Roadburn Festival 2019 // In Confrontation // Vol. II

The second part of my Roadburn Festival coverage can be found below (the first part is here). Please forgive the lapses into first person narrative – it’s not something that I do very often at all but Roadburn has been a deeply personal experience each time I’ve attended and I feel that I couldn’t have taken a step back from it while writing something about it.

2018’s edition was a strange time for me; I’d moved country a few months prior and still had many unsettled feelings and that I didn’t really belong anywhere yet. The music I saw that year hit hard and seeing Bell Witch, Worship and Mizmor in one long day really took me to places I had tried not to think about. This year I feel more at home in my new country and the experience of the festival was reflected in that. I felt grief for the person I once was but also hope for what is to come. There is so much relief to be found this year, and this culminated in the Have A Nice Life performance on the main stage on Sunday – I can finally let go of my fears and embrace the future.

Thou performing at Roadburn Festival 2019 – by Cheryl Carter

Read More »

Roadburn Festival 2019 // In Confrontation // Vol. I

Beginning a review is always the most difficult part of the writing process. There are many thoughts and feelings that you want to express and so many experiences that you want to put across in the right way and your train of thought moves fluidly from one thing to the next…. but getting that down in a coherent and interesting way is something that often falls short. For a weekend spent at Roadburn Festival that process becomes ten times more difficult as experiences are not exactly in short supply and each person has their own unique take on what the city of Tilburg has given them for the four day festival run. No two people will likely have exactly the same experience of Roadburn and it’s often said by the festival team and those who have attended many times “Roadburn is what you make of it, it’s personal, it’s yours.” And that is such a true statement. This is my third Roadburn and while it’s not a festival I can claim to have been to as many times as another person…it often feels like some bands are being booked directly out of my dreams and for the thousands of other attendees this is most probably true for them. Somehow Walter gets into your mind and pulls out your musical desires and the festival becomes as much a part of you as it is for the organisers.

Thou performing at Roadburn Festival 2019 – by Cheryl Carter

Read More »

The Round Up Tapes // Volume XVI

Barshasketh – Barshasketh

Originally a one-man band from New Zealand, founding member Krigeist’s relocation to Scotland brought new opportunities to enhance his music and after session members and live line-ups were solidified, Barshasketh began to take the form that we see today on their fourth full-length, Barshasketh. Stripping back their sound to that of their early days, Barshasketh are reclaiming the essence of black metal and while their music isn’t breaking down barriers or smashing genre lines, the expertise and musicianship on display here is more than solid and definitely worth multiple listens.

Read More »

The Round Up Tapes // Volume XIV

Couch Slut – Contempt

Couch Slut aren’t taking any prisoners on their follow up to 2014s My Life as a Woman and on Contempt they continue to mine the terrifying real situations the band members have found themselves in. On first glance their music is a mind-melding mesh of noise, old school hardcore and even some nods to second wave black metal, but Couch Slut introduce increasingly off-kilter moments to create an atmosphere of dread and unnerving fury. Front-person Megan Osztrosits wraps her harsh, visceral tones around opener “Funeral Dyke” and its bizarre segues from raging punk to weirdo black metal and even a subtly beautiful riff that soars suddenly over all before fading into groove-laden guitar and screams.

Read More »

The Round Up Tapes // Volume XIII

Cavernlight – As We Cup Our Hands and Drink From the Stream of Our Ache

Cavernlight’s debut is a record wrought with absolute despair and in the five passages that make up this work, there is no hope to be found. The members are clear in their utter desperation and in As We Cup Our Hands and Drink From the Stream of Our Ache there is almost a willingness to revel in that sadness, to let it be all-consuming and to allow it to take over. Some doom holds a little light but for this Oshkosh band there is nothing at the end of the tunnel. For a debut, As We Cup Our Hands… is extremely assured; the themes run beautifully throughout and the differing elements are brought together succinctly to create a palette of darkness. Doom is the key but noise, ambient and abstract tones filter through the shadows to build an aura of claustrophobia that is unrelenting in its scope.

Read More »

The Round Up Tapes // Volume XII

Former Worlds – Photos of Eve IX – XVI

Former Worlds use differing palettes of sound to create a landscape that is ravaged by the harshness of life. Soft, spinning drones echo in the quieter moments while filth-laden sludge bears the brunt of their rage in the opposing loud passages, all within one epic, seventeen minute track. Their first release, Photos of Eve IX – XVI, showcases the quartet’s ability to turn things on a head with barely any notice, yet it’s tight and cohesive and the inclusion of Erin Severson’s voice gives them a little leverage over other bands of this ilk.

Read More »

The Round Up Tapes // Volume XI

Dodecahedron – Kwintessens

Dutch avant-horror group Dodecahedron are back after a seemingly eternal wait for their follow-up to the incredible Dodecahedron from 2012. Using their time wisely, the quintet have dredged another terrifying prospect from the depths and in Kwintessens they have a record that moves their avant-garde black metal ever further into the realms of chaos.

“Prelude” forces you directly into the abyss with frenetic beats and jarring guitars vying for space in the heat surrounding echoing voices and industrial machinations before “TETRAHEDRON – The Culling Of The Unwanted From The Earth” whirls into view on discordant rhythms and off-kilter attacks. M. Eikenaar’s vocals are guttural and filled with spite, his approach one of total hatred and in line with the despair that echoes throughout the music, which often turns on its own head and becomes increasingly more claustrophobic as time progresses.

Read More »