Høstsabbat 2023

Høstsabbat is a yearly musical event that has emerged in the Norwegian capitale every fall since 2013. The festival has made itself known for a big heart in the right place combined with reliable bookings and the line-up on this years tenth anniversary were no exception.

A highly magnetic circumstance that left Hinsides Magazine with no other choice but to attend to the festivities to celebrate a decade of autumnal sabbaths in the name of the proverbial riff.

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Hinsides Magazine 2023

Friday

It´s the end of October and the streets of Oslo greets its sabbathians with a dry and cold breath that will be present all through this loud weekend. Warmth and light is fading but the fest is yet to begun and what could possibly be a better way to prepare for darker days than to be charged with a healthy dose of electric power? A truth that shows itself to be reckoned with already on the first intense day of the festival.

Since a few years back, Høstsabbat is built around it´s main venue; the beautiful Kulturkirken Jakob. An old brick building that once were raised to embody the glory of Christ but nowadays serves as a temple to heathens addicted to rock, among other things. The main stage called “The Chapel” is placed in its ship and the basement holds a narrow area fittingly baptized to “The crypt”. This intimate stage is dedicated to lesser known projects such as Aiming for Enrike that becomes our first new acquaintance. A highly interesting Norwegian two piece that is worth checking out if you want something slightly different. In addition to the stages inside the church there is also another smaller stage at a bar across the street called Verkstedet and the second main stage, "The Dome" with a social area in between. Everything is close and the schedule is cleverly designed to avoid any overlaps. This means that, in theory, you are able to watch all 32 bands that are invited to play. This is just one of the many practical favors of how Høstsabbat is made and it´s obvious that the organizers knows every important feature to maximize the experience for the visitors.

Bongripper soundcheck in the Capel.

Witch club Satan

The opening act in the chapel is a gathering of witches that do not hide their enthusiasm for the dark lord. Music wise they align to the spirit of Black-Metal, which most prominently shows in their shared vocal performance. Pretty eerie stuff that sounds just like the noise you would expect from a satanic witch coven. The instrumentation is even more basic than early Venom or Celtic Frost, which in this context only speaks to the witches favor, and it´s obvious that the emphasis lies on raw expression and the visual appearance and narrative. That is where Witch Club Satan has something to say and the self proclaimed witches does an efficient job on this regard. A suitable start of the Sabbath to say least.

Spaceslug

Spaceslug from Poland is described as melancholic stoner doom, which is a fitting description as their shifting soundscape is characterized by both a heavy atmosphere and thoughtfulness. For those of you who haven't heard the band, you could say that it sometimes sounds like a mix of Alice in Chains and My Sleeping Karma. They play in The Dome which is a fitting stage for their shifting sounds. The songs get the opportunity to grow in the auditorium and the band makes a solid effort in front of their big logo that serves as backdrop. The performance is generally introspective and focus lies primarily on the music. In other words, the set that Spaceslug presents invites to a colorful meditation where enough happens to keep the interest going. A professional performance that provides an enriching moment.

Black Rainbows

The next band to play at the main stage is Black Rainbows. An Italian three piece known for its bluesy grooves and stellar riffs. The band has been around for some time and delivers their highly addictive set of quintessential stoner rock flawlessly. Every important piece of an unpretentious rock show is in place which makes Black Rainbow a perfect match to an event such as Høstsabbat. A lovable band that stands firm on great songs and routine of performing in the live format. The band works well together and manage to prove their points without any big gestures. An extra salute goes to Gabriele Fiori whos voice and vocal performance makes the rainbow a little less black.

Sigh

Perhaps the most unexpected and thus most interesting booking at this year's edition of the festival is undoubtedly the infamous Sigh from Japan. A band whose connections to Norway go way back to the fabled early nineties. Sigh has thus been around for a while and during its motley career there has been a lot of experimentation with different impressions. Something that makes the band both peculiar and interesting in many ways and at the same time difficult to describe. In other words, getting the opportunity to see them live feels like a favor and Sigh is clearly up for the task of performing their unique songs in the best possible way. With traditional costumes combined with masks and make-up, the band performs its anthems convincingly, which creates a very special atmosphere. The audience presumably consists of both old fans and curious spectators with no previous experience of the band who, through their own combination of expressions, manage to maintain interest throughout the set. The concert as a whole creates an entertaining and rewarding experience, and seeing Sigh on Norwegian soil feels like the completion of a circle.

The scorn is defeated when Sigh dictates the situation.

Yawning man

Yawning man originates from California. Something which, in this context, naturally gives rise to certain expectations. In this case, however, the Yawning is not in the vein of most generic desert rock. Instead, Yawning man focuses on moody and meditative instrumental flows that are easy to get carried away with. The songs slowly build up to stay in a comfortable state where melodic elements are repeated until they fade out and a new journey begins. Some of the songs could have benefited from containing slightly more transitions, but the performance overall is still a positive, peaceful experience.

Witchcraft

The last band to play in the chapel this evening is Witchcraft from Sweden. A band that helped create the retro wave that still reverberates in record stores around the world. In recent years the band's status has been somewhat obscure and there is some talk before the gig about what we can expect from Witchcraft these days? It is therefore with tense anticipation that we gather in front of the stage before the midnight hour strikes. The opportunity to experience what the band looks like today and hear what they manage to achieve with their collection of songs feels both exciting and unpredictable. Many members have passed over the years and this evening the only remaining original member Magnus Pelander is supplemented by a bassist and drummer. As a trio, with only one guitar, the sound becomes somewhat thinner and the set starts a little shaky before the band and audience find each other. It is noticeable that Magnus not entirely is enjoying the situation at first, but that feeling gradually diminishes as the band works through the set list. His fellow musicians are compliant, which creates the opportunity for Pelander to gradually grow into his best self. A beautiful thing to see up close and when classic songs like "No Angel or Demon", or "Her Sisters They Were Weak" are performed, Witchcraft really lives up to its name. True magic occurs and it is noticeable that this material is as timeless as the water in the well from which the band drew its inspiration. A worthy end to the first day of the Sabbath and something to remember and write home about.

The craft of the Witch is being heard by Magnus Pelander with friends.

Saturday

After an intense first day with a lot of beer and impressions, it takes a while before the energy to tackle another appears. The first day offered many great moments and the line-up on day two is just as interesting, so hopefully the spirits of life will return when the second sabbath starts?

Leonov

The first band to be experienced this second day at the fest is Leonov that resides in Norway. Their work is described as cinematic post doom which is a fair portrayal. Clips from an old german black and white movie is projected on the screen behind the band and their songs have a certain way of agitate in a similar way as oral or visual storytelling. The band presents captivating and dramatically composed songs performed with a holistic concept behind, so there is really nothing to complain about if you fancy a tastefully orchestrated fatal atmosphere. And who does not? Dare we even say that Leonov makes doom for connoisseurs?

Alastor

With two acclaimed albums in their repertoire and a kind of gothic aesthetic, Alastor from Sweden enters a stage framed with black candles. Their songs are generally built upon a mid-pace tempo in the vein of bands such as Windhand and Alastor has obviously taken a lot of inspiration from that kind of songwriting where not much is happening. In some cases this approach can be efficient but there is also a risk to it. Songs like "The Killer in My Skull" that opens the set is a good example of when this kind of music never really catch a grip but instead just continues in the same quite bland way. A matter of taste, of course, and sometimes it works just fine as this approach has a way on growing on you the more you listen. And Alastor is luckily not a one trick pony. The majority of the material follows the same formula though, especially the vocal melodies, but there are songs like ”Onwards and Downwards” that has more engaging riffs and a closer look tells that there are things going on beneath the surface. As a live act Alastor both looks and sounds really good and on this occasion they shows a well working collective effort.

Art exhibited in the Chapel by Elias Forberg.

Mandalai Lamas

The next bunch to investigate more closely turns out to be an energetic collection of musicians. The goal is clearly set on reviving the golden vein of the 60s and 70s, and they obviously succeed quite well in that. It swings and grooves really hard most of the time as a majority of the material is built around a pulsating bass line. The sound is almost excessively nostalgic but at the same time performed with such infectious enthusiasm and skill that the time travel only appears natural. The contact with the audience and the love for the music doesn't feel forced either, and the set is both varied and entertaining. If you get the chance to see this band live, don't hesitate to book a ticket to get your well needed Woodstock fix.

Lowrider

One of the bands that most visitors of Høstsabbat look forward to seeing is undoubtedly Swedish Lowrider. When the band returned to the scene after a couple of decades with a strong new record, their Kyuss fragrant Nordic desert rock was welcomed with open arms as both the band and the outside world had matured into this current brave new world. In other words, the premisses are favorable for the low-riding musicians to stay on the road during their set in the Chapel. And it shows immediately that both the band and their fans have longed for this opportunity. Lowrider does a generous set where they offer most of the best from the repertoire. Singer and bassist Peder Bergstrand's voice blends pleasantly with the fuzz guitars and he makes a strong effort together with the rest of the band who seem to be enjoying themselves behind their respective instruments. Lowrider's gig is therefore the occasion during this version of Høstsabbat where the love between band and audience shines brightest.

The Chronicles of Father Robin

And now to something completely different. A lively surprise and nice variation from the more stripped-down music that otherwise dominates the line-up during the Sabbath. This constellation is dedicated to something else, which we quickly understand as the band looks as diverse as the music they play. The chronicle that these musicians has undertaken to animate turns out to be multifaceted and genre-wise we undoubtedly end up in the prog quagmire. When compared to the evening's main act, who released a record called "Hippie Killer", we are thus at the other end of the spectrum here. The Chronicles of Father Robin, however, draws more on the English school of progressive rock than the typical American hippie era. Intricate bass lines, expressive vocals and the use of transverse flute combined with sharp throws between different emotional states creates a whole that is highly entertaining to take part in. The band shares members with, among others, TUSMØRKE, and this year they are busy releasing a triple debut album. A conceptual prog rock trilogy that is worth checking out if you find a Norwegian version of the Canterbury scene interesting?

Spurv

Another multi-headed constellation that also has sprung from the land where we find ourselves is Spurv (Sparrow). A band that, like The chronicles of father Robin, is not afraid to broaden their expression with odd instruments. In this case, it is trombone and vibraphone that color the band's musical journeys into something extraordinary. The basic tone conveyed by the band is melancholic and the songs are built around repeating figures whose intensity alternately undulates back and forth in volume. Spurv is therefore reminiscent of bands such as Year of no Light in its methodology. Songs such as "En brennende vogn over jordet", taken from the latest record, creates the same magnificent soundscape as these supposed role models and are no less efficient in its ability to stir up an emotional tyfon. The performance is well-orchestrated and the band manages to connect with the audience despite lacking the natural centerpiece that a singer usually provides. Spurv is definitely a band to keep an eye on if you like post-rock with finesse.

It’s not Nils Landgren, it’s Spurv!

Bongripper

The honor of ending these two days of organized noise has gone to American Bongripper. One of the standard bearers of the really heavy and slow music whose inspiration is spelled Eyehategod and Sleep and who has been involved in creating an interest in this type of music for quite some time now. An interesting booking that many visitors looked forward to witnessing. When the band enters the stage, the chapel is filled with anticipation and at a given signal the bong begins to be torn apart. Then follows an hour of thick and slow rumbling that effectively moves air until the last note has rung out. The verbal contact with the audience is non-existent and the band is only focused on making their case in concert, which they also do without any pretensions. The set as a whole is well executed and meditative. The waves of sound is the only thing that matters in this moment and just as suddenly as the concert begun, it ends without an encore. Bongripper leaves the stage and the party is over for this time.

Other band and projects that were a part of this anniversary was:

The Admiral Sir Cloudesley Shovel

Akersborg

Beaten to Death

Bong Voyage

Cult Member

Forcefed Horsehead

Gravy Jones

Green Lung

Iron Bra

Jaggu

John Exnnor

LLNN

Moonstone

Reaping Flesh

Ruff Majik

Tuskar

Villagers of Joannina City

1234!

...and to those of you who managed to read this far; Congratulations! You are hereby officially qualified as a reader of Hinsides Magazine; A completely unbound fanzine with a lot of text in the form of interviews and reviews of both Art, Music and Literature. The magazine is published once a year since 2020 and previous issues can be ordered right here: