French doom monoliths Monarch complete this years Damnation Festival line. They will be joining the likes of Saint Vitus, the reunited Raging Speedhorn, Cannibal Corpse and the events headliners Bolt Thrower at the events ten year anniversary bash at the Leeds University in November.
French drone doom outfit MONARCH! will play their only UK show of 2014 at Damnation Festival.
Their live “sonic assault” completes a PHD Stage cast of Ahab, Solstafir, Black Moth, H A R K, Atlantis and Corrupt Moral Altar.
While the Eyesore Merch Stage makes its return to Damnation, this year with a more sinister black metal billing of Fen, Wodensthrone, A Forest of Stars, , and Falloch, who’ll join previously announced Bast and Obsidian Kingdom in Mine.
The final additons to this year’s event – which will be hosted at Leeds Universtity Union on Saturday, November 1 – are orchestral metal quartet Xerath and Welsh death metal standard bearers, Amputated, who make their debut at Damnation Festival opening a Terrorizer Stage which boasts the brutality of Cannibal Corpse, Anaal Nathrakh, Revocation, Winterfylleth and Aeon.
Completing the line-up is the main Jagermeister Stage offering of Bolt Thrower, Saint Vitus, Orange Goblin, Raging Speedhorn, Stampin’ Ground and October File.
Commenting on their return to Damnation, Fen said: “We are honoured to be invited to play Damnation after our first appearance four years ago.
“It was one of the highlight gigs of our career – this festival (and the audience in particular) – is a very special one for us and we cannot wait to head back to take to the stage again.
“Fen has progressed significantly over the last four years and we are really looking forward to taking the discerning Damnation crowd by storm once more!”
A Forest of Stars added: “We’re extremely excited and honoured to be asked to play the wonderful Damnation Festival.
“We hope we won’t let everyone down too much – especially considering the impressively amazing line up – and look forward to devouring vast quantities of claret and opiates in celebration of the occasion, and maybe even playing a song or two.”
Festival Director Gavin McInally said: “This year’s line-up is fitting of a tenth anniversary party and with tickets on track to have 4,000 friends with us, it’s going to be a bash to remember.”
The complete line-up for Damnation Festival is Bolt Thrower, Cannibal Corpse, Saint Vitus, Ahab, Raging Speedhorn, Orange Goblin, Anaal Nathrakh, Monarch!, Stampin’ Ground, Revocation, Solstafir, Winterfylleth, Fen, Aeon, Black Moth, Wodensthrone, H A R K, Amputated, A Forest of Stars, October File, Xerath, Falloch, Bast, Atlantis, Obsidian Kingdom and Corrupt Moral Altar.
Fans who arrive in Leeds the night before can warm-up for Damnation Festival with A Night of Salvation at The Belgrave Music Hall, featuring Dyscarnate, Hang the Bastard, Latitudes, The Atrocity Exhibit and Cattle. Tickets priced £6 are available on the door.
When you stick the word ‘core’ as a suffix to a particular genre tag, many over the age of thirty tend to roll our eyes and dismiss the forthcoming sound as generic, derivative pap. This sophomore effort from self-styled Los Angeles ‘sludgecore’ quintet Colombian Necktie does unfortunately commence in that fashion. Twilight Upon Us (Self-Released) starts with a slow, heavy crunch, soon ripped apart by a tinny, death style production and an irritating, unwavering high pitched scour from front man Scott Werren which resembles the unflinching pitch of Oli Sykes. The initial time changes tend to cheapen the sound initially also, especially for the low end fraternity led into the ‘sludge’ element of their description.
Bizarrely, the thing begins to actually grow on you. The filthy undercurrent accompanies a quickening of the pace in many of the tracks, introducing a hardcore element reminiscent of Raging Speedhorn or Cancer Bats in its sound and intensity, and lending a variation which sharpens the album’s somewhat formulaic edges. ‘Sleepwalking’ and ‘Ready to Burn’ see post-hardcore flecks paint the ripping savagery with pastel colours whilst drummer Ben Brinckerhoff, arguably the unsung star of this show, constantly introduces deft changes which paradoxically pummel the brain.
The vast majority of tracks here remain below the four minute mark, short sharp shocks which don’t outlast their welcome. Only closer ‘Kevin’s Song’, a track dedicated to a sadly departed friend and founder band member, bucks this trend, a brutally funky and ambient workout with elements of “post” guitars and Spaghetti Western-style centre, slowing to the coda with truly crushing yet emotive sound. In truth the low-end purists will find little to keep them hooked in here, but it’s a worthy set and one which will find those with open minds tapping their toes at the very least.