Roadburn 2020: Alexis Marshall (Daughters), Darkher, LSD and the Search for God, The Devil’s Trade, Splinter & More Added

Posted in Whathaveyou on January 15th, 2020 by JJ Koczan

ROADBURN 2020 BANNER

Somewhere along the line, I lost track of how many announcements deep Roadburn 2020 was into its lineup. Perhaps it was being CONSTANTLY BLINDSIDED by the lineup. Yeah, that’s what I’ll tell myself. Couldn’t possibly be that I’m just dumb. Whatever. I think this is number eight, which is pretty significant, so it’s probably number 14.

In any case, here we are in January the festival is still developing its lineup for the year. There’s much more to come, and then you get into stuff like surprise sets, secret shows, the big announcement of the side-programme and everything else. We get the Ignition pre-show in this announcement. It’ll be The Dead Cvlt, Early Graves and Splinter, which sounds like a wild time. Generally is though, so yeah.

But things just keep getting weirder here, with Alexis S.F. Marshall from Daughters signing on for a solo set and a sit-in with Lingua Ignota, plus LSD and the Search for God and a whole host of others whose names may or may not be familiar but you just trust Roadburn and go with it because it’s Roadburn and that’s what you do.

Yup:

roadburn 2020 selling like hotcakes

Today’s announcement features Alexis Marshall (last seen on a Roadburn stage with Daughters) performing a solo set, as well as joining Lingua Ignota for her covers set, plus… DARKHER, Forndom, The Devil’s Trade, LSD and the Search for God, Ulveblod, Doodswens making a return, KODIAN TRIO (Dirk Serries) celebrating their fifth anniversary, Jonah Parzen-Johnson, The Sweet Release of Death, Motorik, Of Blood and Mercury, and last but not least – VONNIS.

As you will have seen earlier – we have another stacked line up for the Ignition Roadburn pre-party on Wednesday 15 April!

Given that we have Early Graves? in town already, we really couldn’t resist inviting them to do a second set and be part of the welcoming committee on Wednesday night. With their hearts in the boogie and their minds in the gutter, Amsterdam’s Splinter? (with members of Death Alley and Birth of Joy) could hardly be more appropriate to launch Roadburn 2020. Rounding out the bill will be The Dead Cvlt: amped up on a lethal dose of misanthropic black metal, pounding blastbeats and oldschool drum and bass.

Wristband exchange will be open from 6pm on the Wednesday so you can come and get yours early to save queuing on Thursday… and more importantly, Ignition is an opportunity to get your Roadburn experience off to an amazing start. Admission is free. See you there!

Only Sunday day tickets remain on sale – all other tickets are sold out.

https://www.facebook.com/events/1081424195382564/
https://www.facebook.com/roadburnfestival/
http://www.instagram.com/roadburnfest
http://www.roadburn.com

Roadburn 2020 Eighth Announcement

Tags: , , , , , , , , , , , , , , , ,

Friday Full-Length: The Devil’s Blood, III: Tabula Rasa or Death and the Seven Pillars

Posted in Bootleg Theater on January 3rd, 2020 by JJ Koczan

The 2013 release of the third and final The Devil’s Blood full-length, III: Tabula Rasa or Death and the Seven Pillars, will be forever tainted by the context of the subsequent suicide-by-overdose of the band’s founder and mastermind Selim Lemouchi, but even by the time the record came out, the band had broken up. Based in the Netherlands, and with a legacy there that continues to spread thanks to the likes of erstwhile The Devil’s Blood members Oeds Beydals and Ron Van Herpen — not to mention vocalist Farida Lemouchi, sister to Selim, whose singular voice was essential in conveying The Devil’s Blood‘s theatricality and thereby setting the course of European cult rock for years to come — The Devil’s Blood were only together for about seven years, but their work continues to resonate for those who’d dare take it on. In the case of III: Tabula Rasa or Death and the Seven Pillars, it is an alternately dense and sprawling inwardly-churning cosmic storm, with 22-minute opener “I Was Promised a Hunt” set up across side A of a 2LP like a wall to keep out all but the bravest of listeners, harnessing krautrock-derived repetitions, spacious echoes in the vocals of both Lemouchis and a nigh-opaque feeling of purpose behind its expression. By the time it’s nine minutes in, it’s almost gothic in its level of drama, and the atmosphere it creates is pervasive throughout subsequent tracks “The Lullaby of the Burning Boy,” “…If Not a Vessel?” and “In the Loving Arms of Lunacy’s Secret Demons” on side B or the second platter’s longer stretches in “Dance of the Elements” and “White Storm of Teeth” and the consuming/consumed finale “Tabula Rasa.” With the years of hindsight, it is a powerful and at times overwhelming listening experience.

“Overwhelming” simply because of its scope. The Devil’s Blood had already proven expansive at an increasing rate on their prior full-lengths, 2011’s The Thousandfold Epicentre (review here) and 2009’s The Time of No Time Evermore (review here), and even the formative 2009 Come, Reap EP (review here) as well as other itinerant short releases demonstrated the potential in their craft and style. III: Tabula Rasa or Death and the Seven Pillars, however, was simply working on another level. Refusing genre constraints, it was as much progressive as it was psychedelic, as much metal as dark heavy rock, and it was as much spirit and soul as it was tied to the earth as it was unwilling to do anything but soar. With guitar, bass, drum programming, vocals, music and lyrics and recording by Selim, vocals by Farida and a mix and master by Peter G. Kloos, it was nothing short of a vision manifested and turned into reality — such as it was — through songwriting of rare introspective urgency. Self-indulgent? You bet your ass. From the invocation of “I Want You (She’s So Heavy)” in the last movement of “I Was Promised a Hunt” down through the intertwining bass/guitar noodling of “In the Loving Arms of Lunacy’s Secret Demons” and the galloping final build and Floydian wash of “Tabula Rasa,” the seven-song/65-minute offering carried a sense of pushing The Devil’s Blood‘s sound as far as it could go — all the more in light of the band’s breakup. It was and is gorgeous and damaged, deeply human andthe devils blood iii tabula rasa or death and the seven pillars otherworldly, and propelled as much by these conflicts as by Farida‘s operatic vocals.

A masterpiece, in other words, and the work to which everything The Devil’s Blood had done up to that point had been leading. Releasing through Ván Records in Europe and Metal Blade in the US as of the second album, they’d taken on increasing notoriety. They’d toured the States as well as Europe and were already seen as having some measure of influence, and that has only continued to grow as the years have passed and the wound of Selim Lemouchi‘s death has, if not healed — because it hasn’t; it looms over the songs on III and is inseparable from the album — then at least become less fresh with time. But it’s important to remember that came later. Selim had already moved on to Selim Lemouchi and His Enemies, and it was The Devil’s Blood‘s breakup that so much snapped their forward momentum. Metal Blade gave a cursory push as I recall, but really, what was to be done with III: Tabula Rasa or Death and the Seven Pillars if The Devil’s Blood weren’t a band anymore?

But that circumstance, bummer as it was, can’t now take away from the accomplishment that III: Tabula Rasa or Death and the Seven Pillars represents. In the barrage of verses throughout “White Storm of Teeth,” the final lines of the album are delivered thusly:

I fall into the spaceless space
The timeless time, the endless end
Neither here nor there, above or below
Into the night I go

Even this final statement seems to carry extra weight because of Selim‘s death. It made it all real and terrible, and even years later, it makes listening to III: Tabula Rasa or Death and the Seven Pillars harder — and the album is by no means easy listening anyhow, despite its melodic range. But the album also stands as a testament to how beautiful the work could be, and as time passes, that seems to come more into focus. One hopes it will continue to be the case.

Among the most touching live experiences I’ve ever witnessed was at Roadburn Festival in 2014 as Farida LemouchiOeds Beydals and others took to the Main Stage as Selim Lemouchi’s Enemies and paid tribute to Selim little more than a month after his passing. By then, Beydals had already formed Death Alley and was ramping up momentum with that outfit, and other Job Van De Zande would join Dool while Ron Van Herpen continued on periodically with Astrosoniq and Rrrags, etc. Farida would remain unheard-from until 2019 when, again at Roadburn (review here) she appeared fronting Molasses with BeydalsVan Herpen, Van De Zande and other The Devil’s Blood associates in tow. A concurrent single was released in the form of Mourning Haze / Drops of Sunlight, but at the time it was a question as to whether or not the project — commissioned specifically for the festival — would continue, and certainly considering the emotional drain of performing essentially together without Selim there, especially on Farida Lemouchi, it’s easy enough to understand why. They have two live performances booked thus far for 2020: The Abyss Festival in Gothenburg, Sweden, on March 28, and Eros at Arms in Zürich on April 25. After that, your guess is as good as mine.

As always, I hope you enjoy.

Thanks for reading.

I slept an extra half-hour this morning on a gamble that The Pecan: Toddlerian would also sleep late. It seems to have worked out thus far — quarter after six — but I expect him up at any minute. Nothing major, but I’m having a kind of minor outpatient surgical procedure done on my left leg later on, and they said no coffee beforehand — I could cry — and it was that much harder to get out of bed with the extra incentive of turning on the Chemex in the kitchen to make the first pot of the day. I had a protein bar and drank a bunch of water instead. Not nearly the same, but so it goes.

Rumor has it I’ll be laid up for a good portion of the weekend — at least tomorrow — so it seems like a good time to begin work on the Quarterly Review, which is precisely my intention. It’ll be next Monday through Friday, 10 reviews per day, 50 total, kind of putting a bow on 2019 and a little bit looking ahead to the months to come. It’ll be fun. Usually is, anyhow, by the time it’s finished.

There’s also a new Gimme Radio show today at 1PM Eastern listen here: http://gimmeradio.com.

I like doing that a lot, and I wonder if now that I’m back in NJ I might be able to volunteer at WFMU as a DJ. Think they’d take me? They sure as hell didn’t last time. I cut a voice sample and then never heard from Brian Turner again. He works at Gimme now. We email a lot. Go figure. Seems like a nice guy. I’ve never reminded him of the time I tried to join his staff. That was maybe 2007-2008. I was still at Metal Maniacs.

My illustrious career.

What a wreck.

I don’t have any New Year’s resolutions, and I frankly believe they’re bullshit, but it is important to set reasonable, attainable goals for oneself, and at some point in the next 12 months, I’d like to conceive of and begin a new book project. What does that look like? I have no idea. Could be a children’s book I’ll write in a day and spent two months revising to get the meter right. Could be a collection of essays I’ll map out and put together over the next couple years. Could be a compilation of stuff from on here. I don’t know. But I’d like to get something moving in that regard. I don’t think it’ll be fiction on the order of the first book. It started to feel too formulaic and “literary,” which, I’m sorry, but screw that. The universe needs my white-cis-male ass to be making literary proclamations like it needs a supermassive black hole in its infinitely expanding head.

So I’ve been thinking about that and will continue to do so and see where it takes me and where I take it. I’m sure I’ll find some way to keep you posted if you’re interested, if not here then on thee social medias.

Oh, and I put out the notion of doing a newsletter a bit ago and seemed to get a positive response. Then I signed up for MailChimp and forgot all about it when the holidays hit. Ha. Survival-mode came on. I’ll maybe get on that sooner or later if anyone really cares.

And speaking of the social medias, I put out word there that the Decade-End Poll was staying up an extra week. If you haven’t turned in a list or however many picks for your favorite records of the 2010s yet, please do so here.

It’s also my mother’s birthday tomorrow. Happy birthday, mom.

Alright, I think that’s everything.

FRM: Forum, Radio, Merch at MiBK.

The Obelisk Forum

The Obelisk Radio

The Obelisk merch

Tags: , , , , ,

Roadburn 2020 Adds Dungen & More; Day Tickets on Sale Today

Posted in Whathaveyou on December 11th, 2019 by JJ Koczan

ROADBURN 2020 BANNER

Oh whatever, Roadburn. You had me at the poster.

Maybe there’s such a thing as too much of a good thing, but if so, nobody tell Roadburn 2020 that, because I wanna ride out the rest of this lineup and see where the hell it goes. Frankly though, if this was it and they were like, “Okay, we just gave you two Dungen sets including Ta Det Lugnt in full, that’s all you get,” you’d be hard-pressed to argue it wasn’t already pretty incredible. I don’t know how much more lineup is or isn’t coming, but the fifth announcement goes right for the heartstrings, and my understanding is there are less than 30 full-weekend tickets on sale now, as individual-day tickets also hit the market. Will it sell out? Yeah, it will. It’s Roadburn. That’s what it does.

The link for day tickets and splits are below. Click the posters to enlarge them (then click again to make them go back). The latest announcement follows:

Roadburn 2020: new names confirmed ahead of day ticket launch

Single day tickets will be on sale tonight, December 10 (at 18:00 CET) and priced €67 for Thursday, Friday, and Saturday tickets, and €60.50 for Sunday tickets. There’s still 4-day tickets on sale, but be warned, they’re running low now with 99% tickets sold already. More information about tickets and accommodation options can be found HERE.

DUNGEN

For almost two decades, Dungen, the brainchild of Swedish multi-instrumentalist Gustav Ejstes, has been liquefying the known boundaries of psychedelia by incorporating ‘60s pastoral folk, psych-pop, prog, free-jazz, instrumentalist ambience and soaring atmospheres. They have become one of the most revered psychedelic bands of their generation, and to honor their pushing the limits of art and genre, we have invited Dungen to play Roadburn 2020, not once, but twice.

One show will take in Dungen’s legendary Ta Det Lugnt (Sunday, 19 April), and the other will focus on Häxan, the band’s highly entrancing score for the 1926 animated film The Adventures of Prince Achmed, on Saturday, 18 April. Dungen is synonymous for our very being, and Häxan, and especially Ta Det Lugnt, fuel our late-night, psychedelic jams and unite the likeminded psych heads at the festival.

JAMES KENT’S CURATION:

ULTHA

A couple of months ago Ultha informed their followers that the band was taking a break in 2020, an unexpected turn which seems to cast an even darker shadow of melancholy and sorrow to their already bleak take on black metal. Roadburn and its co-curator James Kent have pulled Ultha back from the void where they were planning to hibernate in for a very special appearance at Roadburn 2020.

As the band tells us: “A ‘regular’ invitation would’ve already been a no-brainer, but receiving such a heartfelt message, by a prolific and passionate artist we all respect, telling us how much he admires our work, really made it that more special. So, we are more than thrilled to be part of James’ curation for Roadburn 2020, playing our Belong EP in full plus selected cuts from our other releases.”

ALSO ANNOUNCED…

CULT LEADER

We’ve admired Cult Leader from afar for some time now, but the stars have never quite aligned before. However, with the release of A Patient Man this time last year our eagerness increased, then earlier this year witnessing some live shows tipped us over the edge and we knew it was a done deal. Fortunately they felt the same way, and with that, we’re honoured to be bringing you a special Cult Leader treat for Roadburn – the band will play 2018’s A Patient Man in full for us.

JEROMES DREAM

A two decades long absence did little to dull the jagged edges of Jeromes Dream. They came hurtling back into our lives earlier this year with their newest album, titled LP, reminding us what we’d been missing. That angular anguish and skin scraping abrasion is still there, but there is admittedly more nuance and a few notable junctures of what could be described as atmospheric, almost shoegaze-esque passages. So, it’s with much joy that we welcome Jeromes Dream to Roadburn 2020.

PORTRAYAL OF GUILT

Portrayal of Guilt have been positively prolific over the past few years – and our lives are all the better for it. Two singles, two EPs, two splits, and one mighty album in the form of Let Pain Be Your Guide have cemented Portrayal Of Guilt as an essential band in the modern metal / hardcore lexicon. So it’s with huge pleasure that we’re announcing Portrayal of Guilt will be joining us at Roadburn 2020.

PIJN & CONJURER PLAY: CURSE THESE METAL HANDS

The underground metal scene in the UK is in rude health – and we demonstrated this at Roadburn 2019 by showcasing the best of what Holy Roar Records had to offer. Among the bands that played were Conjurer and Pijn – two bands that embody so much of what is innovative and exciting about British music at the moment. In 2018 the two bands united under the Curse These Metal Hands banner to create new, original music that was released via Holy Roar this year.

EARLY GRAVES

After an already massive initial greeting card by the name of We: The Guillotine, in 2008, the Californian quintet dropped their masterpiece in 2010. Goner was everything a moshpit junkie could ever ask for. Unfortunately, tragedy then struck Early Graves. Only a couple of months after the release of Goner, the band suffered a van accident traveling from Oregon to Nevada, which took the life of their firebrand vocalist Makh Daniels.

Though the band soldiered on for a while activity has dwindled during the last few years, and 2020 is set to be the last chapter for Early Graves. A celebration of their existence, which will naturally consist of their ten-year-old super classic album Goner played in its entirety, will therefor take place at Roadburn.

Already announced for Roadburn 2020 is: Emma Ruth Rundle and James Kent as curators, commissioned projects from James Kent & Johannes Persson, Jo Quail, and Vile Creature & Bismuth, the return of Julie Christmas, Red Sparowes, Russian Circles, Inter Arma, Alcest, Torche, Brutus, Bada (ft. Anna Von Hausswolff), David Eugene Edwards, Health, Boy Harsher, Lankum, She Past Away, and two Artists In Residence: Full of Hell and Lingua Ignota.

https://www.facebook.com/events/1081424195382564/
https://www.facebook.com/roadburnfestival/
http://www.instagram.com/roadburnfest
http://www.roadburn.com

Roadburn 2020 Fifth Announcement

Tags: , , , , , , , , , , ,

Pendejo Post “El Rutger” Video; Touring in January

Posted in Bootleg Theater on December 9th, 2019 by JJ Koczan

pendejo

I’m not a big conspiracy theory guy. I’m just not. I don’t believe in chemtrails or false-flag shootings, and I think a lot of the current spate of political conspiracy about the Deep State, pizzagate and shit like that is either people being angry and making up somewhere to put it because they don’t know where it should really go, or manipulation by political entities whose interests they serve. Frankly, I think if you look around at the world, there’s enough horrible, genuinely evil crap going on right in front of your eyes that it seems to me any efforts to hide it behind government mind control or some such, if they exist, simply don’t work. My country cut 700,000 people off food assistance this week, to save money after giving a tax cut to the uppermost reaches of the income bracket two years ago. That level of cruelty isn’t a conspiracy. It’s the news.

That said, I do have a couple favorite conspiracy theories. My number one has always been that all figures of power, wealth and cultural sway are actually part of a species of disguised lizard people who’ve taken over our planet, presumably to rob it of its resources, or maybe better, just to screw with us. I like that. I don’t believe it’s true, but if you think it’s ridiculous, I’ll say only in response that it’s no more so than “god has a plan,” which is a thing plenty of humans believe. Flat-earth has been giving the lizard people a run for their money since I watched that Netflix documentary about it, but I think long-term, it’s still lizard people all the way.

All of this brings us round to Pendejo‘s new clip for “El Rutger,” which posits a conspiracy theory of malevolent blondes who’ve taken over the world who seem to be the progeny of Margaret Thatchet and Augusto Pinochet — because obviously. From the US to Russia to France to the Netherlands, these children have risen to the seats of highest power and are setting about destroying the world. The avenging angel, as you’ll see in the video, is himself a blonder: the recently-deceased Rutger Hauer. The actor most famous for his role in Blade Runner returns as a literal angel, wings and all, and sets the world to rights with fireballs shot from his hands. Or maybe he’s bringing about the endtimes? Now that I think about it, I’m not really sure, and of course, since the lyrics are in Spanish, I’m relying on what minimal translation I can pick up from reading on the screen. I’m sure you can figure it out.

Either way, it’s kind of brilliant.

“El Rutger” here is an edit taken from Pendejo‘s 2018 album, Sin Vergüenza (review here), and the band have a quick string of tour dates lined up for next month as they continue to support that record. You’ll find those listed under the video below. The truth, as ever, is out there.

Please enjoy:

Pendejo, “El Rutger” official video

Video by Antonio Villar

Artist: ¡Pendej0!
Song: El Rutger
Length: 03:49
Taken from “Sin Vergüenza’.
Recorded, re-mixed and re-mastered by Pieter ‘Deyvi’ Kloos.
Produced by Pieter Kloos and ¡Pendej0!
Lyrics by El Pastuso
Music by Stef ‘El Rojo’ Gubbels and Jaap ‘Monchito’ Melman.

Pendejo Jan. 2020 tour:
JAN 9 La Chaux-de-Fonds, Switzerland Centraf’ Tropic
JAN 10 Luzern, Switzerland The Bruch Brothers
JAN 11 Lenzburg, Switzerland Met-Bar
JAN 12 Freiburg im Breisgau, Germany ArTik
JAN 16 KufA Haus Westbahnhof 13
JAN 17 Jena, Germany Rosenkeller e.V.
JAN 18 Sittard, Netherlands Poppodium Volt

Pendejo on Thee Facebooks

Pendejo on Bandcamp

Pendejo website

Tags: , , , ,

Roadburn 2020 Adds 40 Watt Sun, Patrick Walker, Inter Arma, Darsombra, Dommengang, Kungens Män & Many More

Posted in Whathaveyou on November 29th, 2019 by JJ Koczan

ROADBURN 2020 BANNER

This announcement went out yesterday from Roadburn 2020, and as we in the United States celebrated Thanksgiving — one of our least morally reprehensible holidays until one examines it in any sort of historical context whatsoever — I was extra grateful for the fact that I found out this week that the Weirdo Canyon Dispatch, the daily festival ‘zine for which I’ve served as editor for the last six years, will run again. It’s always a fingers-crossed scenario as to whether there will be the budget for such a thing — it’s not like I could begrudge them making the right choice if it was “who needs the money, David Eugene Edwards or WCD?” — but I am of course beyond thrilled to say that I will be at Roadburn Festival for the 11th year in a row in 2020. If you’re going, I’m the guy with the cosmic backpack dorking out during Patrick Walker‘s solo set.

Which, by the way is a thing that’s happening. That was added along with Inter Arma playing their latest LP, Sulphur English, in its masterful entirety, DommengangDarsombra, two sets from Alcest40 Watt Sun doing The Inside Room in full, and Kungens Män and a whole bunch of others. I’ll look forward to feeling completely overwhelmed by it all as I try to cover as much as possible — like always.

Thanks from the bottom of my heart to Roadburn for having me back. This festival has changed my life.

Here’s the update:

Today’s announcement for Roadburn Festival 2020 includes the only band where our two curators cross over: Alcest, who will play a special set titled ‘Visions du futur’, focussing on their last two albums. James Kent (AKA Perturbator) also added OKKULTOKRATI to his curation, whilst Emma Ruth Rundle added INTER ARMA (playing Sulphur English in full), 40 Watt Sun (playing The Inside Room in full) and a solo Patrick Walker set, Helms Alee and FACS.

Elsewhere we added Algiers, Richard Dawson, Dynfari (playing The Four Doors Of The Mind), BAD BREEDING, White Ward, Dommengang, Kungens Män, darsombra and TAU and The Drones Of Praise.

With 97% of weekend tickets now gone, and day tickets on sale on December 10 – we’re looking forward to seeing you all in Tilburg in April: roadburn.com/tickets

EUROPEAN FESTIVAL AWARD NOMINATION

Roadburn has been nominated in the best small festival category (less than 10,000 visitors) at the European Festival Awards 2019. Votes can be cast HERE. Votes and spreading the word are appreciated as it would be a huge honour for us to win such recognition.

https://www.facebook.com/events/1081424195382564/
https://www.facebook.com/roadburnfestival/
http://www.instagram.com/roadburnfest
http://www.roadburn.com

Tags: , , , , , , , , , , , , , , , , , , ,

Sonic Whip 2020 Announces Lineup with Masters of Reality, Kadavar, Forming the Void and More

Posted in Whathaveyou on November 21st, 2019 by JJ Koczan

sonic whip 2020 banner

Next May will mark the third edition of the Sonic Whip Festival, though I’ll admit this is the first I’m hearing of it. No surprise there, as I’m about two years behind on most things in life. Tickets for Sonic Whip 2020 are set to go on sale tomorrow at noon CET for the night-and-dayer, with a pre-party May 1 and a full event on May 2 at Doornroosje in Nijmegen, the Netherlands, and the lineup will feature a few of the acts making the rounds at that time, including headliners Masters of Reality and Kadavar, as well as Pissed JeansRotor, Forming the VoidThe Cosmic Dead, Gum Takes Tooth and Bonnacons of Doom.

I’ll admit it was Forming the Void that caught my eye and not just because I happen to be wearing their t-shirt today. This is the second event around that time that the Louisiana-based progressive heavy rockers have been announced for, and while I was already just waiting for them to announce a European tour after the first one, this only further confirms that update is coming.

Likewise keeping an eye out for Masters of Reality‘s full run to be unveiled, as they’re set to do Desertfest and others in addition to this one.  And, well Kadavar are just kind of always on the road somewhere, so yeah, they’ll probably be touring too.

But I’m getting off-track, so here’s the announcement from the fest:

sonic whip 2020 poster

Sonic Whip 2020

Sonic Whip, the multi-headed rock monster that combines roaring guitars riffs with steaming bass lines, pounding drums and other sonic, psychedelic excesses, is preparing for the third edition. We kick off on May 1 with a pre-party deluxe in Doornroosje to go completely berserk on May 2 at the same location.

LINE-UP
? MASTERS OF REALITY
? KADAVAR
? PISSED JEANS
? ROTOR
? THE COSMIC DEAD
? FORMING THE VOID
? GUM TAKES TOOTH
? BONNACONS OF DOOM
? MORE TO BE ANNOUNCED…

Ticket sales start on Friday 22 November at 12.00 with the combi tickets. The first batch of very limited combi costs € 57.50, then € 67.50. Day tickets go on sale later, more info will follow.

More info: http://bit.ly/SonicWhip2020

https://www.facebook.com/events/427908701471605/
https://www.facebook.com/Sonicwhipfestival/
https://www.instagram.com/doornroosjenl/
https://www.doornroosje.nl/event/sonic-whip-2020/

Forming the Void, Rift (2018)

Tags: , , , , , , , , , , ,

Roadburn 2020: David Eugene Edwards to Play Solo Acoustic Set; PH, Elizabeth Colour Wheel, The Flenser Showase & Much More Added

Posted in Whathaveyou on November 14th, 2019 by JJ Koczan

roadburn 2020 new banner

David Eugene Edwards. Solo. Acoustic. Every year I’ve been fortunate enough to go, there’s been one keeps-you-alive-until-April Roadburn set, from Saint Vitus with Wino in 2009 and Garcia Plays Kyuss in 2010 to Sleep playing Sleep’s Holy Mountain this year. There’s always one. At least. In 2020, for me, that’s David Eugene Edwards of Wovenhand and 16 Horsepower playing by himself on stage. Whatever else gets added, whoever else is playing, hell, even if Wovenhand end up playing, this is the one that got me. Well done, Roadburn 2020.

Also featured in this massive lineup addition are PH (whose announcement I wrote), Elizabeth Colour Wheel, familiar faces Primitive Man and a host of other, of course widely varied, incarnations of badassery. I’m not trying to take away from anyone else or anything like that, or anything that might still come by saying the above, you understand. Roadburn 2020’s already primed to push well beyond the common bounds of heavy. It was before this announcement, frankly. But from here on in, my schedule already has its circle, and whether we do the Weirdo Canyon Dispatch or not (every year I kind of wait for the shoe to drop on that like it’s something we’ve been getting away with for the last six editions), I’m there, and I don’t care who he’s up against or who’s on next on what stage. If I have to sleep in the gutter of Weirdo Canyon in order to be there, I’m not missing a minute of David Eugene Edwards‘ set. Period.

From the fest:

roadburn 2020 david eugene edwards

Roadburn 2020: new announcements, more curator picks, and a showcase!

– Less than 10% of 4 day tickets remain
– David Eugene Edwards joins Emma Ruth Rundle’s curated event
– James Kent picks a special collaboration for his curation
– The Flenser will present a label showcase

Less than 10% of 4-day tickets remain for Roadburn 2020, and single-day tickets will go on sale on December 10.

Artistic Director, Walter Hoeijmakers comments: “As we edge closer towards selling out Roadburn 2020, I am excited that we still have so much more to announce. This year we are putting an emphasis on the context and creativity of the artists we’re announcing and knowing that we have still more up our sleeves means I am delighted to see where Roadburn 2020 is heading.”

EMMA RUTH RUNDLE’S THE GILDED CAGE:

DAVID EUGENE EDWARDS
At Roadburn, David Eugene Edwards has graced us with his presence on two occasions as part of Wovenhand. Each performance pulsated with energy and elevated the sets to be highlights of each respective edition of the festival – in no small part due to David’s electrifying presence. We’re delighted to bring him back to Roadburn, this time as part of Emma Ruth Rundle’s curation, The Gilded Cage. David will perform an acoustic, solo set that promises to showcase the diversity of his delivery and the nuances of his craft. Emma comments:

“It’s been a secret wish to see DEE playing solo and delivering his songs in their most bare forms. This was the very first thing that came to mind when I was asked to co-curate Roadburn and it’s going to be a rare and precious jewel of a performance.”

JAMES KENT’S CURATION:
REGARDE LES HOMMES TOMBER
A product of the burgeoning French underground scene that has produced so much incredible music in the past few years, over the course of two records so far, Regarde Les Hommes Tomber have used scraps from the most sinister subgenres, from black metal to sludge to build up truly frightening epics. Always apocalyptic in feeling, emotional and ruthless in equal measures, drenched in religious imagery and references, and creating a sonic depiction of the fall of mankind… and its subsequent rising to replace the cruelty of the established gods. Not only will we be expecting all of this maelstrom of fiery feelings, but also a healthy measure of the unexpected as well, since Regarde Les Hommes Tomber will be playing their new not-quite-announced-yet album in its entirety.

HANGMAN’S CHAIR X REGARDE LES HOMMES TOMBER
Regarde Les Hommes Tomber will join forces with Hangman’s Chair for a collaboration at Roadburn 2020. Hellish, sludgy black metal will clash horns-first with cold, despondent doom, and the result will surely transcend even the most delirious of descriptions that we can come up with at this point. Originally commissioned by Red Bull, this unholy collaboration has occurred just once previously, in Paris. That performance lasted 45 minutes, but for Roadburn an additional 15 minutes of material will be debuted just for us.

PLEBEIAN GRANDSTAND
Plebeian Grandstand are a band that have morphed from a core of quite technical, hardcore charged metal to be the hulking beast of black metal fury we see before us today. The creative journey they have been on has led to an infusion of influences from outside the black metal sphere, resulting in nuance and depth that can sometimes be hard to find within the genre. On top of that, they eschew the cartoonish elements of extreme black metal – you’ll find no burning churches here – in favour of something rooted more firmly in reality. After all, what’s more nightmarish than the real world?

TRUE BODY
With a calculated sense of tension and just enough human touch to cut through their own cold post-punk atmospheres, Virginia’s True Body has built a following with their urgent and impassioned music. Instead of falling into melodramatic excess or disconnected affectations, the band manages to bring the best of each realm for something that leaves audiences rapt and thrilled. With this masterful take on such a beloved sound, we’re honored to announce that True Body will be performing at Roadburn 2020 as part of James Kent’s curation.

THE FLENSER SHOWCASE
In 2020, The Flenser will celebrate the tenth anniversary of the label’s first release. The San Francisco based label has been committed to releasing experimental, avant-garde music for a whole decade – which – naturally – has not escaped our notice here at Roadburn HQ. To celebrate this milestone and to acknowledge the impact that The Flenser has had on our record collections and the broader musical landscape we have invited several of the label’s current artists to perform at Roadburn 2020.

The Flenser label manager, Jonathan Tuite comments: “Roadburn is my absolute favorite festival in the world. The lineup is always diverse, the audience enthusiastic, and the curation is second to none. I can’t think of a more appropriate place for The Flenser to celebrate our ten years of existence.”

GILES COREY
For over ten years Dan Barrett has been cementing his role as a visionary in dark music history.Perhaps none of this work has resonated with more intimacy than Giles Corey, his acoustic guitar led, ghost noise-soaked songwriting vessel. While on paper an acoustic led-project sounds like a potentially low-key affair, Giles Corey is bursting with electric energy–recordings are awash in swirling organs, reverberating choirs, striking horns, and blown out drums. While Giles Corey has performed as a solo-act, Roadburn 2020 will mark the project’s first appearance as a full-band. Members of Have a Nice Life, including central figure Tim Macuga, will help bring the album’s haunted sounds to life: expect the stage and audience to be left in a scorched earth state of desolation.

ELIZABETH COLOUR WHEEL
“Otherworldly” is a description often applied to artists that evoke the ethereal, and whilst that is occasionally applicable to Elizabeth Colour Wheel, the otherworldliness they invoke is more to do with the fact that it’s not always clear if they really inhabit the same world as we do. Their debut album, Nocebo, laughs in the face of genre descriptors, forging a new path that may be tricky to describe but that offers a wildly enticing prospect.

DROWSE
Drowse is an outlet for Kyle Bates to explore his place in the world; his music echoes what he experiences on the varied paths of this internal-reflection. Sometimes those paths lead to extraordinary places – this year’s Light Mirror LP was inspired by an isolated trip to northern Iceland where he took up an artistic residency in 2018. The melancholic results are the sonic equivalent of a sliver of sunlight permeating an otherwise bleak and drizzly morning. The weight of Bates’ reflections is mighty, but it never quite succeeds in suffocating the shards of harmonious hope that glint in the winter sun.

MAMALEEK
Mamaleek have been unearthing truly uncategorizable sounds from the catacombs of black metal since 2008. Founded by two anonymous brothers, the Bay Area project has become known for both its wild experimentation and aesthetic cohesion. The use of left-field samples threads their discography together, with sound sources growing more bizarre with each release. The current lineup mixes childhood friends and total strangers. Their participation is an outgrowth of the core duo, an experiment in a live setting, using instruments and sounds that highlight experimentation and flout genre conventions. Who knows how long this iteration will last before the next metamorphosis.

MIDWIFE
As a multi-instrumentalist, Madeline Johnson AKA Midwife has sculpted a fuzzy take on experimental dream pop, drenched in melody and punctuated with distortion. Despite a central theme of “devastation” Midwife makes for nuanced and evocative easy listening that can’t help but feel like something of an audio honey trap. We’ll have to wait until April to find out exactly what lurks beneath the surface…

ALSO ANNOUNCED…

PRIMITIVE MAN
It is with great anticipation that we’re delighted to announce that Primitive Man will be playing twice at Roadburn. One set will be a business-as-usual, throat-ripping, bone crushing display of what makes them a must-watch band. And one set will be a run through of their 2017 album, Caustic. This is the kind of endurance test we relish – an audio pummelling so intense that there’s no way to come out the other side without a shift in our worldview.

LANKUM
When The Livelong Day – the latest offering from Dublin four piece, Lankum – passed over our desks, our ears pricked up and we knew we had to invite them to Roadburn next year. It’s not uncommon to find us feeling effusive about noise, drone and ambient projects in the Roadburn world, but it’s a much rarer prospect to find such tonal qualities on what is undoubtedly, most definitely a folk album. Uilleann pipes and harmonium come together to create a cinematic soundscape that many Roadburners will feel right at home with. The album makes for an appropriate gateway for those attending Roadburn, regardless of which side you’re approaching from – a folk fan heading towards darker territories, or a heavy music fan lured by the promise of a genre steeped in history and countless traditional flourishes.

HILARY WOODS
Hilary Woods wrote her debut full length, Colt, alone – before before taking her recordings to Berlin to work with James Kelly (Wife, Altar of Plagues). The solitude is palpable, and listening to what she has made feels like a cautious invitation into a quiet place that she has created. Imagine a soft cocoon of sound, enveloping you as you step through into the netherworld of her making.

FÖLLAKZOID AND ATOM TM
Spearheading Chile’s vibrant psych scene, Föllakzoid will transport Roadburn 2020 on an all-encompassing voyage. Joined once again by German electronic artist and producer, Atom TM, the band will make their Roadburn debut, aiming to, “modulate the gravitational waves in order to alter the temporality perception and get sucked into the timeless space continuum,” as guitarist/singer Domingæ Garcia-Huidobro aptly puts it.

TORPOR
Rhetoric Of The Image showcases Torpor’s confidence; lengthy post-metal tracks smoulder whilst shorter, more experimental cuts punctuate the album. The three piece will expand a little for Roadburn in order to do justice to the full fifty one minutes that make up Rhetoric Of The Image as they perform it in full for us at Roadburn.

SUM OF R
The current incarnation of Sum of R already sees Reto teamed up with Jukka Rämänen (Dark Buddha Rising, Hexvessel, Waste Of Space Orchestra), which has allowed them to forge even more adventurous paths from their dark ambient/drone of yore, but now yet another figure from that particular Finnish scene will be adding his own very particular twist to the proceedings and giving them a new voice, quite literally, as it is none other than vocalist Marko Neuman (Dark Buddha Rising, Waste Of Space Orchestra, Convocation, Ural Umbo).

PH
Earlier this year, PH released Osiris Hayden, their second offering through Svart Records and fifth overall in their prolific decade together. Their latest work finds them embracing new reaches of the cosmic infinite, taking on electronic charge as they never have before and exploring the connection between organic and inorganic audio experiences.

MANY BLESSINGS
Those of you familiar with Ethan McCarthy will know him as the formidable frontman for Primitive Man. Under the banner of Many Blessings, Ethan performs a much less frenzied kind of music – and yet somehow it manages to be no less disturbing and spine-chilling. Many Blessings has seeped into our consciousness – a slow, creeping threat of sonic menace. Whilst the ferocity we are are perhaps more accustomed to is not present, the wordless missives are brooding and visceral.

EYE FLYS
After listening to their blistering debut album Context, and considering the fact that guitarist Spencer Hazard was already roped in for Roadburn 2020 as a member of one of our artists in residence, the wonderful Full Of Hell, how could we ever pass on Eye Flys? The Backslider rhythm section of Jake Smith – here on guitar and vocals – and Patrick Forrest plus Triac’s Kevin Bernsten complete the line-up.

ROADBURN 2020 TICKETS

Weekend tickets for Roadburn are on sale now (3-day tickets are sold out, 4-day tickets remain on sale). Single day tickets will be on sale on December 10. More information about tickets and accommodation options can be found HERE.

Already announced for Roadburn 2020 is: Emma Ruth Rundle and James Kent as curators, commissioned projects from James Kent & Johannes Persson, Jo Quail, and Vile Creature & Bismuth, the return of Julie Christmas, Red Sparowes, Russian Circles, Torche, Brutus, Bada, Dool, Health, Hide, She Past Away, and two Artists In Residence: Full of Hell and Lingua Ignota. Check the full line up HERE.

EUROPEAN FESTIVAL AWARD NOMINATION

Roadburn has been nominated in the best small festival category (less than 10,000 visitors) at the European Festival Awards 2019. Votes can be cast HERE. Votes and spreading the word are appreciated as it would be a huge honour for us to win such recognition.

https://www.facebook.com/events/1081424195382564/
https://www.facebook.com/roadburnfestival/
http://www.instagram.com/roadburnfest
http://www.roadburn.com

David Eugene Edwards, “Straw Foot”

Tags: , , , , , , , , , , , , , , , , , , , , , , ,

Onhou Stream Endling LP in Full; Album out Nov. 30 on Lay Bare Recordings & Tartarus Records

Posted in audiObelisk on November 13th, 2019 by JJ Koczan

onhou

Tucked away up north in the Netherlands is the churning, grueling four-piece unit Onhou, whose tenet of bringing atmosludge to a shining-black level of extremity results in an ambience as punishing as their sheer tonal crush. Their debut album is titled Endling — which sounds harmless enough as a title until you attempt to define the word; is it ‘child of the end,’ as in what comes after, or the nascent ending itself? — and is seeing release Nov. 30 through Lay Bare Recordings and Tartarus Records on LP and tape, respectively, and it collects three extended pieces for a vinyl-ready 38-minute run that, to its credit, feels longer. As Onhou follow their 2018 self-titled EP, which was comprised of two 10-minute tracks, they plunge deep into brutalist lurch, conjuring a trench of tone seemingly in order the cast the listener into it. At 17 minutes, “Dire” is the opener and longest track (immediate points), and while its most skull-cavingly heavy moments are offset with minimalist droning — plenty of time for such things, certainly — it still seems to push Onhou further into cavernous reaches, setting up not just the dynamic of the subsequent “March/Retreat” (10:50), but the cavernous and blackened aspects of “Silence” (10:44) as well.

I suppose if one wanted to work hard enough, Onhou might be shoehorned into being considered a post-metal band, but that’s hardly the entirety of what’s happening across Endling on aesthetic terms. onhou endlingThere’s doom, sludge, black metal, post-metal, drone and a cold, harsh delivery to it all that seems only to highlight the cruelty behind its purposes. It’s not a stretch to imagine the “end” they’re depicting in these songs is the age through which we’re living, and while humanity has struggled and survived before — World War I was the end of the world in Europe and that was 100 years ago, so really we’re just all in the aftermath of that — it’s hard to see a way forward from things like the accelerating death of the planet on which we live and the greed of our corporate and political overlords that seems to rape the way fish swim. One could go on in making a case for Endling as a news report from the Netherlands bureau, but Onhou don’t seem overtly sociopolitical in the sense of making a commentary. Lyrics are delivered in guttural shouts or screams across the three songs, when they’re there at all, so it’s hard to say for sure, but their argument seems more impressionist than statistical, and their presentation is well suited to making it, underscoring the idea that it doesn’t matter if we go out fighting, we’re still going out. Like a candle goes out.

This, coupled with a volume-as-ritual sensibility and a nod that offers little route for escape from its hypnotic undulation, makes Endling a deceptively multifaceted affair. I don’t actually know the themes with which Onhou are working. I could be way off in my interpretation — everything is politics to me these days — but even if I am, it doesn’t really matter, since the point stands all the more that Endling is open to and stands up to various readings from the listener. That in itself is a strength of the work and while I won’t discount the importance of clarity when clarity is warranted, the murk in which these songs dwell feels very much like a natural habitat for their consuming and devastating/devastated sonic manifestation.

You can stream the album in its entirety below. I wish you luck on your journey.

Enjoy:

Releasing their first full-length ENDLING, ONHOU is expanding on the hopelessness of their arduous sound, fighting against the inevitable. ONHOU is a Dutch sludge/doom metal band formed in Groningen, consisting of (ex)members from Ortega, Grinding Halt and Wolvon. The four piece scrutinizes dark territories, devising an immense sound utilizing two vocalists, down-tuned guitars and pulsating electronic elements. These bleak atmospheres serve to shape a dismal and forsaken uneasiness.

After a well received EP released by Tartarus Records in 2018, ONHOU returned to the studio to record their first full-length titled ENDLING. Endling will find you dragged into discomfort with ONHOU’s bulking riffs, dark electronics and thundering rhythms. One can try to find reason or refuge, waging a war with all of your might while it burns the heart out of you. But one will only find loss, without a trace of existence.

There is no legacy. There will be no judgment.

This is ENDLING.

LBR 026
Release date 30 November
Pre-order open 15 November
150 copies on black – 100 copies on white vinyl

TAR145
Release date tba
Edition of 100 cassettes housed in a diecut cardstock case.

Tracklist:
1. Dire
2. March/Retreat
3. Silence

Onhou is:
Henk Wobbes – Bass
Alex Loots – Guitar/vocals
Arnold Havinga – Drums
Florian Studdel – Keys/vocals

Onhou on Thee Facebooks

Onhou on Bandcamp

Lay Bare Recordings on Thee Facebooks

Lay Bare Recordings on Instagram

Lay Bare Recordings website

Tartarus Records on Thee Facebooks

Tartarus Records on Instagram

Tartarus Records on Bandcamp

Tags: , , , , , ,