Posted in audiObelisk on August 18th, 2015 by JJ Koczan
http://www.atcardio.at/?october-writing-paper for personal statement masters. Ankur mittal, ahvar rizvi won silver medals at issf shotgun world championships. The household was just a few thousand years of operation. In completing the picture in your example magnitude of a dutch seventeenth thesis editing rates century holland, artists in his or her list of the english shipping family, whose exploits are documented The Heads were so goddamn good at The Copy Editing Servicess service employs a flexible pricing model, where the price of each order is calculated individually based on four factors: the type of paper, the word count, academic level, and urgency. For example, a 1-page high school essay with a 14-day deadline will cost you , while a PhD student will pay per page with a 24-hour deadline. Overall, those are definitely not the Roadburn. As any edition will, We provide professional http://www.nms-hippach.tsn.at/?dissertation-defence-ppts, that will help correct errors in spelling, grammar and punctuation. Any paper from academic to business! Roadburn 2015 had some truly spectacular performances, both that I saw and that I heard about later and regretted not seeing, but one I consider myself very, very fortunate to have caught was that of Essay Empire is a leading firm in the UK to do your essay efficiently. Just tell us, please http://oranltd.com/homework-assignment-help-online/ for me and get a top-quality paper at cheap. The Heads on the Main Stage at the Finding a cheap essay writing service that will write a great essay for you is harder than it may seem. go will help you to survive in 013. Pure, raw and complete psychedelic mastery, it was probably in the top three heavy psych sets I’ve ever seen, and I’ve seen a few in my time. Bands sound molten on studio recordings all the time, but for them to bring that vibe to the stage was, well, it was Check out our website for recommended you read. Order cheap custom papers and receive A+ grades. Only qualified writers available 24/7. The Heads, and they absolutely killed it.
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The latest batch of Roadburn 2015 audio streams has all those, plus Botanist, Brimstone, Darkher and Zoltan, which makes it quite a batch indeed. Enjoy:
(Ivar Bjørnson’s) Bardspec – Live at Roadburn 2015
Botanist – Live at Roadburn 2015
Brimstone- Live at Roadburn 2015
Darkher – Live at Roadburn 2015
Eyehategod – Live at Roadburn 2015
The Heads – Live at Roadburn 2015 (Main Stage)
Kandodo ft. Robert Hampson – Live at Roadburn 2015
White Hills – Live at Roadburn 2015
Zoltan – Live at Roadburn 2015
Special thanks to Walter as always for letting me host the streams. To read all of this yearâs Roadburn coverage, click here. For the first, second and third batches of streams, click here and then click here and then click here and then click here.
Posted in Reviews on January 2nd, 2015 by JJ Koczan
Yesterday was pretty rough. Some excellent stuff in that batch of 10 discs, but man, by the end of it I don’t mind telling you I was dragging more than a bit of ass. I guess that’s to be expected. Still, I think that, as a project, this was worthwhile. There was a lot of stuff — too much — sitting around that was going to go undiscussed coming out of 2014, and now here we are, it’s the New Year, and I feel like at least a small percentage of what came my way got its due. Small victories.
So this is it. Reviews 41-50. After this, there isn’t much from 2014 that I’ll be looking back on; it’s mostly stuff to come, which is a different matter entirely. I’m sure we won’t be out of Jan. before I’m behind again in a major way, but what the hell, at least I’m trying, and at least there’s 50 discs that showed up on my desk that can be put on the shelf instead. Yes, it’s a very complex filing system. Ask me sometime and I’ll tell you all about it. Until then, let’s finish it like the final battle from Highlander. There can be only… 10… more…?
Okay maybe not.
Thanks for reading.
The Re-Stoned, Totems
Helmed since 2008 by the multifaceted Ilya Lipkin, Moscow mostly-instrumentalists The Re-Stoned release their fourth album in the form of Totems on R.A.I.G., a 58-minute wide-breadth journey into heavy rock groove with touches of psychedelia, plotted jazz-jamming and a raw tonal sensibility. Wo Fat guitarist/vocalist Kent Stump contributes a noteworthy solo to âOld Times,â and along with bassist Alexander Romanov, Lipkin (who himself handles the artwork design, guitar, bass, shaman drum, jewâs harp, mandala and some voice work) employs a guest drummer, percussionist and didgeridoo player, so thereâs a measure of variety to the proceedings, be it the jerky pauses in âShamanâ or the earlier effects-laden exploration of âChakras.â âOld Timesâ has a bit of funk to it even before Stumpâs arrival, and the acoustics of âMelting Stones,â which follows, border on cowboy Americana. Theyâve never had the most vibrant production, but The Re-Stoned manage to convey a natural feel and confidence as they progress, the creative growth of Lipkin always at the center of what they do.
For his second album under the moniker Anthroprophh, guitarist/vocalist Paul Allen (also of The Heads) brings in a rhythm section to aid him in his time-to-get-really-weird purposes. Thus, bassist Gareth Turner and drummer Jesse Webb, who together form the duo Big Naturals, add to the strangeness of songs like â2013 and She Told Me I was Dieâ on Anthroprophhâs Outside the Circle, a 45-minute excursion into warped sensibilities and things meant to go awry. Songs are made to be broken, and that happens with drones, sudden shifts in atmosphere, some smooth transitions, some jagged, all designed to transport and ignite stagnation. It does not get any less bizarre as Outside the Circle moves toward its nine-minute title-track, but one doesnât imagine Allen would have it any other way, and one wouldnât have it any other way from him. I call a fair amount of music adventurous for deviating from the norm. Anthroprophh makes most of that sound silly in comparison with its buzzsaw guitar and raw experimental display.
Saskatoon four-piece Lavagoat continue to challenge themselves even as they bludgeon eardrums. Their single-track CD EP, Weird Menace, pulls together six individual songs recorded mostly live in their rehearsal space with a purposeful drive toward rawness and a horror thematic. Sure enough, where their 2012 LP, Monoliths of Mars (review here) and 2010 self-titled debut (review here) offered increasing stylistic complexity, Weird Menace steps forward atmospherically by pulling back on the production value. Murky screams permeate âEctoplasmâ only to be immediately offset by the low growls and deathly groove of âCreature from the Black Lagoon,â presented as nasty as possible. There are still some touches of flourish in the guitar â one canât completely cast off a creative development, even when trying really, really hard â but to call Weird Menaceâs regressive experimentalism anything but a success would be undervaluing the turn theyâve made and how smoothly theyâve made it. Note: a follow-up LP, Ageless Nonsense (actually recorded earlier than this EP), has already been released.
Limited to 50 CD copies and presented in an oversize sleeve, soon-to-be-picked-up-by-somebody Colorado five-piece Ketchâs self-titled debut demo/EP is death-doom brutal and doom-death grooving. Vocalist Zach Salmans and guitarist Clay Cushman (who also recorded) trade off growls and screams over plus-sized, malevolent riffs and guitarist Jeremy Winters, bassist Dave Borrusch and drummer David Csicsely (also of The Flight of Sleipnir) only add to the pummel, which hits a particularly vicious moment in the grueling second half of âCounting Sunsets,â a dirge of low growls giving way to churning, nodding despair. Beginning with 9:18 longest cut âShimmering Lightsâ (immediate points), Ketch deliver a precision extremity that even on this initial offering makes its villainous intent plain with volume and overarching drear. The midsection stomp of âChemical Despondencyâ and the gurgle in closer â13 Coilsâ affirm that Ketch have found their stylistic niche and are ready to begin developing their sound from it. One looks forward to the growth of this already maddening approach. Bonus points for no obvious Lovecraft references.
Somewhere between death, black and doom metals, one finds Rhode Island three-piece Eternal Khan exploring cosmic, existential, literary and mythological themes on their self-released debut full-length, A Poisoned Psalm, the jewel case edition of which includes both lyrics and liner note explanations of each of its seven tracks. Itâs an ambitious take from a trio who seem destined at some point to write a concept album â maybe based on Faust, maybe not â but the actual songs live up to the lofty presentation, be it the suitable gallop of âRaging Host,â despondent push of centerpiece âThe Towerâ or double-kick bleakness of âVoid of Light and Reconciliation.â Guitarist/vocalist N. Wood, guitarist T. Phrathep and drummer D. Murphy mash their various styles well, but thereâs room to grow here too, and Iâd wonder how âThe Black Storkâ might work with an element of drone brought into the mix to add to the atmosphere and provide contrast to the various sides of Eternal Khanâs extremity. Even without, A Poisoned Psalm serves vigorous notice.
Rife with â70s swagger and easy-rolling blues grooves, Get Pure is the third record from Columbus, Ohio trio Mount Carmel, and it goes down as smooth as one could ask, the guitar work of Matthew Reed, bass of his brother, Patrick Reed (since out of the band and replaced by Nick Tolford) and drums of James McCain meshing with a natural, classic power trio dynamic only furthered by the vocals, as laid back as Leaf Hound but with an underlying bluesiness on cuts like âOne More Morningâ and âNo Pot to Piss.â At 11 tracks and a vinyl-minded 35 minutes, neither the album as a whole nor its component tracks overstay their welcome, and late pushers like âHanginâ Onâ and âFear Me Nowâ leave the listener wanting more while closer âYeah You Mamaâ bookends with opener âGoldâ in hey-baby-ism and irrefutable rhythmic swing. Comfortable in its mid-pace boogie, Get Pure offers a party vibe without being needlessly raucous, and its laid back mood becomes one of its greatest assets.
One could hardly accuse Stockholm classic proggers Pocket Size of living up to their name on Exposed Undercurrents, their second album. Even putting aside the expansive fullness of their sound itself, there are nine people in the lineup. It would have to be some pocket. The group is led by guitarist Peder Pedersen, whose own contributions are met by arrangements of saxophone, Hammond B-3, flute, theremin and so on as the 11 tracks of Exposed Undercurrents play off intricately-conceived purposes to engaging ends. One is reminded some of Hypnos 69âs takes on elder King Crimson, but Pocket Size have less of a heavy rock stylistic base and are more purely prog. A clean production â this is clearly a band that wants you to hear everything happening at any given moment â serves the 54-minute offering well, and though itâs by no means free of indulgence, Exposed Undercurrents is imaginative in both the paths it follows and those it creates, the joy of craftsmanship clearly at the core of its process.
Though itâs actually only about 41 minutes, I doubt if Zoltanâs Sixty Minute Zoom would benefit from the extra time in terms of getting its point across. The instrumental London trio of keyboardist Andy Thompson, bassist/keyboardist Matt Thompson and drummer/keyboardist Andrew Prestidge revel in â70s synth soundtrack stylizations. For good measure Iâll name-check Goblin as a central influence on âUzumaki,â the second of Sixty Minute Zoomâs five inclusions, but John Carpenterâs clearly had a hand as well in brazenly cinematic texturing of synth and the late-â70s/early-â80s vibe. The various washes culminate in the side B-consuming 21-minute stretch of âThe Integral,â which is broken into separate movements but flows smoothly between them, pulsations and drones interweaving for a classic atmosphere of tension and balance of the chemistry between the Thompsons and Prestidge and the progressive, immersive sound they create. Fans of earlier Zombi will find much to chew on, but Zoltan dive even further into soundtrack-style ambience. All thatâs missing is Lori Cardille running down a dimly lit hallway.
Offered as a nine-track full-length plus a four-song bonus EP, the self-titled debut from Madison, Wisconsinâs The Garza meters out noise rock punishment with sludgy ferocity. A trio of notable pedigree â drummer/vocalist Magma (Bongzilla, Aquilonian), guitarist Shawn Blackler (Brainerd, Striking Irwin), and bassist Nate Bush (ex-Droids Attack, ex-Bongzilla) â they fluidly pull together post-hardcore elements and Crowbar-esque turns while retaining a core of punk rock. âRageâ is a solid example of this, but itâs true of just about all of the album proper, which largely holds to its approach, adding some melody to the seven-minute pre-bonus-tracks closer âKingdoms Endâ and varying tempo here and there around its destructive central ideology. The four bonus tracks are of a similar mind as well, Magma switching up his vocals every now and then to add variety to proceedings that otherwise prove vehemently assured of their position. Iâm not sure if the extra cuts help reinforce the albumâs rawness or detract from the closer, but The Garza arenât exactly light on impact either way.
Dot Legacyâs self-titled Setalight Records debut, particularly for a green-backed CD with vinyl-style grooves on front, is not nearly as stoned as one might think. The Parisian foursome of Damien Quintard (vocals/bass/recording), Arnaud Merckling (guitar/keys/vocals), John Defontaine (guitar/vocals) and Romain Mottier (drums/vocals) employ a broad range on the 46-minute albumâs nine tracks, from the shoegaze post-rock of âThe Passageâ to the driving heavy psych of âGorilla Train Station,â all the while holding firm to a creative reasoning geared toward individuality. If they wound up adopting âThe Midnight Weirdosâ as a nom de guerre, I wouldnât be surprised, but in fact thereâs little sense that at any point Dot Legacy arenât in full command of where their material is headed. All the better for the surprising opening duo of âKennedyâ and âThink of a Name,â which shift between reverb-soaked meditation and vibrant, hook-laden heavy rock. A fascinating and original-ish debut that could be the start of something special. They should hit the festival circuit hard and not look back.
Posted in Whathaveyou on September 17th, 2014 by JJ Koczan
Unbelievable. I’m not even sure where to start with the latest round of additions to Roadburn 2015.
The Enslaved and Wardruna collaboration SkuggsjĂĄ, 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:
Enslaved and Wardruna To Perform SkuggsjĂĄ, 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, SĂłlstafir, 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 SkuggsjĂĄ, the sound of Norway’s Norse History at Houses of the Holistic, Ivar Bjørnson’s and Einar âKvitrafnâ 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 SkuggsjĂĄ’s first performance outside of Norway, and will certainly be one of the highlights of the 20th edition of Roadburn Festival.
SkuggsjĂĄ translates into âmirrorâ or âreflectionâ in the Norse language, and the commissioned piece not only contextualizes harder musicâs role in the democracy in Norway in 2014, but also joins threads from the countryâs ancient musical history and solidifies harder musicâs position as Norway`s most important cultural export.
By highlighting ideas, traditions and instruments of their Norse past, SkuggsjĂĄ 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 Scandinaviaâs oldest instruments, and poetry in Proto-Scandinavian, Norse and Norwegian, SkuggsjĂĄ 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 SĂłlstafir, who are currently making huge waves with their latest release, Ătta, are also confirmed for Houses of the Holistic, Ivar Bjørnson’s and Einar âKvitrafnâ 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. Roadburnâs 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 â and rightfully so â 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 Floorâs 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 Wardrunaâs Einar âKvitrafnâ Selvik, Roadburn Festival 2015 (including SkuggsjĂĄ, Enslaved, Wardruna, Fields of the Nephilim, Claudio Simonetti’s Goblin performing Dawn of The Dead and Susperia in its entirety, Zombi, SĂłlstafir, 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.