Written by:	X-Ray Rod
Published:	May 30, 2017
Event:	Roadburn Festival 2017 (Website)
Location:	013, Tilburg, The Netherlands
Galleries:	Roadburn 2017, Day 3 & 4 by X-Ray Rod (66) Roadburn 2017, Day 1 & 2 by X-Ray Rod (57)

Roadburn Day III

Saturday was a special day and probably the most consistent one in terms of quality. I believe one of the main reasons was that the sets I witnessed were mostly performed by classic acts that have developed a cult following over their carriers. It turned out to be a day filled with unique and nostalgic performances, which are the main goals Roadburn specializes in.

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Laster

This Dutch black metal trio is the exception to my set of nostalgic acts I witnessed this day. Then again, Laster are an exception to most things. The masked trio play a warm and inviting type of black metal. The odd elements are at times hard to really point out but the jazz elements are the most recognizable ones. The bass was highly audible and fought against the guitar leads and riffs, adding its very own layer to the music which is something I highly admire in black metal. With Laster, the bass evokes a bouncy and dare I say danceable and elegant atmosphere. This was put in high contrast with the desperate shrieks of the guitarist. During the second half of their riveting concert, Laster invited the bassist of Terzij De Horde to sing in one of their songs (I believe it was "Helemaal Naar Huis" from their latest album Ons Vrije Fatum as I vividly recall the great sax solo). Now, I'm pretty sure my troubles appreciating his vocals have their origins in an obvious language barrier as I don't speak Dutch, but I simply hated the vocals. I'm not thick enough to not realize that it was badly done on purpose though! Destiny had the funny idea to put me and the guitarist/singer of Laster on the same train the day after and during the nice chat touching different subjects regarding black metal and the festival, he explained to me that both bands are basically friends who just like to make fun of each other (and piss off fans, preferably at the same time). I saw plenty of people laughing though so the joke must have fallen flat on me solely.

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Unfortunately I had to leave 20 mins earlier to get a proper lunch and have a good spot for the next band. This is a proper moment for commercials! One of the restaurants close to the Cul De Sac in which I saw Laster has a "special Roadburn" menu every year which always manages to crack me up. I ate the Coven Burger and the last day I enjoyed the Baroness steak. Both were lovely, which is ironic since I personally couldn't care less about seeing either band hehehe.

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Cobalt

As I was quickly munching my way through my lunch, I was anxiously thinking about Cobalt's set. My expectations for their latest album were so high and unfortunately the band failed to produce anything nearly as good as the savage legacies that are Eater Of Birds and Gin. It was a "good but not great" deal which was too long and didn't quite capture the furious, animalistic vibe of the previous works. This concern of mine was doubled by the fact that Phil McSorley is not in the band anymore to deliver his brutal vocals. As I was standing in the front row, did I regret my decision to witness their set? Not at all! Granted, their set list focused on their latest album but a handful of goodies, most notably "Witherer", "Gin" and "Throat/Stomach" made my blood boil and my head shake without control. The whole band had such a fierce aura around them which truly captured the essence of their bestial and gritty sound. My doubts regarding Charlie Fell's vocals were also silenced. His vile, high-pitched screams that I fondly remember from Lord Mantis' fantastic Pervertor are actually a great replacement and his persona on stage was truly intimidating at times. Shaking and staring with sickening, schizophrenic eyes wide open, Charlie moved and danced around the stage as if he was in a tribal trance of sorts. Overall, it was a great concert that improved my previously lukewarm feelings about the band and their latest offering.

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Oranssi Pazuzu

The first time I saw the Finnish cosmonauts was back in 2012 when their sophomore album, Kosmonument, was still fresh. To tell you the truth, time has somewhat eroded my interest in Oranssi Pazuzu. The reason might be that their first two albums (especially their debut) are the ones I enjoy the most to the point that even during their very last song I was still wishing for them to play "Korppi". Just like with Cobalt these feelings did not stop me from witnessing their set for old time's sake. This was especially true now that Oranssi Pazuzu finally got a place in the Main Stage, which got packed, and deservedly so. The sound created by the band was considerably darker and more extreme than their studio works and certainly not as bouncy as you'd expect from them either. The entrancing psychedelia played marvelously with the dark tone of the songs and the potent screams of the vocalists. Visually speaking there was a minimal light show which made the band look merely like dark figures on the stage. This faceless approach worked well for the purposes of the band though, as pure focus was given to their esoteric performance.

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Warning

Words can hardly describe the emotional impact Warning has upon so many fans of doom metal. When I found out that Watching From A Distance was going to be performed in its full brilliance, I realized the importance of being there and witnessing such a special set. My hopes were obviously sky high, and also my worries. Could Mr. Walker truly capture the sorrowful and piercing nature of his vocals on a decade-old album?

And so he did. The purest of emotions were captured and released onto the astonished audience. Pat's vocals flew through our hearts and minds like a radiant phoenix, re-enacting his bleak tales of woe. Every bleeding sentence, demolishing beat and punishing riff made my heart shrink little by little. Looking around the Main Stage, I could almost see every person in their own personal shelter, reliving memories and feelings conveyed back when Warning's sophomore album graced their ears for the first time. The tiniest of pet peeves I can think of is not even related to the performance nor the sound, but the stage. One could argue that a smaller stage like the Het Patronaat would provide a more intimate atmosphere, but considering the size of the audience that would just not work properly. For all intents and purposes, this was a perfect set.

Patrick Walker powerful cries still haunt me: Can someone feel too much?
Yes, Pat. It turns out you can?

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Ahab

Continuing the trend of "album sets," the doomed sailors from Ahabwere about to perform their debut (and personal favorite), The Call Of The Wretched Sea. The nautical funeral doom masterpiece turned a decade old last year so a proper celebration at Roadburn was a brilliant idea. This release was my first contact with funeral doom when I was just a teenager and it's an album I hold dear to this very day. Food and merch stands held me back a bit so I had to content myself with a so-so spot in the balcony. Once the thundering, tsunami-sized riffs hit us, I was all right again. The growls were particularly brutal, which contrasted nicely with the calming cleans and beautiful guitar leads and solos. I was also glad to finally witness one of my favorite drummers in doom metal. I always admired the varied, tasteful, and HUGE sound of the drums in Ahab, performed by Cornelius Althammer. The only minor pet peeve was that there were some glitches here and there with the samples, which were slightly distracting during the interludes. Unfortunately I had to leave early for My Dying Bride, so I only stayed until the end of "The Sermon". Oddly enough, as I was leaving, Ahab started playing the final track, "Ahab's Oath" and not "The Hunt". I highly doubt they fucked up the order of the songs so I suspect they were simply running out of time and decided to go for the closer right away. A shame if you ask me since "The Hunt"'s mighty cry of "WHALE AHEAD!!!!" is one of my favorite moments of the album!

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My Dying Bride

The third and last "album set" was performed by one of the pioneers of death/doom metal and known as one of the three in the Peaceville trilogy together with Anathema and Paradise Lost? the mighty My Dying Bride. It was just a matter of time until the band came to Roadburn as both their compatriots have already performed sets in which their older material was explored. The protagonist of this set was the Gothic tragedy that is their sophomore album, Turn Loose The Swans. This was my first contact with the band back when I did a blind buy when I was 14 years old. I found it difficult to get into at first as I'd never heard much doom metal at the time and considered it to be boring. Ten years have passed and my tastes have changed dramatically to the point I can now recognize the brilliance of this album (although their debut remains my favorite). After Ahab I rushed to one of my favorite spots in the middle, close to the sound table as everything sounds more balanced there in my opinion. As the band entered the stage I was wondering if Aaron's voice was still as menacing and entrancing as the old days. Short answer: fucking yes! Aaron's growls and shrieks were even frightening at times. He dramatically moved around the stage, at times lying on the floor or trembling as his body was about to break. The band's whole performance was tight and beautiful with many headbangable moments during the extreme parts of the set due to the amazing and punishing riffs. Unfortunately the band did not find a suitable vocalist for the serene closer "The Black God" so the set ended with the self titled closer of their album. As the first part of the set ended, Aaron introduced 3 old tracks for the joyful audience that wished to drown in nostalgia. "Sear Me" from As The Flower Withers as well as "Your Shameful Heaven" and the last song "The Cry For Mankind" from The Angel And The Dark River which ended their set on a perfect note, leaving the audience screaming in ecstasy. It was one of the highlights of the festival for sure. Could this be the perfect end of the night for me? Well?

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Mysticum

The elusive Norwegian industrial black metal force that is Mysticum was quite a recent discovery for me, as I first listened to their insane debut In The Streams Of Inferno back in 2013 or so. It turned out to be quite the experience and their sophomore album Planet Satan (released almost two decades after their debut) only fueled my interest in checking out these cold-blooded factory devils. I was very excited to see what kind of show the trio would put out considering what I heard and read from different sources about the use of "pillars" of sorts. A black curtain covered the whole Main Stage so nobody could see the inner workings of the band until it was too late. The curtains were drawn back and my face melted and a scream of total disbelief pushed its way out of my sore throat. I was witnessing three black demons; each one on top of a tall pillar (roughly 2 meters tall, everyone on the first row must have had a less than favorable vision this time haha). They were ready to set ablaze the stage and let the industrial apocalypse take hold of our souls. The set was not for the faint of heart and the savage riffs and cold drum machine pummeled you at inhuman speeds. Also, if you actually suffer from some condition when it comes to flash lights? then you were seriously fucked, simple as that. Because the light show was nothing short of seizure-inducing as the flash lights moved at the same pace as the blast beats. The visuals were also magnificent as they captured the essence of the band with its military, Satanic, and drug-related undertones. Without a doubt the most unique set I've seen in Roadburn this year if not ever. It was certainly not a gimmick though as everything only served to enhance the natural power within the music of the band. As the band promised when they first announced their set at Roadburn, they invaded our minds and tore our souls apart. Such a sunny procedure turned out to be incredible as I greatly enjoyed the experience, nearly dancing my way into annihilation with the catchy yet extremely intense black metal, and then leaving with the biggest grin on my face, barely believing what just happened.

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Roadburn day IV

The Afterburner usually means a quieter day. It was a good transition into our normal lives with 2 stages open out of the three available back in 2011 when I first attended. Nowadays it's 4 out of 5 stages, so one could argue it's a regular Roadburn day by now as the amount of people is just marginally smaller. The cozy haven that is my home was starting to feel more tempting, but before that became a reality I had to reach the final frontier of my journey. My energies were running low at this point, but the hopes for a good finale were high as usual.

Oxbow

Definitely one of the most out there acts Roadburn offered this year, and also among the ones I looked forward to the most. This American quartet plays a highly experimental fusion of jazz, blues, and rock. What truly sets them apart from the pack is the constant and foreboding tension throughout their songs. I was completely unaware that they had just released their seventh album The Black Duke which is their first full-length in a decade(!) since the release of the delightfully dark The Narcotic Story, back in 2007. The lights went off and the band got on the stage with the bassist saying "for your pleasure" as he put incense on the speakers. The mood was set and the frontman, Eugene Robinson, was the last one to arrive. One of the key-elements of this experimental and highly intense act is that the tension and lunacy comes largely from the singer. As my colleague Apothecary would say: Eugene Robinson is sex incarnated as a human. Arriving in full costume, Eugene looked like the sharpest gangster of the 1930s. As the chaotic blend of blues, jazz and noise rock shook us to the core, the mad frontman sang, screamed, wept and preached with his tales that sent hints of sexual tension from the darkest corners of animalistic male behavior. He was shaking, dancing and moving around the stage as if he was possessed, slowly taking off his clothes song by song. The band ended their set with a fan request, with most people (myself included) yelling "She's A Find!" which to me is one of their crowing achievements, and one that proves that you don't need extreme riffs, blastbeats and screams to evoke a dark atmosphere that engulfs the listener with venomous and violent desires.Oxbow was without a doubt the best band of the day for me and I could barely keep myself calm while running to their merch stand to buy their latest album and a book retelling the story behind its release and the band in general.

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Intermission - Minor rant

-Wow! Mr. Rod, it seems like Roadburn really is one of the greatest festivals ever! Everything seems perfect? perhaps? too perfect. Could it really be that you enjoyed everything you witnessed?
Fuck no, haha. We all have our tastes, which is a great thing since this festival truly provides with something for everyone. I usually leave right away if something is not of my liking but I feel forced to comment on two bands in particular due to my expectations while watching them perform.

Pallbearer

I must admit I was never a huge fan of these doomsters at first but their latest offering, Heartless saw the band finding a sound of their own instead of taking too many notes from the Warning albums. It was delightfully catchy yet emotional, and with enough progressive touches to keep things interesting. I can't say the same thing when it comes to their live show, which I found unbelievable boring and without any passion. The vocals were also surprisingly unremarkable. The overall feeling was that it felt as if they were just going through the set list without really engaging me in any way.

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Les Discrets

I was honestly excited to check these guys out. I may not be the biggest fan but their first two full lengths are great and well-rounded soundtracks to lazy and tranquil Autumn evenings. Their previous show at Roadburn back in 2013 also proved their music can be even more entrancing in a live setting. The main problem with their set was not the performance per se, as the band looked filled with energy (considering the relaxing nature of their music, that is) and excited to be on the Main Stage. But that sound, goddammit. I could barely hear any bass which is always a minus to me. I walked closer to the stage to find out that there was no bass player on stage and that they had some sort of extra keyboard working on the synthetic bass tones which sounded extremely weak. The drums were high in the mix while the guitars were low, which made their gorgeous melodies drown in the midst of cymbals and the bass drum. There were no special visuals either, which I find odd considering Fursy's great talents behind the pencils. Overall, this was a wasted opportunity and even more so in light of the new album that brought new and intriguing influences into their sound.

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Ulver

My fascination with these Norwegian giants began very calmly when I was around 15 years old and listened to odd tracks from Lyckantropen Themes and Svidd Neger. The quiet and introspective ambient tracks really stroke a chord in me. My interest grew as I discovered their game-changing black metal albums as well as their forays into beautiful neofolk and their current mastery on electronica. Roadburn 2013 saw the band perform a set filled with covers of different bands from the 60s. Honestly, I didn't enjoy it at all as I wished for them to play their own stuff so I left early. After the two disappointments that were Pallbearer and Les Discrets, I really needed this set to be great. Ulver's latest album revolves mostly around electronic music from the 80s a la Depeche Mode, who have become one of my favorite non-metal acts for the last couple of years. Vocally speaking, The Assassination Of Julius Caesar focuses much more on Garm's smooth vocals, turning the album already into one of my favorites. Sure, I came for the catchy electro pop, but I stayed for much more. Ulver performed their latest album in its' entirety and they really used their time well, providing plenty of improvisation and extended version of the tracks. Garm's vocals were nothing short of amazing and inviting. The band showed they had much more under their sleeves with droning, hypnotic passages and at times very dark beats which made songs like "So Falls The World" into true hymns for our last days on Earth. Their performance was further enhanced by a gorgeous light and laser show that left no one indifferent as the visuals looked almost three-dimensional at times and made most people ready to dance.

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Emma Ruth Rundle

This gifted singer/songwriter got my attention two years ago when Marriages released their addictive sophomore album Salome. The fragile but at the same time powerful vocals moved me to the core and I had to listen to more of her work. Fortunately for me and the rest of the Roadburners, she has solo work. After Ulver I quickly ran to the balcony of the Green Room which turned out to be quite packed. As I figured there was not much excitement in just standing and watching someone play alone on the stage, so I sat down on the floor and focused solely on her brilliant and delicate performance. It was mostly acoustic, but with odd effects in the background here and there, and oh boy that voice is only hers. Her vocals are emotive, smoky and seem to break at any moment by the weight of her music alone. The quiet tunes basically demanded the audience to be silent as much as possible, and fortunately there is a ton of respect in this festival? except for that Swedish asshole that thought he was being funny by yelling in between songs "SO DEEP MAH GAD, SSSSSHHHH EVERYONE QUIET". Very mature, fuckface. If you read this: Dra åt helvete. Why don't you go to Wacken, it might suit you more. He left halfway through the set though and left everyone seeking solitude and joy with Emma's soothing songs alone.

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Sludgy beers & improv cheers

As I'm typing this, a full month after Roadburn, the details are getting foggy? although the beer might be the reason for that. It's always hard to say goodbye to everyone you've met at the festival throughout the years. For this reason I decided that I didn't want to spend my last hours flying solo. With two jolly pals, we went to see Hypnopazūzu, the project of David Tibet of Current 93 fame and Martin Glover aka Youth from Killing Joke. Unfortunately we were simply not in the mood for the intricate bizarreness and subtle tones from the super group, so we quickly went to Het Patronaat to witness the rebirth of one of the sludge classics, Grief. Well, Come To Grief, as they are called. Consisting of a couple of former members, Come To Grief delivered some simplistic, meat-and-potatoes sludge, although brilliant nonetheless. After all, you don't have to be the most original band around to properly rock your socks off. The slow headbanging kept going on for a while as well as the beers? a couple of them free of charge due to a bizarre accident in which one poor bastard got himself soaked in cold ice water by the bartender, and then the bartender mistook us for being said soaked guy. Hey dude, sorry for stealing your sympathy beer!

To close the festival, the idea was to watch Pillorian, the new project by John Haughm (in case you live under a rock). Unfortunately the bell rang for me as my driving squad wanted to leave earlier? but not before giving a spontaneous congratulations to our beloved Staffer, doomed, drunk, grumpy old fart Marcel! I don't think he actually remembers what happened but one of our friends totally got him a nice cupcake with flashing lights and all. As the last glasses got empty and our asses kicked by the now closed bar, we marched (or stumbled) down the streets to finally put this adventure to rest and return to our somewhat normal lives.

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Thanks a bunch to everyone reading this (especially for your patience!). Who knows how the festival will be next year? Only way to find out is to show up like I keep doing every year. See you in the midst of beautiful noise / Rod.