Tag Archives: Solstafir

Struck A Nerve (Part I) – Toschie Rod of Audrey Horne

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Early in 2013 Scandinavian rockers Audrey Horne put the cat well and truly among the rock pigeons, with a stand-out third album Youngblood. Eighteen months further on and follow-up Pure Heavy is cooling in the racks and the band are back doing what they do best, bringing their brand of rock n’fuckin’ roll to the live stage… In the first of a two part feature, Ghost Cult was delighted to catch up with live wire front man Toschie Rod.

 

The last time I met Audrey Horne’s affable and effortlessly charming lead singer Toschie Rod, he was wearing only a pair of black underpants. Before your imagination starts running away with you, he was backstage at the band’s triumphant appearance at the London Garage back at the start of last year and was dutifully signing vinyl copies of his band’s latest and earlier works for yours truly.

Upon reminding him of this encounter, Rod is politeness personified; he genuinely doesn’t remember, which I suspect is the best thing for all of us. This latest meeting – fully clothed, I hasten to add – midway through the band’s latest UK tour in support of the group’s latest album, the hard rockin’ Pure Heavy (Napalm) gives us a chance to reflect on where the band are in 2014…

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“2014’s been good…it’s been… interesting.  Busy. We’ve been busy. I’m just thinking back to even before the start of this year, you know. We have just been so exceptionally busy. After Youngblood (also Napalm) came out we did 3 tours in Europe; one with Long Distance Calling and Solstafir, one with Karma to Burn and Ghold and one with Grand Magus. Oh yes, we also did that a short British tour with The Mercy House. In the first half of 2014 we spent a lot of we spent a lot of time writing music and recording stuff until we went into the studio to put down Pure Heavy; so, yeah, 2014 has been a busy, busy time….”

Have you been surprised by the reaction to Pure Heavy? Has it been a good surprise?

“Yeah, it’s been good. I mean, let’s be clear about this, Youngblood was a turning point for us as a band and also musically. We had reached a point, I think, where a lot of things became “just business” and not pleasing ourselves. We decided that we needed to get back those good feelings about why we had put the band together in the first place. Think about it this way – there is a big difference between writing and recording stuff on your own in a bedroom when you are coming up with small bits, recording it, then doing some more, recording that, and on and on. Whilst you might get some really good stuff from that process, it is stop start and not very… organic. When we released Youngblood it was a completely natural organic process for us. We have tried to do the same with Pure Heavy.”

The self-titled record is a beautifully constructed record; you can hear the influences, see what you are trying to achieve as a band. Youngblood and Pure Heavy feel like you want to be the last gang in town where you don’t care what anyone thinks or what you sound like – albums where you just want to let the music do the talking, if you’ll forgive the cliché…

“Oh, there is no doubt that Youngblood hit a nerve. When Youngblood came out we were like “Holy Shit!!” People were really praising the album, really getting it; we were suddenly a really “cool” band. As good as that is, we did know that when we released Pure Heavy we knew that everyone was going to be looking in every corner and under every cover to decide whether it was as good as Youngblood. You know, I have read plenty of reviews where there have been plenty of “it’s not as good as Youngblood” type comments but, you know, I can understand that as well….”

 

Do you think part of the more muted response to Pure Heavy was because everyone has been expecting another massive leap forward?

“Oh yes, there’s definitely something in that. We approached Pure Heavy in the same way that we did with Youngblood. It was all done together in a rehearsal and then we went in and recorded it live. That way you can focus on the playing until you get the atmosphere.”

 

There’s definitely a sound of wanting to capture a band in the moment, as live. Are you happy that you have achieved that?

“Look, we are a good band on album but we are a waaay better as a live band. What you get with Audrey Horne is the same band, the same songs but on steroids. We always consider ourselves a live band first and foremost. We are good in the studio, but live I really do think we are something else. Also, one of the other reasons that I think we are received well is that we haven’t second guessed what might be “cool”- we have just gone in and done it so it’s hardly going to be a surprise that some people like what we do and some don’t.”

 

Audrey Horne on Facebook

Words by MAT DAVIES


Ghost Cult Magazine Albums of the Year 2014 Countdown! 5, 4, 3, 2…!

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Getting close! The Very Best of the The Very Best of 2014 as brought to you by Ghost Cult. Coming up are albums ranked 5, 4, 3, 2 in the Official Ghost Cult Albums of the Year… You’ll have to wait just a little longer for the unveiling of our number one!

 

5. SóLSTAFIR – Ótta (Season of Mist)

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Shaking off any last vestige of Black Metal from their sound, Sólstafir somehow managed to take 2011’s incredible Svartir Sandar and improve on it. Vocalist Aðalbjörn “Addi” Tryggvason has stepped up to join the rest of the band at the level they’d previously set and, with elements of Wild West flirting in and out of their gorgeous Sigur Ros flecked post-rock, Ótta is simply a wondrous album. Taking beautiful emotive post-metal, folk, goth and intelligent indie-rock and telling the story of the changing moods and emotions of the different phases of the day, Sólstafir take their place as one of the modern day leaders of great music.

“Ótta, the latest album from Icelandic musical vagabonds Sólstafir is one of the most uncompromising and challenging records that you are likely to hear this year; it is also one of the most compelling.  it sounds uniquely Sólstafir and Sólstafir don’t sound like anything else you have heard. Admittedly, you might be able to detect echoes of other bands, of other singers but not delivered with this verve, guile and eccentric charm. Second, Ótta is an aural experience like no other: this is an immersive, emotional and evocative album, multi-layered, nuanced and brimming with pulsating and invigorating ideas; it is music for the head as much as the heart.”

Read MAT DAVIES’ 10/10 review here

 

4. SLIPKNOT – .5 The Gray Chapter (Roadrunner)

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The biggest band in our realm of Metal were up against it. The tragic loss of Paul Gray, the personal decision to part ways with key songwriter and distinctive drummer Joey Jordison, and a scene that had picked the carcass to the bone of everything Slipknot had left them in terms of influence and had moved on in their absence. Yet the Iowa giants didn’t just come back strong, they smashed it out the park with their strongest release since the seminal Iowa. Diverse yet unmistakeably Slipknot at every turn, The Gray Chapter paid tribute to their departed brother in a style he would only have been proud of.

“.5: The Gray Chapter is an album of some significance, a statement of intent, a mountain-strong collection of hate-anthems to stand with Slipknot’s best. All Killer, No Filler, And then some. .5 punches hard, deep and long, undeniably their most consistent album since 2001’s Iowa. The Slipknot sound has long been established, their influence is inherent, but what .5: The Gray Chapter achieves is unity – a pulling together of all the relevant bits of Slipknot into one tribute to their past, and to those that passed. Nine may have become seven, but if you’re five five five, then they’re (still) six six six. As I said before, .5: The Gray Chapter is an album of some significance.”

Read STEVE TOVEY’s 9/10 review here

 

3. MACHINE HEAD – Bloodstones & Diamonds (Nuclear Blast)

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There’s something about Machine Head that it seems like every time every time they come to a new album, they have to prove themselves all over again. And every time they unequivocally deliver. From the moment Through The Ashes Of Empires repaired the damage of the misguided and substandard Supercharger, through The Blackening (all Roadrunner), perhaps the mainstream metal album of this century, this has been a decade long comeback of sensationally high quality, as a post-Adam Duce revitalized fighting machine led by The General, Robb Flynn laying down a marker. Machine Head bring the thrash, the groove, the blood, the sweat, the tears and above all, the songs.

“All the elements the band has been working with for most of the last ten years, as well as their classic sounds are all intact, with a few new twists and turns. Tons of grooves, chill-inducing dynamic shifts, and of course, those head-nodding riffs galore are heard. Many bands have started out hot and fizzled out badly or had trouble staying relevant over time. Machine Head is perhaps the greatest American metal band right now,  because they have a sense of purpose about their writing that above all makes you care what they are saying lyrically, and where they can take you musically.”

Read KEITH ‘KEEFY’ CHACHKES’ 9/10 review here

 

2. MASTODON – Once More ‘round The Sun (Reprise)

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A theme of a number of the Ghost Cult Top 50 albums of the year is that of refinement  on past excellence. Of a standard and a sound being set by a predecessor before the perfecting of the modus operandi in 2014, and it’s an approach that applies to Mastodon. The Hunter was a great album, a simplifying and a commercializing of the trademark quirk, groove and buffeting the ‘don had unleashed previously. Once More ‘Round The Sun takes The Hunter’s approach, and improves on it. For ‘Curl of the Burl’, read ‘The Motherload’, as anthem after anthem is spat out by the Atlanta quartet who, with this album, defiantly prove they belong at the top.

“When the band said earlier in the year that this album was a continuation of 2012’s The Hunter, they weren’t kidding and there are a ton of catchy prog and stoner grooves on this album to satisfy. The evolution that Mastodon began almost fifteen years ago, continues in 2014 as they prepare to drop their newest album. Along the way there have been few easy roads taken, and any battles won were well-earned on their climb to success. Certainly no one who started out with the band in their early days would have predicted where they would be today as a major international headliner, but this is where they are. As the band has grown they have picked up some new fans along the way who seemed to click with the newer, psychedelic rock vibes of their last few albums. If you have followed their entire oeuvre from the start and stayed, or came in as of late, this album has your name all over it.”

Read KEITH ‘KEEFY’ CHACHKES 8.5/10 review here

 

 

 

Compiled and additional words by Steve Tovey


Anathema To Play Special Set At Roadburn Festival

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As previously noted by Ghost Cult and hinted at by the band on their recent tour, Anathema is going to play Roadburn 2015. They are going to perform a special set Sunday night, that will likely be an outgrowth of their already announced “Cathedrals Tour” of Europe in next spring.

 

 

Official Press Release:

It is our honour to announce that Anathema will headline the Sunday date of the 20th edition of Roadburn Festival, at the 013 venue on April 12, 2015 in Tilburg, The Netherlands, with a special performance that will span the innovative British band’s 25-year career, and include special guest appearances by former bassist and songwriterDuncan Patterson and original singer Darren White. The Roadburn show will be one of just a few dates that will make up Anathema’s short 2015 ‘Resonance’ tour.

Anathema have steadily built a loyal following worldwide, and their career trajectory is unlike that of any other band in the last quarter century, and will be reflected and celebrated in reverse chronological order at Roadburn 2015. Starting with the anthemic progressive rock of their recent work (2012’s classic Weather Systems and 2010’sWe’re Here Because We’re Here), the performance will gradually move back in time through the more gothic-oriented material of 1998’s Alternative 4 and 1996’s Eternity, all the way back to the pioneering work of 1995’s The Silent Enigma and the 1993debut Serenades, with Patterson and White joining the band onstage for an historic reunion.

“Roadburn festival [is] a hugely respected institution and has to be the most fitting launch for the Anathema ‘Resonance’ tour, [It will be] a celebration of the band’s entire history, and to be joined by our old friends and comrades Duncan Patterson and Darren White for these exclusive shows will be a very special, potent and positive event for all of us. We hope you can join in this once in a lifetime celebration” – Danny Cavanagh.

This will be one of Roadburn 2015’s absolute highlights, and we can’t express how happy we are that the band has chosen Roadburn for such a once in a lifetime performance. Anathema‘s early albums – the lineups with Duncan Patterson andDarren White – as well as the Judgement album have been a huge influence on many bands that have played Roadburn over the years, and they they are a blueprint for the festival itself as well. We’ve been in love with this band since the beginning, and their headlining performance on Sunday is Roadburn’s own tribute to Anathema, a unique opportunity for fans to see the band perform with two crucial early members.

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The 20th edition of Roadburn Festival runs from April 9 to 12, 2015 in Tilburg, The Netherlands.

Tickets are still available: http://www.ticketmaster.nl/artist/roadburn-festival-tickets/875833


Curated by Ivar Bjørnson (Enslaved) and Wardruna‘s Einar “Kvitrafn” Selvik, Roadburn Festival 2015 (including Fields of the Nephilim, Anathema, Skuggsjá, Enslaved, Wardruna, Claudio Simonetti’s Goblin performing Dawn of The Dead and Susperia in its entirety, Zombi, Sólstafir, White Hills, Bongipper, Floor, Eyehategod 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.


Hope in Melancholy – Guðmundur Óli Pálmason of Sólstafir

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Emanating from the nucleus of the nascent Black Metal scene, Iceland’s Sólstafir has never been the type of act to be pigeonholed in a genre or tied to a movement. Proudly sporting influences ranging as wide as Darkthrone, Goth stalwarts Fields Of The Nephilim and The Smashing Pumpkins, drummer Guðmundur Óli Pálmason gave us insight into what makes this bold outfit tick. “Darkthrone has the raw energy and punk attitude, Fields of the Nephilim create the most beautiful, dark atmosphere and beautiful guitar melodies, and The Smashing Pumpkins have really influenced especially Addi’s guitar playing, the way he uses octaves for example.”

New album, Ótta (Season of Mist) blends all the bands aforementioned influences to create something which is truly transcendent of both genre limitations and the idea of being connected to any kind of ‘scene’. Based on an elaborate concept relating to the Icelandic timetable Eykt, Pálmason explains passionately how this ancient calendar inspired the new opus. ‘All the names of the songs are based on an Old Icelandic way to tell the time of day, called Eyktir. “Before people generally had clocks they’d estimate the time of day by the sun. In Iceland we’d divide the day into 8 parts, so each spanning roughly 3 modern hours. When Sæþór brought our attention to this old system we immediately realized it would make for a perfect theme for an album. The album starts at Lágnætti (Low Night) and continues through the night. Ótta is the time between 3 and 6 in the morning. Then it’s time to rise with the sun at Rismál, at Dagmál the day is fully begun. Miðdegi is midday and Nón is noon, although in this system noon is not at 12:00 sharp but rather the time between 3pm and 6pm. After that comes Miðaftan or mid-afternoon and finally Náttmál, or night time.”

The lyrics are loosely based on the different feelings of the different times of day. But the times of day are also different depending on the seasons. Some have a more wintery feeling, while others are more associated with summer. Considering their band name originates from the Icelandic word for the sun’s rays, this concept could not be any more fitting for the group.

Creating atmosphere and mood is clearly more a concern to these self-professed ‘Heathen cowboy bastards’. Ótta sees the band moving further away from the metallic elements but still with some great guitar work adding new textures and layers. The cinematic feel of spaghetti westerns characterised by the work of influential composer Ennio Morricone are recalled in Ótta’. Was this a conscious influence?

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“Ennio Morricone has been a massive influence on us.’ Pálmason Confirmed. ‘Saepor brought in this hook that sounded like a country or bluegrass part. We laughed at first but when Addi tuned his guitar to A it really worked. We knew that was the moment it had to be played on the banjo. We checked the metal rule book 101 and that doesn’t mention you cannot use it in a metal song, so we did! I don’t think there is a limit to the instrumentation we can employ in this band. If we think it will benefit our music we will use it.”

Their unique culture has shaped Sólstafir’s output. The band remains resolutely against singing in anything other than their mother tongue having stated that to sing in English “Would be completely unnatural”. It is this determination to go against the grain, remaining faithful only to their own muse which has garnered the Icelandic act such a hallowed reputation. Recording in the remote area outside of Reykavík with Sigur Ros/Alcest producer Birgir Jon Bigirsson at the helm the album incorporates new elements such as strings and the aforementioned banjo to great effect. “We recorded in Sundlaugin which is a studio that Sigur Ros had converted from an old swimming pool. It has a little river running next to it and some trees. I think these beautiful picturesque surroundings really helped us make the album. We used a lot of different guitars and equipment we have not used before. The mix of old and new instruments really challenged us to push ourselves to the next level. we wanted to create a record that sounds timeless.’ Pálmason confirms that the band may admire other artists but he sees Solstafir has having little in common with other artists. ‘I think acts like Alcest have come from different directions from ourselves and continue to move further still. The one thing I see in common with acts like that is both acts try and develop our sound which each album.”

Indeed the bewitching string arrangements are an aspect which makes ‘Ótta’ such a wondrous journey. Pálmason explains how this development came about; “We have been wanting to use strings for a long time, but somehow there was never any need for them, so this time we were very conscious about leaving out some space for the strings. I must say the Amiina string quartet did an amazing job!”

 

Solstafir on Facebook

 

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Roadburn Festival 2015 Adds More Names

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Roadburn Festival 2015 Thou

Sludgey doom titans Thou and Horror tinged metallers Acid Witch are among the latest bands announced for Roadburn Festival 2015. They will join the likes of NOLA sludge icons Eyehategod, Prog metal heavyweights Enslaved and doom titans Bongripper at the event in Tilburg, The Netherlands from the 9th April to the 13th April 2015.

 

Press release:

The Cinematic Feel of Roadburn Festival 2015; Acid Witch and THOU amongst others confirmed

The 20th edition of Roadburn, set for April 9 – 12 at the 013 venue in Tilburg, The Netherlands, is going to be a treat for those who love soundtracks (and screenings). In addition to Sólstafir performing an instrumental soundtrack to Hrafn Gunnlaugsson’sHrafninn Flýgur (When The Raven Flies), and Mugstar playing Ad Marginem in its entirety, Claudio Simonetti’s Goblin will perform their much acclaimed movie scores for George A. Romero’s Dawn Of The Dead and Dario Argento’s Suspiria at the 2015 festival.

Led by Brazilian-born composer Claudio Simonetti, the band will perform the live scores of Dawn of the Dead (Saturday, April 11) and Suspiria (Sunday, April 12) in real time while screening both movies from start to finish. This will offer our beloved attendees the chance to experience these classic soundtracks and films on the main stage, and in an entirely new dimension.

This will be the first time that these soundtracks will be performed live in The Netherlands, and follow the band’s critically acclaimed performance at last year’s festival, when Claudio Simonetti’s Goblin were invited by curator Mikael Åkerfeldt.

Sólstafir will also take to the main stage for their soundtrack performance (Thursday,April 9), whilst Mugstar will grace the stage of Het Patronaat on Saturday, April 11.

Besides these four special performances, Zombi (aka Messrs. Moore and Paterra) will also open up the stargate and herald the zombie dawn on the main stage of the 013 venueon Saturday, April 11.

Since first hitting the general consciousness with their 2004 debut album, Cosmos, on Relapse, and wowing fans and critics alike with 2011’s Escape Velocity, it could be argued that Zombi were the spearhead for the whole resurgence of interest in obscure film soundtracks, and the music of artists such as Goblin and Fabio Frizzi.

We also have exclusive solo performances from Zombi masterminds Steve Moore and A E Paterra – performing under his Majeure identity – both of whom will be playing on the day before, Friday, April 10 at Het Patronaat.

Taking the best parts of 1970s progressive rock – think King Crimson and a bit of early Genesis – 1980s post-punk, horror movie soundtracks, and avant-metal, London’s The Osiris Club have a definite cinematic feel. They are part other worldly mystery, part eccentric urban wizardry, part playful whimsy, and frequent twinges of a John Carpenterfilm score.

Clearly influenced by the Euro Horror underground film scene of the 70s (and maybe a bit of the 80s, too), London based Zoltan manage to tread the line between eerie, spine chilling terror and spooky soundtrack-prog perfectly. Their two albums, beautifully recorded in full analogue glory, stand in testament to their musical prowess.

In related news, having been nourished on a sick, spooky-ooky diet of old school (death) metal, VHS fright flicks and psilocybin, Detroit’s psychedelic doomsters Acid Witch will bring their 80s inspired metal movie marijuana massacre meltdown to the 20th edition of Roadburn Festival on Saturday, April 11 at Het Patronaat.

On the banks of the Mississippi there dwells a ferocious beast with an open third eye that, when you look in it, shows you the parts of yourself you wish you could forget. THOU have been haunting Baton Rouge, Louisiana, and just about everywhere else on tour for the better part of a decade, bringing a consuming, atmospheric brand of sludge that challenges you to experience this moment for everything it can be, to cast off repression in all of its forms and become the complete self of whom you’ve always been most terrified.

Their 2014 album, Heathen, is the latest in a long string of releases (4LPs, many EPs and splits) on Gilead Media through which THOU have preached this vicious gospel in churning riffs and throat-searing screams. Their propulsive force coincides with their philosophical approach to lyrics, and in combination with the depth of their ambience and the all-encompassing volume of their delivery, THOU’s sound gives sludge its most original interpretation in years.

Open your eyes and exalt as THOU take the stage at the 20th Edition of Roadburn Festival on Thursday, April 9 at Het Patronaat in Tilburg, The Netherlands.

Constantly pushing the limits of sound with an arsenal of self-modified instruments,Germany’s The Picturebooks tap into buzzy blues and glorious garage rock territory on Imaginary Horse, their super infectious debut lp for RidingEasy Records. Mirroring their daredevil skateboarding ethos and easy rider antics, The Picturebooks will rev up their howling engines and conjur true fire at Roadburn 2015 on Saturday, April 11 at the 013 venue.

The Golden Grass will bring their sunshiny harmonies and positive vibe the 20th edition of Roadburn Festival on Sunday, April 12 at the 013 venue. The Brooklyn trio released some of the best upbeat psychedelic rock with their self-titled album on Svart Records, and after their first European tour this Fall, we’re happy to welcome The Golden Grass to Roadburn in 2015 as they bring out new material and a classic sound.

Taking the best parts of hardrock, psychedelic rock, caveman boogie, and amplifier worship, Uppsala Sweden’s four-piece The Tower will put forth their heavy 70s loyalism at Roadburn 2015 on Thursday, April 9 at the 013 venue, pushing the outer limits of an already spacious genre.

Ticket sales for Roadburn Festival 2015 are currently in full swing. Ticket options:http://www.ticketmaster.nl/artist/roadburn-festival-tickets/875833

Curated by Ivar Bjørnson (Enslaved) and Wardruna‘s Einar “Kvitrafn” Selvik, Roadburn Festival 2015(including Fields of the Nephilim, Skuggsjá, Enslaved, Wardruna, Claudio Simonetti’s Goblin performing Dawn of The Dead and Susperia in its entirety, Zombi, Sólstafir, White Hills, Bongipper,Floor, Eyehategod 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.

Roadburn Festival


Damnation Festival 2014 Completes Line Up

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Damnation Festival 2014, final line up poster

 

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.

 

Press Release:

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.

Tickets for Damnation Festival are priced £36 and on sale now from
http://www.damnationfestival.co.uk/
http://www.facebook.com/damnationfestival
http://www.leedstickets.com/


Enslaved and Wardruna To Perform Skuggsjá, The Sound of Norway’s Norse History at Roadburn Festival 2015

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More excellent news from our favorite music festival in the world this week. First Enslaved and Wardruna announce they will jointly perform Skuggsjá, an original piece dedicated to the 200th anniversary of Norway’s constitution. The Roadburn performance will be the first outside of Norway.

Then the festival released the original artowrk, by Arik Roper (Sleep, High on Fire, Earth, Weedeater, The Black Crows).

And the festival also announced the addition of more great bands such as Bongripper, Floor, Sólstafir, Virus, White Hills, Messenger, Junius, Skeletonwitch, Svartidaudi, Mortals & more.

Ticket Pre-Sales Start Thursday, Oct 16th 2014 at 21:00 CET; Pre-Sales Party at The 013 Venue (NL)

 

From The Press Release:

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, Sólstafir, Virus, White Hills, Messenger, Junius, Skeletonwitch, Svartidaudi, Mortals, The Osiris Club and Zoltan also confirmed for the 20th edition of Roadburn Festival.

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We’re elated to announce that Enslaved and Wardruna will perform Skuggsjá, the sound of Norway’s Norse History at Houses of the Holistic, Ivar Bjørnson‘s and Einar “Kvitrafn” Selvik‘s curated Roadburn event on Friday, April 10 at the 013 venue inTilburg, 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 Skuggsjá‘s first performance outside of Norway, and will certainly be one of the highlights of the 20th edition of Roadburn Festival.

Skuggsjá translates into ‘mirror’ or ‘reflection’ in the Norse language, and the commissioned piece not only contextualizes harder music’s role in the democracy in Norway in 2014, but also joins threads from the country’s ancient musical history and solidifies harder music’s position as Norway`s most important cultural export.

By highlighting ideas, traditions and instruments of their Norse past, Skuggsjá 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 Scandinavia’s oldest instruments, and poetry in Proto-Scandinavian, Norse and Norwegian, Skuggsjá 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 heathensSólstafir, who are currently making huge waves with their latest release, Ótta, are also confirmed for Houses of the Holistic, Ivar Bjørnson‘s and Einar “Kvitrafn” 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 inTilburg, 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. Roadburn’s 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 onThursday, 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 — and rightfully so — 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 Floor’s bassless power trio attack when Floor plays the main stage of the 013 venue at the 2015 Roadburn Festivalon 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 Wardruna‘s Einar “Kvitrafn” Selvik, Roadburn Festival 2015 (including Skuggsjá, Enslaved, Wardruna, Fields of the Nephilim, Claudio Simonetti’s Goblin performing Dawn of The Dead and Susperia in its entirety, Zombi, Sólstafir, White Hills, Bongipper,Floor and The Heads as Artist In Residence among others) will run for four days from Thursday, April 9to Sunday, April 12 at the 013 venue in Tilburg, The Netherlands.

The Roadburn Website

Roadburn on Facebook


Sólstafir – Otta

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Part of the role of a music critic is to separate the wheat from the chaff; the superlative from the humdrum; the lasting glory from the flash in the pan. Additionally, part of the role of music critic is to explain, elucidate and comment on what something sounds like as well as whether it sounds any good at all. Forgive me then, readers, as I am speechless. Absolutely, unequivocally, speechless.

Otta (Season of Mist), the latest album from Icelandic musical vagabonds Sólstafir is one of the most uncompromising and challenging records that you are likely to hear this year; it is also one of the most compelling. Forego any pre-conceived ideas you might have about what this might sound like or what pigeon hole it’s supposed to drop into; that simply will not do. It won’t do at all. Otta is artistic self-expression par excellence; as a manifestation of single mindedness, it takes some beating. What the band have created is, by some margin, the most brilliant demonstration of their art to date and a contender for the album of the year.

Choosing to sing in their native Icelandic is an uncompromising decision in a market place where non English speakers are often treated with almost voyeuristic curiosity. On Otta, the decision seems entirely natural and unforced, taking the inflective beauty of the band’s mother tongue and imbuing the album’s eight songs here with a vocal experience of almost existential beauty. It matters not that your understanding of what is being sung is little, (it’s based on an ancient Icelandic tradition of a solar day, in case you were wondering) the music, artistry and heartfelt passion of the deliverance of these songs is more than enough.Aðalbjörn Tryggvason’s vocals across the entire album are quite extraordinary; from aching fragility to bellicose defiance, it is a performance that, like the whole album, defies categorisation, but is deserving of the highest praise.

There are many reasons why Otta works but here are two key ones: firstly, it sounds uniquely Sólstafir and Sólstafir don’t sound like anything else you have heard. Admittedly, you might be able to detect echoes of other bands, of other singers but not delivered with this verve, guile and eccentric charm. Second, Otta is an aural experience like no other: this is an immersive, emotional and evocative album, multi-layered, nuanced and brimming with pulsating and invigorating ideas; it is music for the head as much as the heart.

Otta is a swirling, bubbling, melting pot of an album: and a genuine album (as opposed to a series of individual tracks) it most certainly is. As a listening experience, it is perhaps old fashioned in having a narrative arc that compels you to listen from its startlingly fragile opening, through the half anticipated yet still hugely invigorating middle section of ‘Miodegi’ and ‘Non’ to the exhausting coda of ‘Nattmal’ but listen you MUST as you will be richly rewarded by this powerful, idiosynscratic and utterly brilliant album.

 

10/10

Solstafir on Facebook

 

MAT DAVIES


Sólstafir – Junius – Infera Bruo: Live At the Middle East Upstairs

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As much jealously as US metal fans claim to have when it comes to the amount quality bands, and tours Europe has, we do get some quality shows. One such tour is the recent tour from Icelandic metallers Sólstafir and gazetastic post-rockers Junius. For Junius, this was a hometown show since there are local and the place was jammed packed equally for both top bands with an occasional crossover of styles. It was cool to have a bit of a diverse bill for change, since had been seeing a lot of same-sounding bands of late. The upstairs part of the Middle East venue is a poorly lit pool of sweat on a good day, so this was a good environment to hear some heavy music.

 

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The first band I caught was the surprising black metal merchants of Infera Bruo. They play an insane meld of sounds ranging from classic old-school black metal, to psychedelic soundscapes, to more finer-ground post-metal bleakness. In spite of having little in common with the headliners, Infera Bruo took the stage like they owned it and just made everyone in attendance cower at their form. Front man Galen is very charismatic, changing his style up vocally from a fiendish bark to a more tempered sound as the music shifted. It was also hard not to be impressed with their keyboardist Germanicus, worked his magic on synths and effects with some really classic industrial elements from his vintage gear. As a whole the band kept my attention no matter they song, and they hop from one genre to another naturally. To a man Infera Bruo are masterful performers, and it has been a long time since I was this impressed with an opener. We’ll be looking out for their next release on Bindrune Recordings with great interest.

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The night had gotten off to a slow start apparently, before I even got there, so the fellas in Junius were visibly annoyed that they were late getting on stage (not due to Infera Bruo, but the venue). Junius also brings their own stage lighting, preferring to control their own atmosphere visually as well as musically. They set up quickly and with no fanfare they got underway. The crowd has swelled to the front, and lucky for a shorty like me, the band is very tall. On the smallish stage looked like giants, but even more they sounded like gods. For some bands these condition are less than ideal, but with the patience of a fine craftsmen, Junius plays passionate music for the thinking person. Opening with ‘Hiding Knives’ the band led by Joseph Martinez, took the audience on a heart-wrenching tour de force. The back lighting of the band for some reason made me think of the torture scene in Reservoir Dogs: oddly uncomfortable and bracing myself for what was to come. I don’t think the average person appreciates how hard it is to play gently and slow, since most people who play in some form of metal start out jamming with speed as their guide. Junius are not just talented, but tasteful with their choice of different layers of sounds, coloring each part of a song. Bombastic and solemn all at the same time, we witnessed some folks in the front actually moved to tears during their set. Drawing heavily on their new EP Days of The Fallen Sun (Prosthetic), they surely proved to be one of the must-see bands live in 2014.

 

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Sólstafir was a lot more relaxed coming to the stage, but then again they were drinking and hanging out at their merch table the entire show. They definitely showed what a really successful band does, understanding that this is their lone chance to connect with the fans, hanging out, telling stories and getting very intimate with people. Although a few people left following Junius, if you were still in the house tonight, it’s because you were meant to be there. They also got down to playing immediately and opened up with a string of their more heavy rock-orientated fast numbers. I think this surprised some fans, following the dreamer sounds of earlier in the night, but it was refreshing. Aðalbjörn “Addi” Tryggvason is one of the best performers and band leaders you will ever see. Wildly passionate in his every movement, sung note, and chord that he struck, he was amazing. The entire band had an air about them, like veterans (which they are) of the metal world, and the world at large. Raucous, exciting performers, they were not unlike what I imagine a young Thin Lizzy must have been like in Dublin ca. 1975. As my fellow scribe Wren Leader whispered in my ear at one point, “they are doing Icelandic cowboy songs”. It made sense really. Great songs, no pretense about the music they make. The long set was again, heavy on fast numbers to start. The dull dark room was less suited to these bombastic numbers and I had wished they were in a bigger, better club at this point, with proper lighting and staging. Later in the show however, when the band loosed up their set and slowed things down considerable with their more doom and drone inspired work, it worked. This is where the band really shines. Even though all the songs are sung in the tongue of their homeland, the music definitely no less meaningful or effective. You could hear a few die-hards singing a long in fact! Tracks like ‘Svartir Sandar’, ‘Fjara’ will just make you weep. So heavy and deep, it wasn’t fair. I felt lucky myself to witness this epic band on US soil. I am also happy for those smart enough to make it out for this short tour, and the lucky devils who caught them in the daylight at Maryland Deathfest recently.

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Sólstafir on Facebook

Junius on Facebook

Infera Bruo on Facebook

 

WORDS: KEITH (KEEFY) CHACHKES

PHOTOS: ECHOES IN THE WELL