You know it by now, there are few releases by the French-Chinese one-man label WV Sorcerer Productions I can resist. So most of the time Ruò Tán sends me a package in contains albums from different pre-orders, just what has come out of the pressing plant recently.
Well last time I received my biggest bunch so far, as my purchases had accumulated to eight releases - so what you're seeing above isn't even all! I have already reviewed the Ghostmass tape in the latest edition of my cassette craze chroniclesand the fantastic new album of Sophia Djebel Rose over on Veil of Sound.
So here's - only - the rest of this bunch:
MAGRAVA - Et Attendre (CD) (2022)
Yes, this is one album I didn't buy immediately, since it is a pricy one for a CD, especially if you choose the version which includes photographic artwork on glass plates - which I didn't. Still the presentation of the Black Edition in a black envelope with stamped in print and two thick cardboards, of which one also holds the CD, is quite special. It's not the most practical thing I must admit though. Especially getting the disc of its mount can be a pain in the ass.
The musical reward however is at least worth it. It's the live recording of improvisations by the Experiminental musicians Rodolphe Laubatière (drums) and Cyril Meysson (guitar), which is obviously a direction other artists on WV Sorcerer have explored before. But besides Sheng Jie with Shen Jing or Li Jianghong I also feel reminded of works from thisquietarmy, Jörg Schneider or the Free Post Rock duo Miira. Especially the twenty-five-minute centerpiece "S'Inverser Entre Soi" is an expressive tornado of Noise, while the following "Hors Séparateurs" almost abstractly explores the deepest depths of minimalist Drone.
ZAÄAR - Ovules (CD) (2025)
Recorded in three sessions in Belgium Zaäar's "Ovules" is a new mini live album by the improvistional primeval Jazz collective. The 7" sized packaging of the CD suggests a kinship to the similarly presented "Musique Cryptique" and indeed this almost feels like a continuation. But while the quintet line-up is the same there are some key differences in how the cosmic creative chaos emerges this time.
We're not following them inside a natural cave and back with an electric bass instead of an amplified santur - and generally a slightly lower proportion of folkoristic sounds - Zaäar commit themselves more to the huge and heavy side of their sound, with several passages crossing the threshold to the Industrial/Noise intensity and droning Doom Metal of their sister collective Neptunian Maximalism. Which of course still puts "Ovules" way outside of your conventional Jazz or Rock experience.
Zaäar are planters of surreal megafloral fern gardens. Wandering in them is a passage to timeless raw spirituality, pre-civilizational freedom. Or maybe just an awesome Psychedelic Jazz jam. Music before music, once more.
FLUFLAFEN - Sorcery Sauce (Lime Green vinyl LP) (2023/2025)
We're still staying in the field of completely improvised music with the vinyl reissue of FluFlaFen's self-released debut album. The line-up of the Chinese trio consists of drums, electric guitar and clarinet, a constellation which reminds me of the Polish Avantgarde project -S-. And indeed there's a certain kinship in aethetics and spirit. For the most part however the music on "Sorcery Sauce" must be labeled as Heavy Free Jazz with Classical and Progressive Rock influences.
FluFlaFen are not the types for endless jams with slow changes. No, they have the ability to contain their improvisations from beautifully emotive motifs to chaotic outbursts with chugging guitar and screaming clarinet in relatively small doses with many twists and turns. This leads to the fascinating effect that while created on the spot a lot of stuff happening within these eleven tracks could easily be the result of weeks of compositional Math.
The production is very immediate and satisfying, especially the panning of the drums - just listen to the drum solo which starts "German Shepherd"! Exciting brain-swirling stuff.
TORU - Velours Dévorant (Smoke vinyl LP) (2025)
In typical WV Sorcerer fashion we're flying back from China to France with a band at least equally as mental as FluFlaFen. Toru however are both more chaotic and more systematic - it's like the same spirit, but channeled by Noise Rock / Math Metal band. This is loud, wild, bonkers. New York Jazz Metal vibes meet Brötzmann meet Aluk Todolo and Ni.
And these five instrumental tracks are not rapidly firing on full attack all the time. There's not only room for beautiful Post Rock layering or jazzy freakouts, but also for long quiet deep listening passages, after which the next assault hits all the harder. Toru just get the hang of pulling off a perfectly balanced, unpredictable mess of the musical and the ridiculous. "Velours Dévorant" is a killer album. And what is it about France with all those amazing Avantgarde Metal bands there?
ZAGUŠLJIVI DIM - Durchfall der Lebensmaschine (Purple Doom vinyl LP) (2025)
"Diarrhea of the Life Machine" - now that's an album title. This combined with samples from 1970's Croatian horror fantasy cinema as well as German-American psycho analyst Erich Fromm and a Russian Patriarch already indicates that Zagušljivi Dim are not your usual let's get high and jam band.
Not long after "Dolina Kralja Viktora"Suffocating Smokeare back with their special take on Psychedelic Rock and once again it feels as if the Croations are reinventing themselves twice as often as there are songs on the album (which is four this time). The trio actually doesn't even keep its line-up for the whole forty-two minutes, as two different bass players are credited and the electronics-heavy second track "Milost Za Milost" is performed solely by guitar / synth player Martin Geček and a drum machine.
"Durchfall der Lebensmaschine" is a kind of weird and enigmatic, but always catchy roller coaster ride which includes ecstatic uptempo freakouts, jaunts into Düsseldorf and Berlin school and almost Industrial Electronics as well as rumbling Stoner Rock / Metal, Library Music sounds and even the folk-ish spaghetti western Waltz ("Trinaesterokutno Krivnalo") you never knew you desperately needed in your life.
This is a fantastic fearless Neo-Krautrock album and definitely a step up from the already great debut.
Last but not least in this frankly pretty spectacular selection of albums Khunati's "Misty Mountain Pagoda" fully embraces both a powerful Rock sound and the dreamy escapist side of Psych, which is aided by instruments like the Japanese shakuhachi, overtone flute, tabla, dagu and singing bowl on the all-Asian side and mandolin and udu on the European and African sides. With inspirations borrowed, but not strictly authentically derived from ethnic traditions, this album is all about vivid imagination, a positively naive fantasy journey through strange beautiful lands and exciting adventures.
The Chinese quartet is by the way also only the second band after Zaäar here with (not sampled or narrated) occasional lead vocals. In its excellently delivered purity - both in the mystical experimentalism and the straight-forwardly rocking, sometimes surprisingly punkish parts "Misty Mountain Pagoda" is just an enormous inspiring joy to listen to.
In the center of the expectedly harmonious cover artwork there is a noticeable empty area. My take is that this a canvas we're meant to fill in our heads with the images Khunati are painting. Luckily those are plenty.
The black and transparent vinyl Smoke pressing of this gem are already sold out, so WV Sorcerer has just released a new Silver Stone edition.
2024 added a good amount of great live releases to my collection. I could have easily saved myself several hard decisions, if I just made this a list of my favorite dozen of them. Kikagaku Moyo, Temple Fang, Li Jianhong, Martina Verhoeven could have all been included. But then there would still be more, so let's just except that this is what it is - the holy, unshakable, final selection of my...
No, Swans aren't getting significantly quieter or more compact yet! In a transformed guise of sound, which unites a newly found clarity with a still almost unfathomable heaviness, characterized by basses, lap steel guitars and Michael Gira playing on acoustic strings "Live Rope" presents the Noise titans as utterly glorious as I remember them from their last show in Hamburg. The first double track "Rope/The Beggar" alone clocks in at over seventy-eight minutes. And that's only one half of this unbelievable album. Admittedly it's not the first time that I smell the possible peak of all their qualities coming together, but come on: Can the rush of incomprehensible bliss get any greater?
Not enough musical hypersomnia yet? Here's another fifty minutes mighty piece (in three movements) by the two adventurous Dutch duos Solar Temple and Dead Neanderthals, recorded live at Roadburn 2022. Hypnotically repetitive, yet rich and colourful in detail this "light-flooded cathartic flight beyond the constraints of time" unveils a "skyscraping wall made of Psychedelic Sludge, clerical chants, Post Metal and Blackgaze".
However ginormous the two above may feel; if you want me to guess which album here I will probably listen to the most in the long run, my bet is definitely on Tori in the thirty-fifth year of her career. "Pandora's Aquarium", "Spring Haze", "Lady In Blue", "Mother Revolution"... Not only does she serve an irresistable selection of sixteen hits and hidden gems on this two and a half hour strong double album, but she also does it in fantastic, extravagantly long piano/bass/drums trio versions.
If we're talking historic relevance the winner of this list has to be the first complete official release of Alice Coltrane's legendary Carnegie Hall performance in 1971. In its first half she looks into the future, playing harp on pieces inspired by Indian spirituality. The second half with her on piano honours the legacy of her late husband John Coltrane. It's absolutely magical, and if there had been enough microphones to actually record all instruments on stage properly, I might have ranked this even higher.
From the immortal Spiritual Jazz pioneer of the past to the exciting present of Avantgarde Free Jazz: Zaäar expressively improve a timeless stream of mystical tribalistic trance, including santur, zurna, zither, flutes, electronic sounds, throat singing and animal noises. All this is captured inside the unique atmosphere of a natural cave. "What a hammering meditation! What a monstrosity of freedom! What a wildfire of inspiration!" And everywhere Alice Turiyasangitananda's presence can still be felt like a tangible resonance. A magical trip into NeptunianJazzimalism!
No, we're not done yet! There's even more Coltrane worship ahead! Obviously, since "Afro Blue" is a Jazz standard made hugely popular by John's quartet. Here we can experience it in a stunning twenty minutes version by the trio of Mats Gustafsson (sax), Sten Sandell (piano) and Raymond Strid (drums), recorded live in Stockholm in 1998. And beyond that Gush give us fifty more minutes of sensational improvisations between abstract minimalism and hymnic Spiritual Jazz grandeur. The great production makes you feel like you're witnessing this mastery an arm's length away from the first row.
Six albums in (three of them released this year!) the live series of Krautrock legends Can just keeps giving. From a not too revered period of the band, this almost unadvertised show in the quintet line-up with Traffic bassist Rosko Dee and Holger Czukay operating wave sounds and samples instead, proves to be a true revelation. Incredibly funky, complex and rich these improvisations showcase a band of musicians knowing each other inside out - and then also adds that certain unexplainable magical it of the right constellation of space and time on top.
Same procedure as every July: Here's a spontanous selection of my fifteen favorite albums of the year so far. No distinction between studio and live releases - and only stuff which I have on vinyl, CD or cassette. Expect some of these to appear again in my more elaborated list at the end of the year - but don't be surprised if they're in a different order or some have disappeared!
The order ultimately doesn't matter anyway, because even if this list was twice as long, I would still highly recommend every single album on it!
Last triple review before the annual Roadburn pilgrimage? Probably, unless something extremely spontanous comes up before Wednesday morning. And as always when I have received a package from the French-Chinese quality Avantgarde label WV Sorcerer Productions you can bet it's some stuff far from any norms!
However, if the sheer prospect of one guy playing two twenty-two minute improvisations of seemingly erratic experimental Noise / Drone / Feeback pieces on his guitar, occasionally accompanied by barks, shouts and traditionally inspired Chinese singing, throws you off... then you should probably skip this new live album of Li Jianhong.
However again... if you appreciate his work on "Mountain Fog" or his phenomenal collaboration with Wen Zhiyong and Deng Boyu, then "Soul Solitary" should almost be a no-brainer, especially considering its awesome artwork, even though it's not presented on a gatefold sleeve, as it would deserve.
Undoubtly more aggressive and unsettling than the aforementioned works this really might either be a more or less accessible record, depending on where you're coming from. For sure this is rather suited to experience in an introspective deep listening session than as coversation backdrop music on a party. But that shouldn't come as a surprise, right?
Probably not the easiest entry into Li Jianhong's body of work, but maybe I'm completely wrong here, since I just love this stuff aynway.
DOPE PURPLE & BERSERK - This Is The Harsh Trip For The New Psyche (Bloodshot Eye vinyl LP) (2024)
Taiwanese Acid Mothers Temple worshippers Dope Purple are back with a new album quite different to its predecessor "Grateful End". This time their Space Rock seems to be less wild and chaotic, more controlled and... no wait, that's not the whole truth. For the most part this would probably be an indeed much more relaxed record - had they not added a new secret sauce to their recipe. Enter electronic Harsh Noise artist Berserk!
Sometimes he just blends in harmonically beside the band's own keyboard player and guitars, but once he's really let loose it becomes a miracle that this music still works. On a rather short, wild and heavy overload of everything like "Highlander" it just resembles a raging war between elements. On longer tracks like "Norman on the Moon", "Never (Say) Die 星期天" or "Ashes of My Telepathic Love" on the other hand Dope Purple are seasoned sailers steadily piloting their ship through the most ridiculous storms completely unfazed by the winds and waves around them going completely berserk.
Mixing this confrontation must have been a challenge: preserve the maelstrom, but also don't lose the musicality! This "Harsh Trip For The New Psyche" masters this excercise. You're asking yourself WTF you're listening to, and in the same thought you can answer this question, because you still actually understand everything which is going on, no matter how fucking nuts it gets. Brilliant Psych Noise insanity!
This album is a collaborative release not only available from WV Sorcerer Productions, but also from Riot Season Records.
ZAÄAR - Musique Cryptique (Live in Liège) (CD) (2024)
And finally a group which builds a bridge to Roadburn for me, as they have not only played there in 2022, but several of their members will also be on stage with Neptunian Maximalism next Sunday.
The packaging of "Musique Cryptique" looks like a seven inch single, but there's actually a full live album on compact disc inside. Zaäar take their primal esoteric freeform music into a cave and oh boy, what a beast are they unleashing! The tracklist reads ten titles, but you hardly even realize most of their transitions, as this is one big ecstasy of timeless expression. The most radical Coltrane spirit speaking through a modern quintet, which now switches the bass against an amplified santur (an Iranian variant of the hammered dulcimer) and further accompanies drums, percussions and saxophones with all kinds of electronic drones and textures, samples, throat singing, animal noises, flutes, trumpet, zurna and zither.
That sound like a lot? It for sure is! Zaäar don't play your grandfather's Free Jazz, but they might play Mitocondrial Eve's Free Jazz or the Free Jazz of a future post humanity. Whatever it is, it feels Spiritual, tribal, global, inimitably Avant-Garde, yet universal conscious. What a hammering meditation! What a monstrosity of freedom! What a wildfire of inspiration!
Here's the (almost) best of the rest category. As always this ranking only consists of releases, which I own in some physical form. Like the title says here's the top seven of everything which is neither a studio nor live album. Re-issues are also excluded, while split albums form an exception from the rule. So taken into consideration were singles, EPs (I know, the distinction between album and EP can be foggy sometimes), split releases and compilations. And damn, I almost put Effluence's "Liquified" at the top, even though I heavily argued that it's indeed an album before. But then I realized that it already had been out there as a CD in 2022, so it didn't qualify anyway.
If you ever wanted to fail really badly at something, just try to unravel and seperate all levels of irony and earnestness, of ridiculous fun and highbrow art in the work of Laibach! On its own their "Iron Sky: The Coming Race" soundtrack walking bass Country song couldn't be a greater cliché, yet it's also a fitting and successful homage to the movie "Dark Star". But then in the next step turning this song into a full-blown eight-part space odyssey, which travels through all kinds of styles and moods is borderline ingenious. The sheer fact of this being from the same group stunning us with the deeply moving orchestral "Alamut" performance this year, makes the EP even better.
Few artists have impressed and touched me as profoundly as Chinese-American singer and experimental musician Lane Shi Otayonii this year. Her performance at Roadburn already won my ranking of favorite festival shows and this new mini album, which consists of entirely different songs than she played there, came within a whisker of repeating that victory. On "Dream Hacker" her range of inspiration and expression between Eastern tradition and Western Pop culture seems more boundless and unpredictable than ever. Not from this world!
The secret to a great split release is combining artists, who feel like different sides of the same coin, so their individual contributions add up to more than just the sum of playing times. WV Sorcerer Productions bringing together Belgian primeval Free Jazzers Zaäar and Tennessean trio Spintria's wild genre hopping from Drone and Dungeon Synth to Prog, Metal, Grind and Jazzcore is a paramount example of how this is done. Both bands' longtracks alone are already fantastic, but the whole of this barbarically beautiful LP is an epic Avantgarde masterstroke.
And now that we have entered the world of musical Avantgarde extremism it's only logical to continue with Sarmat's debut CD/DVD, on which the band introduces us to their own brand of Extreme Metal / Jazz Fusion with a significantly extended rendition of the "Determined To Strike" album track "Disturbing Advances". In my book we can set this as the gold standard for this specific genre hybrid.
Even more electronically minimalistic than "This Shame Should Not Be Mine" this EP also continues the album's concept by exploring life after the trauma caused by the abuse thematized there. Three songs of "PTSD" are new, the other two are alternative versions of tracks from older albums in the recent sound of the Dutch Post Post Everything band.
You didn't expect to find a double 7" with Great American Songbook classics from the 1940's here? I wouldn't have bet on this happening either. But thanks to T.J. Cowgill bidding his alter ego King Dude farewell with his most Folk / Country release ever here we are now. Mostly performed just on acoustic guitar with ambient sprinkles on top and drenched in his typical cavernous echo, songs like "Oh Death" or "Riders In The Sky" expose their eeriest side, which makes this EP the perfect male companion (or counterpart) to Reverend Kristin Michael Hayter's "Saved!".
夢遊病者 - Skopofoexoskelett
With a plethora of Classical, Jazz and ethnic instrument guest musicians and singers the enigmatic Far Beyond Post Black Metal trio Sleepwalker returns with four tracks almost impossible to pin down in terms of genres or even music-historical time frame or continents associated with their inspiration. The only thing holding this amazing creative chaos back from ascending higher on this list is its dramatic lack of length. Being even shorter than the predeccessing "Noč Na Krayu Sveta" the twenty-five minutes of this so-called album seriously just aren't enough.
Welcome to the time before the creation of time, long after the apocalypse and rebirth of our world! This is the cosmic temple of chaos in the center of being. And this is our jam here!
The easisest way to describe the music of the Belgian group Zaäar, who are intertwined with Neptunian Maximalism is a question: Have you ever imagined how Free Jazz would sound on Conan the Barbarian's homeworld Hyboria? Their twenty minute improvisation "Dance of Time" is a collective primal scream of percussions, sopranino saxophone, trumpet, flutes and throat singing over a foundation of droning bass and Ambient synth sounds. This music is at the same time spiritual as the ecstatic highs of Sanders and (both Alice and John) Coltrane, but it adds a menacing undertone, invoking a colourful darkness beyond the perception of good and evil. Zaäar reaches beyond the veil of human understanding and dips a fingertip into the eternal cycle of creation. Chaos and beauty. Or simply just a very daring fresh take on Free Jazz? Anyone who has been fortunate enough to see them live or already loved their 2021 debut album "Magická Džungl’a" will have an easy time enjoying this new release, which gives you a similar experience in a more compact format. But since "Genesis of Cyclopian Sorcerer" isn't just a Zaäar EP, but a split album compiled by WV Sorcerer Productions , the transcendental journey doesn't end here yet, but continues in fitting fashion on the B-side.
In the beginning of their mammoth track "Mesmerism" Drone Metal guitars, Dungeon Synth keyboards and drums clattering in the far distance seem to be the ingredients the Tennesseean trio Spintria is cooking with. Yet after a couple of minutes the spectrum widens, embracing elements of Prog and Metal, Grind Fusion and Jazzcore. It's heavy and explosively destructive, but it somehow remains a musical and through the indeed mesmerising keyboards often elevating listening experience. If Zaäar provided the soundtrack for the rituals in the temple's main hall, Spintria will ambush you if you dare to explore the catacombs beneath it too deep. So this is quite a different beast than the A-side, but its atmosphere somehow feels connected and it completes the split album perfectly.
Add the beautiful artwork and vinyl colour and you have everything you want from this kind of release, a split which is more than just a leftover dump for two Bands/artists, but something even a little more than the sum of its already amazing parts.
Wakey, wakey! On Thursday I'm still fit wie ein Turnschuh, as we say in Germany, so after breakfast I visited the nearby inland dunes. I made sure that I didn't have a long walk to get there and kept my visit rather brief to preserve energy. I would need it urgently much later in the day...
Quick note for the uninitiated, who may wonder why these pictures and most my live photographs looks so "weird": It's not a filter. Apart from a couple of (square) smartphone snaps the illustration of these reviews is all done with the Digital Harinezumi 3.0, a cute little Japanese toy camera, by which people actually often recognize me, since I bring it to as good as every show I'm attending. You can see me holding it on this audience shot from Saturday:
I had also brought a Digital Harinezumi 4.0, which unfortunately can only be used attached to a power bank for a very short time to shot a couple of super 8 style videos in the dunes. If you're interested in that and also want to listen to some 20+ years old 4-track DX7 synthie music from me, you can do so here.
But now it will be 2 pm soon, so let's head over to Tilburg City, where the festival will take off inside the Koepelhal!
Once again the location introduced in 2017 and fully integrated in 2018 as compensation for the loss of both Het Patronaat and the Cul de Sac, has developed quite a bit. There's a food area outside and the whole merch at the Pit Stop. The familiar stage has been improved by further darkening the vast room and the stage itself. It's now called The Terminal. In the next room there's a new stage called The Engine Room. Due to constructions (like everywhere in Tilburg) the Hall Of Fame had moved outside the building complex into a tent - which may sound cheap, but actually looked really good. I honestly liked it better than the original. But who knows what they will have done there until next year... The Ladybird Skatepark is also temporarily closed, but that didn't mean it wouldn't open for several shortly announced surprise shows during the weekend. It even had a proper stage now. But I wouldn't find an opportunity to visit it until Sunday.
Right now I was headed for The Terminal, where a beloved trio had the honour of starting the procedures.
Big|Brave
Bam, what a wake-up call! On the three occasions I've seen them so far, the minimalistic, yet huge almost-no-wave drone rock of Big|Brave has always been an extraordinary experience. Not only in terms of crushing sonic might, but also regarding the emotional impact of Robin Wattie's high voice above the noisy rumble. The sensation of all this finally happening again and the sheer quality of the material from last year's album "Vital" only added to a stunning performance, which was also just fun to watch for the great band chemistry on display. Big|Brave had already been on tour for a while and when Robin, who took medicine between the songs, talked to the audience, she had that hilarious hoarse squeaking in her voice, which immediately made her laugh herself. Pretty amazing how she still pulled off the singing in this condition - the first hero of Roadburn 2022 for me.
Bruit ≤
Other than planned I had stayed at the Big|Brave show until the very end, so The Enginge Room, where Bruit ≤ were about to start in a couple of minutes, was already quite packed when I entered. I still got close enough to the action, but it just didn't click for me. Maybe it had to do with just having witnessed how enormous only drums and two guitars could sound, while the French post rock band came with strings and horns which didn't have any noticable effect at all. As great as their album "The Machine Is Burning And Now Everyone Knows It Could Happen Again" might be; this unfortunately didn't touch me, so I decided to leave very soon.
Getting outside was annoingly hard, since the stage was positioned in a way that didn't correspond with an ideal audience flow at all. Not a good premiere impression of this location, which made me glad that I didn't have many artists on my schedule here.
Vile Creature x Bismuth
A couple of minutes to walk (and cross a heavy traffic junction) later, I arrived in front of the Main Stage inside the 013 venue, where the sludge duos Vile Creature and Bismuth performed "A Hymn Of Loss And Hope", their collaborative commissioned show, which had originally been announced for Roadburn 2020. I'm not sure if the long extra time was helpful, because the performance was a mixed bag. I loved the slow and heavy doom sound which immediately gave me this comfort of being in my home away from home again, but it never seemed like this transatlantic cooperation could unleash its full potential. You had a total four members, but most of the time there were only three of them on stage. You had three vocalist, but they all kind of did the same thing. And you had a grand piano on stage for a rather underwhelming section that could have been done with a mini synthesizer beside the mic stand. All in all the thing wasn't really made for this giant stage, on which Vile Bismuth always seemed to be a little lost. It still wasn't bad, but it didn't come close to Vile Creature's "Glory! Glory! Apathy Took Helm!" and there have been far better Main Stage opening sets in the past. Im confident the piece would have benefitted from a performance closer to its inception in a more confined space.
Messa
Using the break as one of the few opportunities to grab something to bite (or did I do that afterwards? These details get blurry.) I returned to the Main Stage for the Italian doom metal band Messa, who presented their fantastic new album "Close" as a whole. With guest musicians on lute, saxophone, keys and other instruments, they delivered a flawless show. Of course the ethereal, but still powerful voice of singer Sara was the mesmerizing icing on the often oriental, sometimes almost jazzy post doom cake. All in all this band has a perfect, compelling balance of just great rock songs, experimentalism and charisma. Hard to imagine that anyone would leave this spellbinding evocation of awesomeness already at its halfway mark during the hit "Pilgrim". But of course this is Roadburn and a good spot at one of my most anticipated shows had to be secured...
Slift
The French psych rock power trio Slift playing their game-changing masterpiece "Ummon". What else can be said that does this comet ride any justice? This was just what their "Levitation Sessions" had promised - and more. The rhythm section bursted with energy and the lead guitar was firing lasers in every possible direction. This band's combination of cosmic creativity and almost punkish attitude is just on fire. With an energy level rivaling top form King Gizzard you could either step outside of yourself or start a moshpit to this. Which some fans did during the finale, starting a whole thing in a certain corner of social media... However I was not involved, because once again I applied the lesson that in order to get a good spot for the next happening, it is often crucial to let go even of the greatest shows a little sooner than you actually want to. Slift being Artist in Residence this year at least meant that this hadn't been the last chance to catch them during this weekend.
Lili Refrain
After the steep upward sloping curve of Messa and Slift I had finally arrived at my first true Roadburn high, floating on the wings of this festival's unmistakable magic. Or at least so I thought - until Lili Refrain stepped onto the Hall of Fame stage, adorned as a shaman of pure musical joy, who had the audience intrigued right from the start, as she began to build loops of tribalistic drums and percussions, droning electronics, guitar... and her absolutely stunning voice, which reached planes of mesmerizing transcendence that could only be matched by masterful folk singers like The Mystery Of The Bulgarian Voices or the otherworldliness of the one and only Anna von Hausswolff. The primal life-affirming force of this performance moved me deeply.
Lili Refrain's compositions are endlessly heightening climaxes, all going way beyond the sonic richness you would expect to be unleashed from just one single person, until they are just walls of a thousand voices, notes and noises washing all over you. It felt like a pure catharsis and an instance of connection rarely occurring between artist and audience. No moment emphasized that better than when Lili stepped to the edge of the stage and a fan asked her to hold his hand while she was singing. Which may sound super corny in description, but hell, after two years of severed connections this was just so damn honest and poignant. And it also played out with a healthy dose of humour. The whole show was one of those barely describable experiences that made me feel every possible emotion at once in the best way.
I wish I had bought one of her albums at the merch later, but that plain and simply didn't happen for the stupid reason that I hadn't memorized her logo and wrongfully thought she hadn't been able to bring it for some reason.
Sólstafir
I've seen the Icelandic quartet several times over the years now, but I'm still not super familiar with their discography. Tonight they did a full-album anniversary show of a work I didn't know and I honestly didn't pay much attention after the Lili Refrain revelation, but just relaxed a bit. So apart from the dry fact that there was a song with a bariton guitar, which they had never done live before, I couldn't even tell you whether this was good, medium or bad Sólstafir.
In hindsight all my memories are overshadowed by the sudden realization that I had left my merch bag in front of the Hall of Fame stage anyway. I had successfully resisted most temptations so far, but even the two items plus my fleece jacket in that bag would have been a haunting annoyance to have lost, so I ran in an adrenaline rush while cursing myself. Of course my stuff was still there and maybe I could have stayed there too at least for a couple of minutes to watch Wyatt E., whose new album I absolutely love, but instead I didn't even notice how many people were on stage, because I just had to get down from this sudden test of my fitness now - while still arriving in time for the next good spot at a brand-new Roadburn location I hadn't seen from the inside yet.
The Paradox is an acclaimed jazz club, which hosted a curated program of mostly avant-garde and other adventurous jazz (and related) artists during the festival. It also had two rows of chairs in front of the intimate stage, which was a dream come true right now, because I could really need to fucking sit.
Zaäar
The band I was about to see now was one of my most anticipated groups, even though - or maybe because - I only had very diffuse ideas of what was actually about to happen here. I'm talking about Zaäar, the self-described "collective born from a rib of Neptunian Maximalism". Quite different to the bombastic Sun Ra meets doom grandiosity of the Belgian arkestra, this was a much wilder, more unpredictable and much more improvisational beast. Especially the electro drones and Guillaume Cazalet's performance, which jumped between throat singing, chants, percussions, flutes and the instant effect modulation of all of those, gave this extreme free jazz ritual a sinister note. In this performance anything seemed possible at any time. Faithfully following the spirit of Zaäar's debut double album "Magická Džungl'a" this performance was pure bubbling chaos - the tumult of the jungle, the turmoil of creation itself.
While I'm sure that I would also have loved this show ten hours earlier, it doubtlessly only enhanced my perception of it that the day had made me tired and that I additionally was exhausted from the merch panic run before. Floating in a state you might otherwise need substance help to achieve, the music at multiple instances made me zone out as if I was caught inside a god's fever dream. Too much to handle for a mortal mind perhaps. But also just enormously sick shit. I loved it.
Russian Circles
Meanwhile on the Main Stage, deliberatly distanced by a heavy focus on the light show, Russian Circles were putting the crowd into a post rock trance. Spiritually already overloaded by the cumulated experiences of Slift, Lili Refrain and Zaäar my mind could still enjoy their heavy grooves and atmospheres, but wasn't able to dive too deep under its surface at this point. I admittedly can't remember with certainty if I stayed until the end or if I was content to use a couple of song to ease myself into parting from the premises, but I do know that the trio made me I leave happy after this first Roadburn Thursday after three long years.
CLASHBURN:
There are a bazillion ways to create your own Roadburn running order and there are always painful clashes and surprising decisions against artists you had sworn not to miss. Yet still - and that's the luxurious beauty of it - you can hardly do anything wrong and will always have an extraordinary time no other event can quite evoke. Despite a short shaky phase after the opener the highlights of this day complimented each other in a magical dramaturgy for me. And even though I've been to several shows since last September, including Prophecy Festand a four day music trip to Denmark - finally being here again and taking in the uniqueness of Roadburn, unrestricted by any pandemic restrictions, made the return of live music, the bliss and magic of musical discovery a whole lot more real again.
I don't have hard regrets for Thursday, but I still I can shed a couple of tiny tears for the shows I couldn't attend:
The björkish voice and experimentalism of Fågelle would probably have been a closer, more intimate experience than Messa, as fantastic as they were. Messa's tour companions Wyatt E. sadly just overlapped so badly with Zaäar that it didn't even make sense to watch even a part of their show. And finally my original plan had been to end the day at the Next Stage with the booming sub-bass of The Bug ft. Flowdan & Logan, but I just didn't feel like squishing myself into the packed room anymore. And the choice between Kevin Martin's project an Russian Circles had always been a very close one anyway.