Before show

I heard the noon bell ring in Netphen, and made it to the AWO grounds in time for the start of the pre-show yoga session. I did it last year as well, at least one of the days, and it was a good flow. I’ve been doing yoga at home with the intent of building a habit, but you know how that goes. It’s so much easier to not do the things that are good for you.

Hot in the sun though. There was a big snail nearby that I showed to Pete from Elephant Tree, who’s a regular and a volunteer hanging out here each year. I felt like I was five years old for how excited I was. Pete took the picture.

What I didn’t realize was how much time had passed, so when Volker Fröhmer came out to introduce the first band of the day, it was a jolt back to reality. And since I’d heard the screams in their line check, I knew reality was about to hit hard.

Insert clever segue here:

Häxer

From Norway, and the drummer had the Høstsabbat tshirt to prove it. I had my favorite one on yesterday; missing that festival as I have had to these last couple years it’s pretty worn in, so it’s only in light rotation; special occasions. Häxer brought punker punishment. Flourishes of extreme metal, brutal high-register screams — dude sounded like he could go all day doing that shit, which is fortunate because they’re playing again later on the small stage — and uptempo charge to the opening of the day. It’s a hot one but there’s shade available for when it’s needed and abundant water. Having been rushed at the start of their set — which turned out to be wholly appropriate to the music — I found a spot to catch up and watched as the singer crowdsurfed mid-verse and the band blasted through the kind of boozy punkmetal that’s become a staple of the Norwegian underground. Thrash and punk and black metal were always threaded. Häxer highlighted just how potent a blend that can be. Even the bass was anthemic. Probably not what I’m reaching for on a mellow afternoon at home, but undeniably on their shit onstage.

Wedge

Another of the many firsts for me this weekend. I’ve loosely followed Wedge since the Berlin trio’s inception, circa 2014, and they remain a vital presence in the German scene, so it wasn’t quite the ‘finally!’ sigh of relief that was catching My Sleeping Karma the night before had been, but I knew enough to look forward to their set and felt justified in that as they played, working in and out of boogie traditionalism with a sound that’s grown and expanded over time. Again, I found a spot in the shade and watched the crowd fill in over the course of the band’s time, veering into soulful psych with a foundation that’s still classic and an overarching mellow spirit that felt just right for the day. It wasn’t a comedown from Häxer, though the songs were lower and slower, more melodic, etc., as the crowd became a sea of nodding heads in the sunshine, which is always fun to see. They’re more than four years removed from their latest album, Like No Tomorrow (review here) and I’ve no PA what they have planned going forward, but the way they jammed out sure made it seem like they were having a good time, so maybe one of these days an announcement will come through. They killed it in the meantime. The kind of band you want to see again.

Zig Zags

L.A.’s Zig Zags released their fifth LP, Deadbeat at Dawn, just at the end of last month, and although I haven’t heard the album, the title-track was recognizable. This is the power of punk, and it’s not a minor consideration in Zig Zags’ sound, but very purposefully not the limit of it. They weren’t the first band of the day to celebrate the hybridization of punk and thrash metal, but they made it live, for sure. They’ve been around for a bit at this point — five records, if you want to measure time that way — and I have to think they alienate as many people as they might ensnare with their sound. If you’re a headbanger or a punker exclusively, Zig Zags are blasphemy, but if you’re the rare kind of cat who can get down with both, they’re type band, and sure enough, I know people in Los Angeles who swear by them. I get it. They’re an act who make complex ideas feel simple, obviously approach what they do without a milligram (or an ounce in the States) of pretense, and every now and then, they locked into a Slayer riff or a rolling nod — speedy, but there — and that was right on as well. Maybe they’re not alienating so much as something for everybody. Also notable, the mist cannon, which I’ve absolutely been shot by point blank in the photo pit in years past, made an appearance by the show of the stage. It was greeted as a liberator and I was happy to spend Zig Zags’ declarative “Punk Fucking Metal” adjacent to the spritz.

Battlesnake

The inevitable answer to the question of who the dudes walking around the backstage in vestments were, Sydney, Australia’s Battlesnake — entirely new to me — reveled in blasphemy, pairing upbeat push with a heaping dose of shenanigans amid double-guitar harmonies and the weekend’s first — perhaps only — keytar. The songs, which were at least half the point of the show, were varied around a foundation in classic metal, and if ‘fun’ was a subgenre, that might be the closest description. A couple slowdowns, a couple speed-ups, and the energy onstage to sell all of it, they weren’t shy in letting a little chaos in alongside the tight songwriting and a pastiche that went from doom to thrash, and with that in consideration, they slayed, in terms of presentation and craft, as well as that one breakdown from whichever song it was. They would seem to be in Europe for the summer, with UK and continental shows sandwiched by being here and Hoflärm on August, but the riffs packed the lawn, the theatrics made it a good time, and they continued the day’s subtle theme in communing with metal of yore from a fresh point of view. If you’re the type who really likes heavy metal that takes itself too seriously, avoid. Didn’t seem to be an issue with the Freak Valley crowd. Go figure. They’ll definitely make an impression on tour.

¡Pendejo!

Mostly Dutch, ¡Pendejo! are connected to Spanish music and culture via frontman El Pastuso, who doubles as part of what to my knowledge will be the weekend’s only horn section. The combination, horns with heavy riffing and Spanish-language vocals, is the essential component in what they do, along with the encouraging shove that typifies their doing it. Completely on another wavelength sound-wise from Battlesnake, they nonetheless maintained the electricity and the good times fostered by the preceding act and were catchy whether you spoke the language or not. I wandered a bit after doing photos and came to land in the same spot as during Battlesnake, so I guess you can mark that a win, since shade. The shenanigans carried over as the band stood blasted out pulse-raisers like they were going out of style — they’re not — and though I missed 2023’s Volcán, they lived up to my expectations from their prior material, and it was a perfect moment for the diversion in the centerpiece position of the day, with four bands before and four after. They earned that spot though. Working up there, they were.

Early Moods

The intensity of the afternoon starting to wain, Early Moods line checked their guitars with “Heaven and Hell,” which, man, that’d be a cover to hear. The L.A. doom metallers have been out with Zig Zags on a European tour, and though I’ve seen them before, in the interim, they put out 2024’s sophomore record, A Sinner’s Past (review here) and done a buttload of touring — like Pendejo, they brought their own banner — and so were less the upstart kids taking on not only doom, but epic doom of the Candlemassian strain than a seasoned touring act who know what they’re about and ready to steamroll whatever should happen to be in their path. This particular evening, that was Freak Valley. They were in control from the outset and suitably severe in their delivery, digging into the angles of their transitions as well as the nod of the verses. They were a band who started with a strong idea of what they wanted to do, and they’re still relatively young, but they growth they’ve undertaken was as palpable from the stage as it was on the album last year, and they felt like they were setting themselves up for the longer haul. Easy to appreciate an outfit who can bring doom to life in such a way. The crowd also went off, so they’ve got that going for them as well.

Sacri Monti

It had been a minute or two, Sacri Monti. The San Diego heavy psych rockers were starting about three weeks of Euro touring, which will take them to Stoned From the Underground and Poland’s Red Smoke Festival, among others, before they’re done. They were out with Elder in the US this Spring as well, supporting their 2024 full-length, Retrieval (review here). The last time I saw them was at Roadburn 2018, where they were part of a collective of featured acts from San Diego, where the scene at the time was vibrant. Nowadays I tend to think of them as survivors, having not only made it through that weekend intact, but pursued their own ends on tour and in the studio instead of posing out for Instagram or working on their ‘brand.’ They’re still rooted in a 1970s style, but have taken on progressive flourish and intention behind that, and it was a pleasure to see them again after seven years, not the least with Mad Alchemy’s lightshow on the giant stageside screens. I’d been looking forward to it and wasn’t the only one. They’re veterans at this point, but they still sound like a growing band. That’s how it goes sometimes, in the best of scenarios.

Motorpsycho

With 90 minutes at their disposal, Norwegian prog legends Motorpsycho have the longest set of Freak Valley 2025, and considering the back catalog of well over 100 releases, that’s probably reasonable. They started psych and jammy, which it turned out what was I needed, before turning more toward structure and complexity, and neither am I going to complain about that. I was dragging — no reason to lie — but they were more immersive than I’d been expecting. Another one I’ve seen before, once or twice, at least, but it’s been a while. The thing with Motorpsycho is they’re always moving forward. Yeah, that’s resulted in a lot of albums and whatnot, but more, it’s resulted in a band who’ve been at it since 1990 and never stopped evolving. The rarity of that is not to be discounted just because you don’t know where to start in their discography. The people up front got there early and clearly knew very well why they were right to do so, and Motorpsycho played the sun down to bring some relief from the heat, which was due. I’m not an expert or anything, but I do my best, and beat as I was, even I understood the profundity of what I was seeing and hearing. Lush, gorgeous, theirs.

The Ocean

I don’t recall ever seeing The Ocean before, but I remember when they came were on Metal Blade, and I’m certainly aware of the excellent work frontman Robin Staps does with Pelagic Records, so they’re kind of in the orbit, loosely. They took the prog of Motorpsycho and metallized it, intersplicing post-metal crush with melodic reach and nuance. I didn’t stay, but they were tearing it up when I left and it was still packed, so it was me, not them. Reasonable. The Ocean have been a professional band for over trio decades at this point, and they had the lighting to prove it as well as the extended changeover after Motorpsycho, during which Häxer took their turn on the small stage for their second set of the day (had a mosh going and everything). I hung in for a couple The Ocean songs until the strobe put me over the top and I went to catch a cab back to the room, finish writing, sort the day’s photos, and most importantly, sleep for every second possible. Oh, but heads up, they had room mics over the drums and crowd mics at the front of the stage, so if a live album surfaces, don’t say you weren’t warned.

—

I’m going to leave it there because that’s what my eyes closing while I type means. Back at it tomorrow for the last day of the fest. Grateful to be here. Super-grateful there’s another yoga session before the day starts.

More pics after the jump.

Read more »

That’s it for Freak Valley 2025 as regards lineup adds — a special moment in the cycle of any annual festival, as the complete shape of the thing is revealed for the first time to the people who’ll be attending — though the Germany-based festival set for June 19-21 on the gorgeous AWO grounds in Netphen apparently couldn’t resist sneaking a few names in under the wire. Seeing Bushfire added brought a smile to my face, as they’re something of a house band at Freak Valley that, in the now-several years I’ve been lucky enough to attend the festival, haven’t played. So much the better as they’ll do so with the occasion of a new album.

The Ocean are the last headliner to be announced Freak Valley‘s long-since-sold-out 2025 edition, and they join Motorpsycho and the reunited The Sword at the head of a significant bill bolstered by the classic boogie of Sacri Monti and London punkers Jools. I’ve never seen The Ocean, though I know Pelagic Records does a lot of killer, important work, so that will be an interesting first-time experience, and taking in the full bill from the poster below, it looks like it’s going ot be a wild couple days out in that field. Fingers crossed for good weather.

From social media:

Freaks, it’s time!

Our sold-out Freak Valley Festival 2025 is adding the last pieces to the puzzle, and it’s gonna be MASSIVE!

🔥 THE OCEAN – will be headlining Freak Valley Festival! Prepare for an epic sonic journey through crushing heaviness and deep atmospheres!

🔥 SACRI MONTI – Heavy-psych riff madness straight from California!

🔥 JOOLS – The UK punk collective bringing raw energy and rebellion! This one’s gonna be wild!

🔥 BUSHFIRE – Our longtime friends are bringing the heat to Freak Valley Festival with a Record Release Show!

Heavy, soulful, and packed with pure, unfiltered energy – their new album is ready to shake the valley, and you’ll be the first to experience it live!

The Valley is calling, and you’ve answered! Let’s make this one for the books.

See you in the pit! 🔥

https://www.facebook.com/freakvalley
https://www.instagram.com/freakvalleyfestival/
http://www.rockfreaks.de/
http://www.freakvalley.de/

The Ocean, Holocene (2025)

Houston, Texas-based psych-doomers Fostermother make their label debut on Ripple Music Feb. 18 with The Ocean, their second album. The now-trio, on-this-record-studio-duo and former-solo-project are veterans of the inaugural RippleFest Texas last year, and their self-titled first record was issued in 2020, and while we’re doing numbers, I’ll note further that “Seasons” — premiering below — is the third video they’ve put out to herald The Ocean‘s arrival. and there’s still more than a month to go before the release. Advance notice, then, has been duly served.

Like the prior clips for “Hedonist” and “Sunday” — must be awfully convenient when you can handle these things DIY-style and not have it look like crap — “Seasons” is drawn from side A of The Ocean, and it finds Fostermother spearhead Travis Weatherred leading the proceedings with a particularly thick-feeling roller of a riff that builds on the lumbering melancholia of the album’s opener, “Sunday” and finds a groove somewhere between Monolord with and October Rust-era Type O Negative, the latter also seemingly referenced in the vocal melody and effects. Weatherred, who also drums on the LP, drops the guitar later on and Stephen Griffin‘s bass comes to the fore as if to emphasize a doomed drudgery, but though the mood is familiar, their preach to the converted is sure to find willing ears, as did their self-titled prior.

“Seasons” is the missing link between “Sunday” and “Hedonist,” which is faster and hookier, but The Ocean continues to unfold across a broader range as it goes, with “Dark Desires” tapping even speedier push given righteous physicality by its low end and the centerpiece “Unholiest of Days” meeting its grim title with a Cathedral-esque verse/chorus patterning and a genuine boogie groove in something of a surprising turn. They slow it down, to be sure, but just for a bell-toller of a bridge before the main riff returns and they Sabbath swing back through the chorus again to finish out. I’m not entirely sure where the split between the two halves of the vinyl is, but “The Ocean” serves as a landmark on the album that shares its title, whether or not it’s the beginning of side B, moving from a mid-paced density into a stretch of quieter guitar, bass and drums before layered vocals bring back a larger incarnation of the riff.

Of course, they’re not the first to make big, thick-sounding noises at high volumes and liken them to massive bodies of water and/or tidal forces — likewise the emotional undercurrent contained in the material — but “The Ocean” makes a kind of chant of its title, a sub-mantra, and thereby conveys a sense of awe to go with its manifestation of plod, that last aspect brought forward in “Arrival,” which, indeed, feels like one. Classically doomed, it’s an engaging setup for “Redeemer,” which in its floating melodic vocal, tempo kick and sharper-edged riff reminds more of the Uncle Acid and the Deadbeats school of garage heavy, if holding its emphasis on the ‘heavy’ end of that bargain. A prog break in the middle is more subterfuge, as they return to the verse before ending with a chugging breakdown topped with an echoing guitar lead; unexpected and all the more welcome for that.

Who are you, Fostermother? At 6:37, the finale and longest inclusion, “Solitude” — not a Candlemass cover — answers the question with a fitting summary of elements on display across The Ocean in its tonal and emotional weight, melody and willingness to speak to ideas classic and modern to make its point. The mournful progression of guitar that, as a lead and then just as the riff itself, carries the song and album to a finish isn’t so much a grand ending as a tie-up for the entirety of the preceding LP. It makes the point rather than overstates it, and that difference makes the whole impression Fostermother make throughout The Ocean more sincere, and deeper-feeling than something simply executing ‘heavy’ for its own sake.

The depressive current of The Ocean is on full display in the video for “Seasons,” which, as one might imagine, features a lot of staring, both at the camera and off at other stuff. Action-packed it isn’t, but in its atmosphere it speaks to one of Fostermother‘s greater strengths, and something they’ll hopefully continue to explore as they move forward from here. A band who can nod, shuffle, push and plod like this is one thing. A band who can do all that and have something to say is something else.

Enjoy:

Fostermother, “Seasons” video premiere

Music Video for “Seasons” off the upcoming Fostermother album “The Ocean” on Ripple Music. Slated for Vinyl/CD/Digital release on February 18, 2022

Video by Fostermother

FOSTERMOTHER New album ‘The Ocean’
Out February 18th on Ripple Music: https://ripplemusic.bandcamp.com/

Frontman Travis Weatherred about the album: “The album is largely about dealing depression and isolation. It also speaks on individuals who would eagerly trade everything and everyone in the pursuit of their own self-interest all while casting judgment on others. These behaviors have a negative impact on friends, family, and society as a whole. Depression is viewed in two ways lyrically; a lack of desire to take care of yourself and the drive to move past it by seeking redemption and new motivations. The Ocean represents Isolation in society. I often find my healing/coping process is found best when I clear my thoughts in quiet room which is where the album ends.”

All music was written and performed by Travis Weatherred (vocals, guitar, synth, drums) and Stephen Griffin (bass, keys, and additional guitar). It was produced and mixed by Travis Weatherred. The artwork was designed by UK-based painter Ryan T. Hancock.

FOSTERMOTHER is
Travis Weatherred – Guitar, Vocals
Stephen Griffin – Bass
Jason Motamedi – Drums

Fostermother, The Ocean (2022)

Fostermother, “Hedonist” official video

Fostermother, “Sunday” official video

Fostermother on Facebook

Fostermother on Instagram

Fostermother on Twitter

Fostermother on Bandcamp

Ripple Music on Facebook

Ripple Music on Twitter

Ripple Music on Bandcamp

Ripple Music website

Houston three-piece/former-solo-project Fostermother appeared earlier this year at Ripplefest Texas, so maybe it shouldn’t be a huge shocker to find that The Ocean — their upcoming second album — will be released through Ripple Music. If you’re paying that close attention, kudos. For the rest of us, the news of the record’s Feb. 18 arrival — which came in like five days ago, lest you think I’m on top of my shit — is welcome just the same, particularly as it brings with it a first sample of the record in question with the video for “Hedonist,” showcasing the band’s blend of heavy rock and doom elements, a classic fuzzy tone being used to deliver somewhat darker fare.

I’ve been keeping a running list of bands whose records I’m looking forward to in 2022 in the Obelisk Collective on Facebook. Fostermother are on it. I didn’t catch their self-titled when it came out — see “not on shit,” above — but there’s a lot to dig into here and I’m interested to do so.

From the PR wire:

Houston fuzzed-out doom trio FOSTERMOTHER share details for new album ‘The Ocean’ on Ripple Music; watch new “Hedonist” video now!

Texas-based doom and fuzz metal merchants FOSTERMOTHER announce the release of their new album ‘The Ocean’, coming out February 18th on Ripple Music.

Originally a solo project Travis Weatherred, quickly joined by bassist Stephen Griffin, FOSTERMOTHER made an impression within the stoner and doom scene with their self-titled debut album. Now a three-head hydra with the addition of drummer Jason Motamedi, the band signed to Californian heavy rock powerhouse Ripple Music for the release of its follow-up ‘The Ocean”. This massive-sounding 7-tracker cranks it up on all levels: it’s darker, harsher, slower, fuzzier, more rumbling than ever, and uncompromising in its ability to drag any listener into the darkest alleys of the human soul.

Frontman Travis Weatherred about the album: “The album is largely about dealing depression and isolation. It also speaks on individuals who would eagerly trade everything and everyone in the pursuit of their own self-interest all while casting judgment on others. These behaviors have a negative impact on friends, family, and society as a whole. Depression is viewed in two ways lyrically; a lack of desire to take care of yourself and the drive to move past it by seeking redemption and new motivations. The Ocean represents Isolation in society. I often find my healing/coping process is found best when I clear my thoughts in quiet room which is where the album ends.”

All music was written and performed by Travis Weatherred (vocals, guitar, synth, drums) and Stephen Griffin (bass, keys, and additional guitar). It was produced and mixed by Travis Weatherred. The artwork was designed by UK-based painter Ryan T. Hancock.

FOSTERMOTHER New album ‘The Ocean’
Out February 18th on Ripple Music: https://ripplemusic.bandcamp.com/

TRACKLIST:
1. Sunday
2. Seasons
3. Hedonist
4. Dark Desires
5. Unholiest of Days
6. The Ocean
7. Arrival
7. Solitude

FOSTERMOTHER is
Travis Weatherred – Guitar, Vocals
Stephen Griffin – Bass
Jason Motamedi – Drums

https://facebook.com/fostermother
https://www.instagram.com/fostermothermusic/
https://twitter.com/fostermotherhtx
https://fostermother.bandcamp.com/
https://www.facebook.com/theripplemusic/
https://twitter.com/RippleMusic
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

Fostermother, “Hedonist” official video

Fostermother, The Ocean (2022)

What, you thought because Roadburn was going virtual this year it wouldn’t find a way to be completely overwhelming? Behold 55 new additions to Roadburn Redux, set for just over two weeks from now — shit I need to get on WCD copy — and staggering in its scope as Roadburn consistently manages to be. Find me checking out Steve Von Till, Body Void, Astrosoniq, Doctors of Space, Nadja, Year of No Light, SÂVER and a ton of others, and yeah, fucking a. You know it’s Roadburn when all you can really do is throw your hands up and give in to it.

The full announcement follows here. I don’t even know what to say anymore.

From the PR wire:

ROADBURN REDUX: Steve Von Till, Aaron Turner and 53 more names confirmed

Redefining heaviness with exclusive performances and premieres – wherever you are in the world.

Roadburn Redux has confirmed an enormous 55 new names that will be participating in the online event taking place between April 16-18. They will be joining the already-announced line up that includes Hexvessel, Die Wilde Jagd, Inter Arma, Mizmor, Primitive Man, Wolvennest and many, many more.

Artistic Director Walter Hoeijmakers comments: “Roadburn has always been a gathering of kindred spirits; shining a light on varying creative corners of our beloved underground and beyond. This year is no different. We’re beyond elated to announce that a vast number of inspiring bands and artists – from Roadburn luminaries such as Steve Von Till and Aaron Turner to young, to upcoming hopefuls like Knoll – have been added to our final, virtual lineup. We’re honoured to provide a platform in these trying times, whether they will bring you exclusive sets or present their debut albums. Together they will give us hope, inspiration, and most of all, the opportunity to reconnect with each other and keep our thriving community going for bands and fans alike. Despite the fact that Jo Quail and several musicians working with her on ‘The Cartographer’ can’t make it to Tilburg due to the travel restrictions – she’ll still be a part of the festival this year, whilst the commissioned performance will take place in 2022. Such is the communal vibe of Roadburn, and we can’t wait to welcome you to Roadburn Redux – wherever you are in the world.”

Roadburn Redux will take place online between April 16-18. Roadburnredux.com for more information.

New Additions

STEVE VON TILL presents A Remote Wilderness
Steve Von Till has performed at Roadburn as part of Neurosis, as a curator, as a solo artist, and a guest musician – and now he will be performing for us within a digital realm as part of Roadburn Redux.

Filmed and recorded live at the legendary Robert Lang Studios in Seattle, we’re delighted to be able to present to you a Steve Von Till performance titled A Remote Wilderness. Joined by a dynamic group of Seattle based musicians Von Till will perform his latest album, No Wilderness Deep Enough, in its entirety – with a few older songs woven throughout.

PERFORMANCES
As well as Steve Von Till’s amazing contribution to Roadburn Redux, we’re thrilled to bring a huge swathe of exclusive, specially recorded performances to Roadburn audiences, including a special solo set from Aaron Turner, a short set from Jo Quail to tide us over until The Cartographer performance next year, the unveiling of two new Dawn Ray’d songs via an exclusive performance video, a very special improv set from Blanck Mass, a psychedelic freakout courtesy of Doctors of Space and much more. Click the artist names below to find out more about each of their performances.

Aaron Turner
Amulets
Svart Sessions: Doodswens
Blanck Mass
Body Void
Dawn Ray’d
Doctors of Space
Drowse
Jo Quail
Jonathan Hulten
Knoll
Nadja
Nero Di Marte
Sula Bassana
Wesenwille

COMMISSIONED:
Also performing for us will be two further artists commissioned specifically by Roadburn for the occasion.

BADA
BADA was created in 2019 by Anna Von Hausswolff and fellow Gothenburg musicians David Sabel, Gianluca Grasselli, Filip Leyman and Hannes Nilsson – some of whom also perform as part of Von Hausswolff’s solo project. Through cinematic drone, tribal rhythms, heavy distortions and a shared desire to “reunite the essential bonds between music and physical worlds”, BADA is a captivating and constantly evolving force of creativity that demands to be witnessed.

TAU PRESENTS DREAM AWAKE
Tau are bringing their transcendental visions to Roadburn Redux, with an exclusive two-part set entitled Dream Awake, that will include a special guest appearance from Clannad’s Pól Brennan. Led by Dubliner Seán Mulrooney, Tau’s hypnotic neo-folk transports listeners on a meditative voyage, taking in shamanic chants, psychedelic flourishes and traditional folk elements, from Irish to Mongolian.

PELAGIC PRESENTS
We’ve joined forces with Germany’s Pelagic Records to showcase artists on the label’s roster under the banner ‘Pelagic Presents’. With no indication of slowing down, this positively prolific label is churning out stellar release after stellar release, even during the last twelve challenging months. Join us as we team up to bring you an exciting collection of premiers, exclusive performances and we’ll even be unveiling some brand new signings to the label over the Redux weekend.

The following artists will be participating in the Pelagic Presents showcase:

Blessings
Briqueville
Crown
Johan G. Winther
LLNN
Lustmord & Karin Park
Oslo Tapes
Psychonaut
Sâver
SOM
The Ocean performing Phanerozoic II: Mesozoic | Cenozoic
Year of No Light

ALBUM PREMIERES
In addition to already announced full album premieres, we’re delighted to confirm three more – including Spill Gold performing their album Highway Hypnosis, broadcast live from the 013 venue.
Might performing Might
Spill Gold performing Highway Hypnosis
Trialogos performing Stroh Zu Gold

THE SONGS OF TOWNES VAN ZANDT
The installment of The Songs of Townes Van Zandt is on the horizon during Roadburn Redux the artists involved with the latest album will be unveiled. With previous participants including John Baizley, Scott Kelly and Mike Scheidt, the pedigree of the artists is in no doubt. To find out more click here – and tune in April 16-18 for the big reveal. Click here for more info.

AUDIO/VIDEO PREMIERES:
Roadburn Redux will also be the proud host of a number of audio and visual premieres over the festival weekend. Ranging from previously recordings from previous editions of the festival through to brand new a material from upcoming albums, there’s a feast for both the eyes and ears planned this April courtesy of the following artists:

Acid Rooster
Algiers
Alora Crucible
An Autumn For Crippled Children
Astrosoniq
Blodet
Emma Ruth Rundle & Thou
Hand Model
Hante
Kayo Dot
Midwife
Noctule
Obsidian Kingdom
Of Wolves
Sunrot
Talea Jacta Meets Electric Moon
Tesa
Thy Catafalque
Witch Mountain
Wolf King
Wolves In The Condo

VIRTUAL PIT STOP
We are partnering up with a brand new as yet un-released to public virtual social gathering platform called Bramble to bring you a daily place to hang out with fellow Roadburners virtually – just like the real life Pit Stop in Tilburg.

Anyone who has ever played video games will feel right at home in Bramble, where conversations happen inside of a psychedelic venue. Guests walk around a trippy world as an avatar – connecting with your long lost community. As you move your avatar around, the people you see and hear change depending on who you’re close to, like moving around a physical space.
There will be four separate spaces – The Grass Company, 8.6 Bar, The Weirdo Canyon, and The Skate Hall – open from 5pm CET til 3am CET each day of Roadburn Redux.

Bramble was invented by Artery, a global community for intimate culture and social infrastructure. Its unique gathering platform has been used for everything from open-mics to an album listening party celebration, as well as birthday parties, family gatherings and dozens of companies establishing virtual spaces for their remote workforce.

TICKETS & INFO
Roadburn Redux will be available to access between April 16-18 with a full programme of content online for free (or pay what you like).

Already announced is commissioned projects from Mizmor, Primitive Man Die Wilde Jagd, Dirk Serries, GOLD, Jo Quail, Neptunian Maximalism, Of Blood And Mercury, Radar Men From The Moon, Solar Temple, TDC Inc, and The Nest, plus album premieres from Autarkh, Die Wilde Jagd, Emptiness, Plague Organ and Wolvennest, and a series of sets recorded under the banner of The Svart Sessions – highlighting the best of the Finnish label’s roster.

Roadburn Redux has been made possible due to the support from Brabant C, Gemeente Tilburg, Fonds Podiumkunsten, Provincie Noord-Brabant, Bavaria 8.6, Ticket to Tilburg.

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

Steve Von Till, A Deep Voiceless Wilderness (2021)

I usually don’t go in for comps, if only because there’s generally no flow to them whatsoever, but there are enough bands I’ve never heard of on the French two-disc offering (Ocoai, Monachus, Kalkh-In(Joy) Erode, etc.) Falling Down II, mixed with enough of the familiar (Ufomammut, Kongh, Farflung, etc.) that I’m interested to hear how it comes out. The best part might be that it’s made up almost entirely of previously unreleased material.

Actually, scratch that. The best part is that the track by German neo-prog metallers The Ocean is called “Asslickers Incorporated.” Yup, that’s definitely the best part.

The compilation is due out in March, and preorders are being taken at the MySpace page (you can also order the first, 3CD Falling Down there). Here’s the full tracklist for Falling Down II:

CD 1
01. Across Tundras, “Final Breath over Venom Falls” (Unpublished Version)
02. Monachus, “Februari” (Unpublished)
03. White Hills, “Heads on Fire” (Unpublished)
04. Ocoai, “La Main Electrique” (Unpublished)
05. Farflung, “R-Complex” (Unpublished)
06. Impure Wilhelmina, “Cold Fever” (Unpublished)
07. Time to Burn, “Elena Djinn” (Unpublished)
08. Gnaw Their Tongues, “We Breathe Hate and Spit Fire from Our Mouths” (Unpublished)
09. The Poisoned Glass “Silent Vigil” (Unpublished)
10. Kalvria, “.N” (Unpublished)
11. U.S.Christmas, “Lazarus” (Live)
12. Kingdom, “Ruina: Where Men Go To Die” (Unpublished)
13. Kalkh-In(Joy) Erode, “Xwck” (Unpublished)

CD 2
01. Kongh, “Thunders Collide” (Unpublished, 2006)
02. Tesa, “Untitled” (Unpublished)
03. Omega Massif, “Am Abgrund” (Unpublished)
04. Kodiak, “By the Sea” (Unpublished)
05. When Icarus Falls, “Nyx” (Unpublished)
06. The Ocean, “Asslickers Incorporated” (Unpublished)
07. The Dillinger Escape Plan, “Farewell, Mona Lisa”
08. Jucifer, “Marianas” (Unpublished)
09. Ufomammut, “Astrodronaut” (Unpublished Version)
10. God is an Astronaut, “Shining Through”
11. ???????, “Mirage” (Unpublished)
12. Taint, “Black Rain” (Live)
13. Mumakil, “Dawn of Slugs” (Unpublished)

And here’s the Latvian post-metal band Tesa, to whom I’d never listened before posting this:

Despite both bands playing a modern and often staggeringly heavy form of progressive metal, I?ve always compared Germany?s The Ocean and Chicago?s Yakuza in terms of situation more than style. Basically, the deal is both bands offer parts that are ball-rattlingly heavy and few songs that are actually memorable the whole way through. Likewise, both bands have developed cult followings who would say I?ve got my head up my ass for thinking that. Maybe I do.

Regardless, my pre-listening impression (read: prejudice) of Pelagic/Metal Blade?s reissue of The Ocean?s 2004 full-length debut turned out to be pretty accurate. ?Gee, I bet this?ll sound kind of like The Ocean does now, but less fleshed out and more intense.? Sure enough, anyone who got bored or whose mind wandered during the ambient parts of 2007?s conceptually weighty sleeper hit Precambrian might have an easier time connection to the Fluxion material. It?s still some pretty heady post-metal, but not in the Neuro–Isis sense, and hearing the hunger in the songwriting of guitarist/vocalist/songwriter/percussionist/Pelagic label owner/sampler specialist Robin Staps gives the songs a perceptible immediacy that some of their latter material, while much grander in scope, could never replicate.

Read more »