Roadburn 2020 is nearly sold out, with just a few Sunday tickets left for the legendary music festival held annually in Tilburg April 16th to 19th, NL. New bands added to the bill Alexis Marshall, Darkher, Forndom, The Devil’s Trade, LSD and The Search For God, Doodswens, Kodian Trio, Jonah Parzen-Johnson, The Sweet Release Of Death, Motor!K, Of Blood And Mercury, and Vonnis. In addition, Ignition, The Roadburn Pre-show party will take place Wednesday night at 013 Club and features Early Graves, Splinter, and The Dead Cvlt. Already announced for Roadburn 2020 are legendary acts such as Emma Ruth Rundle and James Kent as curators, commissioned projects from James Kent & Johannes Persson, Jo Quail, and Vile Creature & Bismuth, the return of Julie Christmas, Red Sparowes, Russian Circles, Torche, Brutus, Dungen, 40 Watt Sun, Alcest, Inter Arma, David Eugene Edwards, Health, Hide, Lankum, She Past Away, and two Artists In Residence: Full of Hell and Lingua Ignota. Continue reading
Weirdo Fest III has confirmed their lineup, which will be held at the Midtown Barfly in Sacramento, CA on August 29-30, 2015.
Saturday, August 29th:
Armed For Apocalypse
Kill The Precedent
Destruction Of A King
Sunday, August 30th:
My Iron Lung
World of Pain
Bad Times Crew
War Story NYHC
Know Your Enemy
GFN & R3d
Mr. Jet Black
New Hampshire post black metallers Vattnet Viskar is releasing their new album Settler on June 16, 2015 via Century Media Records. The album was recorded at Earth Analog Studios in Champaign, IL with producer Sanford Parker (Minsk, Voivod).
The band has confirmed a run of dates with Early Graves, aside from appearances at Maryland Deathfest.
May 16: Milly’s Tavern – Manchester, NH
May 17: Parlour – Providence, RI
May 18: Great Scott – Allston, MA
May 20: Ortliebs – Philadelphia, PA
May 21: Saint Vitus – Brooklyn, NY
May 22: Rams Head Live – Baltimore, MD (Maryland Deathfest)
VATTNET VISKAR is:
Nick Thornbury – Guitar/Vocals
Chris Alfieri – Guitar
Seamus Menihane – Drums
Casey Aylward – Bass
The Year of the Snake: Four Days of Noise, Doom, and Booze in the Old Pueblo Part II
Half over or half begun, the festival entered a truly marathon third day of music, with bands beginning as early as one pm and continuing all the way through to about midnight. This was the day many had been waiting for and as events would show, the most epic of the four. The very first performance of the day was a good indicator and extremely surprising. Destroy Her, hailing from Tucson, competently delivered alternative stoner sludge, but possessed a front man above and beyond the normal. Sounding like a mix of Geoff Tate and Bruce Dickinson, the vocals were stunning and elevated the decent music to a higher level. With twenty bands scheduled for one day, the festival kept chugging along efficiently and the crowd steadily grew larger as each hour passed. Highlights from the afternoon included Skulldron from New Mexico, a mix of stoner and doom that any fan of Down should take a listen to, as well as the hard to classify sounds of Sorxe who came down from Phoenix to boggle minds with complex dynamics. By eight pm the venue was packed and one of the most memorable performances of the entire four days happened when Subrosa got up to play the main stage. Creating sheer walls of sound with guitar, bass, drums, and two violinists, Subrosa mesmerized all who witnessed their set and held that audience captive within their hands. There was the power of music made manifest on stage, incredible to witness and unforgettable afterwards. One might almost feel sorry for any band who had to follow such an incredible performance, but truth be told, the final acts on the main stage lived up to the challenge and instead of mesmerizing the crowd, they rocked them instead. Helms Alee gave people a taste of the main headliner with their rockin’ songs, but by the end of their set, it was clear that everyone was ready for the mighty Red Fang to blow the roof off. This was certainly done with flying colors. Playing a mix of fan favorites and tracks from their newly released album, Red Fang utterly rocked a packed house with their tight jams, blazing solos, and cool rhythms. The energy level between the band and the crowd was incredible and the mosh pit was raging with cyclonic fury. When the final note was played, a very long day came full circle with the masses of drunk, stoned, and deafened festival goers looking visibly exhausted.
Dawn on the fourth and final day of Southwest Terror Fest was probably not something that many wanted to witness. Most likely quite a few people stayed up very late after the slam bang finish of the third day and saw the march of the sun upwards from beyond the horizon, dismissing the necessity of rest and determining to endure just one more day of excess. Weariness was the name of the game, being quite visible on the faces of all involved in the saga of a multiple day metal show. This final stretch of the festival was heavily slanted towards the punk, grindcore, and powerviolence genres, with another early afternoon start time. Notable moments of the day included the chimeric Swampwolf, a band that seamlessly blended thrash, black metal, and punk into a face shattering fist. ACxDC, Sorrower, Theories, and Sex Prisoner delivered chaotic, crusty noise that showed there was still some energy left on the final day of the event. Changing the pace up quite a bit, an acoustic artist by the name of Amigo The Devil performed serial killer and humor themed songs with voice and guitar, leaving the stage and playing among the crowd. As the final hours of the four day odyssey approached and the daylight faded, things began to wind down quite a bit until the final headliner, Early Graves, riled up a dedicated group of onlookers with their hardcore tinged death and roll. This was the last chance to dance and the moshers bled off their remaining energy throughout this final performance out of over sixty bands and four days. Collapse was no longer an option, but mandatory.
Thus four days of music came to an end. Many casualties were sustained, but victory was achieved. Whether it be punk, grindcore, thrash, death, post-metal, doom, stoner or plain old hard rock, Southwest Terror Fest showcased an amazing range of heavy music from the underground and the not so underground. The event illustrated that there are many good bands from west of the Mississippi that don’t come from California or the Northwest. Another of the most noticeable facts about this year’s show was the much larger representation of women within the bands, showing the growing acceptance and respect for women in this scene as musicians. This fest was efficiently run and the diverse crowd were united in enjoying and celebrating the music that they love, not because it is popular, but because it speaks to them and provides a universal catharsis or release from the daily grind of reality. Next year will arrive soon enough, hopefully the ringing ears and wounded livers will have healed in time for another weekend of terror in the desert.
Words: Ryan Clark
Photos: No Ceiling Photography/Violent Resistance
Integrity has always been known as one of the strangest hardcore bands for their envelope-pushing (forgive the cliché phrase, I’m drunk) brand of oddity-embracing riff-cannon wielding steaze that has attracted and repelled in equal amounts. Suicide Black Snake (A389 Recordings/Magic Bullet Records) will do little to convince haters that they are willing to change, and even less to convince longtime fans that they are er… willing to change. Yes, Suicide Black Snake is a different entity from other Integrity albums, but just how much so? Continue reading