Runeology – Einar Selvik Of Wardruna Interviewed


Wardruna, by Susanne A. Maathuis Photography

Wardruna, by Susanne A. Maathuis Photography

 

In light of their most recent album, Runaljod – Ragnarok, Wardruna went on a European tour, playing two sold-out shows at Tivoli Vreedenburg in Utrecht, the Netherlands. Ghost Cult journalists Suzanne A. Maathuis and Lorraine Lysen went to Utrecht on Sunday the 30th of November to find out more about the latest album and some of the academic background of the project from Einar Selvik of Wardruna. He is also participating in this weekend’s New York By Norse event in partnership with Enslaved’s 25th year celebration. Einar talked with us about songwriting, the Rune Trilogy, Norse history and lore, the next Wardruna album, and much more.Continue reading


Blues Pills – Kadavar – Stray Train: Live At Tilburg, 013


Blues Pills, by Susanne/ A. Maathuis Photography

Blues Pills, by Susanne A. Maathuis Photography

On a chilly Sunday evening, the small venue of the 013 in Tilburg is slowly filling up with Hard Rock lovers looking for a nice evening of musicianship and fun. Continue reading


Roadburn Festival 2016 Part II: Various Venues, Tilburg NL


neurosis 30th anniversary at roadburn

Part II

Noticing Amenra would be doing an acoustic set on Saturday, it brought nothing but confusion since they are well-known for their vigorous, powerful live performances. Acoustic? Singer Colin van Eeckhout even admitted feeling very nervous at the beginning of the set. The band was sat in a circle in the semi-darkness of the stage, only slightly illuminated by beams of light. 013’s brand new main stage felt almost obscenely big for such an intimate setting. However, once they got started, this added a vibe of disconnection from the band that almost gave you a feeling you were watching something you weren’t supposed to see. They managed to find a way to play their 2009’s acoustic EP Afterlife so timid and delicate, that the crowd seemed to be in trance and didn’t wake up until their cover of Tool’s ‘Parabol’, which earned them a deafening applause. For their second set at the Afterburner, they were back to their post-metal selves, screeching, pounding and shredding in exactly the way we know and love them. Leaving us to timidly watch the ripples forming in our beers as if a T-rex came stomping by, while the magic from the night before faded to a distant memory.

Amenra, by Susanne A. Maathuis Photography

Amenra, by Susanne A. Maathuis Photography

An unexpected highlight on the Saturday was Brothers of the Sonic Cloth. Both captivating and furiously loud, their psychedelic visuals and droning music created the perfect setting for a lot of people to hang out on the floor of the main stage and take in the wall of sound the Americans produced. For those of us feeling more awake, progressive space-rockers Astrosoniq, led by a very Rock’n’roll looking singer, gave a more fast-paced performance in the Green Room. Walter, in official terms the artistic director of Roadburn, but in reality the true heart and soul of the festival, brought out his visuals to accompany Astrosoniq’s very psychedelic guitar riffs.

 

Ghostcult Astrosoniq 47

Astroniq, by Susanne A. Maathuis Photography

Roadburn 2014 favorites The Vintage Caravan showed up for a surprise gig at café Cul de Sac on Sunday. Well, I say surprise, but 30 minutes before showtime the venue was absolutely packed with people. There is only one way to actually see a band in Cul de Sac: be hella early. So we found ourselves snuggly between 150 hot and sweaty, hungover fans with no chance of reaching the bar or the toilets in the next hour-and-a-half. But boy, was it WORTH it. The Islandic rockers tried to drill out our hangovers with their heavy bass and guitarist Oskar‘s relentless headbanging let us forget that this was our fourth day at the festival already and we were supposed to be very tired.

The greatest thing about Roadburn must be the diversity of the people you meet. Surrounded by more foreigners than native Dutch, you usually leave the festival a couple of Finnish words wiser than you were before (none of which probably as innocent as they led you to believe). However, I’m not going to lie: people watching is right up there on my list of favorite pastimes, and there really isn’t a better place for it than Roadburn. Mainly because metal shows in themselves are beacons of creative and eccentric people. And Roadburn, well, that is the holy grail of metal shows. Amidst a goldmine of glorious manes and enviously long beards, there seem to be more crust punks than usual (thank you G.I.S.M and Converge) and of course every back patch under the sun.

 

 

Neurosis, by Susanne A. Maathuis Photography

Neurosis, by Susanne A. Maathuis Photography

 

Neurosis, by Susanne A. Maathuis Photography

Neurosis, by Susanne A. Maathuis Photography

 

Neurosis, by Susanne A. Maathuis Photography

Neurosis, by Susanne A. Maathuis Photography

One of the most spotted patches this year was obviously Neurosis. You’d think that playing two ’30th Anniversary’ sets would bring about its problems. After all, having a thirty-year spanning discography to choose from can’t be easy. Remarkably enough Neurosis managed to represent each and every one of their records during their shows, right back to their 1985 hardcore punk debut Pain of Mind. It is astounding to see how much they have grown and changed over the years, before they settled into their skin of a contemporary hurricane of genres, set to a baseline of doom. When the final tones of 1999’s ‘The Doorway’ sounded at the Afterburner, it left us with nothing but goosebumps, hands sore from clapping and a profound sense that 366 days are way too many to wait until the next Roadburn.

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WORDS BY CÉLINE HUIZER

PHOTOS BY SUSANNE A. MAATHUIS


Desertfest Belgium- Part 2: Live at Trix Antwerp


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Saturday we kick things off with Beelzebong, who give us the swamp soaked heavy slur of stoner doom riffs we’ve been so craving. These guys know how to his the sweet spot of heavy and oppressive, yet hypnotic. They turn the crowd in front of the Desert stage into a sea of bobbing heads, a sight that makes for great start to the day.

Monomyth, by Susanne A. Maathuis Photogaphy

Monomyth, by Susanne A. Maathuis Photogaphy

Since we get some rare sunshine in the beginning of October, we decide to recover from last night’s first day in the brittle warmth of the autumn sun in the outside seating area, and catch up with some friends.

Monomyth, these masters of the hypnotic cadence are not new for me but a lot of people were happily surprised by their prowess. Their gigs tend to sound like one long jam, and amazingly don’t get boring while they weave on and on in an almost circular way, pulling you deeper into the trance-like state their music conveys. While these guys make some really spacey psychrock, the usually omnipresent guitar noodling is quite minimal and has a more rhythmic notion with this band, repeating and embroidering on the same pattern, building layers and layers of spacey goodness.

After the enjoyable Monomyth set we catch a quick glimpse upstairs in the Canyon stage of Vandal X, these Belgian noise rockers pick up the tempo and shake us awake. Distinctly punky, yet a little heavier and stranger than punk, these guys kick you straight in the teeth. Having apparently inspired such bands as Raketkanon according to the booklet these forefathers of the no-nonsense, bash your head into the wall kind of noise rock are living up to their title. Noise Noise Noise, indeed.

Greenleaf, by Susanne A. Maathuis Photogaphy

Greenleaf, by Susanne A. Maathuis Photogaphy

After the rude awakening with Vandal X we go downstairs to see Greenleaf. The moment the band starts the grove is amazing, the thick heaviness is there, and everything sounds incredible, if a bit stripped down to make room for what we assume is going to be vocal driven Stoner. Pinching just a little too much I get the distinct feeling the vocalist is trying to sing a way that doesn’t fit him naturally, and the rest of the music just isn’t intricate enough to be able to ignore a less than impeccable vocal performance.

Thankfully the guys from Mars Red Sky are there to cheer me right up again, with their 70s infused doom. Their groove is one of the best and most catchy of the festival. In a genre often drowned in fuzz and distortion the use of oftentimes clean bass lines is refreshing and really hitting that spot. Soaring guitar lines coupled with remarkably light vocals with just enough echo to make their music sounds quite otherworldly. The contrast of heavy and light, floating and sinking make this band a fascinating experience well worth listening to.

Orange Goblin by Susanne A. Maathuis Photogaphy

Orange Goblin by Susanne A. Maathuis Photogaphy

Now I have the hard task of writing a review of Orange GoblinOrange Goblin is one of the heavyweights in the genre, and seeing them live is nothing short of spectacular. They clearly have that oh so British touch in their approach to metal that takes a lot of influence from punk and just a general slow burning anger at the world no other nationality has quite mastered, maybe it’s the weather. The riled up crowd starts milling in front of the stage in an enormous moshpit that doesn’t let up until the set is over.

To kill the time before Earth start and not just hang around chatting to the many wonderful people this fest attracts, we go catch a few songs by Causa sui. The trippy background projections are pretty cool, but sadly the band evoke a distinct feeling of trying too hard to fit into the psychrock box. The whole thing feels a bit formulaic, and instead of expressing the joy of letting a trip come over you as good psych does, they just leave me with a vague sense of emptiness.

Earth, by Susanne A. Maathuis Photogaphy

Earth, by Susanne A. Maathuis Photogaphy

Earth have the honor of headlining today, and I’m quite interested to see how they do. The band is known for it’s super slow and heavy laid back instrumental drone, and while this is in itself wonderful music, it’s something that is really hard to get into when you’ve been on your feet all day and have just seen Orange Goblin destroy the Desert stage with a vengeance. This is a band you definitely need a chair and a good dose of substances for to really get into, but for me, at that time of the day, they just were a bit too slow in their heavy. About midway through, the after party starts, at which we get a second dose of Orange Goblin madness, but this time behind the dj set.

Tangled Horns, by Susanne A. Maathuis Photogaphy

Tangled Horns, by Susanne A. Maathuis Photogaphy

Sunday, lazy Sunday. We start things of with a local Belgian band who’ve clearly not lost any steam over the weekend. Tangled Horns pretty much tangle us in their horns. Fast paced with a franctic frontman who will climb anything makes for a great show. There is a definite raunchy twist in the stoner these guys make, that does definitely remind of 90’s grunge and even a punky atmosphere. Definitely a band worth catching live.

Next we keep the pace up just as high, with the party band extraordinaire Valient Thor. They are one of the few bands on the bill to really get people moving and have banter between songs. As it is a time-honored tradition in the stoner and doom scene to stare at your shoes and mumble thank you, it is refreshing to hear a man remind us we’re all really descendant from space dust in a hilarious way before linking it to the next song and setting off another bout of frantic, happy party punk. These guys would do well at any festival.

Ufomamut, by Susanne A. Maathuis Photogaphy

Ufomamut, by Susanne A. Maathuis Photogaphy

After grabbing dinner at one of the many food carts, we go watch Ufomammut. Over the last few years this group has made a reputation for being transcendent and while I see why people love them and where this reputation comes from somehow it just doesn’t hit that special place that makes the experience more than just music for me personally. They still were good but I didn’t see the magic others clearly see in them.

Sometimes there are bands that do everything right and still miss something, and just don’t work. Usually this is personal taste thing and hard to put your finger on, but with Bongzilla I feel I know exactly what was missing for me. These guys make standard sludge, and they do it well, but it’s all a little too clean. Sludge for me needs to be dirty and redneck and Louisiana swamp infested. It needs to feel wild and a little dangerous, heavy and sticky like the sweat is running down your back into your asscrack and the mosquitoes are eating you alive. Sadly this little bit of swamp of dirt and grit is exactly what was missing with Bongzilla.

Child, by Susanne A. Maathuis Photogaphy

Child, by Susanne A. Maathuis Photogaphy

My disappointed mood was quickly turned when friends I’d made urged me to stay downstairs and skip Fatso Jetson in favor of the Australian band Child. We got treated to a three-piece making some of the heaviest blues I’ve heard in ages, with a groove that was utterly unparalleled by any band on the bill, and most of all a voice that will melt the polar icecaps. The remarkably heavy main riffs get broken up by beautifully soulful blues guitar lines creating a refreshing contrast.

To conclude our stay in Antwerp I use the last of our coins to buy a few of the excellent cocktails at the little cocktail stand outside, and head upstairs for the final after party, not getting home until five in the morning, exhausted, charmed and satisfied. Until next time, Desertfest Belgium.

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DESERTFEST PART I REVIEW:

WORDS AND PHOTOS BY SUSANNE A. MAATHUIS

 


Desertfest Belgium- Part 1: Live at Trix Antwerp


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Desertfest Belgium is one of those names that in the European stoner/doom scene has developed a reputation for a good party, a place to see your favorite bands and meet friends from around the world. In Belgium this festival just had its second run, and that means this big name festival still has the small intimate atmosphere so much revered by the scene they cater to. This weekend we are promised a feast of heavy with the occasional pallet cleanser of psych and as is wont at these sort of fests, it turned out the smallest room often held the biggest treasures.

Monolord01

Monolord, by Susanne A. Maathuis Photogaphy

On Friday, I arrive at the venue just able to catch the last notes of Planet of Zeus, having gotten stuck in the traffic nightmare that envelops Antwerp every Friday afternoon. Exploring the labyrinthine venue of Trix took some doing, but after getting out bearings, finding the food and drink stands outside and a look around the merch stands it is nearly time for Monolord to open the main stage. This Swedish riff lovers are mentioned next to some of the heavyweights of low and slow riffing, like Yob and Sleep, and while they are excellent in their own rights, they somehow miss a bit of the magic that makes those two bands special for me. Maybe it is something this relatively young band will develop with time, having only started in 2013.

The Heavy Crown, by Susanne A. Maathuis Photogaphy

The Heavy Crown, by Susanne A. Maathuis Photogaphy

After Monolord, I decide to see some Belgian talent in the form of The Heavy Crown. These 70s stoner inspired rockers, with a surprisingly smooth vocals are intriguing enough to keep me away from the Machine’s set for almost its full running time, and the organ parts really cut nicely through the riffs. Next up is Moon Duo, making their hypnotic trance like psychadelica on the Desert Stage.. Somehow these guys make excellent psych but do nothing special for me. A really static visual show with some sort of tripped out projections don’t add much either. Wucan are by far the most interesting band in the 60s and 70s inspired folk prog rock, feeling like they stepped right out of the era. Flutes, synths, theatrical book reading and even a Theremin are toted out during the set. No wonder it’s nearly too busy to get to the front and snap a few photos. These guys are one of those undiscovered gems you got to a festival like Desertfest for.

 

 

 

Moon Duo, by Susanne A. Maathuis Photogaphy

Moon Duo, by Susanne A. Maathuis Photogaphy

 

Wucan, by Susanne A. Maathuis Photogaphy

Wucan, by Susanne A. Maathuis Photogaphy

By the time they’re finished and people have milled out of the room, I realize I’ve missed Stoned Jesus, and move to the Desert stage to get a decent spot for Dozer. The vocals are strangely light and thin when you hear the beefyness of the rest of the music, but it’s obvious these guys come from the same tradition as Kyuss. They have that big American “desert rock” sound; that somehow can only be acquired by leaving your band to mature and dry out in the heat and the sand.

Dozer, by Susanne A. Maathuis Photogaphy

Dozer, by Susanne A. Maathuis Photogaphy

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WORDS AND PHOTOS BY SUSANNE A. MAATHUIS


Eistnaflug Festival: Various Venues Neskaupstaður, Iceland


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In a little town on the east coast on Iceland, Eistnaflug is a small festival still barely noticed by the larger world. With names like Kvelertak, Behemoth, Enslaved, Rotting Christ, Inquisition and Carcass on the bill this year, the world is beginning to take notice. We make the long trek, passing through all of Iceland as we travel from Reykjavik on the west coast round the island perimeter all the way east. In the town of Neskaupstaður (pop. +-1000), the past 11 years Eistnaflug has been swelling with metal fans, this year by almost threefold. With the midnight sun in Iceland in July, and the festival’s average end at 2 in the morning, walking out of a dark venue into what feels like daylight is estranging. The party then rages on at various after parties and especially the camping. Usually these parties keep going until the local pool opens, which is outdoors, open early and until late and has several hot tubs, an ice tub and a sauna, next to some incredibly fun slides. It is so much part of the festival, several visitors choose not to sleep in their tents, but party until it opens, then nap in its shallow warm bath until the festival starts again at two in the afternoon.

Sólstafir, by Susanne A. Maathuis Photography

Sólstafir, by Susanne A. Maathuis Photography


Apart from the beautiful scenery and impressive party attitude, this is primarily an Icelandic music festival. Most of the Icelandic bands write their lyrics in Icelandic, and speak it on stage, which can be somewhat confusing for visitors. However the rugged beauty and isolation, desolation and cold of the landscape, yet the warmth and joy of the 350,000 population of this quirky land seeps into each bands music in such a way, that even native bands we have experienced before like
Sólstafir and The Vintage Caravan suddenly are placed into a much wealthier context. It was a very special feeling to stand in a crowd of rapt Icelanders who all sang along with Sólstafir’s masterpiece ‘Fjára.’ The Vintage Caravan show as notable, not because of its intense serene beauty and the locals singing along, but because they decided to have a surprise, appearing dressed and made up as lovely girls on stage, while being aired live on national TV. Well played lads, or, uhm, lasses?

The Vintage Caravan, by Susanne A. Maathuis Photography

The Vintage Caravan, by Susanne A. Maathuis Photography

 

The big Icelandic closers of each day are some of the biggest draws for the locals as they relate best to these acclaimed and respected bands. Dimma’s dark soulful pop-infused rock, with a sad smile, yet determined perseverance, Kontinuum’s almost new-wave soundscapes that are perfect for a drive around these beautiful lands, Ham’s funky soul rock music party that got everyone dancing topless, with their powerful “we are Ham, you are Ham!” earning cheering crowds. The big international headliners were an exciting novelty for the Icelanders, whose remote country is rarely visited by these bands. All gave excellent shows, as was expected, though Carcass and Enslaved I’ve both seen giving better performances at times. Behemoth gives an incredibly impressive and professional show, where ever little gesture is precisely thought out to support the music. Even the local police on duty, enjoyed them with the biggest grins I’ve ever seen on men in uniform. Kvelertak is known as an exhilarating live band, the immense energy they exude and the utter joy they instilled in the shouting crowd is something I’ve not seen often before. Their reputation is well founded.

Kvelertak, by Susanne A. Maathuis Photography

Kvelertak, by Susanne A. Maathuis Photography

 

Part of the incredible atmosphere of this little fest is how friendly the locals are, offering rides through the icy rain when the so called “East fjord mists” rolled in on the Friday evening, flooding the campground. The festival itself has a very merry DIY feeling, it’s amazing to feel the chaos almost tear things up, yet somehow through creativity and dedication of the organizers everything always goes well and even turns out better than expected. When the campground flooded, the Saturday to Sunday night the venue the festival used to be held at, this year serving as its “off venue” got cleared out for wet and cold campers to sleep in. Another special mention should be made of the ingenious idea to have a special early children’s program on the “pre-party” Wednesday of the festival, where until ten at night children under 16 (and many were well under) are allowed to visit the concert with their parents or guardians there.

Auðn, photo by Susanne A. Maathuis Photography

Auðn, by Susanne A. Maathuis Photography

The real gems of the festival however were the smaller mostly Icelandic bands that opened the festival days and played in the off venue. Sadly, it took me a long time to discover this second venue where the festival used to be held before, a place with a great atmosphere and built as a proper venue, not the gym hall used for the main event now. And with any festival that has as many bands as Eistnaflug on her bill, you always miss something great. I did. I missed the Icelandic black metal Wolf’s mass “Úlfsmessa”, and heard it was excellent beyond belief. This doesn’t mean I missed out on all the excellent new discoveries or acclaimed underground bands. Among these great shows were Auðn, Icelandic atmospheric black metal, with a gentility that reminds of Alcest, but a much more brutal set of pipes on the vocalist and a much gnarlier feeling in general. The groovy as hell Churchhouse Creepers. Misþyrming was also were involved with the wolf’s mass, and take black metal to a cold, grating upsetting place where it belongs, pushing and stretching it as far as it will go. The deep, slow moving LLNN form Denmark with their apocalyptic end of the world based lyrical material, rips you from reality. Britain’s acclaimed Conan almost shook the main venue out of bounds by sheer heaviness, and inspired much brotherly love between metal heads. Hardcore band Icarus, who managed to take me by surprise me by not having any of the general nuisances that turn me away from the genre as “too teen angsty” but keep the immense energy and destructive power this youthful genre is known for. Lvcifyre (UK) whose brutal and demonical mix of black and death will have your head spinning, with their impressive darkness sucking you in. And aside from all the metal, Eistnaflug also sports some interesting classic Icelandic punk bands, like Dys and the rather excellent Saktmoðigur. Of course there are always let downs. Two bands I’d heard many good things about but just failed to impress me, both Sinmara and Agent Fresco failed to live up to the buzz about them beforehand.

Icarus, by Susanne A. Maathuis Photography

Icarus, by Susanne A. Maathuis Photography

Conan, photo by Susanne A. Maathuis Photography

Conan, by Susanne A. Maathuis Photography

Behemoth, by Susanne A. Maathuis Photography

Behemoth, by Susanne A. Maathuis Photography

Enslaved, by Susanne A. Maathuis Photography

Enslaved, by Susanne A. Maathuis Photography

 

In all this I’ve barely had room to mention the silly stunts pulled and costumes worn during the festival, nor the excellent panels held in the Hildibrand hotel. Eistnaflug leaves one excited yet exhausted, and need some time to be reflected on, and being conveniently located on the world map as a stop-over between Europe and North America, all I can do is suggest you go see for yourself. It’s an experience that simply cannot be put into words.

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WORDS AND PHOTOS BY SUSANNE A. MAATHUIS


Fortarock: Part II Live at Nijmegen, NL


FortaRock 2015 A6 final 107x150mm_0

 

Crowd at Fortarock, photo by Susanne A. Maathuis

Crowd at Fortarock, photo by Susanne A. Maathuis

Exodus, photo by Susanne A. Maathuis

Exodus, photo by Susanne A. Maathuis

Exodus are known for their fast paced and high energy live shows, and this was no exception. The musical equivalent of a kick in the teeth and a moshpit that left many bruised and battered finally give the bloodthirsty thrash fans in the audience what they were thirsty for all day. And while the summer sun-scorched the pit and the aggressive assault of sound infected the crowd, singer Steve Souza reminds them that while he loves the violence, pick one another up.

Lamb of God, photo by Susanne A. Maathuis

Lamb of God, photo by Susanne A. Maathuis

Lamb of God are known to be utterly brutal, a reputation they keep on this warm June day in Nijmegen. They’re also an experienced and excellent festival band, pulling crowd from all over the fest. The shops and stalls at the other side of the field are pretty much deserted as the band take the stage and fling their groove metal into the sweltering sun. The heat really picked up, leading vocalist Randy Blythe to douse his head in water several times, but didn’t deter the high energy show the band gives. Blythe also made a small comment about pit etiquette, reminding the whirling crowd we’re all in this together. All in all an excellent and thunderous performance.

Clutch, photo by Susanne A. Maathuis

Clutch, photo by Susanne A. Maathuis

Now it’s time, I finally get to see Clutch live. After cancelling part of their summer tour last year, the American stoner-rock band finally visit our continent again. And boy do they deliver. All of them are incredible musicians, and the crisp quality of the soundmix is incredible for an outdoor fest. They get a metal crowd to shake some booty to their bluesy, groovy psychedelic rock with Zappa-esque lyrics. And while most of the band has little stage presence, the focus pulled by their excellent front man, Neil Fallon, means they’re interesting and fun to watch, if you’re not to busy getting your groove on to the excellent timing and swung of the drummer, Jean-Paul Gaster.

Epica, photo by Susanne A. Maathuis

Epica, photo by Susanne A. Maathuis

After a quick bite to eat of one of the many stands that little the festival terrain, we head over to the main stage to see Epica. They honor their name by the stage setup they tote out and definitely know how to rock the pyro. Add to that the excellent vocal condition Simone Simmons is in today (something that can sometimes be a bit of an issue with the band) and the incredibly tight and larger than life show, this is an excellent show. It’s also good to see every member of the band getting involved in cheering the crowd on, who lap up the hand gestures and clapping that even their keyboard player joins in with. It’s small wonder they got awarded an export award a day prior for selling most records outside of our own small speck on the map.

Venom, photo by Susanne A. Maathuis

Venom, photo by Susanne A. Maathuis

You don’t go to a Venom gig to hear excellent musicianship. You go for the show. Pyro, insanity and a hell of a lot of energy, even some good musicianship from guitars and drums, however the bass is all over the place. Does this matter? Hell no! Venom is about frothing at the mouth and gleefully smashing your first into someone’s face, who then grins at you and returns the favor. Oh and fire! Though it seems vocalist and bassist Chronos had forgotten about the timing of the pyro, and set his own hair on fire briefly, but even that cannot stop this juggernaut of a band as the violent fun must always continue!

Slipknot, photo by Susanne A. Maathuis

Slipknot, photo by Susanne A. Maathuis

As dusk sets in and the last golden rays of sunlight hit the main stage, Slipknot get their show on the road. This is a whole different league to anything we’ve seen today, with flying and turning mini-stages for the percussionists, the masks, extra lights, and more. And what about the music you ask? You can love or hate Slipknot, but they are all good musicians, with an incredibly eye for detail and showmanship, that doesn’t in any way strip away from the musical quality of the show. The switches between clean vocals and grunts by front man Corey Taylor are tight and impressive and for an hour and a half the band has the entire grounds captivated. This is much more than a gig, this is a music based circus act, that brings you up and down whenever the band feels like it. A fitting end to an excellent day of this reputable fest.

Slipknot, photo by Susanne A. Maathuis

Slipknot, photo by Susanne A. Maathuis

 

Slightly sun-burned and quite satisfied the visitors and me leave the festival grounds to the buses, on our trek home. Fortarock, we thank you.

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WORDS AND PHOTO BY SUSANNE A. MAATHUIS


Neurotic Deathfest 12 Part II: Live at 013, Tilburg NL


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Sunday also started out very slowly, people were slow, I was slow, my friends were slow. This was hangover day and we were finding remedies for them. After trying milk, coffee and a good breakfast we were feeling more OK. And then we went up to see Internal Suffering. But once again we notice, this band was a victim of the bad sound. I hope this gets better when the 013 had its renovation. We left soon and spent more time waking up. It was hard to get on track this day and you noticed that the news that this was the last neurotic deathfest slightly put some sadness over some people. Imagine the old-school rockers that have been there all 12 editions. That must be a big loss for them. I have only been there four, and I even felt like I lost something.

All good things come to an end and we are going to listen to the last sounds of battering drums, shreiking guitars and grunts that almost make you sick in your stomach. The last few breaths of utter pain.

We went up to the smallest stage which is going to disappear after the renovation for the last time for Neuroma. These happy British guys know how to add in a good dose of humor. I still need to meet the singer’s grandma, he promised that from the stage. There we stood for a nice piece of brutal death, and we got a little bit of a comedy show too. This made this show even more enjoyable. The music was good! I think without the cunningness of their singer I wouldn’t have enjoyed them this much. It does count if you ask me.

Crowdsurfer at Neurotic Deathfest, by Susanne A. Maathuis

Crowdsurfer at Neurotic Deathfest, by Susanne A. Maathuis

 

So been there, done that, got a t-shirt. We were really looking forward to seeing Immolation. But that still took a while and because it was such good weather we decided to go away from the festival and search out a nice little terrace. Just 30 meters from the 013 there is a long street with only bars and clubs. People who have been to NDF or Roadburn before must know about this street. In the south of The Netherlands we are used to quite a burgondic life and with that nice food and nice beers and wines go along with it. We don’t deal with shit. That is why you seldom see Heineken in this area. We are keen to Belgian beers and definitely Belgian special beers. Speaking about special beers, on the end of the street where you almost enter the city center you have a café called the “buitenbeentje”, which simply means “outsider”. This is a café with the cheapest beer in whole of Tilburg, and they also have a great variety of special beers and whiskeys. And you can go cheap, or even expensive if you feel like it.

Immolation, by Susanne A. Maathuis

Immolation, by Susanne A. Maathuis


We went back and head for Immolation, this time they were only with 3 members. One guitarist had a family emergency back home and stayed home. It was a little bit empty when Robert Vigna started playing his virtuous solo’s. He is always so much fun to watch, it always looks like he is having a party on his own on the stage with his happy face: “look mom! I make death metal”. I love it. Immolation did show that even when a member short, they can still put up some good old death metal! It was tight, but it sounded different. But that is more than logical if you ask me.

And then we got Obituary. This actually was the first time I’ve seen this band, so I was pretty excited about what to come. These guys are legendary and one of the founders of this genre. I somehow needed to see this band and I don’t get why I haven’t done that before.

Obituary, by Susanne. A. Maathuis

Obituary, by Susanne. A. Maathuis


Obituary started to play and it immediately turned into a big pit of epileptic people in the front. It was notable that there were a lot of die-hard fans in the audience. They came with a sound that was unbreakable and the best sound I have heard on Neurotic up untill now! I enjoyed this. One song also got dedicated to the recently passed local “Fozz Bear” which gave me and a lot more Tilburgians quite some goosebumps. Obituary performed a great show with a lot of passion. And for that we thank them.

But now the unthinkable, Neurotic Deathfest was to an end, forever. The screens showed a huge “Thank you for 12 years of Death Metal” and all the posters of past editions. From the editions in the Baroeg in Rotterdam, to the Dynamo in Eindhoven, and the last years in the 013 in Tilburg.

Thank you Neurotic Deathfest for 4 years of death metal.

 

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WORDS BY KAAT VAN DOREMALEN

PHOTOS BY SUSANNE A. MAATHUIS


Neurotic Deathfest 12 Part I: Live at 013, Tilburg NL


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It was that time of the year! It was time for the annual festival full of Death, Grind and Slam metal. It was time for Neurotic Deathfest again. We were blessed with another year with extremely good weather and after drinking some beers at a local bar we strutted to the 013 venue. We are going to talk about the atmosphere, why do I always want to go to Neurotic Deathfest so bad, and I will highlight some bands.


The reason I love to go to Neurotic Deathfest is at first my love of death metal off course, but what also counts is that the 013 is comfortable. I live in the city of Tilburg, which means that I can sleep in my own bed and my whole group of buddys is headbanging or somewhere else in the city.

But this year was different. This year it was clear the atmosphere was different, ther was a cloud of astonishment hanging in the air. There was something going on, we were soon to find out. We hadn’t gone up to get a festival program, but when we did, we knew what was going on. This will be the last Neurotic Deathfest ever!

Farewell message from the Neurotic Deathfest Program

Farewell message from the Neurotic Deathfest Program


After hearing this news it kind of hit me like a bomb, Neurotic Deathfest was a statement for the city of Tilburg. Even Non-metalheads knew what was going on when this festival was in town again.

Dutch bands always represent on this festival and Koprse was one of them, the first pit is a fact and this venue was filled up. This was blasting to the max! We still had to warm up but we were ready for a party and Korpse made you feel like you wanted to party. So you got back from the venue with five extra beers in your stomach to go on to the next show.

Morgoth, by Susanne A. Maathuis

Morgoth, by Susanne A. Maathuis

Morgoth was a band that had high expectations for us. The big venue was still a bit quiet. It was not crowded enough to get the party going and get the feeling of a crowded place. Morgoth started to play and we noticed that this is a band that means serious shit. Nice piece of death metal with a tight hard and a sound that filled up the whole place with a nagging feeling. This band made me think of Asphyx for a bit, not for all of the music but more about the kick this band gives in your nuts.

 

Entombed A.D., by Susanne A. Maathuis

Entombed A.D., by Susanne A. Maathuis

Strutting around the venues there was a swirling mass of people, it got more crowded The more we got to the headliner Entombed A.D. the more people got excited.


Entombed A.D. for me the least interesting headliner. So I might have drifted away sometimes in the show. Though this band was dominant over the rest of the bands, they never stood on Neurotic Deathfest before but they rip this place apart. Front man LG Petrov shows that he enjoys doing this and isn’t afraid to show this to the audience. A golden shine rises from the stage and gets thrown upon the audience, they get wild. Entombed is a band from the first hour and the A.D. does add something to the name, but the music still stands tall. Good job guys, they definitely got me more interested into Entombed.

The Afterparty was headlined by the also Swedish band Tribulation. Tribulation and Entombed don’t have much in common though, but both bands do know how to show the audience some enthusiasm about their music.

 

Saturday

 

Day 2 started way more crowded than the Friday. We all had the idea that Friday was very low on visitors. We were still having fun but it did something with the overall atmosphere, the 013 is more built for crowded concerts but not that much for a calm party. Maybe it was time for the last edition, the line up was interesting though even I have seen most of these bands before. If you wanted to explore new bands, you had some chances but most of the bands everybody has seen multiple times. It were good bands, you wont hear me complain about that.

Talking about good bands, let’s start about Disavowed, there is no better wake up call than Disavowed. This dutch band is a band we have to keep in mind, it was amazing and this front man Robbe Kok really shows what enthusiasm is. You could see he was happy to open the Saturday of Neurotic Deathfest for bands as Benighted and Bloodbath. With a swing he drops himself in the audience and climbs in the barriers. This is energetic and a bulk of energy a lot of bands could learn from. This band does not fly on autopilot.

Disavowed almost had a full venue and they opened on the main stage, this was in great contrast with the Friday where the main stage wasn’t filled up until Entombed. This was good for the overall atmosphere and coziness amongst all metalheads. There was enough beer to give a 3rd world country and food your bowels got mad about. Today you knew you were at a festival.

Friday I spoke about looking for new bands, and this was one of the perfect examples of one of these bands that I didn’t know and got completely siked about! PerfeCitizen is the loudest, hardest most brutal stuff I heard in years! This got in my ears that it was pure sweet ear-rapement. Already after hitting the first chord, if it even was one this band shows its hardness, but also their tightness and know how to play. This is one of the bands where the drummer will make it or break it, but he definitely made it. You don’t hear it often that you hear a drummer go this fast and tight like him. Jarda Haž shows what drumming is all about and it gets clear why this is called “Blastcore”. Missed this band? To bad, for me they were one of the best bands of Neurotic Deathfest.

Dead Congregation, by Susanne A. Maathuis

Dead Congregation, by Susanne A. Maathuis

 

One of my favorite genres is Deathdoom. Imagine a candle dripping slowly and oozing all over your table and drips on your toe to sometimes break open the gloomy feeling that came over you. One of these bands that perfectly know how to do this is Dead Congregation, it was time to throw some good old darkness into the audience. If it wasn’t for the soundguy, this band normally knows how to bring this feeling and make you feel naggy. This was just a shame, they became a victim of their own sound and this is why it didn’t really got to me this time.

 

Origin, by Susanne A. Maathuis

Origin, by Susanne A. Maathuis

 

As we already discussed there is a big amount of old friends we have seen on Neurotic already. Origin is one of these bands. And I understand why they ask them back all the time. This is just an awesome tight Techdeath band brought with a great bunch of humor from the singer. Straight from Origin we started waiting for Bloodbath, we wanted a good spot we were siked for this show. There were a lot of chatter going on: is this a new singer for Bloodbath? Is this going to work? Doesn’t it affect the sound? How will this affect the audience because this Nick Holmes (Paradise Lost) is a completely different kind of person than Mikael Akerfeldt.

Bloodbath, by Susanne A. Maathuis

Bloodbath, by Susanne A. Maathuis


We were waiting for what was going to come at us. The venue filled up. We had our beers already paid in front of our nose. You could hear the tension in the air. Bloodbath, not on an open-air festival and in such a setting. Then the venue went dark and we knew Bloodbath was gong to enter the stage and we would soon hear the first chords. This band is theatrical and sometimes maybe a bit plastic. It started as a tribute to old school Death Metal. The vocals were good. Actually very good! They went back to a more old-school sound. Though I am a big fan of Opeth and Mikael, and it is hard to admit for me, but I think I like Nick Holmes more in Bloodbath.

 

WORDS BY KAAT VAN DOREMALEN

PHOTOS BY SUSANNE A. MAATHUIS

 


Satyricon – Oslo Faenskap – Vredehammer: Live at Nijmegen, Doornroosje NL


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The day before Easter Sunday we set out to see the Norwegian Satyricon open their latest European tour, the only one of this year they announced. Supporting their recent Live At The Opera (Napalm) DVD, the band have decided to do things in their own time and their own way this time around.

When we arrive just before the time the show is about to start we’re met with closed room doors and a susurrus of rumors in the waiting crowd. Satyricon arrived later than expected, and now the stage still has to be set and soundchecks done. The time is pushed back half an hour, and both supporting acts, Oslo Faenskap and Vredehammer, were reduced to 15 minute sets.

Oslo Faenskap, Photo by Susanne A. Maathuis

Oslo Faenskap, Photo by Susanne A. Maathuis


Oslo Faenskap take the stage first with fire and verve, determined to show us 15 minutes can be convincing. The crowd however doesn’t agree and no matter how much the band try to be brutal, badass and ‘fucking” make us move, most people stare at them in polite patience. The fact the band play a mix of more modern metal styles, best characterized by metalcore and nu metal influences, and their overblown stage presence as an opener just don’t strike the right chord today, while their effort is praiseworthy.

Vredehammer, Photo by Susanne A. Maathuis

Vredehammer, Photo by Susanne A. Maathuis

After a quick changeover we get Vredehammer who are clearly unhappy about the unexpected shortening of their set. It means the band only play two songs, as quipped at by their vocalist Per Valla; “this is the shortest set in history”. The crowd responds to the Norwegian black metal outfit better than they did to Oslo Faenskap, and start to warm up. Both bassist and guitarist of the band give a valiant effort, but less than optimal sound on the drums and general mix mean some of the more delicate atmospheres of the band disappear into tinny drums and a general feeling of potential but too little time.

Satyricon, Photo by Susanne A. Maathuis.

Satyricon, Photo by Susanne A. Maathuis.

And then for the main course of this musical meal: Satyricon. The crowd who had stayed mostly in the back of the room slowly mill forward, finally giving the venue a cozily full feeling. The anticipation in the front few rows can be felt on your skin as an almost electric shiver passes through the crowd when finally the iconic mic-stand, covered in horns, is brought on stage. The band arrives to the tones of ‘Voice of Shadows’ to loud cheers from the audience and a forest of raised fists and horns. The bar is immediately set incredibly high as the band launch into their two hour long set full speed, playing new and old tunes alike, though favoring their post-Vulcano repertoire. The crowd seamlessly answers front man Satyr’s every suggestion, as they shout on command and are coaxed to throw horns and even form a moshpit. Satyr explains that the few tours the band will do from now on will be special, and tonight they would like to share with us some work in progress ideas for songs, as they launch into three instrumental pieces. Sadly in the second of these jams Satyr’s guitar gives out and it takes half the tune to get it set again, but even that cannot ruin the performance as the fans happily listen to what might become new material. Ending the set on the classic ‘Mother North’, to which the full crowd sing along, the band leave the stage. The crowd waits in eager anticipation for their encore, consisting of hit songs ‘Fuel For Hatred’ and ‘K.I.N.G.’, after which a glowing band thank their fans with one of many bows. We leave the venue at the respectable hour of midnight, to the gentle tones of ‘Natt’ as the outro, happily satisfied that a gig that seemed plagued by Murphy’s Law at first persevered and after a rough start soared to heights only a veteran band and like Satyricon can deliver.

 

Satyricon, Photo by Susanne A. Maathuis.

Satyricon, Photo by Susanne A. Maathuis.

Satyricon, Photo by Susanne A. Maathuis.

Satyricon, Photo by Susanne A. Maathuis.

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WRITTEN AND PHOTOGRAPHED BY SUSANNE MAATHUIS