Descriptors fail in the same way that describing ths shock of the sudden or new or subtle grace of magnitude fails. Each and every time. Because words are idea shorthand for experience and experience can only be transmitted, if you´re lucky or unlucky enough to miss it the first time, through comparative measures and means: a nightmare is an unhappy dream, death is like when life stops and the earth calls, and violent change is when everything is no longer the same but hurts because of it.
But here’s a shorthand: Neurosis is music. Music in the same way that Wagner is music. Or that it all comes dow. Or the graying granite planet we call home is both the cradle and the coffin of all desire and hopes and expression forces its way through us and into wires and out of speakers framing a journey from here to there and not back again. Ever. This is a one-way trip.
So keep the descriptors – the “crushes”, the “destroys”, “dark” and even “deep”. These are both all at once and again not enough, and not even too much. They´re products of lazy inquiry.
Keep them and let the real shoulder its way to the front. Like it did when the San Francisco Bay Area, forget that… when Oakland gave birth to this ride and the ticket for it in 1985 as Neurosis. Under the stewardship of Scott Kelly, Dave Edwardson, Jason Roeder and in 1989 spiritual heir Steve Von Till (and now Noah Landis and Josh Graham on visuals), Neurosis does what only the best art can: it crafts a sense world for those with sense and senses from the realm of eternal ideas and weaves it, whole cloth, into the audio, the visual, the powerful. A seamless melding and welding of elements that are not too wildly disparate: loss, gain, and eventually gaining through loss.
(Eugene S. Robinson / Oxbow)
Decaying cathedrals. The march at twilight towards a sure death. Infested soil. Millions of decrepit bones in an eternal sleep. Surrounded by shrapnel, rusty bullets and locust. Cries still echo in the barren fields, remaining unheard by today’s deaf society. It’s on this soil that the first big war came to an end, it’s from this soil that a band arose that embraces this past, this pain, this blasphemy.
Formed in these forsaken fields of West-Flanders, Amenra has been conjuring unholy sermons since 1999. Spreading their vision of a world that’s out of touch with its past, present and future, they take their adepts through ungodly rituals into a world of unseen mystique.
Ufomammut is a power trio formed in 1999 in Italy by Poia, Urlo and Vita.
Ufomammut is worldwide recognized as the creator of a unique brand of psychedelic sludge.
With long songs, droning vocals and massive effects the band combines a monumental riffing attitude with the psychedelia of the more visionary Pink Floyd.
In 2010 the band created EVE, the fifth album.
EVE – comprised of one 45-minute atmospheric track, divided into five distinct movements – acts as a living homage to the first woman on Earth, and the rebellion to her creator for bringing knowledge to Mankind.
Ufomammut’s live show is supported by the internationally acclaimed video and graphic art of Malleus, a rock artists’ collective who conjure the entirety of Ufomammut’s visual impact.
Arena Vienna / big hall / adv 25 € / 20.00 h