ROADBURN FESTIVAL DAY 4 - Afterburner (April 17 2011)

The fourth and final day of the festival started a bit early for us. At about four in the morning the phone starts ringing. First we ignore it, but after a while it gets a bit annoying and we answer, it’s the receptionist, she says “oh, isn’t this Greg Andersons room?” About 30 minutes later we are woken up by some random dude walking in to our room and starts taking his shoes off. “Uhm, sorry man, I think you got the wrong room.” The next morning the phone rings again, this time it’s one Stephen O’Malley asking for Greg. “No sorry, it’s the wrong Anderson.” “Ah ok, I guess that’s been happening a lot?” I guess the hotel staff must have been confused with two Andersons at the same time...

The Afterburner seems to slowly but steady becoming a regular fourth day of Roadburn. This year they had upgraded it by using the Main Stage and the Green Room, as compared to last year when it was the Green Room and the Bat Cave, and there are a few more bands playing as well. One part of me likes this as you actually never want to leave, but on the other hand the Afterburner works as a great closure with an even more relaxed atmosphere than the first three days. That’s actually what all great festivals need; a relaxed after party that lasts for an entire day.
Unfortunately the whole day is pretty much a haze for some reason. And no, not because of various substances mind you, but probably because this in fact day number four of a festival where there is so much to take in and process, and a festival where I like pretty much all of the bands performing. I guess that’s a lot for my brain to handle. When I look at the notes I wrote down while watching the bands perform I’m starting to question myself quite a lot. But yeah, I remember some things, so here we go.

First band for me was the classic American doom act Blood Farmers. This was their second set at the fest, they also played the first day but I couldn’t see them then since they clashed with Wovenhand. They were really impressing on stage with killer riffs and a very strong repertoire. They even played a new song, called “1000 Yard Stare”. Don’t know exactly how “new” this song is by now, but it sounded like something they could have written back in the day. Awesome stuff. Why this band hasn’t produced more music is beyond me.

Blood Farmers

Next up was Japanese death metallers Coffins. I was really looking forward to seeing them as I like Autopsy as much as they do. Well, maybe not that much, but close. It was great to see how much they enjoyed being up on the Main Stage, Uchino’s (guitar/vocals) smile when he took pictures of the crowd lit up the whole room. Their old school Death Metal (or Death Doom as they call it) is pure excellence and they delivered a very tight set that more people should have seen. Oh, and it was almost impossible to reach their merch table afterwards...

Coffins

For some reason I missed out on Dead Meadow, which I regret now. Next up on the Main Stage was Black Mountain, but fortunately I had seen them a few months earlier in Stockholm so I could avoid the agony of choosing between them and Black Pyramid. Knowing myself I would probably have chosen Black Pyramid anyway. I fell in love instantly with their debut album from 2009, and they were actually just as good live as on my turntable at home. This band has a way of producing great riffs and melodies that other bands would kill for. Their second album due out this fall is at the top of my list for most anticipated albums of 2011.

Black Pyramid

I stayed in the Green Room to check out Germany’s Samsara Blues Experiment. They in fact turned out to be one of the biggest surprises of the festival. I had of course heard their debut album, “Long Distance Trip”, and really liked it, but seeing the band live was something else. It was like one long jam in the vein of bands like Earthless for instance. Very groovy space-riffs that you never wanted to end.

Samsara Blues Experiment

Unfortunately it had to end, because I had promised myself to end the evening with Sourvein over at the Main Stage. Not a bad change of venue though since Sourvein showed us all what sludge is all about, as they were supposed to have done last year, but for reasons you know, cancelled.

Sourvein

And then, all of a sudden, Roadburn Festival came to an end. I know that there’s of course always a lot of hard work when organizing something like this, but this year must have been a vacation for Walter, Jurgen and the rest of the crew compared to last year. The only change in the schedule that I noticed was the delay of Earth that I mentioned on day two, and that was no biggie.

What more can I say? Awesome festival as usual, and oh yeah, a great place to spend your hard earned cash as you can see below.

ROADBURN FESTIVAL DAY 3 (April 16 2011)

Day 3 is also the last regular day of the festival, although, with the expanding Afterburner you might call this a 4-day fest, but more on day number 4 later. You might think that nothing can top SunnO)))day, but I mean, this day I’m finally going to see Shrinebuilder, Weedeater, Stone Axe and Swans... April 16 is also Record Store Day, and I took the short walk from the hotel to the Sounds record store. I was hoping to buy the Nirvana “Hormoaning” 12” and the Neurosis “Sovereign” 12” but they were nowhere to be found. I did however walk away with the Sonic Youth “Whore’s Moaning” 12” and the 2010 reissue of the self titled Grand Magus LP (clear vinyl, and not a RSD release, but still). On a side note, when I got back to Stockholm there were lots of RSD vinyl still available, so no harm done.

Why not start the third day at the Midi Theatre with the, apart from Sunn O))), best performance of the entire fest. The air in the venue is thick with incense smoke and the stage looks like... well, it looks like Master Musicians of Bukkake are about to enter, and they are, and I am blown away. Such an amazing performance, performed by amazing musicians. I know some people think their theatrics on stage are a bit much, but I like it, it fits with the music perfectly. And you don’t have to take everything 100% serious all the time either. I mean, come on, the guy has glowing fingertips, lighten up. They start by calling our attention with a dungchen, you know, those big ass Tibetan trumpets, and give us new songs from their excellent latest album, “Totem Three”, including favourites like “Prophecy Of The White Camel / Namoutarre” and “In The Twilight Of Kali Yuga”, as well as the awesome krautrock gem “Failed Future”. The Master Musicians played a free show a couple of weeks later in Stockholm, and it was just as good that time around as well. Hope to see them again soon.

Master Musicians of Bukkake

Master Musicians of Bukkake

On to the main stage to catch the last 30 minutes or so of the Candlemass set. I walked in just as they were finishing the “Epicus Doomicus Metallicus” set with Johan Langquist on vocals. Would have been great to see the whole thing, but you can’t be everywhere at once. Especially when you’re attending an amazing Bukkake session. Langquist, although perhaps not much of a stage persona, still has that amazing voice that made me fall for Candlemass in the first place. Luckily for me he enters the stage once again, this time alongside Robert Lowe performing “Don’t Fear the Reaper”.

Candlemass

Finally it’s time for Weedeater. Dixie was in great form, informing us that “There are usually only two people in the audience, one with weed and one with coke. I’m sure those people are here tonight as well though, we’ll meet up later.” He of course drank whiskey all through the set, washing it down with beer, but he managed to not puke, probably to some people’s disappointment. The new songs from “Jason... the Dragon” have really grown on me and they were even better live. The first couple of times I listened to their latest album I thought it was good, but felt that they could do better. After about a week of listening to it I loved it! And after experiencing the songs live in their right environment I love them even more. We also were treated with their cover of the excellent Lynyrd Skynyrd track “Gimme Back My Bullets”. The only thing I’m missing now is a Barstul performance, man that would have been great for the Afterburner...

Weedeater

Weedeater

Unfortunately I didn’t see much of Voivod at the main stage. I thought though that they were a bit uneven in the beginning but it took on after a while. From what I could gather later on their set at the Midi the night before was much better. Should have been there...

We’ve waited a year for the mighty Shrinebuilder, and fuck was it worth the wait! As you probably know they had to cancel last year because of Iceland and them not managing to keep control of their volcanoes. It was really an overwhelming experience to see these four dudes on the same stage. Anyone doesn’t know by now who they are? Ok, for the last time; Scott Kelly, Al Cisneros, Dale Crover and of course, Wino. There, what more do you need? I can admit though, that somewhere in the middle of the set they faded a bit, only to regain strength after a while and finishing in great form. I also wish that Al had more time on the mike, not that I complain when I hear Scott or Wino. It’s hard to describe Shrinebuilder without writing cliché after cliché. But yeah, they were heavy as fuck and I guess we could be glad that another volcano didn’t erupt during their performance. What a way to go though.

Shrinebuilder

Shrinebuilder

After this I literally ran over to the Bat Cave to witness the last half hour or so of Stone Axe, who had finally made it over to Europe. I’ve been a big fan ever since their first 7”, “Riders of the Night”, in 2008, and am a fan of Mos Generator as well of course. The first thing that struck me is that damn what a great vocalist Dru Brinkerhoff is. I mean, of course I knew the man could sing, but to manage to make it sound exactly like on record is rare. I could tell that they gained a lot of new fans that evening. Overheard several people who had just walked in not knowing who Stone Axe are bursting out their love for them. The show ended quite abruptly though; the band was having so much fun on stage that they didn’t notice they were out of time. They promised to come back next year, don’t know if they meant Roadburn or Europe in general, either way, be sure not to miss them. And buy all their vinyl records. I have.

Never thought this day would come, but there they are; Swans entering the main stage. They start off with the intro to end all intros. We’re talking 20-30 minutes of pure bliss. Just when you thought it couldn’t get any louder it does, and drumsticks are flying all over the place. I’m not the only one finding myself just standing there staring with an open mouth in complete awe. The high point of the concert is an amazing performance of “Sex, God, Sex” from the 1987 album “Children of God”. I guess I can die now. The new songs from the “comeback” album “My Father Will Guide Me Up a Rope To the Sky”, like “Jim” and “Eden Prison” are experienced in their right element. There seems to be some tension on stage from time to time, at least it looks like Michael Gira tells off the band on a few occasions, maybe it’s just the perfectionist in him, I don’t know. There are some laughs on stage as well though, like when Gira introduces the band and turns to the long-haired caveman-like Thor Harris and says, “This is Thor, he looks like one of you.”

Swans

The next morning Michael Gira comes down to the breakfast buffet at the hotel, of course with his big white cowboy hat on. He walks around, carefully looking at the various dishes, and then leaves. Maybe he wasn’t hungry, or maybe it was because the rest of us stopped eating and just started staring at him in awe again...

ROADBURN FESTIVAL DAY 2 aka SUNNO)))DAY (April 15 2011)

Yeah, we’re pretty slow over here from time to time. But here we go; day two of the fest. As you probably have figured out, this was the day curated by Greg Anderson and Stephen O’Malley, aka Sunn O))). Weather was awesome and after the breakfast buffet at the hotel a few beers were enjoyed at one of the great establishments close to 013.

There was not much time to spare though as the first act out on the main stage was none other than Keiji Haino. This amazing man who’s been in the music industry for something like 40 years, and finally he’s standing on a stage in front of me. He started out the concert with his guitar, producing amazing sounds and proving that it’s not just a riff making piece of equipment. After a while he put the guitar away and went nuts on his machines. At times he seemed to disappear from the stage without me noticing, but all of a sudden he popped up like a jack-in-a-box from behind the table with his gadgets. He closed with more guitars accompanied with his very impressive voice; that man can scream like no other. It was an amazing concert, really experimental as you would expect, and well, everything I was hoping for actually.

Keiji Haino

I’ve said it before; if you’re enjoying a Big Kahuna burger with a beer and you’re arriving at the Green Room when a show is about to start you’re basically too late. At least I managed to hear Trap Them, and see the top of their heads from time to time. Needless to say, they ripped the whole place a new one and sounded crushingly awesome. I took comfort in the fact that I was going to see them in Stockholm a week later. But did I? Of course not, I missed out on the whole thing, probably for some really stupid reason, but hey, they will come back right? Right.

When I first found out that Winter was going to perform at the festival I almost couldn’t believe it. It had been in the back of my head though ever since news got out that Southern Lord was going to reissue their one and only album “Into Darkness”. But I didn’t really dare to hope for them to reform, and especially not to perform in the same venue where I happened to be present. How was it then? Well, they sounded like it was still 1990 and they really tore it up on that stage. I heard a few people complaining afterwards that they could really improve on their stage presence. Who cares with material like that? It was a great concert with great music and they seemed to really enjoy themselves on that stage. Left me more than satisfied.

Winter

Unfortunately Earth arrived in Tilburg a bit late, so they had to move them to the Midi Theatre instead of the main stage. I really like the Midi though, so no complaints from me, but a few people didn’t find out in time and missed out on the whole thing. Too bad for them since Earth delivered like they always do. I didn’t get to see the whole set though, and once again took comfort in that they would play in Stockholm when I got home. And this time I didn’t miss out. I’m guessing the two shows were pretty much the same. They played a new song from the upcoming part 2 of the “Angels of Darkness, Demons of Lights” album, with the introduction: “I know you’re going to laugh, but this is a waltz, so pair up and enjoy”. We also got to hear “Ouroboros is Broken” which was very much appreciated as well as the closing song, the Jimi Hendrix cover “Peace in Manhattan” from the “Pentastar...” album. Going to the Stockholm show I also got to see the amazing Sabbath Assembly as I didn’t get to see them at Roadburn. They played the same time as Winter; ah all these clashes!

Earth

Earth

The last time I saw Corrosion of Conformity was in Göteborg in 1996 when they opened for Metallica. I honestly don’t remember much of that show except that James Hetfield joined them for the last song (I’m guessing it was “Man or Ash”). I bet though, that their Roadburn performance was slightly better. Performing was the “Animosity” line-up, which meant no Pepper Keenan. I’m guessing he’s pretty much busy with Down anyway. Still, C.O.C. managed to squeeze out an album as good as “Animosity” without him, and they managed to pull off an amazing live set without him as well. I’m a big Keenan fan though, so I’m not saying their better off as a trio, only that they’re a pretty damn good trio as well.

Corrosion of Conformity

The highlight of the day for me were about to take on the main stage. Well, not only the highlight; if it weren’t for Stephen O’Malley and Greg Anderson this day would have turned out completely different. Not that a regular day in Roadburn land is something to complain about, but you know what I mean. Going to see Sunn O))) made me miss out on fantastic bands like Hooded Menace, Grave Miasma and Incredible Hog. Worth it? Oh yes. This evening’s concert turned out to be something really special as the band was joined on stage by Keiji Haino to my great surprise and enjoyment (as you might figure out from my ramblings above). Attila Csihar was of course present as well, so was T.O.S. Attila and Keiji Haino ended up having what could best be described as a screaming battle. Those two incredible voices at once on the same stage were completely overwhelming. The whole show was of course extremely heavy on the bass, just as much as one would expect, or perhaps more, so much in fact that I think my insides shifted place. I can say without exaggerating that it was the best two hours one could have.

Sunn O)))

Sunn O)))

The Secret; this crusty Italian outfit that I might had missed out on if it weren’t for Southern Lord releasing their latest album, “Solve Et Coagula” last year, took on the Bat Cave in full force. It felt like people were a bit tired at this point, or maybe they’d lost their hearing at the Sunn O))) concert, because how you can stand still to the crushing sound of The Secret is beyond me. “Solve Et Coagula” was one of my favourite albums of 2010, and this being the first time seeing the band live I instantly became an even bigger fan than I was before.

For some reason I had pretty much forgotten about Scorn. I listened to their first three albums a lot back in the early 90’s when Earache ruled the world. Then, from ca 1995 when Mick Harris was the only member left, Scorn somehow escaped my radar. They/he is a very welcomed return to my life though, Harris alone on stage presenting a great mix of dub and industrial with lots of bass. A perfect way to end the second day.

Scorn

ROADBURN FESTIVAL DAY 1 (April 14 2011)

We arrived in Holland the day before the festival, and not a volcano in sight. Roadburn is by far the highlight of the year, and this time we planned ahead a bit more than last year. Resulting in a room at the Mercure Hotel, just a block from 013 and the Midi Theatre, perfect.

The first day of this riff filled event started out strong with the Kilimanjaro Darkjazz Ensemble at the Midi Theatre. I’d wanted to see them for quite some time, well; I actually want to lay my hands and eyes on everything that Jason Kohnen aka Bong-Ra produces. I mean, just listen to the Killahman Machine 7” singles for instance and try to prove me wrong. TKDE performed an excellent set, with their great combination of violin, horn, trumpet, soft vocals and lots of bass from Kohnen. The bass almost takes over at times; don’t know if this is intentional or if it’s just too high in the mix. Either way, I liked it!

The Kilimanjaro Darkjazz Ensemble

After this perfect festival opener all we could do was to stay at the Midi. Why? Because Ghost were about to enter the stage. The place was packed of course, since the Ghost hype is far from over. When the robe clad members walked on stage you could barely move up front without being elbowed by some dude with a camera. Does the band deserve all this fuzz then? I guess you know where I stand on this. Last time I saw them was when they opened for Watain in October 2010. That whole night was one of the highlights for that entire year, and the Roadburn set worked as a great reprisal of said night. I saw them again a few days ago (May 13), and they managed to make me like them even more by adding the Beatles’ cover “Here Comes the Sun” to the set list.

Ghost

Over to the main stage at the 013 where Wovenhand had taken the stage. I was really glad that Roadburn finally booked them to play. And what a set they did. David Eugene Edwards owns the stage like no one else. I found myself almost paralyzed, just standing there staring at him where he sat on the side of the stage on a chair with guitar in hand. It was pretty overwhelming at times and I almost couldn’t take it anymore. Strange feeling that; one part of me wants to stay, taking it all in, wanting more. And one part just wants to flee, longing for something easy to absorb...

Wovenhand

Staying in front of the main stage waiting for band I’d wanted to see for, well, it seems like forever. I’m talking about Pentagram and I was trying not to get my hopes up too much. Back in my mind I was sure that they weren’t going to show up, but all of a sudden Bobby Liebling and Victor Griffin are right in front of me. Bobby is running around on stage in his high heels and seems to be in a very good mood, joking with the audience in between songs. It was a good show, but it was nothing mind blowing I have to admit. I heard later on that the band weren’t that satisfied with the Roadburn set and that they could do a lot better. I believe them, but still, it was Pentagram and I got to finally see them.

Pentagram

Had to miss the last bit of the Pentagram set and head over to the Green Room to catch Today is the Day. That’s of course the thing with Roadburn; it’s all about compromising. On the other hand, on most occasions I’m satisfied with a 30 minute show, so this luxury problem isn’t really what I would call a problem. Still, you can’t see all the bands no matter how much you run around between the stages, but going to see TITD was a no brainer. It was an awesome set, and I didn’t expect less from these guys. For some reason I don’t remember much of their show, and my notes are extremely cryptic, even for me. Maybe it was because what was about to hit me on the main stage...

Today is the Day

Godflesh! Never thought this day would come. But here they are; Justin Broadrick and G.C. Green right in front of me, ready to perform their entire debut full length “Streetcleaner”. Knowing what a great musician Broadrick is, and what an excellent album “Streetcleaner” is this could in no way go wrong. Of course it didn’t either. Godflesh really gave it all on stage. Even after the first track, “Like Rats” it looked like Justin Broadrick was about to collapse of exhaustion. But he just kept going giving it more and more for the entire hour and a half.

Godflesh

The first day was almost over and I tried to decide which of last bands I was going to see. Carlton Melton, Count Raven or Soilent Green. I chose the latter, and well, the band and the crowd seemed to be as tired as I was. Ben Falgoust made excuses to the crowd that they were suffering from jetlag, but still I think they did a good show. It was a great ending to an awesome day.

Soilent Green

PIERCED ARROWS LIVE REVIEW FROM 2009

While we're on the subject. Here's a review I wrote after Pierced Arrows' last Stockholm visit. On September 11 2009 to be exact. Complete with a couple of crappy mobile phone pictures. Can't wait to see them again in May.

Pierced Arrows – Debaser Slussen, Stockholm, Sweden September 11 2009

Opening act Masshysteri is a tight jeaned Swedish punk band, and they can count to 1-2-3-4 as well. Cool stuff if you’re up for it. But now on to why we’re here, Dead… I mean, Pierced Arrows. Not much have changed since the days of Dead Moon. Married couple Fred and Toody Cole is still here, with drummer Kelly Halliburton (Severed Head of State, Defiance) in between, forming a splendid garage punk sandwich.

I met Fred and Toody when they came out from toilet, and minutes later they rocked my ass off. The very same ass that lead me into the toilet in the first place.  Debaser Slussen is really the place where fanboy fantasies come true. Not that I dream of meeting rock stars in the toilet all day long. Although I can think of a couple…  Anyway, I digress.  I guess a lot of people came to see and hear Dead Moon, wishing for a greatest hits set or something. But that’s not why we or Pierced Arrows are here. Debut album “Straight to the Heart”, released on the bands Tombstone label can really stand on its own.  To be honest though, of course I shine up a little when they play “It’s Ok” towards the end.

Pierced Arrows deliver an excellent set, garage punk at its purest. The chemistry on stage is almost overwhelming. When I see Fred’s smile every time he looks over at his wife, I suddenly understand where all those great songs come from. And there’s more to come, the band are working on a new album with working title "Descending Shadows". Hopefully they’ll be back soon.

BELZEBONG GIVE AWAY NEW ALBUM FOR FREE

The Polish act Belzebong were new to me when I first heard them a couple of days ago. I loved them right away. Their four track album, "Sonic Scapes & Weedy Grooves" is an excellent slab of stoner doom which reminds me a lot of the latest Bongripper album, and that says a lot! Also, if you have the good taste to take a sample from the 1968 flick "Alice in Acidland", then you're more than ok in my book.

"Sonic Scapes & Weedy Grooves" can be downloaded for free here (it was by the way of course released on April 20). And please guys, put this out on vinyl!

BLACK MATH HORSEMAN Wyllt

Album. Tee Pee 2009
"Wyllt" is the debut album from this American act fronted by bassist/vocalist Sera Timms and produced by one time bassist of Kyuss and The Obsessed, Scott Reeder. We're talking post rock here I guess, but before you start yawning and complaining about yet another band trying to be Pelican, here me out for a minute. Sure, the resemblance is there, but Sera's vocals add another layer to the outcome. She sounds like a mix between Jarboe, Elizabeth Fraser of Cocteau Twins, Lisa Gerrard of Dead Can Dance, and throw in a bit of Nico as well. If these four ladies could have a child, maybe they can, I’m no scientist, her name would be Sera Timms.
    
The music then? I mentioned Pelican, maybe a bit hastily, on the other hand I was only trying to figure out what you were thinking. Black Math Horseman is a lot doomier and mellower than said band, sometimes too mellow though. Towards the end of the rather short album, just when I'm starting to think; "oh come on, do something", they do something. In the middle of the eleven minute closing track "Bird Of All Faiths And None\Bell From Madrone" it sounds as if the roof fell in and the band reach a potential I wish to hear more off. Hopefully on the next album.
    
And to the gear heads out there; yes, guitarist Ian Barry is the same Ian Barry as the custom motorcycle builder. Now you know.

www.myspace.com/blackmathhorseman

SHRINEBUILDER Shrinebuilder

Album. Neurot 2009
It finally came; the album we've all been waiting for since this band was just a sparkle in Wino's eyes. Shrinebuilder is the super group of super groups. Throw in Scott "Wino" Weinrich (Saint Vitus, The Obsessed), Al Cisneros (Sleep, Om), Scott Kelly (Neurosis) and Dale Crover (Melvins, Porn) in the same room, and what do you get? One of the best album of 2009, all categories, that's what. Since the anticipations for this album was high to say the least, it was kind of scary to listen to it at first. Thoughts like "will I like this just because of who's in the band" used to keep me awake at night. Well, kinda. When the band gave us "Pyramid of the Moon", the second track via their MySpace, I wasn't too worried any more. It can only go downhill from here, I thought. It didn't.
  
Scott, Al and Wino all sing on the album which is a stroke of genius. They're all great singers and it gives the album a variety that is very welcomed in the genre we call doom metal. Also, because when Scott Kelly sings it sometimes becomes too much of Neurosis. And if he'd sung on the entire album it wouldn't be the same. On the other hand, I'm not the kind of person who thinks anything can be too much Neurosis, but you probably know what I mean. It's the same with Al of course; the mind automatically wanders to Sleep and Om. Wino sounds better than ever and it would have been great if he'd sung more on the album. That's probably my only complaint.
  
As it seems, Shrinebuilder is not just a one-off project. The band has said that this is a real group, from whom we can expect a lot more in the future. I for one can't wait.

www.myspace.com/shrinebuildergroup

YOB The Great Cessation

Album. Profound Lore 2009
Things were looking bleak for Mike Scheidt. I mean, imagine breaking up a band and wanting to start fresh with a new act. An act that were very promising and their only album showed extreme potential. Then imagine some mediocre band filing a lawsuit over name similarities. I'm of course talking about Middian and their debut album "Age Eternal" (Metal Blade). Life is really shitty sometimes. This time though, it all has a happy ending and Scheidt has the last laugh. He reforms Yob and they release "The Great Cessation", probably their best album.
    
When the first track, "Burning the Altar" begins I think I'm in for some black metal in the vein of Wolves in the Throne Room. But things turn for another direction and I'm hit with very, very heavy doom metal. Twist and turns seems to be the key here. Yob can go from sounding what I imagine Sir Lord Baltimore would sound like if they would have released their debut album in the 21st century, to an early incarnation of the Melvins. And that's just within one song.
    
The album clocks in at about an hour, and within that time we are given five epic tracks, which works together very well. Even though I said that the music takes many different directions it still follows a red line, so it's not like you think "where are they going with this?" Mike Scheidt's vocals have to get a mention as well, since he sounds better than ever. This is proven in "The Lie That is Sin" which is the strongest track on the album. Hopefully Yob doesn't call it quits again. We need them to hold the flag high in this doomed world.

www.myspace.com/yobdoom

SUCH HAWKS SUCH HOUNDS

Documentary. DVD. Long Song Pictures 2008
The documentary I've been waiting for; the story of American underground hard rock from 1970 and onward. One really can't ask for more. You get Sunn O))), Sleep, Om, High on Fire, Pentagram, The Obsessed, Saint Vitus, Kyuss, Earthless, Brant Bjork, Thrones and so on, and so on. Of course, I would have loved to see more of the Melvins, although Joe Preston's story about the band in the bonus section kind of makes up for it. Another high point, also placed in the bonus section is Wino's tale about how he got clean. No one is more rock n' roll than him.
    
We get valuable lessons in heavy riffs, and why you sometimes want to hear a great riff over and over again. Sometimes for 52 minutes. There's also focus on the album artwork. Great artwork is for me synonymous with this genre. Interviews with Arik Roper (Sleep – Dopesmoker, Bongzilla – Amerijuanican, High on Fire – Death is This Communion) and the Malleus collective (too many gig posters to mention) makes this documentary even more complete.

What's great about "Such Hawks Such Hounds" is that we're not getting showered with nostalgia here. This is a scene that is still going on, and is probably more popular than ever. Usually with these types of documentaries, it's about a scene that is regarded as over by most people. Like "American Hardcore" for instance. If you claim to like rock music and you haven't heard of the bands mentioned above, you should drop everything right now and watch this DVD. Bonus points goes out for recommending the Flower Travellin' Band album "Satori" in the "Further Listening" section.

THE GATES OF SLUMBER Hymns of Blood and Thunder

Album. Rise Above 2009
The Gates of Slumber, the band that never seems to sleep. Lucky for us that is, as they keep getting better and better. "Hymns of Blood and Thunder" is really man made metal, all the way from the cover to the song titles. Well, we're not really talking Manowar here. Sure, the whole concept looks super macho, but with a bit of self distance. As with most doom metal bands the influences are quite obvious. A touch of Black Sabbath here, a pinch of Saint Vitus there, but in this case you can also add a heavy dose of some NWOBHM. 

First track, "Chaos Calling" hits you in the face right away. A perfect opener as it's like you're being thrown into an album that's already been going for a couple of songs. There's no fancy intros here, oh no. It keeps on going like this, leaving the listener no time to breathe. And why would be wanna breathe? Who needs basic stuff like that when you can live off an album like "Hymns of Blood and Thunder"? If you do however need a break from all the metal (why would you), you can always enjoy the softer track "The Mist of the Mourning", complete with female guest vocals. It's also the shortest track on the album, maybe intentional, so that we not fall asleep.

CANDLEMASS Epicus Doomicus Metallicus

Album. Black Dragon Records 1986
This is about as classic as it gets. The debut album from Sweden's Candlemass has everything you would want from a Doom Metal album; great strong vocals, bombastic drums, heavy riffs and memorable melodies. Basically everything that makes you go 'mm.. doom'. "Epicus Doomicus Metallicus" pointed the genre in the right direction and lead it to where it is today. Although a great album, it's not my favorite from Candlemass, as I think the follow-up, 1987's "Nightfall" is a bit stronger.    

The track "Demon's Gate" is probably the best of the bunch. That is if I had to pick one at gunpoint. I can admit though that I'm not a big fan of one particular guitar riff in "Black Stone Wielder". You probably know where I'm going with this. All of a sudden a riff from the Swedish poem/song "Gläns Över Sjö och Strand (Betlehems Stjärna)" enters the arrangement. This is a bit much for me. You had me at 'Styx', you don't have to go this deep to win me over.