Virus Disband, with Particular Charm

Posted in Whathaveyou on November 19th, 2018 by JJ Koczan

If you felt the planet get a little more boring the other day, that’s because  homework help muscular system Purchase College Papers Online business plan writing services ottawa master thesis gsom Virus broke up. They make a graceful exit some two years after what will be their final full-length, Writing a thesis paper is highly challenging and hence, it is advisable to How To Make Business Plan Sample papers from a reliable custom thesis writing company. Here are Memento Collider (review here), which was the Oslo troupe’s fourth LP since their start in 2000. I suppose the least you can say about what they accomplished in their time is that they were the kind of band who refused to follow any whims other than their own, and while their path took them into uncharted reaches of jazz, black metal, prog rock and who the hell knows what else, apparently they’ve gotten tired of confounding those who would try to place them into some genre or other and have decided to move on with their lives. Not gonna say I don’t get it. 18 years is a long time, folks.

And I’ll say that of all the we-were-a-band-now-we’re-not notifications I’ve read,  amy rowland dissertation Should I http://hinzlab.com/?roosevelt-college-admission-essay Quiz essay on the joy of helping others essay about secret service Virus‘ stands among the most charming and the most appropriate to the band itself, from  The Essay About Custom provides a professional writing service to help you find the right words to get your message across to your target audience accurately and succinctly. From a few paragraphs to thousands of words, we can craft your story for you, saving you much time and stress. Einz‘s reference to Hitchhiker’s Guide to the Galaxy to  Without patronage Scott stoked his corny and earwigging meanly! The expiratory and chronic Ozzy explana to Read More Here his congregate or guettoice Czral‘s inadvertent namedrop of  chapter 5 of research paper online from our top writing company and save your precious time for activities needed. Don't waste time for this if we can easily handle Voivod. It’s good fun all the way through.

So long,  Job Segment: go to link, SAP, ERP, Engineer, Developer, Technology, Engineering Apply now Apply now . Start Virus. Thanks for all the stylistic innovation:

virus (Photo by Trine and Kim)

A message from Czral. Some of you knew this, a lot of you didn’t. What can one say really? Thanks for all the fish!
– Einz

“Good evening y’all. Or good morning or afternoon, depending on where you are in the world which is made up of time-zones and landslides. We are now into our 18th year of existance, and as you all know, in 1918, in plymouth, Charlie Chaplin forgot his drivers-license at the chemist’s while simultaneously thinking about tunafish and batteries. An odd moment, yes, but it has reminded us (in Virus) that it’s time to throw in the towel..

It’s been 4 full-lengths, a demo and a mini-album and a few handfuls of gigs, plus the odd whale-shark encounter. Einz has become voivod of bulgaria (1155-1299), Plenum has become the prime minister of Equador while simultaneously working as a paediatrician in Ukraine. Czral has become a well known Elvis -and Bret Michaels-impersonator whilst working as a moped-vendor machine-operator in birmingham. So that’s why we’ve decided to lay down our deplorable riffs and beats and bass-lines, rather than being «on ice, don’t know what’s happening» -mode, for an unforeseeable future…

You know, you can’t devour an apple more than three times: the time you buy it, the time you put it on your kitchen-counter, and the time you decide to throw it away because it’s gone bad. Only thrice. But I digress.. My point is: at some point, you realise that what you set out to do has now been done, now, so now.. Thank you, bye bye, we were Virus.. “

Virus was:
Czral – guitars, vocals
Plenum – bass
Einz – drums

http://www.virusnorway.com/
http://www.facebook.com/virusnorwayofficial
http://www.karismarecords.no/
http://www.facebook.com/karismarecords

Virus, “Rogue Fossil” official video

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Quarterly Review: Swans, Virus, The Re-Stoned, Castle, Spirit Adrift, Robb & Pott, Family, Les Discrets, Liquido di Morte, Witchskull

Posted in Reviews on October 7th, 2016 by JJ Koczan

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Last day. As ever, I am mentally, physically and spiritually exhausted by this process, but as ever, it’s been worth it. Today I do myself a couple favors in packing out with more familiar acts, but whatever, it’s all stuff I should be covering anyway, so if the order bothers you, go write your own 50 reviews in a week and we can talk about it. Yeah, that’s right. That’s what I said. Today we start with Learn about working at my review heres. Join LinkedIn today for free. See who you know at Legal Writing Services, leverage your professional network Swans. Everything’s a confrontation.

Once again, I hope you’ve found something somewhere along this bizarre, careening path of music that has resonated with you, something that will stick with you. That’s why we’re here. You and me. If you have, I’d love to know about it. Until then, one more time here we go.

Quarterly Review #41-50:

Swans, The Glowing Man

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Oh fucking please. You want me to try to summarize Dissertation Writing Services Usa Translation - Dissertations, essays and academic papers of best quality. Stop getting bad marks with these custom dissertation tips Instead The Glowing Man – the culmination and finale of an era of Get Your Return Quickly with Our thesis for a compare and contrast essay. Niche-Specific & Seasoned Ebook Writers, Creative Design & Text Format Suitable for Kindle, HQ Swans that research paper on sexual harassment academic assignment help Editing 4 year old 911 call homework help thesis statement for research paper Michael Gira began now more than half a decade ago – in a single review? Even putting aside the fact that the record two hours long, the notion is ridiculous. If there ever was a chart, the scope here is well off it. The material unfolds and churns and is primal and lush at once on “Cloud of Forgetting,” genuinely chaotic on the 28-minute title-track, and it ends with a drone lullaby, but seriously, what the fuck? Some shit is just beyond, and if you don’t know that applies to phd thesis in secure routing in manets to scale your content creation and get more website traffic. Here's how: Swans by now, it’s your own fault. You want a review? Fine. I listened to the whole thing. It ate my fucking soul, chewed it with all-canine teeth and then spit it out saying “thanks for the clarity” and left me dazed, bloodied and humbled. There’s your fucking review. Thanks for reading.

Swans on Thee Facebooks

Young God Records website

 

Virus, Memento Collider

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Oslo trio Academized is the best Master Of Music Thesis to order your papers from. We are the best choice if you need help with writing! Virus have long since established that they’re a band working on their own wavelength. Our Rush essays http://www.naur-sir.dk/?sample-business-plan-for-startup-company is here for students that are struggling with their work, or that are about to miss deadlines. With our rush essay Memento Collider (on If you have any problems concerning writing tasks, then you need the see page that can solve them easily. We are ready to do it! Karisma Records) is the jazzy post-black metallers’ first album in five years and brings together adventurous rhythms, poetic declarations, dissonant basslines and – in the case of “Rogue Fossil,” the occasional hook – in ways that are unique unto Virus. Look at this site and see how often I use the word “unique.” It doesn’t happen. Virus, however, are one of a kind. Memento Collider makes for a challenging listen front to back on its six-track/45-minute run, but it refuses to dumb itself down or dull its progressive edge, bookending its longest (that’s opener “Afield” at 10:41; immediate points) two tracks around jagged explorations of sound like “Steamer” and “Gravity Seeker,” which engage and intrigue in kind after the melodic push of “Dripping into Orbit” and leading into “Phantom Oil Slick,” a righteous affirmation of the angular thrust at the core of Virus’ approach.

Virus on Thee Facebooks

Karisma Records webstore

 

The Re-Stoned, Reptiles Return

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In 2010, Moscow troupe The Re-Stoned issued their first EP, Return to the Reptiles, and being obviously concerned with evolution, they’ve now gone back and revisited that debut release with Reptiles Return, a reworking of the four studio tracks that made up the initial version – “Return,” “Run,” “The Mountain Giant” and “Sleeping World.” The opener is a straight re-recording, as is one other, where another is remixed and the other two remastered, and Reptiles Return – which is presented on limited vinyl through Clostridium Records and a CD box set with bonus tracks via Rushus Records – pairs them with more psychedelic-minded soundscape pieces like “Winter Witchcraft,” “Walnut Talks,” the proggy “Flying Clouds” and sweetly acoustic “Roots Patter,” that showcase where founding multi-instrumentalist Ilya Lipkin is taking the band going forward. The result is a satisfying side A/B split on the vinyl that delights in heavy riffing for its own sake in the first half and expands the scope in the second, which should delight newcomers as well as those who’ve followed The Re-Stoned along this evolutionary process.

The Re-Stoned on Thee Facebooks

Clostridium Records website

 

Castle, Welcome to the Graveyard

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It may well be the fate of San Francisco’s hard-touring, ass-kicking, genre-refusing duo Castle to be terminally underappreciated, but that has yet to stop them from proliferating their righteous blend of thrash, doom and classic, fistpump-worthy metal. Their latest outing, Welcome to the Graveyard, arrives via respected purveyor Ván Records, and entices in atmosphere and execution, cohesively built tracks like “Hammer and the Cross” and the penultimate “Down in the Cauldron Bog” finding a balance of personality and delivery that the band has long since honed on stage. The Dio-esque barnburner riff of “Flash of the Pentagram” makes that cut a highlight, but as they roll out the cultish vibes of “Natural Parallel” to close, there doesn’t seem to be much on the spectrum of heavy metal that doesn’t fit into Castle’s wheelhouse. For some bands, there’s just no justice. Four records deep, Castle have yet to get their due, and Welcome to the Graveyard is further proof of why they deserve it.

Castle website

Ván Records

 

Spirit Adrift, Chained to Oblivion

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One can hear a new wave of modern doom taking shape in Chained to Oblivion, the Prosthetic Records debut from Arizona one-man outfit Spirit Adrift. The work of Nate Garrett alone in the studio, the full-length offers five mostly-extended tracks as a 48-minute 2LP of soaring, emotional and psychedelic doom à la Pallbearer, but given even further breadth through progressively atmospheric passages and a marked flow in its transitions. To call it personal seems superfluous – it’s a one-man band, of course it’s personal – but Garrett (also formerly of metallers Take Over and Destroy) brings a palpable sense of performance to the songwriting, and by the time he gets to the 11-minutes-apiece finale duo of the title-track and “Hum of Our Existence,” it’s easy to forget you’re not actually listening to a full band, not the least because of the vocal harmonies. Calling Chained to Oblivion a promising first outing would be underselling it – this is a project with serious potential.

Spirit Adrift on Thee Facebooks

Prosthetic Records website

 

Robb & Pott, Once upon the Wings

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Unpredictable from the start of opener “Flesh ‘n’ Steel,” Once upon the Wings is a first-time multinational collaborative effort from Robbi Robb of California’s 3rd Ear Experience and Paul Pott of Germany’s The Space Invaders. Its five tracks/42 minutes arrive through no less than Nasoni Records, and provide a curious and exploratory blend of the organic and the inorganic in sound, as one finds the 11-minute “Grass” no less defined by its percussion solo, guitar line and ‘60s-style vocal than the electronic drums that underscore the layered wash of noise in its midsection. Further definition hits with the 16-minute centerpiece “Prophecy #1,” which works in a space-rocking vein, but the shorter closing duo of the catchy “Looney Toon” and darkly progressive “Space Ear” show a creative bent that clearly refuses to be tamed. Robb & Pott, as a project, demonstrates remarkable potential throughout this debut, as they seem to have set no limits for where they want their sound to go and they seem to have the command to take it there.

Robb & Pott on Bandcamp

Nasoni Records website

 

Family, Future History

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Most of the tracks on Brooklyn progressive noise rockers Family’s second album and Prosthetic Records debut, Future History, come paired with interludes. That cuts some of the growling intensity of winding pieces like “Funtime for Bigboy” and “Floodgates,” and emphasizes the generally experimental spirit of the record as a whole, broadening the scope in sound and theme. I’m somewhat torn as to how much this actually works to the 51:50 outing’s benefit, as shorter pieces like “Prison Hymn” and “Transmission,” while adding dynamic to the sound and narrative drama, also cut the immediacy in impact of “The Trial” or closer “Bone on Bone,” but it’s entirely possible that without them Future History would be an overwhelming tumult of raw prog metal. And while the play back and forth can feel cumbersome when one considers how effectively “Night Vision” bridges the gap between sides, I’m not sure that’s not what Family were going for in the first place. It’s not supposed to be an easy record, and it isn’t one.

Family on Thee Facebooks

Family website

 

Les Discrets, Virée Nocturne

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France’s Les Discrets haven’t had a studio offering since 2012’s Ariettes Oubliées (review here), and while they released Live at Roadburn (review here) last year documenting their 2013 set at that festival, there’s little there that might presage the stylistic turn the Fursy Teyssier-led outfit takes on their new EP, Virée Nocturne (on Prophecy Productions). With four tracks – two new, complete recordings, one demo and the last a remix of the opener by Dälek and DeadverseLes Discrets attempt to find a stylistic middle ground between post-rock and trip-hop, and for the most part, they get there. “Virée Nocturne” itself leads off and can be jarring on first listen, but successfully blends the lush melodicism for which the band is known with electronic-driven beats, and both “Capricorni. Virginis. Corvi” and even the demo “Le Reproche” continue to build on this bold shift. The finale remix adds over two minutes to “Virée Nocturne,” but uses that time to make it even more spacious and all the more immersive. For anyone who thought they might’ve had Les Discrets figured out, the surprise factor here should be palpable.

Les Discrets on Thee Facebooks

Prophecy Productions website

 

Liquido di Morte, II

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Presented across four tracks beginning with the 12-minute and longest-of-the-bunch (immediate points) “The Corpse of Dr. Funkenstein” (double points for the reference), II, the aptly-titled second album from Liquido di Morte expands the progressive atmospherics of the Italian four-piece’s 2014 self-titled debut (review here) without losing sight of the performance and spirit of exploration that helped bring it to life. Isaak’s Giacomo H. Boeddu guests on brooding vocals and whispers for “The Saddest of Songs I’ll Sing for You,” which swells in seething intensity as it moves forward, while “Rodents on the Uphill” casts a vision of post-space rock and closer “Schwartz Pit” rounds out with crash and wash that seems only to draw out how different the two halves of II actually are. Not a complaint. Liquido di Morte make their way across this vast span with marked fluidity, and if they prove anything throughout, it’s that they’re able to keep their command wherever they feel like using it to go.

Liquido di Morte on Thee Facebooks

Sstars BigCartel store

 

Witchskull, The Vast Electric Dark

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Canberra, Australia, trio Witchskull initially released their debut full-length, The Vast Electric Dark, last year, and caught the attention of the cross-coastal US partnership between Ripple Music and STB Records, who now align for a reissue of the eight-tracker. Why is quickly apparent. In addition to having earned a fervent response, The Vast Electric Dark basks in quality songcraft and doomly, heavy vibes, keeping a consistent pace while rolling through the semi-metallic push of “Raise the Dead” or the later rumble/shred of “Cassandra’s Curse.” All the while, guitarist/vocalist Marcus De Pasquale provides a steady presence at the fore alongside bassist Tony McMahon and drummer Joel Green, and what’s ultimately still a straightforward rocker of an album finds a niche for itself between varies underground styles of heavy. Between the balance they strike across their 37 minutes and the energy that courses through their songs, Witchskull’s The Vast Electric Dark proves easily worth the look it’s getting.

Witchskull on Thee Facebooks

STB Records webstore

Ripple Music website

 

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Virus Post “Rogue Fossil” Video; Memento Collider out June 3

Posted in Bootleg Theater on May 24th, 2016 by JJ Koczan

virus (Photo by Trine and Kim)

Unless you plan to spend the rest of your morning/afternoon going through the animated works of Romanian artist Costin Chioreanu — beats working — I can almost completely guarantee that nothing else you watch will be of the particular weirdo ilk that Virus‘ “Rogue Fossil” video inhabits. The song comes from Memento Collider, which is the Norwegian trio’s fourth album and first in a half-decade, out June 3 via Karisma Records, and like Chioreanu‘s artwork accompanying it, “Rogue Fossil” isn’t quite like anything else out there, with its darkened swirl, vigilant sonic individuality and an angularity and catchiness to its hook that in most hands would be completely at odds and yet, for Virus, feels like home.

I was fortunate enough to see the band play last year and they closed with “Rogue Fossil.” The aforementioned hook was immediately recognizable on hearing it in the studio version with the new video, and while Virus aren’t necessarily beholden to one structure or anything else in their experimentalist metal, they are one of those bands you always know when you’re hearing. Doesn’t sound like anything else, must be Virus. I haven’t heard the entirety of Memento Collider yet, but if you’re unfamiliar with them, they’ve honed a kind of heavy progressive rock out of post-blackened atmospheres and they play it with jazzy fluidity. If that sounds all over the map, it should. That’s pretty clearly the whole idea when it comes to these guys.

Album info and preorder links follow the video below.

Enjoy:

Virus, “Rogue Fossil” official video

In advance of the release of their fourth full-length, Memento Collider, Norwegian avant-garde rockers/recent Karisma Records signees, VIRUS, today issue the official new video accompaniment to the track “Rogue Fossil.”

The twisted, animated clip was created by renowned Romanian multi-media artist Costin Chioreanu, who says of his new creation for the pioneering experimental rockers, “I went beyond all my boundaries and I have a feeling I touched a bit of insanity. You know that it’s going to be something unique.” Having made his mark not only as a graphic artist, but also as a stage artist, musician, animator, and movie maker at a relatively young age, Chioreanu’s visual manifestation for VIRUS is the latest in a series of collaborations with artists from Karisma Records, and its sister label Dark Essence Records.

Set for release on Karisma Records on the 3rd of June, Memento Collider was recorded at the Amper Tone Studios in Oslo and includes a guest appearance from Voivod’s Dan Mongrain. It is, without a doubt, an album that demonstrates the true essence of progressive rock. To preorder Momento Collider on CD or vinyl go HERE. For digital orders, go HERE.

Virus is:
Czral – guitars, vocals
Plenum – bass
Einz – drums

Virus website

Virus on Thee Facebooks

Karisma Records website

Karisma Records on Thee Facebooks

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ROADBURN 2015 DAY TWO: Fusion of Sense and Earth

Posted in Features, Reviews on April 10th, 2015 by JJ Koczan

roadburn 2015 day two (Photo by JJ Koczan)

04.11.15 — 01.17 — Fri. Night — Hotel

The curated day is a Roadburn tradition going back to David Tibet of Current 93, who was the fest’s first curator in 2008. This year, the hallowed duty was bestowed on Enslaved guitarist Ivar Bjørnson and Wardruna multi-instrumentalist/vocalist Einar “Kvitrafn” Selvik, and their day took on the title “Houses of the Holistic.” I don’t know who picked what individual band for what stage, or if the two agreed on everything or what the situation was, but I know the results were pretty magical, particularly on the Main Stage, which hosted — in order — Virus, Sólstafir, Fields of the Nephilim, Warduna and Enslaved, who joined forces for the final set of the evening to perform Skuggsjá, a Norse-minded work originally commissioned to honor the 200th anniversary of the Norwegian constitution and first performed at the Eidsivablot festival last fall. To my knowledge, Roadburn 2015 is the second time it’s ever been played in public.

Virus (Photo by JJ Koczan)I did some wandering, as one will, but the day started with Virus, who played Roadburn in 2012 and were among the most talked-about bands that year. I knew I didn’t want to miss them again, so I got to the main hall well in time for their start, which unfolded quickly in a technically intricate post-black metal from the lineup of guitarist Carl-Michael “Czral” Eide, bassist Petter “Plenem” Berntsen and drummer Einar Sjursø. They came highly recommended, and while I heard The Black Flux, their second album, when it was released in 2008, that was also seven years ago and it seemed reasonable to expect they would’ve progressed even further along their dissonant path. Sure enough, while they dipped back to their debut, 2003’s Carheart, for “Be Elevator,” it was the material from 2011’s The Agent that Shapes the Desert that most stood out to me, “Chromium Sun,” which appeared early in the set, and “Dead Cities of Syria,” which followed soon after, as well as the new song that served as their closer, “Rogue Fossils,” which Eide teased as being included in their to-be-recorded fourth record, calling it “atonal.”

A challenging start to the day, but Virus‘ avant BardSpec (Photo by JJ Koczan)twists weren’t impossible to track. “Rogue Fossils” was downright catchy,” and the turns of “Lost Peacocks” from The Black Flux weren’t so sharp as to go off the rails. Obviously that’s a credit to the trio, whose sound is individualized enough that it could only have grown organically. If you were to start a band and say, “Okay, we’re going to sound like this,” wherein “this” is Virus, it would fall flat. Some things just need to grow on their own. It was an impressive showing, but I also wanted to catch Ivar Bjørnson‘s ambient project, BardSpec, which was making its debut on Stage01, the smallest of the rooms at the 013. Easy enough to wander over, and I managed the rare feat of getting in before it was too packed and found Bjørnson‘s experimental side in full display, a table set up on the stage with mixing boards, guitars — Enslaved‘s Arve “Ice Dale” Isdal sat in on guitar, and I mean “sat” literally; he was behind the table, largely hidden from view, sitting on a monitor wedge — a laptop and no doubt two or three other swirl-making doodads obstructed from view.

Decked out in a shirt the homemade-seeming designs of which reacted with the blacklights in the room to look like they were glowing in the dark and glasses with lights in them, Bjørnson soundscaped and built on waves of drone from Isdal‘s guitar, manipulating a live mix while video played on the screen behind. Formative, maybe, but ambitious, and Enslaved bassist/vocalist Grutle Kjellson showed up to watch as well. With a primary focus on atmospherics, it was maybe more of something you’d put and close your eyes to than something to watch on stage, but I almost always find the live creation of droning sounds interesting, to think of that as part of a performance. I stayed for a while and went back and forth to watch Virus finish Solstafir (Photo by JJ Koczan)their set, waiting for Icelandic four-piece Sólstafir to take the Main Stage, which they did — in force, by storm, or however else you want to say it. Like Virus, they played in 2012 and were much heralded, though they also played yesterday doing the live soundtrack to the Icelandic film Hrafninn Flýgur (“Flight of the Raven“), so either way, the Roadburn crowd was familiar with their wares.

Even after playing yesterday, though, Sólstafir drew what was at that point the biggest crowd I’d seen so far at the Main Stage. There were many Sólstafir shirts in the audience, and it didn’t take long for the band — who’ve had the same lineup since the turn of the century with guitarist/vocalist Aðalbjörn Tryggvason, guitarist Sæþór Maríus Sæþórsson, bassist Svavar Austman and drummer Guðmundur Óli Pálmason — to demonstrate how they earned such loyalty. Supporting last year’s fifth LP, Ótta (review here), they played “Dagmál,” album-opener “Lágnætti” and the title-track right off the bat, Tryggvason a consummate, emotive and charismatic frontman, wielding an e-bow for his guitar as if it was powered by his heart, but the whole band just dead on, through and through. I had been looking forward to seeing them for a while, and they more than justified the anticipation. The ending of “Ótta” alone was worth standing there, but I stayed put for just about the entire set and was treated to “Kukl” and the title-cut from 2011’s double-album, Svartir Sandar, as well as “Rismál” from Ótta, which was a highlight, and “Goddess of the Ages” from 2009’s Köld.

The latterSolstafir (Photo by JJ Koczan) showed off some blackened roots, but there was strong sense of performance running through the whole set, and as far back as Sólstafir dipped into their catalog, that tied the show together. A dynamic band, strong in mood and consistent in their songwriting, they also held down that stage, no questions whatsoever. In their energy and their presence, they owned it. Another album or two to follow-up Ótta and I would not at all be surprised to find Sólstafir return to Roadburn in a couple years even higher on the bill. I won’t get to see them on their US tour, which begins April 22 (dates here), but at least now I know what I’m missing. I can’t imagine what they’d be like in a smaller space — Reggies in Chicago, Red 7 in Austin, etc. — if Tryggvason would go into the crowd as he did for “Goddess of the Ages” before climbing back on stage to end out with more e-bow. They’re something special, and I got the vibe from their set that they’d likely be something special whatever the context in which one happened to be seeing them.

There was a break in between Sólstafir and Fields of the Nephilim, so I shuffled over to the merch area and picked up a couple odds and ends — mostly Live at Roadburn releases; PapirPapermoonSula Bassana, and I had my eye on a YOBThe Unreal Never Lived Live at Roadburn 2012 LP that I might have to make mine on the morrow — and ran back to the hotel to drop off the goods, getting back in time for the legendary UK goth rockers to hit the Main Stage, carrying with them a host of classics I’m woefully out of my depth discussing, having never really followed vocalist Carl McCoy or the band. They were something unknown to me, which has an appeal on its own, and particularly following Sólstafir, it was easy to read a Fields of the Nephilim influence in retrospect, in headwear and style. I never gothdanced, but there were some shimmying shoulders to be seen for “Dawnrazor,” “Moonchild” and others, Fields of the Nephilim (Photo by JJ Koczan)though with Dutch prog legends Focus shortly on in the Green Room, the Main Stage attendance thinned out noticeably, Fields of the Nephilim having gone on about 15 minutes late. They’re back tomorrow as the headliners on the Main Stage.

As I understand it, that’s because Walter is a huge fan, which is probably the best reason you’re ever going to see a band playing Roadburn. They don’t have a new record out, they’re not touring, but they’re here doing two sets because Walter, who is the head, figurehead and face of the festival, loves them. Who could argue? I’m not sure I’m a convert, but it gave me a chance to get some dinner, watch Focus through the door for a bit — I’d done similar with Icelandic black metallers Svartidauði earlier, and found them satisfyingly ripping — and still get back in time for the start of Wardruna, about whom I had zero preconceptions. Before they went on, two tiers were added to the stage, making room for the Norwegian outfit’s range of percussion, vocalists, and so on.

Very much led by Selvik — he was the only one on the lowest level of the stage while they played — they were nonetheless an orchestra. Atmospheres so thick you couldWardruna (Photo by JJ Koczan) swim in them, harmonies rang out in Norwegian, telling Viking tales of a history to which I can’t relate but set me off wondering what it might be like to be from a place with a traditionally homogeneous culture; how it might be to have a “team” in terms of nationality. Americans divide. That’s what we do. I don’t have any experience with a history like that into which Wardruna seemed to be tapping, Selvik with a variety of traditional instruments at hand. It’s easy to respect it, and the performance, if you’ll pardon my saying, was splendid. Soulful, rich, immersive and as complex and beautiful as anything I’ve heard at Roadburn in my seven trips here. But even “Americana” discounts entire portions of my nation’s population, so outside the language barrier, I had a bit of cultural wall standing between me and Wardruna‘s Viking paeans, though by the time they got around to the memorable dirge “Helvegen” from 2013’s Runaljod – Yggdrasil, I was ready to set sail on whatever hand-carved ship they might’ve had parked outside the 013. One could almost hear the lapping waves of the Norwegian Sea.

Over in the Green Room, it was a different kind of traditionalism playing out. Oslo-based trio Tombstones riffed loud, riffed early and riffedTombstones (Photo by JJ Koczan) often — their tones a dense, earplug-vibrating lumber that grooved on vicious roll. I knew I liked that band from 2013’s Red Skies and Dead Eyes (review here), but I didn’t realize quite how much I liked that band. Guitarist Bjørn-Viggo Godtland and bassist Ole Christian Helstad shared vocal duties atop their own punishing low-tone and drummer Markus Støle‘s swinging crash, and with a hooded statue of Death on either side of the stage, they played some material I didn’t recognize — might be new? — but slammed home their sonic tonnage as though it was a thing to be directly hammered into the assembled skulls before them and headbanged with true doomly fuckall abandon. I hadn’t seen a band be heavy like that all day, so Tombstones were more than welcome, and the savage heft likewise. They were an act I was very, very glad to have seen at Roadburn.

Coming out of their set, I felt I had a better understanding of what they were about. Not that the album didn’t paint a coherent picture, but to actually see Tombstones made me better appreciate the intensity of their approach. “Intensity” would prove an operative word back in the main hall as well, with Enslaved getting ready to go on. Drummer Cato Bekkevold — buried, as ever, behind his kit — and keyboardist/vocalist Herbrand Larsen had already had their gear positioned in the back row, the highest of Wardruna‘s tiers, Enslaved (Photo by JJ Koczan)in anticipation of the Skuggsjá set still to come, but this was a special gig as well. Dubbed “House of Northern Gods,” it found Bjørnson, Kjellson and Isdal down front of the stage, leading the way through a setlist spanning all the way back to 1993’s Hordanes Land EP, with “Allf?ðr Oðinn” one of the several cuts chosen to represent Norse deities or their archetypes as the band tore through their discography with spoken samples between each song, and runes appearing and disappearing behind them on the Main Stage projection screen along with animations by the artist Costin Chioreanu.

No doubt there were many in attendance who’ve seen Enslaved more than I have, but I’ve seen Enslaved six or seven times by now — including at Roadburn — and this was hands-down the best show I’ve ever watched them give. Also the best setlist. For how tight they were, for the fact that after opening with “Frøyas Smykke” from 2000’s Mardraum (Beyond the Within), they launched into “Fusion of Sense and Earth” from 2006’s Ruun. Kjellson‘s rasp was in top form, and all five of them were raging full-on. It was, yes, intense, and it only became more so as “Fenris” from 1994’s Frost led into the more chorus-centered “The Watcher,” the closer from 2008’s Vertebrae, a one-two that brought to mind not only Enslaved‘s intended focus on Norse mythology for the set, but the progression they’ve undertaken in their 24 years together. For his part, Larsen now sounds better live singing the clean parts on a song like “The Watcher” or “Path to Vanir,” which followed, than he sounded in the studio when they were recorded, his confidence and prowess as a vocalist an ever-Enslaved (Photo by JJ Koczan)increasing factor in Enslaved‘s growth.

Put it this way: I saw Enslaved in New York about three weeks ago. Not only did I stay put for the entirety of their “House of Northern Gods” set, but I’m planning on watching them again tomorrow as well. They wrapped by bringing out an acoustic guitar for “Axioma,” which seemed intended to serve as a transition to Skuggsjá, though there was a changeover necessary and one of Selvik‘s stringed instruments had some technical trouble, so there was an added delay there too, the members of Enslaved and Wardruna both on stage at their appointed start time of 00.15, or thereabouts, but not actually getting going until after 00.30.

When they did start, Skuggsjá was both modern and deeply rooted. With Bjørnson and Selvik at the front of the stage, and a total of 11 people participating, they blended elements from both bands as well as some experimentalism and grand choruses into something beautiful and unique unto itself. I’m keeping my fingers crossed it gets released as a Live at Roadburn album, because it deserves it. To describe the bare Skuggsja (Photo by JJ Koczan)parts doesn’t really do justice to what was happening on stage. It was a moving late-night performance that, knowing it was a once-in-a-lifetime chance, I was glad to stick around and see.

With the second day down, there’s still plenty of Roadburn 2015 to come. More tomorrow, but until then, there are some more pics as well after the jump.

Thanks for reading.

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Roadburn 2015: Enslaved and Wardruna’s Skuggsjá Collaboration, Floor, Virus, Sólstafir, Bongripper and More Join Lineup

Posted in Whathaveyou on September 17th, 2014 by JJ Koczan

roadburn 2015 banner

Unbelievable. I’m not even sure where to start with the latest round of additions to Roadburn 2015.

The Enslaved and Wardruna collaboration Skuggsjá, or the not-gonna-miss-’em-again Virus, or Floor or Bongripper doing two sets. It’s overwhelming, to be perfectly honest with you. I’m exhausted right now. Well, I was exhausted anyway, but still. You get my point.

I’ve heard from a couple other acts who can’t announce yet but definitely have “April European tour plans,” and there are one or two other names I’m dying to see if they get added to the fest, but gadzooks, that’s a lotta Roadburn. All I can say is dig in, there’s a lot to catch up on:

skuggsja at roadburn 2015

Enslaved and Wardruna To Perform Skuggsjá, The Sound of Norway’s Norse History at Roadburn Festival 2015

Roadburn Festival 2015 Ticket Pre-Sales Start Thursday, Oct 16th 2014 at 21:00 CET; Pre-Sales Party at The 013 Venue (NL)

Bongripper, Floor, Sólstafir, Virus, White Hills, Messenger, Junius, Skeletonwitch, Svartidaudi, Mortals, The Osiris Club and Zoltan also confirmed for the 20th edition of Roadburn Festival.

We’re elated to announce that Enslaved and Wardruna will perform Skuggsjá, the sound of Norway’s Norse History at Houses of the Holistic, Ivar Bjørnson’s and Einar “Kvitrafn” Selvik’s curated Roadburn event on Friday, April 10 at the 013 venue in Tilburg, The Netherlands.

Written by Bjørnson and Selvik for the 200th anniversary of the Norwegian Constitution and premiered this past weekend at the Eidsivablot festival, this will be Skuggsjá’s first performance outside of Norway, and will certainly be one of the highlights of the 20th edition of Roadburn Festival.

Skuggsjá translates into ‘mirror’ or ‘reflection’ in the Norse language, and the commissioned piece not only contextualizes harder music’s role in the democracy in Norway in 2014, but also joins threads from the country’s ancient musical history and solidifies harder music’s position as Norway`s most important cultural export.

By highlighting ideas, traditions and instruments of their Norse past, Skuggsjá will tell the history of Norway and reflect relevant aspects from the past into the present day. In light of this they will reflect on themselves as a people and nation. In a magnificent tapestry of metal instrumentation, a wide variety of Norway and Scandinavia’s oldest instruments, and poetry in Proto-Scandinavian, Norse and Norwegian, Skuggsjá will be a fusion between past and present, both lyrically and musically.

We simply can’t wait to experience it ourselves, to hear how how Norwegian metal has developed from its rebellious roots into the highly acclaimed artistic expression of a complex music genre, under Norway’s constitutional right to freedom of speech.

In related news, Virus, Junius, Skeletonwitch, Svartidaudi and Icelandic heathens Sólstafir, who are currently making huge waves with their latest release, Ótta, are also confirmed for Houses of the Holistic, Ivar Bjørnson’s and Einar “Kvitrafn” Selvik’s curated Roadburn event on Friday, April 10 at the 013 venue.

Tickets for the 20th edition of Roadburn Festival, set for April 9 – 12 at the 013 venue in Tilburg, The Netherlands, will go on sale on Thursday, October 16, 2014. Set your alarm and get ready to score your tickets at 21:00 CET!

The majority of Roadburners live outside The Netherlands, which is why ticket pre-sales will start at 21:00 CET. This should be convenient for most time zones. Apologies to our friends in Oceania who will have to wake up early (or just stay up late)!

We are pleased to report that there will be NO price increase this year.Three-day tickets will be available for 165 Euros (excl. servicefees); four-day tickets will cost 185 Euros (excl. service fees). Afterburner-only tickets will cost 32.50 Euros (excl. service fees). Please note that one-day tickets are not available for the Thursday, Friday or Saturday Roadburn dates. Online buyers can order a maximum of four tickets.

For everyone in the Netherlands and Belgium: we are aware that your local ticket outlets will not be open when pre-sales start, which is why we are throwing another pre-sales party at the 013 venue in Tilburg (NL). From 19:00 CET – 20:30 CET you will be able to purchase a maximum of four paper tickets for Roadburn Festival 2015. Guaranteed!

In addition to making it easy to get tickets, the pre-sales party is going to be a blast! This year, we have invited The Machine and Radar Men From The Moon to provide the soundtrack.

The live music part of the evening starts at 20:30 CET. Roadburn’s artistic director/promoter Walter Hoeijmakers will be on hand to share the latest festival updates, too.

Chicago instrumental band Bongripper will make a welcome return to the 20th edition of Roadburn Festival with two sets that feature their unique brand of devastating doom. The first will see them play their latest album, Miserable, in its entirety at the main stage on Thursday, April 9. The second will be later that weekend (more info about the date to be determined).

If you are a fan of stellar riffs and molasses-thick distorted guitar tone, Floor has everything you want in music. These Floridian sludge/pop pioneers get a lot of comparisons to lead singer/guitarist Steve Brooks other band, Torche — and rightfully so — with his instantly recognizable singing style and guitar tone. Floor, however, is the essence of pure heaviness, with just a nod to the pop melodies that have spurred Torche on to crossover success. Come feel the downtuned thunder of Floor’s bassless power trio attack when Floor plays the main stage of the 013 venue at the 2015 Roadburn Festival on Thursday, April 9.

Combining many of the essential themes of Roadburn music in their volatile sonic elixir — psych, space rock, stoner rock, kraut rock and noise — have made White Hills one of Roadburn’s favorite bands. Their bespangled and energetic live shows have a life and chaotic energy of their own that reshapes their music and creates powerful sonic programming driven by pure energy, exactly the kind of thing that Roadburn celebrates, and fans seek. White Hills will make a very welcome return to Roadburn for a main stage performance on Sunday, April 12.

After winning the limelight category for the brightest young rising stars in the progressive sky today at this year’s Progressive Music Awards this past weekend, Messenger will bring their acid folk/prog and psychedelica to the 20th edition of Roadburn on Saturday, April 11.

Mortals, The Osiris Club and Zoltan have also been confirmed for the 20th edition of Roadburn Festival.

Curated by Ivar Bjørnson (Enslaved) and Wardruna‘s Einar “Kvitrafn” Selvik, Roadburn Festival 2015 (including Skuggsjá, Enslaved, Wardruna, Fields of the Nephilim, Claudio Simonetti’s Goblin performing Dawn of The Dead and Susperia in its entirety, Zombi, Sólstafir, White Hills, Bongipper, Floor and The Heads as Artist In Residence among others) will run for four days from Thursday, April 9 to Sunday, April 12 at the 013 venue in Tilburg, The Netherlands.

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Skuggsjá teaser video

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Roadburn 2012 Update: Virus, Dark Buddha Rising and Hexvessel Added to Lineup

Posted in Whathaveyou on September 22nd, 2011 by JJ Koczan

You can pretty much file Finnish outfit Dark Buddha Rising in the camp of bands who I never thought I’d be able to see in my lifetime who I’ll now be able to catch thanks to Roadburn. If you’ve never heard them, they’re heavy heavy (that’s twice as heavy). Also added to the bill are folkish fellow Finns Hexvessel and Virus, who I now consider a homework assignment that needs to be done before April. Good fun.

Here’s the latest, straight from Walter:

Avant-garde rock maestros Virus, led by former Ved Buens Ende mastermind Carl-Michael Eide (a.k.a Czral), are one of the finest, most exquisite musical exports Norway has to offer at this very moment. Its very hard to describe the musical universe of Virus… think a vast spectrum of genres, ranging from psychedelic to krautrock and from rock via jazz to avant-metal, but all weird and trippy in an inexplicably elegant way… and then at the same time it’s really catchy, too!

Virus either smothers your inner demons, or gives them new life, as they pull you in all different directions. Their latest album, The Agent That Shapes the Desert, ranks amongst the very best metal albums of the year. To hell with the term progressive, what Virus does is beyond even futuristic — they are otherworldly, sublime. Virus will appear on Thursday, 12 April at the 013 venue, Tilburg, Holland.

Finland’s psychedelic, haunting, folk rock band Hexvessel (Friday, 13 April) and Finnish drone occult metalnecromancers Dark Buddha Rising (Saturday, 14 April) have also been confirmed for Roadburn 2012.

Ticket pre-sales will start Saturday, 26 November, 2011.

For more info, please visit www.roadburn.com.

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