South America and Japan, but let’s assume yes — as one of its most essential bands and having a hand in influencing a new generation of acts grown up in their wake. If you think that’s overstating it, go and listen to those bands. Earthless‘ amorphous-seeming compositional sprawl is writ large on the jams of others, and while they’re not the only point of reference for the West Coast’s sun-baked vision of heavy — the heavy ’70s have certainly played a part in the development thereof — they are a key factor, inarguably.

It’s been over seven years since I last saw Earthless on their own — I did catch them with Heavy Blanket in 2014 (review here) — which by any measure is too long, but though their legacy has grown in that time and no doubt their chemistry as well and their methodology has shifted to include occasional vocals from Mitchell when it suits their purposes, the core of what has made Earthless so special is still present in Live at Roadburn, and I think it still comes through even eight years after the fact how utterly incredible this show must have been to see. Imagine being blindsided by witnessing the moment of this band’s arrival. It’s enough to give you chills.

Hope you enjoy.

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I kept it pretty quiet, but I’ve been on a work trip all week. If all goes well, by the time this is posted I’ll be back, safe and sound, in Connecticut with The Patient Mrs., but as fingers hit keys I’m in Atlantic City, NJ. Spent the early part of the week in North Jersey, which was good since I got to see my family on the side, but came down to AC on Wednesday and have been here since, am very much looking forward to leaving. Not really my kind of town, haven’t been here since I saw Clutch half a decade ago or whenever it was. I don’t even know and I’m too exhausted to go chase down the link, but suffice it to say it was a long time before right now. Atlantic City is still a depressing place to be.

Being here for work hasn’t helped in that regard, frankly.

I’ve been short on time, haven’t even had a second to trim down the Greenleaf interview to be transcribed. I’ll get there. I promise I will. If not this weekend — because I might seriously put my laptop down after I finish typing this and not pick it up again until Sunday when I prep stuff to go up on Monday — then definitely next week. I’m just so friggin’ tired.

Monday: A full album stream from Atala. But wait, didn’t I already review the record with a track premiere? Yuppers. They asked if I wanted to do a stream of the full LP, so I said sure. Cool album, anyway, so screw it. I have no idea what I’ll write to go with it, but I’ve got a couple days to sort that. Also look for a Kaleidobolt track premiere on Tuesday and a King Buffalo review sometime before next week is done.

And sometime next week — not even gonna say when — I’ll announce two more bands for The Obelisk All-Dayer, which is Aug. 20 at the Saint Vitus Bar in Brooklyn. Get your tickets here.

I hope you have a great and safe weekend. I’ll be in full-on recovery mode until Sunday, at which point I have to take The Patient Mrs. to the airport so she can go to London for like 10 days with students. I’d be like mad about it if I hadn’t been to Roadburn for the last eight years. Ha.

Please check out the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

In the two years since, Candlemass‘ Epicus Doomicus Metallicus performance live at Roadburn 2011 has become my go-to example of the kind of thing one finds at the Tilburg-based fest and pretty much nowhere else on earth. To date, the Swedish doom legends’ reunion with vocalist Johan Längqvist is one of the coolest things I’ve ever seen at a show, so my question is this: Is it possible to resist the proposition of Candlemass, Epicus Doomicus Metallicus Live at Roadburn 2011 because I don’t want to have to buy it on LP, or is it time to get over the self-imposed embargo, cope with The Patient Mrs.‘s rolled eyes and just get the damn thing? I guess we’ll just have to see where I end up.

Epicus Doomicus Metallicus Live at Roadburn 2011 is due out June 14 on Svart. The PR wire offers considerable temptations:

Today, SVART RECORDS announces June 14th as the international release date for CANDLEMASS’ vinyl-only Epicus Doomicus Metallicus – Live at Roadburn 2011 album. CANDLEMASS’ debut album Epicus Doomicus Metallicus is a genre-defining classic if there ever was one – the starting point of modern epic doom metal, even. In 2010 and 2011 CANDLEMASS invited the original Epicus vocalist Johan Längqvist back into the fold for a few select shows celebrating the album’s 25th birthday. This vinyl-only release captures the band performing Epicus Doomicus Metallicus album live at the sold-out Roadburn Festival in Holland, April 2011. Mixed from a professional 32-track recording and mastered vinyl under the supervision of band founder/mainman Leif Edling, this is the ultimate live version of the classic.

The SVART release has the album spread over three sides of vinyl and an etching on side D. The two LPs are wrapped in a gatefold jacket, and the set is available on black or white vinyl. Both versions are limited to 400. Comments Leif Edling: “No volcano could stop us this time to perform the Epicus album at the Roadburn festival in Holland. It was a very special day, filled with great music, incredible fans, and a band that had a lot of fun doing this! After 25 years original, Epicus singer Johan Längqvist is onstage with us to perform something that people say is one of the doom metal classics. And I think we did a pretty good job there at Roadburn. We played well, and the show was a total success! So here it is, CANDLEMASS live at the Roadburn festival…as it was, no overdubs…recorded on 32 channels…a fine slice of legendary doom released on big, fat, double-packed vinyl!”

MORE INFO:
www.svartrecords.com
www.facebook.com/svartrecords

Candlemass, “Solitude” Live at Roadburn 2011