Posted in Whathaveyou on November 12th, 2025 by JJ Koczan
Because it’s the future, the poster with the new round of lineup additions for Roadburn Festival 2026, in always-accommodating Tilburg, the Netherlands, is a video. And Roadburn is one of few places on the planet where ‘the future’ is a hopeful prospect. While you and I live in dystopic hellscapes of various shapes and oppressive, overwhelming, strip-you-of-your-rights-on-our-way-to-passively-if-not-actively-murdering-you realities, Roadburn unrepentantly brings a sense of optimism. The future isn’t that boot on your neck. It’s whatever you want it to be.
This is a message I appreciate as much as I appreciate being obliterated by bands on stage, and surely the likes of Inter Arma, Primitive Man and Slift meet that need here, among others. Look at Warning becoming a Roadburn house band. And a full-album performance from Blackwater Holylight for a record that isn’t out until Jan. 30 — the band will be back in Europe in May for more touring and more fests, and has a US tour slated for February/March, as I think went up yesterday. I have trouble keeping up sometimes with when things are actually getting posted these days. See horrors above.
A beacon amid perennial awfulness and distraction:
Maruja, billy woods, Inter Arma, aya and many more announced for Roadburn 2026
Roadburn festival has today announced a second wave of bands for the 2026 edition which will take place between April 16-19 in Tilburg, The Netherlands. Among the names announced today are festival favourites Inter Arma performing their epic 2014 release The Cavern for the first (and last) time, American rapper billy woods, and Manchester’s genre-bending four-piece Maruja.
Roadburn’s artistic director, Walter Hoeijmakers comments:
“As the path toward Roadburn 2026 unfolds, the energy around us is rising. Every connection, every sound, every spark of creativity is drawing us closer together as the festival comes into view. This second announcement marks another step on that journey, an open invitation to feel the pulse of what’s ahead.
“The artists at the heart of this year’s edition are each shaping worlds of their own, their past, present, and future intertwining in bold new ways. At Roadburn 2026, you’ll hear echoes of where we’ve been, glimpses of where we’re going, and the raw emotion of right now. Each performance will remind us that art can move us, heal us, and bring us together – that through music, we find our shared humanity.
“We’re letting optimism light the way. Let’s meet in Tilburg next April – alive, open, and ready to share this amazing energy, face to face.”
All ticket and accommodation options for Roadburn are on sale now and more information including the full line up can be found atroadburn.com
The latest additions to Roadburn 2026 are as follows:
Additions to Roadburn 2026:
Ak’Chamel aya Backengrillen Blackwater Holylight performing Not Here Not Gone billy woods Haress Inter Arma performing The Cavern Kowloon Walled City Mandy, Indiana Maruja Milkweed Orcutt Shelley Miller Pain Magazine Primitive Man performing Observance and a set of early years’ material titled Remembrance Prostitute RÓIS Saetia SLIFT Slow Crush performing Aurora and premiering a special audio-visual presentation of Thirst Slowhole Truck Violence Unsane performing Occupational Hazard Warning
These artists will join a slew of previously announced artists including Oathbreaker, Krallice, Agriculture, Habak and many more. The full line up can be found at roadburn.com
Posted in Whathaveyou on July 31st, 2025 by JJ Koczan
UK forebears of emotive heft Warning — according to cultural historians, English people select one person per generation to feel all the emotions for all of them; Patrick Walker is one such feelings-carrier and his burden is much to the benefit of doom as a whole — have signed to Relapse Records for reissues and a new album. Surely ‘reissues’ means a new edition of the band’s landmark 2006 sophomore LP, Watching From a Distance — which originally came out through The Miskatonic Foundation and has been released on Cyclone Empire, Svart Records, Cappio Records, Darkness Shall Rise and others over the last 19 years — but it’s the prospect of a third Warning record that’s really exciting.
A 20-years-later follow-up! A had-to-live-through-it-first next stage for a band whose mark on the underground extended well beyond their initial tenure. But Warning have been ‘back’ for the better part of a decade at this point — their 2021 Watching From a Distance – Live at Roadburn was recorded in 2017, for example — and Walker has simultaneously kept his post-Warning project 40 Watt Sun going as 2024’s Little Weight can attest, so that there’s been creativity happening makes sense. It’s not the kind of band who’d be doing a record if they didn’t have something do say, so I’m keen to find out just what that might be.
Watching From a Distance will be 20 years old next year as well, so consider this your Warning warning or some such cringe dad-joke BS. Here’s this from the PR wire:
WARNING: Sign To Relapse Records
Recording New Album Later In 2025 / Physical Back Catalog Reissues Coming Soon / Digital Streaming Now
Performing at Damnation Fest in Nov 2025
Relapse Records has today announced the signing of legendary British doom band, WARNING. The label will reissue albums from the band’s back catalogue and will release the first new WARNING material for twenty years.
Shortly after the release of their now-iconic album, Watching from a Distance, in 2006, WARNING disbanded and was dormant until reuniting in 2017 for a series of performances playing the album in full. This return resulted in a Live at Roadburn album which will be reissued in addition to the original studio album, and their 1999 album, The Strength to Dream. The existing WARNING catalogue is available digitally now, with physical reissues to follow. LISTEN HERE.
WARNING is spearheaded by Patrick Walker (also of 40 Watt Sun), who comments:
“After seventeen years of focusing my attention and energies on other endeavours, production is well underway on a new Warning album, and I’m pleased to find a home for the band with Relapse Records, who will be releasing this long-awaited follow-up to ‘Watching from a Distance’, as well as reissuing the band’s back catalogue.
“Considering the quality and integrity of their releases, I feel privileged, and am grateful to Relapse, for honouring and preserving my past work, and for their trust and confidence in this next chapter of my musical journey.”
Writing for the new WARNING album is already underway, with recording scheduled for later in 2025. The band will perform at Damnation Festival in the UK this November, where they will debut new material alongside the Watching from a Distance album in its entirety.
The current line up for WARNING is: Patrick Walker – Guitar and Vocals Marcus Hatfield – Bass Wayne Taylor – Guitar Andrew Prestidge – Drums
Posted in Whathaveyou on July 12th, 2021 by JJ Koczan
This is its own excuse for being, as far as I’m concerned. I was fortunate enough to be in the room for day three of Roadburn Festival 2017 when long-gone UK doomers Warning made a return to perform their 2006 album, Watching From a Distance, in its entirety. It was heavy — even more so emotionally than tonally or in a sense of “doom” as a heavy genre. It was a heavy experience. Patrick Walker had a singularly depressive charisma from the stage, and I’m not sure I’ve seen someone before or since so willing to put himself completely into a performance. Or if he wasn’t, he’s easily the best at selling it that I’ve ever seen, and either way, it was a striking performance.
Cappio Records, run by Roadburn‘s own Becky Laverty, will oversee the release of Watching From a Distance – Live at Roadburn on Sept. 24 as a limited 2LP. Preorders start tomorrow and I’d be surprised if copies lasted much longer than that. If you’re on the fence, come on down.
Info and links follow:
Warning: Watching from a Distance – Live at Roadburn
Cappio Records is creaking back into life to issue the label’s first physical release: Warning – Watching from a Distance – Live at Roadburn.
Recorded live in 2017 at Roadburn Festival in The Netherlands, this live album captures the return of this legendary doom band after an extended hiatus.
Recorded by Marcel van de Vondervoort and his team on site, audio was mixed by Chris Fullard, and mastered by Michael Lawrence at Bladud Flies!. The double gatefold vinyl features exclusively commissioned artwork by Finnish artist Tekla Vály, who has created photographic interpretations of all the studio album’s original sleeve artwork.
The pressing is limited to just 500 hand-numbered copies. It will be available in ‘blue steel’ and ‘sea foam green’ colour variants.
Pre-orders will go live on Tuesday, July 13 at 6pm.
Posted in Whathaveyou on November 27th, 2017 by JJ Koczan
Not that you needed it, but if you wanted further proof that Napalm Death could go just about anywhere on this silly planet of ours and find welcome, they’ve just been added to Desertfest London 2018. Fancy that. They’ll play the Old Empire stage, along with Winterfylleth, Warning and others. I’m curious to see as the festival continues to take shape, if the aesthetic expansion will keep on or if Napalm Death‘s pioneering grindcore will be a one-off. Certainly the stalwarts are no strangers to standing out in a crowd or on a bill, but maybe this is the year Desertfest gets metal? I don’t know. Could be interesting.
We live in a universe with many different kinds of heavy. In some ways it’s cool to see them getting all crossed up. That’s how new art happens.
From the PR wire:
Napalm Death to headline Old Empire Stage at DESERTFEST LONDON 2018 + more bands announced
DESERTFEST LONDON are thrilled to reveal the bands taking part in the festival’s annual Old Empire stage, that will be hosted on Friday 4th May at the Electric Ballroom in Camden.
Old Empire is now a household name in the London scene, working across an array of acts, venues and cities – we are stoked the heaviest crew, and our favorite drinking buddies, are back in the fold to bring us a stage with some of their most treasured bands! Taking place on the hallowed ground of the Electric Ballroom on May 4th, Old Empire gives you the lowdown below…
For the first time in DF history, Friday will see two headliners sprawled across town – with Swedish stalwarts GRAVEYARD making their long awaited return to London at the iconic Koko, we had to rustle up something of equal measure. An act we have wanted to book across the festival since our first year of involvement, it’s a true honour to announce that British trailblazers of the extreme NAPALM DEATH are the headline act for the OE ritual – their influence on the world of heavy music is undeniable and hard to truly fathom. Never one to disappoint live, a set of insanity is upon us.
Our second artist comes in a wave of God-like reverence to Old Empire, a master of his craft – Patrick Walkers’ WARNING will bring the Electric Ballroom to its knee’s. One of the most poignant and genuinely dark British doom bands of all time, ‘Watching from a Distance’ is a masterpiece of the highest order. Having reformed for Roadburn 2017, we are thrilled WARNING will be joining us in London – all should know and all should follow.
Next up is an act that needs little introduction to the world of Desertfest, and one who perfectly embody the spirit of the Empire – the mighty EYEHATEGOD make their long awaited return. A little bit heavy metal, a whole bunch of venom and buckets of dirty groove – we’re all well aware of the party that ensues when these NOLA legends hit the stage, so it felt about damn time to bring ‘em back!
Another familiar face to the London scene comes in the form of WINTERFYLLETH. Hitting the Old Empire spectrum back in 2011, the Mancunian quartet have since consistently impressed with their unique and anthemic take on black metal. Helping to round of proceedings is FIVE THE HIEROPHANT, whose dark jazz soundscapes and eclectically heavy, yet perfectly refined, mix of sounds will make the live debut at Desertfest 2018. Alongside newbies to the scene ACDX – equal parts Isis, Hawkwind and Opeth. The dictionary definition of this Essex group would simply say, ‘indefinable’.
Old Empire & Desertfest are beyond excited to be brothers in arms once again; we hope our assorted and all-embracing heavy picks have hit the palette in the most satisfying and exciting of ways.
Desertfest London 2018 4th-6th May in Camden Town, London 3-day pass (£115) now on sale AT THIS LOCATION
Our special split payment plan is available until December 12th! Pay half of your ticket now and the other half in January. Find more info HERE.
Posted in audiObelisk on September 15th, 2017 by JJ Koczan
It’s been tradition around these parts for I don’t even know how long to post the annual audio streams as they come out from each Roadburn, and I hope the case will be no different as we move further away from Roadburn 2017 this past April in Tilburg, the Netherlands, and inexorably toward the first announcements for Roadburn 2018 to come. This process — the posting — used to require a slew of links and media players, which I actually kind of liked because it allowed for emphasis on just how much material there was emerging from the festival, how much work Marcel van de Vondervoort and his team put into the recording and mixing of these sets for all the bands, and so on.
Well, it’s the future now — or I guess it was the future like five years ago? I may have missed when it actually became the future; whatever — and we apparently don’t even need to have 22 different media players to post 22 different streams from Roadburn 2017. We need one. Netherlands-based media company 3voor12, which has always hosted the sets, brings forth a mega-batch today featuring the likes of (alphabetically) Atala, Author and Punisher, Bongzilla, Carpenter Brut, Casual Nun, Cobalt, Disfear, Forn, GNOD, Inter Arma, Joy, Les Discrets, Nadra, Pontiak, Serpent Venom, Slomatics, Temple ov BBV, Trans Am, Ultha, Valborg, Warning and Wolvennest.
Not inconsiderable. It’s been mere hours since Slomatics‘ Futurians: Live at Roadburn was reviewed here, but I also had occasion to see Warning (pictured above), Joy, Les Discrets, Atala, Valborg and others on that list, and I can attest to their being a joy to behold. Part of the fun of these streams is also getting some sense of what you missed at Roadburn due to making the inevitable hard choice of a schedule conflict, so I guess this is my shot at hearing what Bongzilla got up to during their time on stage. If you need me I’ll be doing that.
Hope you enjoy as well:
Thanks as always to Walter for sending the embed my way. For all this site’s Roadburn 2017 coverage, click here.
Posted in Whathaveyou on July 21st, 2017 by JJ Koczan
After playing the album in full earlier this year at Roadburn 2017 in the Netherlands and very nearly doing so again last month at Northwest Terror Fest in Seattle, UK doomers Warning will hit the US next month to perform 2006’s landmark Watching from a Distance in its entirety at Psycho Las Vegas and at a one-off show alongside Conan in San Diego. Not only that, but as previously announced, the three-piece will be back Stateside in Oct. to take part in the inaugural Days of Darkness Festival put on by the Maryland Deathfest crew in Baltimore, MD.
So what’s new? What’s new is the tour surrounding that latter performance, which will include support from the likes of The Body, Worm Ouroboros and Thou — nothing against the other two, but I’d love to see Warning and Worm Ouroboros together — and lead up and through the Baltimore festival gig. They’ll hit both coasts in short order on a major-market run that also includes Austin, Chicago and New York before wrapping on Halloween at the ONCE Ballroom in Somerville, Massachusetts. Not sure who’s opening that one, but it’s sure to be a drunken madhouse, as Boston always is on Halloween. Go Sox and whatnot.
Dates posted via the social medias follow here:
Warning – Watching from a Distance US Tour
We’re happy to at last be able to announce our October US Tour dates. We’ve done our best to find replacements for the cancelled shows from last month and we’re still hoping to bring you an LA date. Thanks for your patience and we hope to see you along the way.
Warning live: 08/20 Psycho Las Vegas, Las Vegas, NV 08/22 Brick by Brick, San Diego, CA
Warning with support from The Body, Thou and Worm Ouroboros: 10/15 Seattle: Highline^ 10/17 Portland: Tonic Lounge^ 10/18 San Francisco: DNA Lounge^ 10/20 Phoenix: Club Red^# 10/22 Austin: Barracuda# 10/26 Chicago: Reggies# 10/28 New York: Le Poisson Rouge# 10/29 Baltimore: Days Of Darkness Festival 10/31 Boston: ONCE Ballroom
^=support from The Body #=support from Thou 10/15-10/20 = support from Worm Ouroboros
Posted in Features, Reviews on April 22nd, 2017 by JJ Koczan
04.22.17 — 22.23 — Sat. night — Hotel room
I don’t mind telling you I was a total wreck this morning. There we were, finishing up the third issue of Weirdo Canyon Dispatch (get the PDF here), and holy macaroni, I just couldn’t hack it. I’d gone to sleep at a semi-reasonable time, circa 2AM — which is pretty good, considering — but woke up at around three and was up past 4:30. Just up. Brutally, brutally awake. I could’ve cried.
Instead, I put my head down on the desk in the 013 office while we waited for the test-print of today’s ‘zine and was granted a generous reprieve from the folding process that followed. I folded three copies of today’s WCD: my own. After that, I made the most of my special dispensation and high-tailed it back to the hotel to sleep for another two and a half hours, at the end of which time I pounded water, a protein bar and ibuprofen and it was enough to temporarily trick my body into believing it was human. This weekend has been pure madness, and there’s one day yet to go.
By the time I got back to the 013, I knew I’d missed my chance to hit the photo pit for day-openers The Bug vs. Dylan Carlson of Earth, the somewhat cumbersomely-named collaboration between, well, The Bug and Dylan Carlson, but I still had plenty of opportunity to be assaulted by their combined volume of drone and beats, soundscapes thick enough to swim through and handed out with enough force to vibrate the plugs in my ears and the teeth in my skull. Really. I think I lost a filling. They were very, very loud.
Two experimentalists like that working together, even as a one-off, carried an air of being something special to start the day, and so it was. The Bug‘s rig, flanked on either side by bass cabinets with two more laid down in front in such a manner as to make Carlson half-stack look positively minimalist in comparison, shook the upstairs balcony where I set up shop for the duration, and the clear impression that came through was that although they used different means of expression — Carlson with his guitar, The Bug with his laptop and mixing board — their work together was way less of a “vs.”-type situation than the name led one to believe. They were very definitely on the same side, but while they played, spotlights slowly hovered over Main Stage crowd, feeding the air of suspicion and paranoia in such a way that was eerily appropriate for what they were doing.
Speaking of collaborations, over at the Patronaat, Razors in the Night — AKA John Dyer Baizley of Baroness and Scott Kelly of Neurosis playing oldschool punk and hardcore covers — were just getting started. I stayed put in the big room, however, because I knew I didn’t want to miss a second of Oranssi Pazuzu. The Finnish progressive/psychedelic black metallers have been an increasingly steady presence at Roadburn over the last five years, and after their own slots at the church, they managed to pack out the Main Stage to an admirable degree. People stood outside the open doors for not the last time today in order to catch a glimpse of their malevolent, ultra-deep swirl.
As immersive as it was dark, I couldn’t argue. Oranssi Pazuzu, who released their fourth album, Värähtelijä (review here), in 2016, may have conjured the finest blackened psychedelia I’ve ever seen. It was so much of both, so chaotic and yet purposeful, that to consider it anything less than the work of masters would be completely underselling it. When I was done taking photos, I went out into the hallway to walk around to the other side of the room and I couldn’t believe it was still daytime. And more over, the sun had come out! Something so cosmically abysmal just seemed like it should be swallowing any and all light around it, but so it goes. Stately and ferocious, they cast their waves of of bleakness over a sea of nodding heads, and after years of missing them here, I was finally glad to have been clued in, even if I seemed to be the last one in the entire Main Stage space to have caught on. Which I probably was, because that’s the kind of hip I am. Which is to say, not at all.
Maybe it was partially a case of going easy on myself, but I once again didn’t budge from the Main Stage following the conclusion of Oranssi Pazuzu. Today was minimal back and forth, actually, which suited me just fine after two busy days of Roadburn 2017 bouncing from this venue to that one. I’d hit the Green Room twice before my evening was over, but was at the 013 the whole day, which after all the Extase and Het Patronaat yesterday almost made me feel insecure and restless — “Don’t you have somewhere you need to be, sir? Oh yeah, here,” and so on. Sometimes this festival plays tricks on your mind.
My reasoning in staying put was more than justified, though, with Warning coming on to play 2006’s Watching from a Distance in its entirety. I knew some of what to expect from a Patrick Walker performance after seeing him front 40 Watt Sun here in 2012, but of course Warning brought a presence all their own in addition to his melancholic emotionalism. They struck a hard balance between sonic weight and sheer heft-of-sadness, and yet as morose as they were, and as understated as their aura was on stage, they were never anything but engaging. Rare band, rare album, rare set. This Roadburn has had its share of special moments, and Warning fit that bill as well. There was something empowering about them, or at least validating, and as deep into their own headspace as they went, they never seemed to get lost there.
It’s not often you see a band play a full album and then want to go and put on that album directly afterward, but Warning doing Watching from a Distance had that effect. I can’t claim to know the record inside and out, but I felt fortunate to have had the chance to see the band bring it to life, which much to their credit, they did without losing the heart-wrenching resonance of the studio versions of the material.
Next door in the Green Room, the focus would soon be about an entirely different kind of crushing execution, as Belfast dual-guitar three-piece Slomatics made ready to take the stage. I got there about 20 minutes before they went on and was still too late to get a spot right up front. Should’ve figured. I’d heard people talking about how stoked they were to see them, and after being lucky enough to see them in Norway last September at Høstsabbat (review here), I also knew they weren’t to be missed. My timing being what it was, I still got there to see Jon Davis from Conan soundcheck the guest vocals he’d provide for closer “March of the 1,000 Volt Ghost,” and it was good to know that was coming.
Davis also released Slomatics‘ fucking excellent 2016 album, Future Echo Returns (review here), on his Black Bow Records imprint, so all the better to have him there alongside guitarists Chris Couzens and David Majury as well as drummer/vocalist Marty Harvey, who even before Davis showed up stomped out the most pummeling tones I’ve heard over the course of the last three days. “Electric Breath,” “Return to Kraken,” “And Yet it Moves,” “Supernothing” — this is the stuff of lumbering, rolling, molten doom supremacy, and as they’re five records deep into a tenure that one hopes continues into perpetuity, Slomatics know how to wield these weapons to glorious effect. I felt like I was going to pass out and ran downstairs to hammer down a quick dinner — chicken in some kind of tomato-based sauce with green and red peppers, jalapenos and cheese over lettuce; two plates in about five minutes — and was back in the Green Room in time to catch Davis‘ guest spot from the side of the stage and jump up to take a picture of the band when they were done playing. I never do that kind of thing, but Slomatics were nothing if not an occasion worth savoring.
Shit would only get more doomed from there. Like I said yesterday, everyone here makes their own Roadburn, and I knew how I wanted my night to go. I wanted it to go doom. That meant hanging out in the Green Room more for Ahab, which I was more than happy to do. The nautically-themed German funeral doomers were not a band I ever really expected to be able to see, and knowing how packed it got for Slomatics, I assumed much the same would ensue. I was right. Ahab probably could’ve filled the Patronaat if the press of the crowd behind me half an hour before they even went on was anything to go by, but as it was they beat the Green Room into submission with their guttural, ultra-slow lurch and churning devastation.
It was by no means the same kind of grind that Memoriam were doling out on the Main Stage, but watching Ahab play was like witnessing the giant, five-foot-thick gears of some industrial revolution shipyard turning the assembled audience into powder. The very means of production brought to bear on all of our caved-in skulls. Yes, they were hyperbole-level heavy. Unremittingly so, and to a claustrophobic degree. I don’t know if it was during “Old Thunder” or “To Mourn Job,” but there was a point at which I had to remind myself that I’d actively wanted to be so brutally overwhelmed and so overwhelmed by brutality. Did that make the effect any less punishing? Not in the slightest, but thanks for asking.
There was only one place left to go to continue my downer trajectory: back to the Main Stage for My Dying Bride. Having the UK doom legends play 1993’s Turn Loose the Swans in full made an awful lot of sense after special sets in 2016 from Paradise Lost and in 2015 from Anathema and Fields of the Nephilim — I’m keeping my fingers crossed for Katatonia in 2018; never seen them and they’d seem to be next in line, despite not being British — and the drama unfolded early as frontman Aaron Stainthorpe hit the stage with violinist/keyboardist Shaun Macgowan for “Sear Me MCMXCIII.” Soon enough, founding guitarists Andrew Craighan and Calvin Robertshaw, bassist Lena Abé and drummer Shaun Taylor-Steels would join, and the full fray would be unleashed. Chances are I don’t need to tell you how influential My Dying Bride have been on the trajectory of the last two decades of doom, but suffice it to say I’m not sure I could’ve found a darker way to round out myRoadburn 2017 Saturday night than to watch them deliver that level of scathe with that level of professionalism.
And no, I’m not just saying that because Stainthorpe wore a tie. With animation by Costin Chioreanu behind them, My Dying Bride were the consummate headliners. Mysticum were still to follow on the Main Stage with a production I’d caught in soundcheck earlier in the day that was probably the most elaborate I’ve ever seen in the 013 venue, but for me, My Dying Bride marked a culmination of what I wanted the evening to be, and so I knew my night was done. There’s always more to see at Roadburn. Always something you don’t get to. Always someone who, years down the road, you wonder, “What the hell was I doing that I missed that?” but sometimes when you’re in Tilburg, you’ve crafted your experience in such a way that makes sense at the time, and that was me tonight. Would’ve been hard pressed to find anything to top My Dying Bride anyway.
One day left in Roadburn 2017, which is something I know to be true because I only have two protein bars remaining — one for before the show, one for after. Tomorrow’s another early start to fold Weirdo Canyon Dispatch issues, so I’ll leave it there once again and say thank you for reading and if you’re so inclined, you can check out more pics after the jump.
Posted in Whathaveyou on March 9th, 2017 by JJ Koczan
The first lineup announcement for the inaugural Days of Darkness festival came through last month and brought with it confirmation that the autumnal two-dayer presented by the crew behind the Maryland Deathfest wasn’t screwing around either on scale — Neurosis headlining — or in scope, bring on board multi-genre acts from across a swath of underground styles. Well, the lineup is now complete. Om join Neurosis as headliners, and Cirith Ungol act as classic metal counterpart to the previously-announced Manilla Road near the top of the bill. Sizable additions like Captain Beyond, and Boris join the likes of Warning, Dälek and Elder — whose new album will be out by then — and Bongripper and Unearthly Trance find further tonal-onslaught companionship with word that Cavity will take part. All in all it looks like a pretty fucking good show.
Tickets are on sale now, and though they might not go before Maryland Deathfest proper, held in May as ever, I would be surprised if there were any left by the time Oct. 28 and 29 gets here. I’d think Neurosis or Om could probably sell out Rams Head on their own, never mind with the stellar support cast they’re both given across the Saturday and Sunday event. Bringing in Om has me wondering if maybe they’ll have a new record release coming up — that’s a long trip to the East Coast — but that might just be wishful thinking on my part. Either way, they’ll of course find welcome once they hit the stage, because they’re Om, and only jerks don’t like Om. That’s science. It’s proven.
Here’s the poster and the lineup as posted by the fest, as well as the link to get tickets:
Maryland Deathfest presents: Days of Darkness Festival
October 28 & 29, 2017
@ Rams Head Live, Baltimore, MD
Saturday, October 28th: Neurosis Manilla Road Captain Beyond Perturbator Elder Cavity Dance with the Dead Dälek Computer Magic Crypt Sermon Alms
Sunday, October 29th: Om Cirith Ungol Warning Boris GosT Unearthly Trance Le Matos Bongripper Magic Sword Night Demon Asthma Castle
