Long-time winter metal festival leaders Eindhoven Metal Meeting have announced their first line-up for the 2017 event. Taking place from December 15th to 17th once again at the legendary Effenaar venue, in Eindhoven NL the first bands announced are headliners Venom, with Tankard, Dool,Merciless in their last show ever, and more! Continue reading →
For Part II of our interview with Adam Zaars of Tribulation, Ghost Cult’s Armen Haczmerian touched on a few more topics surrounding the new release, The Children of the Night (Century Media). It will be released in a few different formats. Century Media has also prepared a special box release with extras such as… a pendant with cord. But jokes aside, the band has added a couple of extra tracks to that release.
“There will be two bonus songs on the CD. One of them is ‘Laudanum Dreams’, we had released on our last 7″ we were selling on our last tour in America. The other one is a cover of The Cure’s ‘One Hundred Years’. We like this song and recording it went really well. There are also two demo songs on a 7 inch EP, which is also included in the box release. Also, we might publish another cover we recorded in the future. I can’t reveal anything now, you will find out soon (laughs).”
Signing to one of the biggest players in heavy metal market, Century Media, which is another shift from band’s recent stance on big labels. But Adam offers a firm clarification.
“Century Media has been great so far. To make things clear – we wouldn’t have signed a deal with any label that didn’t put us in full control when it comes to song writing. The reason we signed was purely commercial – to get a better promotion… and so far it seems to be working! We don’t regret not signing to a bigger label before releasing The Formulas of Death. But we’ve always known we’re something else… shape-shifters, I guess”, Adam chooses his words carefully but with confidence. “I think it was the right time for us to show everyone what Tribulation is really about. It was great to work with Invictus and Ajna Offensive, but we can’t stay in one place for too long. So when we got a real chance to show everyone what Tribulation is, we made the decision.”
Tribulation hit the road again in April, before going on European tour with Melechesh and Keep of Kalesin in May. Adam speaks of the band’s touring plans for the next few months.
“We have not many festival dates confirmed as yet, but we’re playing at Tons of Rock in Norway in June. We will be at Temples Festival in Bristol in May, and Hellfest in France a month later as well. We are not planning a UK tour at the moment, but we play at London’s Incineration Fest, and Temples so at least we have two dates in the UK now (laughs).”
Speaking of touring, there were huge controversies on Tribulation’s recent Polish tour with Behemoth, who were the headliner. One show in Poznan was cancelled, and all the supporting bands played in a different (and smaller) club.
“Well, it’s quite bizarre, I’d say. Especially for us, coming from a very secular country like Sweden. It would never happen over here! It was a huge shame, that local government was persuaded by religious fanatics, and managed to get the show cancelled. Those groups of catholics were protesting outside venues on every show. But that was fine! It actually helped the tour (laughs). However, it’s ok to speak your mind up, but if you try censoring, it just turns really ugly.”
Tribulation are destined for success, as their music gather new auditorium, and their style expands further beyond the frames of death metal. But while we can be sure the band will be constantly evolving, Adam does not rule out a return to more vicious and primal variety. Perhaps teaming up with Tobias Forge again, and doing another long-awaited Repugnant record would be an idea?
“Of course! I still listen to the extreme music, so I’m still into it. Tribulation is a journey, it’s something else now, and also at the moment I’m quite busy with the band. But in the future, why not?”
Finland’s #1 metal festival of summertime, Tuska 2015, has announced a slew of new acts to join the bill. Among the additions are Stormwarrior, Architects, Alfa Hanne, Dr. Living Dead!,Mokoma, Alfa Hanne, At The Hollow, Tryer, The Cold War, Adamantra and many more to come. The show takes place June 26th to June 28th in Suvilahti, Helsinki.
Single day tickets and passes are on sale now from the festival website, with VIP packages to be announced soon. The full bill will be announced later this spring with the line-up for each day so far
Friday June 26th Sabaton, Lamb Of God, Architects, Exodus, Krokodil, Blues Pills, Ghost Brigade, Alfa Hanne, Enforcer, Foreseen, Death Toll 80k, Ape
Saturday, June 27th In Flames, Amorphis, Loudness, Ne Obliviscaris, Bloodbath, The Sword, Einherjer, Bombus, Atomic Rotta, Morbid Evils, Tryer, Red Moon Architect, Adamantra, Dark Side Of The Mime
Sunday June 28th
Alice Cooper, Opeth, Stratovarius, Stormwarrior, The Sirens, Warmen, Dr. Living Dead !, At The Hollow, The Cold War
Eindhoven Metal Meeting a festival in the “burgundy south” of the Netherlands. Here the weathergods do not tell when it becomes winter, no, it is only winter when EMM is over. EMM, a.k.a. the Eindhoven Metal Meeting is a very established festival that celebrates in an extreme way. They don’t call themselves an extreme metal festival, but I guess 75% of the bands that will play at the 2014 edition you can definitely describe as Extreme Metal bands. Get your warpaint on, search for your battlejacket and dust off your army boots, EMM is not for the weak. Continue reading →
The Tenth edition of the Incubate Festival, festival celebrated by tens of thousands in Tilburg, closed this weekend after their biggest fest ever. The Ghost Cult Team in Tilburg was at the festival and our reviews are live here on the website. We wanted to to take one more look at this ground breaking, week -long event via the lens of our photographer Susanne A. Maathuis and some of the terrific images she captured. Thanks again also goes to our correspondent Lorraine Lysen for her excellent account of the artists that mattered. Enjoy!
It’s early evening and The Midi is host to Spindrift, a band who play what can only be called ‘Psychedelic Western Cinematic Rock ‘n Roll.’ Most members of the band are, in fact, wearing cowboy hats, and the audience is having a ball dancing along to these tunes. The vocals are often used as an instrument, creating haunting melodies largely without lyrics. Kirkpatrick Thomas’ vocals are strong, and he sings very well in his falsetto range. The drums are very percussive and are occasionally supported by tambourines and some very intensely played maracas.
Projections are a very important part of Spindrift’s shows: the band is currently touring Spindrift – Ghost of the West, where they play the album that serves as the score to the film. Spindrift have done something like this before, with the 2007 film The Legend of God’s Gun, which was based on their 2002 album by the same name. One big difference between the two film projects is the substance of the films, with The Legend of God’s Gun being a homage to the band’s favourite spaghetti westerns, while Ghost of the West focuses on the past, present, and future of the west.
They played a great new song called ‘Kama Sutra Tiger Attack’.
A good 20 minutes before the show and it is already getting difficult to actually enter the venue; it seems most of Incubate has come to see Wovenhand play. They start off very heavily, and the sound is close to stoner and dark psychedelic. The music is accented by percussive drumming, and features David Eugene Edwards’ characteristic vocals through a condenser microphone. After a couple of songs Edwards’ takes out his banjo for a few songs with a more country feel, before going back to his guitar.
Naturally, the focus of this show is Wovenhand’s latest album, Refractory Obdurate, which was released in April of this year. This album is much heavier in sound than the previous few, and while this means the bearded rhythm section of the band can showcase their excellence, it also meant that a few members of the audience were taken aback by the ferocity of the music.
As usual, Edwards puts his heart and soul into his performance, and the show is filled with a tranquil sort of energy which is quite unique to this band.
If I had to summarise a show GOAT in one word it would probably be spellbinding. Luckily, I am allowed to expand upon that, and try to explain just how magical this show is to someone who was not there.
The bare bones of it are as follows:
The band consists of drums, bass, guitar, and singers, and everyone is masked and dressed in an odd assortment of robes. The two singers wear African gowns and masks with feathers, and they dance around the stage with bells, bangles, ribbons, and sticks with feathers.
There is much more to the show however, as the music is an intoxicating blend of all sorts of tribal and folk music with a much heavier psychedelic rock and stoner base. The beats inspire to move and to completely lose yourself in the music, urged on by the shamanistic outfits of the singer and the ritualistic dancing on stage. There is no better time to witness GOAT than late at night, when they fill the darkness with chanting and haunting melodies, and the audience and the singers dance until they drop, or until their ritual is completed, and their spell is released.
GOAT’s new album, Commune, has just come out this September, and is filled with this wondrous spiritual and cultural mixture.
Sol Invictus (De NWE Vorst) are a British neofolk band who have been playing in a variety of settings since the band’s conception in 1987 by Tony Wakeford. They play good strong emotional songs, laced with a kind of melancholy that only the British can achieve. The bass, percussion, and electric guitar are very good at lending emphasis to the lyrics. The vocals are in a small range but have a great deal of expression. They sometimes seem closer to spoken word recitation than conventional singing. The violin and flute provide the melody that the vocals lack, and the drums lend a very dramatic air to the songs.
Sol Invuctus also play a few songs form their new album for the first time. This new album, called Once Upon a Time, is out as of 26th of September, and is in the 70s progressive and dark folk genres.
As we settle down into our seats in the theatre of Tilburg we are welcomed by Marinke, one of the curators for Incubate, who is proud to present Thee Silver Mt. Zion Memorial Orchestra. This is one of many incarnations of the project usually called Silver Mt. Zion, whose official band name changes every time someone joins or leaves the band.
This orchestra, which consists of two violins, a bass, a guitar, and a drummer who also plays the organ, plays a mixture of any and all genres of music, including classical, reggae, blues, and stoner. The rhythm section sets the foundation, and the guitar and violins build on it, often with a drone played by guitar or violin and melodies played on top of that with the remaining instruments. The bass does not play the drone, but is in fact very melodic and weaves through the rest of the music. The vocals are often in duets, but this band can also sing five vocal lines at once. Sometimes the female vocals are below the male vocals and this creates a pleasant kind of tension.
Silver Mt. Zion pretty much played the entire 2014 album: Fuck Off Get Free We Pour Light on Everything, and the loud applauding of the audience’s standing ovation called the band back on stage for an encore, for which we were very grateful.
God is an Astronaut is the last band playing at Incubate 2014, and their show is a great end to the week. They manage to transition seamlessly between soft and heavy sounds, have a good balance in the guitar sound, very tasteful bass licks, and a drummer capable of great subtlety in his playing. Many of the songs are framed by keyboards, and the vocals, whether clear and delicate or synthesised, are ethereal in sound and remind a lot of the vocals by Alcest’s Neige. The music very atmospheric, but occasionally has sharper edges to the riffs and a slightly more aggressive sound, which make it very danceable.
The stage presence and audience interaction are both pretty good, they don’t shy away from speaking to the crowd and the new keyboard player / guitarist Jamie Dean jumped off stage into the audience a few times to headbang and borrow someone’s sunglasses. While drumming on the live shows is usually done by Stephan Whelan, due to an infection in his leg he had to leave for home. Luckily for the band, they write and record their albums with Lloyd Hanney, who flew in to finish the rest of the tour.
GIAA also played a new song, and it is much heavier in sound, more in the post-metal and even post-black direction. The new album is planned for spring next year.
This show is held in the Consouling Store, which, for the duration of Incubate, is located in a storefront off the Pieter Vreedeplein, across the road from Midi and Extase. The seats for this matinee performance are soon filled, and the rest of the audience sits on the floor or stand around.
Kiss the Anus of a Black Cat’s latest album, which came out in 2012, is called Weltuntergansstimmung, and this album marks their transition from dark folk music into a more synth heavy darkwave genre. It may seem like an insurmountable difference in genres, but the dark atmosphere and Stef Heeren’s unpolished vocals make this new sound recognisable as KTAOABC.
This is a try-out show with their new equipment, and they have quite a set-up of synths and a great many effects on the small stage. They create soundscapes by layering their synths with samples and covering them with Stef’s vocals. Due to the newness of the equipment the songs take a little time to set up, and some of the transitions were a bit more muddy than was perhaps intended, but once the sounds all come together the result is very captivating.
Who knew an acoustic show could be this heavy?
The initial opinion of a King Buzzo show is likely to be ‘eccentric.’ From the King’s hair, vocal delivery, and guitar playing down to his use of the available stage, everything about him is somewhat odd and intriguing. He is also a very good storyteller, regaling the audience with tales of his favourite artist, Iggy Pop.
As the lead singer of The Melvins, acoustic is not Buzzo’s usual style, and while that may show in the delivery of a number of Melvins’ songs, his new solo work, which he wrote specifically for the acoustic guitar, are actually really intricately written and showcase just how good a guitarist Buzzo really is.
King Buzzo has put 31 years of song-writing experience into his acoustic album This Machine Kills Artists (Ipecac) and puts on a truly spectacular solo show.
If we were planning an award for ‘best dressed band’ at Incubate, it would probably have gone to Kadavar. This Berlin-based trio, sporting long hair and beards over their button ups and waistcoats, are masters at combining the old with the new. The genre might best be described as heavy psychedelic rock, with strong clean vocals, and melodious guitar over strong bass licks over pounding drums. After their performance at Roadburn in 2013, where they promoted their new album, Abra Kadavar (Nuclear Blast), we knew this was going to be a show we didn’t want to miss, and the energy and stage presence of the band together with their super tight playing made this a show a definite crowd-pleaser.
The projection behind the band initially shows the ocean, and even the lighting is mostly in blues and greens: The Ocean have obviously made an effort to present the band. The music builds from a calm and laid back sound with the occasional heavy accent to a hard rock or even metal sound. Clean vocals give way to grunts, and a shouting sort of singing. These developments are part of The Ocean’s sixth studio album, Pelagial (Pelagic Records/Metal Blade), which came out in 2013. The concept behind it is that the pressure keeps building as you go deeper beneath the sea. The projections are also part of Pelagial, and were shot as a movie by Craig Murray. In effect, Pelagial is a truly Wagnerian ‘Gesamtkunstwerk,’ a synthesis of different art media that work together to complete the experience.
Regardless of the artistry of the album, this band puts on a show that is undeniably good. The whole band oozes stage presence, and front man Loïc Rosetti jumps into the audience to starts a small moshpit, as well as crowd-surfing as far as the microphone cable will allow. So whether you appreciate art or just want to rock out to some great post-metal, The Ocean is definitely a band you will want to see live.
The Midi is already pretty packed before the show even starts, so it would seem this band is very popular with the Incubate crowd, and it doesn’t take long to find out why: 65 Days of Static combine synths, drums, bass, and guitar and end up with soundscapes that are befitting of a sci-fi film. They mix rock and electronica by layering their live drums with samples and by the use of synths, and end up with a post-rock sound that occasionally touches on heavy psychedelic. From gloomy to energetic, peaceful to frightening, the variety and depth of the compositions is astounding.