Label: Independent Band: Hair of the Dog Origin: Scotland
During Roadburn, you sometimes just wander into a place to see a band you didn’t know before. So I stumbled into Extase. It was very late and little people were there, but the band on stage was bare chested and completely rocking out, pushing out the most glorious hard rock sounds. I was sold at that moment to the charm of Scottish rockers Hair of the Dog. They simply rocked with raw passion.
This is the third full length of the Scottish trio from Edinburgh. Clearly getting more groove and intensity to their sound as they go. I guess the skateboarding connection also has something to do with it, because they are on a roll (pun intended)! The laid back flow and catchiness of the music is great and it is a complete pleasure to hear their tunes.
What I enjoy about Hair of the Dog is that they make essential, bare chested, ballsy rock music. Sure, when the title track launches you immediately detect the stoner and sludge influences. The group reshaped it backward in rock history to the classic hard rock vibe and feel of Led Zeppelin and Mountain. My favorite tune of the Scots is ‘Keeping Watch over the Night’, where singer and guitar player Adam Holt is truly capturing hearts in minds with his passionate delivery and the all over hugeness of the sound. What a trip!
‘Ctrl-Alt-Delete’ takes us in a way different direction. While it holds it’s bluesy progression, the vocals are much more crooning and hold a completely different vibe. It’s remarkable how the threesome makes music that feels simple and direct, but also holds a big stadium vibe. Clean and poppy enough for your mom to enjoy, but rough enough to still make you feel cool while driving. Every note is spun out and used for it’s maximal potential, to create that wall of sound that makes them so strong sounding. For example, on ‘In Death’s Hands’ the music seems to just drift along and the notes just flow out.
On ‘4AM’ the boys show us they have quite a bit of soul as well. On the track they pour out their hearts and even the bass and drums ooze passion and feeling. This band takes it back to its essence and all I can say is that they’re simply amazing. Hair of the Dog makes me want to puff my chest, pump my fists and gently wave a lighter (yes, smartphones then) around, all in the span of one album. That makes them awesome.
This week is a busy concert week for me and I decided to add one more show to the schedule when Winterfylleth hit Eindhoven. On a Wednesday night in Dynamo? You bet I have to be present at that one!
So we head down to the Dynamo basement for some fine UK black metal. Now, for those that are not aware, UK black metal has always had a distinct flavor. Winterfylleth was among the bands featured in below-linked documentary (check it out, it’s cool). The band can be considered an integral part of the Brittish sound.
So we kick off the night with Necronautical, a relatively young band in the genre. These guys from the northwest of England play a bit of an eclectic kind of black metal. The sound is mostly solid, but combining symphonic elements, grand clean vocals with heavy and raw passages seems to sort of clash and never find that special chemistry during this live show. Specially the intense performance of their vocalist I liked. The delivery is passionate though. The band sticks it out and plays some blistering riffs, but never really manages to get the crowd on their side. These guys have potential I believe, but I feel that they need to find the right modus for that.
While waiting for Fen to set up, I had a chat with Dan Capp from Winterfylleth and Wolcensmen (which you pronounce as ‘Wol-Ken-s-men). Dan is a very friendly guy and he informed me that Wolcensmen will be playing live. If you can be there to see this (sorta this, I hear it will be different), you’re lucky. I also got that Winterfylleth was going to play work from all their albums. Excitement rising for me then.
First Fen is up and this band makes some music that really deserves praise. On record, the sound doesn’t really get the right treatment it seems, since I found them sort of hard to get into. Like when you read some heavy literature, for example, just heavy material. They play some fierce atmospheric black metal, but here and there you can detect particular Fen-isms, like a little funky bass loop or a bit of Pink Floyd-esque riffing if I may call it that. The problem arises on parts where their sound is quite dense. On those passages, three musicians are bound to have limitations in a live setting. That is clear from the switches between clean vocals and screams, but for a bit, the band is really almost losing control of their material. Still awesome though and very happy to have seen them play finally.
Winterfylleth captured me with the album ‘Divination of Antiquity’, but obviously they’d been at it for a good 6/7 years when I found out about them. Bumping into drummer Simon Lucas and singer Chris Naughton at Eindhoven Metal Meeting a few years ago was very cool. Meeting Dan Capp and bass player Nick Wallwork this time was also cool (it led to this interview). Both sing along live, to give an extra wealth and cadence to the folkish parts. Those have become an integral part of the Winterfylleth sound.
The band live is a continuous flow of great songs and let me emphasize how I really mean flow. The black metal of this band is not hooky and harsh, but melodic and hauntingly beautiful at parts. While Naughton takes on most vocals, a lot of harsh parts are done by Wallwork. Capp focuses on the intricate guitar parts that give the music that special polished shine. Listening to the band play, I think of the landscapes on the covers. The wide, beautiful vista’s depicted there have a lot in common with the beauty of their music, it’s stretched out candor that invites the listener to dwell in it.
The set covers every album, with some particularly good old tracks dropped in to celebrate the 10 year anniversary. Though the band has obviously shifted their sound throughout those years, the set is cohesive and worked into a strong story. The magnificent drumming is not overwhelming, even not in the small basement of Dynamo, with a remarkably balanced and harmonious sound. Hearing personal favorites like ‘Whisper of Elements’ totally makes my night worth it. When we toast to 10 years I did get myself a beer as a little token of respect, because this band nails it every time. Closing the set with a mighty display of force.
A remarkable night with black metal that sounds just perfect to me. Thanks, guys, congrats on 10 years and onward to the next 10 I would say.
The phenomenon of global metal keeps being a point of fascination for me. In the most interesting places you can find bands playing this type of music. Most people might know that metal has a place in the United Arab Emirates, so finding the band Aramaic playing this music there is not entirely surprising.
In the documentary film ‘Global Metal’ by Sam Dunn and Scott McFayden the Desert Rock Festival finished up the film. It showed that metal was even finding its roots in the most unexpected places. For the guys from Aramaic this is as normal as it gets though. Aramaic has been going strong since 2011 and members of the band have worked with internationally known formations like Schammasch (German drummer Hendrik Wodynski joined the Swiss giants live) and Heavenwood (guitarist Fadi Al Shami did guest vocals for the Portuguese goth veterans), while singer Serge Lutfi moved with his other band Abhorred to London and back from the UAE.
Most interesting is that the members are all from neighboring countries (apart from Wodynski of course). Most band members answered these questions about their band, the concept and what it is like to play metal music in the United Arab Emirates. A country is known for its shining city of Dubai, but also with strong religious roots. Thanks to Fadi Al Shami, Michael Al Asmar, Ahmad Rammal and Serge Lutfi for taking the time to respond. Though none of them was born there, they all moved to the country for work and find music as well.
Could you briefly introduce yourselves and Aramaic for those readers unfamiliar with your work?
Fadi: We are Aramaic hailing from the Levant region (Lebanon, Syria, Palestine, and neighbors), currently based in the UAE. If you were to describe our music, I feel we do not conform to a specific type of metal genre. We prefer to avoid restricting ourselves and having the classification done by our peers.
Michael: To give you a brief summary on the name, Aramaic is an ancient language spoken by nomadic tribesmen inhabiting areas around the Tigris River (the river flows south from the mountains of south-eastern Turkey through Iraq and empties itself into the Persian Gulf) dating back to the 700 B.C. the Bronze Age. It is from the Semitic family (Arabic, Hebrew, Syriac, Maltese & Ethiopian), and adopted by Assyrians (currently known as the Middle East, including Armenia, Cyprus, Iran & Turkey), parts of Babylonia (current day Iraq), even ancient Egypt and the Canaanites (Lebanon, Palestine and neighbors).
Serge: We, however, adopted the name to best represent our origins and expose the listeners to something that is not typical to modern discussions and music. History has always intrigued us, the more we researched the more fascinated and infatuated we became with this ancient civilization, it brought us closer to our heritage and we wanted to share this with everyone through our incantations and hymns.
How did you guys get into metal in the first place?
Serge: I have to praise my sister for introducing me to metal in 1991, started with Kiss & Danzig, moved to Testament, Anthrax, Metallica & Pantera then straight to MorbidAngel, Obituary & Entombed. The most memorable albums that I grew up with were Testament’s The New Order, Metallica’s Master Of Puppets, Danzig’s How the Gods Kill, Pantera’s Vulgar Display of Power (I still have the tapes). I started playing guitar at the age 5 and by the time I was exposed to metal (as an 11 years old), my first electric guitar was bought. The rest is history.
Fadi: My first encounter with metal music was when I was 9 yrs. old by getting introduced to Metallica’s Black Album. Yet the reason I learnt guitar was Death’s Symbolic (such a master piece). I started playing guitar at a very late age (27) when I managed to spend 3 hours every day trying to develop better techniques as I moved forward in the music career.
Michael: I got into metal because I liked a girl who listened to DefLeppard and Europe and when I went to the record shop and asked for similar music the guy gave me Metallica’s …And Justice for All and IronMaiden’s Seventh Son of a Seventh Son.
What are your main inspirations for the sound of Aramaic? There’s a hint of some traditional music in your sound, how did you manage to create this mixture.
Ahmad: We all bring our experiences, influences and capabilities to the table whilst composing the music. That’s what makes it unique, from traditional Arabic music, classical progressions, instrumentals and hymns to extreme diabolical works. Serge: The writing process takes a considerable amount of time, as we all come together to write the structure of a track and the more we embrace it, the more intense it becomes. We take our time making sure every person involved has his signature and seal on it. We also try and incorporate some native instruments to give a more distinctive element.The lyrical theme is based on myths, legends, deities & tragedies that befell the Aramaens and Assyrians during the ancient times.
Your name is derived from the ancient language, with that also bringing in a culture, history, and people. There are a lot of directions you can go with a name like that. How did that come about and what sources originally made you want to go in this direction?
Michael: Being from the Levant region, we wanted to represent our history & our people in an unorthodox way, completely straying away from religion (of any kind). We wanted to focus on apologues; documented works and myths from that era to expose the masses to our bright and rich past.
It compelled us to dive deep into the realms of these ancient civilizations to bring forth the knowledge bestowed upon us through materials lost in time.
I understand there are various mythologies you use as a theme in your music. Can you tell a bit more about that and maybe share a little light on what sort of stories you really take to put to music, since many people from other places might not be familiar with them?
Serge: The songs are all story-based; each journey talks about the plight and encounters of the protagonists (Sennacherib, Ereshkigal, Shamesh, and others) in our own interpretations. We will shed more light on these stories throughout the album’s artwork and lyrics. Footnotes will be provided for further explanations.
We stress on this by saying that all the lyrics are based on stories we read and reinterpreted in our own way to suit the music & the image of the band. We are also using the themes to reflect on the modern and current issues of the world, as the reoccurrence of these subjects happen throughout the millennia.
Your last record is from 2014, which is a great piece of music titled ‘The Fallen’. Are you working on something new now?
Fadi: We released a single called The King single in 2015. Currently, we are finalizing our debut album ( the title is also ready), an update will be given in due time!
How do you guys work on new music, do you start with music or a concept and how does the process follow from there?
Ahmad: We throw ideas around, and once a riff is liked by all the members, we start working on it and adding our styles and influences. The lyrics are usually written after the structure of the song is done. We research a certain topic and elaborate on it.
In a couple of weeks, you guys get to open for Paradise Lost in Dubai. How excited are you guys about this how and how did you end up filling this slot?
Fadi: We were contacted by JoScene, them being the organizers & promoters of the show, to take our place on the bill with Paradise Lost.
Serge: We had the seize the opportunity. They are one of the bands we grew up with and that influenced us musically. It is going to be a surreal feeling and one we have been looking forwards to since day one, even before the conception of Aramaic!
I would like to ask you some questions about playing metal in the United Arab Emirates. For example, I’m very curious what it’s like to make metal music over there? It seems there is quite a scene going on actually. So I guess there might be quite some misconceptions about that, right?
Michael: Metal in the UAE has been around for 2 + decades (probably unexpected) but there has always been a following. From school kids to the older generation. Being a religious country, some might think that it is forbidden or frowned upon. The government does not seem to be particularly bothered by the music as long as its lyrical content does not offend a particular group or have explicit content. We have had many international bands coming through Dubai to play gigs, most without any issues. Bands that have passed though the UAE: Nile, Mayhem, HateEternal, Katatonia, Obscura, Defiled, Metallica, InFlames, Testament, Sepultura, IronMaiden, Mastodon, Opeth, Motorhead, Fleshcrawl, Megadeth, Korn, MachineHead, Arch Enemy, Yngwie Malmsteen, Epica, Anathema, Insomnium, Vader and countless others.
Do you have all the facilities available, like access to music, instruments and rehearsal spaces? Are there venues especially for rock/metal shows and do you get foreign bands over?
Serge: In our day and age, Internet made music readily accessible and available. There are a few decent rehearsal spaces in Dubai that are equipped with good musical equipment at reasonable prices (for this city).
Fadi: Not too many venues that appreciate this type of music. We do manage to play at various venues that are equipped to handle the heavy music.
Do you have to deal with any sorts of misunderstanding with what you are doing? Is there any form of censorship or anything?
Fadi: As long as there is no offense against a religion or faith, or against the government. No preaching about the devil, then we are all free to do what we do, within reason.
So, a bit of a history question, how did the metal scene in your country get started? Who were the pioneers?
Serge: Spyne, EskimoDisco and Abhorred (Serge’s own band, ed.) were the pioneers (started in 1997) soon came Nervecell and we all know who they are \m/!
Nervecell is probably as big as it gets when it comes to death metal in the UAE. The band was the first ‘local’ group to play at Deser Rock Festival and is signed currently to Lifeforce Records. You should probably check them out (particularly their latest album) (Ed.).
Any bands from your part of the world that other people really should check out (and why of course)?
Serge: Kaoteon – Extreme Black Metal from Lebanon, it is powerful, malevolent & heavy music!
Fadi: Kimaera – Death Doom Metal from Lebanon, heavy riffs, good song writing, catchy and heavy tunes!
Michael: Ascendant – Power & Heavy Metal from UAE, a great bunch of musician with exquisite taste in music
Ahmad: Blaakyum – Coz heavy fucking metal \m/
What does the future hold for Aramaic?
Ahmad: Releasing the long-awaited Aramaic album in the near future. Of course, play gigs, and hopefully, tour Europe in summer 2018
Is there anything you would like to add that I forgot to ask?
Michael: Catch us Live on the 8th of September at the MusicRoom supporting the almighty ParadiseLost and on the 3rd of November (venue still unconfirmed) supporting the doom legends Saturnus.
If you had to describe Aramaic as a dish, what would it be and why?
Serge: Lasagna, its layers and layers of intense flavors soft, textured and velvety but certainly a deliciously heavy and intricate meal, full of spice.
There’s no huge audience for folk music. Not when we start talking about real, authentic folk music. Sure, we’ll love a bit of Wardruna thanks to the epic Vikings series. The Hollywood experience leaves the music in itself is largely misunderstood though. That’s a massive shame because people miss out on groups that really bring it the way the gentlemen from Byrdi do on their latest album Ansur: Urkraft.
Byrdi has been around for a bit now and this is the follow-up to their debut album Eventyr. On this record, they go deeper though, more intimate and personally they approach heathen folk of the forgotten ages. Digging deep into northern history and mysticism, the group produces an album that really fascinates and tantalizes the listener on a primal level.
Though its title may be funny, the harmonious singing on ‘Blaanane blaa’ serves as a gateway into the realm where Byrdi operates. Tempered, tribal drumming comes up in the background. While minimal, it’s effect is so heavy with the rumbling in your gut. The music doesn’t need any heaviness or density. The full, warm sound and smooth production allow for an optimal expression with just simple instruments and vocals. Sometimes that can sound a bit more boisterous and manly, like ‘Myrpesten’. At other times they sound intimate and melancholic, like on the visceral ‘Celebrata’. The bass tones and eerie atmosphere takes you away.
One thing that I find surprising is how easily the mood and emotions change with the songs of Byrdi. The directness of the songs really goes straight to something inside you, tugging the heartstrings so to say and evoking images of more archetype-like experiences. The way the gentle guitar picking on ‘Ren’ focuses the attention is just magical. When the vocals come in, you’re already in a trance-like state mentally. Byrdi has made an album that puts you in the heart of the forest, in the shadow of mountains and the cold stream of a river. The magic that inspired our forefathers to make their earliest folk art and songs. This record is pure magic.
Label: Avantgarde Music Band: Botanist Origin: United States / The Verdant Realm
Harmonious collective in the Verdant realm of Botanist
The group Botanist really functions as a group on this brand new album, which feels very different to their earlier efforts. A year after the split with Oskoreien, we step away from the numbered series of albums to create something new in the form of Collective: The Shape of He to Come.
Though Botanist is currently touring (and I’ll be seeing them play in a week in Eindhoven’s very own Dynamo), they will not be playing songs from this record, because the band is not the same as the one that made this record. Particularly the singing of Bezaelith is key to these songs, but she’s not touring with the band.
On this record, Otrebor has shared writing responsibilities with the other members. This makes the album a more layered construction, with new aspects and more of a complete vibe. When an album is created by a solo-artist, it somehow always has a little bit of that solitary vision in its execution. The album has more now, more musicality, more wanderings down untrodden garden paths… It’s an exciting, fresh new sound. If you like to read more about that process, which so clearly shapes the sound, read about it here.
The sound of that hammered dulcimer completely enthralls me. The hitting feels firm, but also mellow to the ear, taking off the sharp edge of black metal riffing. Botanist sounds unique because of that. It can create heavy, percussive black metal, but obviously also classical sounding, melancholic music. That is immediately clear on opener ‘Praise Azalea the Adversary’, with its gentle intro. The gentle, shivery vocals on the first part of ‘The Shape of He to Come’ also are so different, but filled with the fragile beauty of nature in its very own way.
The music blossoms as one could say, slowly unfolding. Tones grow together like an unkept garden, they merge together and weave green tapestries of sound with that mournful singing in harmony. A great example is ‘Upon Veltheim’s Throne Shall I Wait’, where everything gathers in a steady stream.
So there’s always a lot of subtlety to the music of Botanist, it doesn’t hit you in the face with force, but overgrows you gradually. Subtle bass loops, spun out soundscapes, this record lacks every aspect of brutality and that is in fact perfectly fine. On ‘Join the Continuum’ there’s even some straight up folk music, with ladies chanting melancholic, yearning words. Most imposing track is the epic ‘The Reconciliation of Nature and Man’. An epic, rumbling track, where the percussionist elements really are the source of the feeling in your gut. Everything about this record just oozes that different method and plan behind it. Otrebor definitely holds it close to the tradition of Botanist, but this record explores new sounds and expressions. It’s a great trip and I am really looking forward to hearing this live.
Label: Seasons of Mist Band: Der Weg Einer Freiheit Label: Seasons of Mist
Goodbye, Cruel World with Der Weg Einer Freiheit
Der Weg Einer Freiheit offers the world a new taste of their dominating black metal skills with ‘Finisterre’. Only two years after ‘Stellar’ the group from Würzburg is back with an absolute gem. The solid core of the band is still Nikita Kamprad, but with some member changes, it seems that the group is gently shifting direction.
Though the sound seems to evolve in the expected trajectory, the album art is different on this record. For the first time, we see some more traditional black metal symbols adorning the cover of ‘Finisterre’. In one interview, Kamprad proclaimed that this record is their goodbye to the world as we know it. A line in the sand, a point of saying that we have to start over instead of continuing along this line.
I’ve written about Der Weg Einer Freiheit before on this site. I have to admit that I find both listening to and writing about this band daunting. Not because I think there is anything obstructive, I just think that they’re that good. There’s something so immense to the sound of these Germans. Listen to opener ‘Aufbruch’ with is monumental drum work and eerie, out of space guitars. Launching into a ferocious machine gun drum roll at the end the song finishes in a majestic show of force.
As said, ‘Stellar’ was much more spiritual, so ‘Finisterre’ brings us back to the ground. The sound of the album is much more earthy, solid and strong. A mixture between Endstille and Wolves in the Throne room would be a fitting way to describe this band, but it lacks the nuances to fully embrace them. It is telling on a track like ‘Ein letzter Tanz’, where the mournful melody merges with the sheer inferno of a scouring verdict, of our times as the nadir of civilization. Never afraid to implement lessons from modern black metal, a calm, soothing break occurs as well after which the abyss fully opens seven minutes into the song.
As if that was not severe enough, the two part ‘Skepsis’ follows with a climactic explosion. The sound sweeps you along in all its dramatic splendor, only to be repeated one more time on the finalizing title track. There’s hints to the more melodic, blackgaze or post-black metal sound here and there, which is perfectly fine. The music needs to convey grief. The sound truly holds a sense of finiteness. Slowly the cavernous riffing fades away into nothingness.
Label: Independent Band: Laiva Origin: United States
The waves, the sea, the Balts
I came across this band from Seattle, because they use Latvian titles and themes for their shoegaze. Maybe a connection exists, but information is scarce on this group. What I can tell you is that they make great music. Music that overwhelms you with its calm cadence and free-flowing stream of the guitar.
The band appears to be part of the ‘dreamgaze’ scene in their neck of the woods. The band has been praised in announcements for their live shows, but more I can not say at t his point.
We hear the sound of the sea on ‘Pūt Vējiņi’, which has a sung intro performed by Edmunds and Valentine Rekevics in San Diego. The title means ‘Blow Wind’, which is a Latvian folk song. I’m not sure if the couple is part of the band or simply Latvian migrants that recorded their beloved songs. It offers a contemplative opening to this record with the beautiful song reverberating in my ears.
The band truly has an oceanic quality to them, completely submerging the listener in waves of tranquil guitar play. Wavery, warm sounds wash over you on ‘Come Now’, that beckons you to join in the water with its alluring, hazy sound. The flow keeps a steady pace, but never is it rushed. Vocals are used sparsely and even then they are hard to hear in the middle of the complete current of the music. On ‘Sea Legs’ we get a few changes, where the sound becomes a gentle trickling guitar for a moment before a complete haze overwhelms you again.
The EP is a beautiful record that feels like a whole that stretches on a bit much. Call it shoegaze or postrock, it has something haunting. It offers a feeling of swimming in the ocean. Completely submerging in the massive sound.
Label: Der Neue Weg Productions Origin: Belarus: Band: Dymna Lotva
Belarussian grief with Dymna Lotva
The band Dymna Lotva hails from Belarus, a country with a long history and traditions. They might have been obscured in the times of the Soviet occupation and maybe still under the rule of Lukashenko. Belarus has a rich and fertile soil for re-enactment, folk music and densely atmospheric projects like the DSBM band DymnaLotva.
The group has been around since 2015 but hasn’t taken the time to relax since their inception. The band appears to revolve around their singer EkaterinaMankevich (stage name Nokt), who writes the lyrics and is the person appearing on the press pictures. The themes the band applies to their music are nature, folklore, and sorrow, which is tangible from the artwork already.
The gentle flutes play a haunting melody. A low piping accompanies the melody, offering slow bass lines until the piano starts playing. The atmosphere grabs you immediately, with a sound filled with melancholy and darkness. The careful introduction brings us to the windswept planes of Belarus in ancient times, when the sinister voice of singer Nokt starts luring you in. Her voice can be beautiful as much as frightning in its cold beauty.
Intricate melodies are woven through the songs, that truly hold to the depressive, atmospheric black metal vibe. Slow, lingering guitar passages are like a swamp to sink away in on ‘Willothewisp’. At the same time the running piano steps are seducing you to look further. Dymna Lotva seems to use quite some synths to achieve the overwhelming, smothering sound that they produce. Sometimes the sound is a bit too polished, a little too much to handle. It’s a hard balance to find and really a personal listening experience. Next to the high pitched screams of Nokt, the growls on ‘Requim’ by Andrew Tomak from Apologeth seem unnecessary. The two singers don’t add, but just double up in a sense.
Ambient sounds fill up the voids in songs and the traditional instruments give an ethnic feel to the music of these Belarusians. A fascinating record for sure. Folky with a bit of dungeon synth, in conclusion this is a joy to listen to.
Every year Roadburn selects a curator, who gives shape to a part of the program. This has lead to excellent and wild acts, that you might never have seen before and perhaps will never see again (G.I.S.M., just to name one). In this post, I’d like to suggest my pick for a curator and explain why.
Who? You might not be familiar with Hank Williams III, but the name should ring a bell. Hank 3 is the third generation Williams who plays a huge role in country music. His grandfather was the famous Hank Williams, that had a huge impact on country (and there’s an uncanny likeness between Hank I and Hank III), a son of Hank Williams Jr. who I’m less fond of I suppose.
Hank 3, as he’s commonly known by his own accomplishments, has been dabbling in a wide range of music styles. Sure, outlaw country and cowpunk are at the core of his endeavors, but there’s so much more. He collaborated with both the Melvins and Willie Nelson, recorded with Superjoint Ritual and Arson Anthem and dabbled with country metal in his own project Assjack. His solo releases even contain some southern style doom. All of this comes back in his live set, where I’ve seen him do 3 hours of various styles. An artist through and through. So why should he curate Roadburn?
1. Musical Outlaw
Firstly, Hank 3 is a musical outlaw, who seems to see no real boundaries for his art and has chosen to follow his own path. That means he’s the sort of guy, who can decide on some names based on his own judgment. That’s pretty much why curatorships are so cool because someone is really laying down their unique flavor. Hank is a punk rocker at heart, a metalhead by passion and a country musician by blood. Think about it, this guy will surprise you.
Hank 3 is an outlaw in all scenes he is part of, he’s an outsider artist in a way and therefore a bridge builder between scenes, styles, and people. And Roadburn is all about that big ‘ol cocktail of great music, regardless of labels. Music that comes from the underground, which is pretty much where Hank 3 is from. Though he might be a bit busy being pissed off about that Hank Williams biopic still… (to be fair, Tom Hiddleston doesn’t sing a good ol’ Hank Williams).
2. Innovator in his own right
Most curators Roadburn had this far, are people who did something special for music. People that pushed the boundaries of their respective genres, innovators, and people with quite a big portfolio of musical endeavors. Also, these are usually people that don’t follow familiar paths and go their own way when they do something.
Though Outlaw Country has gone in various new directions in recent years and artists like Bob Wayne actually played Roadburn (and much more actually), Hank 3 definitely had been a force that shook up the whole thing and quite possibly the inspirator behind a lot of that new movement. That in itself makes him an important musician. He put the dick back in ‘Dixie’ and the cunt back in ‘country’ as is written on many places. So that matters.
3. Hank is a crate digger
Roadburn is a festival that draws a lot of record loving visitors. This is something that matters, not just for the fans, but also to Walter. Walter buys a lot of records and always manages to conjure something special out of crates, wherever he goes it seems. Anyone doing curatorship at Roadburn should, therefore, be a crate digger. Hank 3 has a bit of a collection himself.
4. A long tradition of surprising names at Roadburn
Roadburn never puts anything on the bill that you expect. The same goes for the curators. Every year people are excited for the novelty, the surprise or whatever the choice of that year does to them. Wouldn’t it be an excellent surprise to get this complete outsider dude to curate then? Every year you get something you didn’t expect in a direction you feel sort of curious about. I think it might be really interesting to see this happen. Hank 3 seems to have been largely accepted by the punk community as much as metal fans, so wouldn’t Roadburn embrace the man too?
But as you know, Roadburn works in mysterious ways and when the curator for 2018 is announced I’ll probably be jumping out of my seat and shouting praise for that choice. That’s how it works, isn’t it?
Label: Zeitgeister Music Origin: Germany Band: Klabautamann
Sail the unknown with Klabautamann
It’s a peculiar entity, this Klabautamann, who deliver some wonderful music with their fifth full length, titled ‘Smaragd’. The German group enlisted Costin Chorineau for the artwork, which looks as if it was inspired by the similar looking cover of Helms Alee’s ‘Sleepwalking Sailors’. There’s not much similarity in the music, though both albums allow you to just dream away in distinct manners.
Klabautamann blends black metal with elements of folk and quite a bit of postrock. Klabautamann refers to a specific type of goblin that causes shipwrecks. The nautical theme is not overly present in their work though, but the focus on nature is. The band is a two piece, with Florian Toyka (Valborg) and Tim Steffens (Skarab). So both are not strangers to the weird and experimental we could say. This project definitely has a progressive flavor.
Pecularly, Klabautamann can sound a bit PinkFloydish at times. For example on ‘In My Shadow’, where a passage feels like the trickling, playful tease of one of those tunes. That shortly shifts back to blast beats and growls though. Massive archs and thunderous rhythms hit the listener like waves. The music is filled with tiny details and as a result of this the band doesn’t need to be loud. Their loudness is in the gentle flow of the organ, the muffled drum hits. All ready to erupt in violent blasts at any time.
But there’s some doom and gloom in their music too. Check out the song ‘The Murderers’, withits creeping, death metal vibe, which morphs into cascading, clean sounding doom riffs. It’s remarkable how these guys never need the pure volume and distortion to be loud. Klabautamann is all about atmosphere. The songs slowly unfold, while all those details work the listeners imagination. It makes for a record that is a daunting listen, yet so worth your time to check it out.