HAKEN announce 2023 European co-headline tour with Between The Buried & Me

Progressive rockers, Haken, are excited to announce a 2023 European co-headline tour with Between The Buried & Me, including support from Cryptodira. The ‘Island In Limbo’ tour will begin on the 21st February 2023, and will be the bands first European run since December 2019.

Ross Jennings comments: “After three years away, and two cancelled tours due to the pandemic, our return to the European stage is going to feel very powerful indeed. We’ve missed all those familiar faces in the audience, and can’t wait to welcome all the new fans to be part of the Haken live experience, too!

With new material imminent, and a bunch of songs from ‘Virus’ still not performed live, we’re super excited to put the set list together for this run.

We are also ecstatic to reunite with our dear friends and progressive metal cohorts, ‘Between the Buried and Me’ as our co-headliners.

The tour stops at some of our bucket list venues,  including London’s ‘Shepherd’s Bush Empire’, which is set to be our biggest London show to date! What could be better than celebrating our musical journey so far at the ultimate homecoming venue?!”

Tickets are on sale now (Scandinavia goes on sales tomorrow) and the full list of dates can be found below: 

21st February – Gruenspan, Hamburg, Germany

22nd February – Werk 2-Kulturfabrik, Leipzig, Germany

23rd February – Heimathafen Neukölln, Berlin, Germany

24th February – Proxima, Warsaw, Poland

25th February – Palac Arkopolis, Prague, Czech Republic

26th February – Simm City, Vienna, Austria

28th February – Dürer Kert, Budapest, Hungary

1st March – Freiheitshalle, Munich, Germany

2nd March – Stadtmitte, Karlsruhe, Germany

3rd March – Kiff Saal, Aarau, Switzerland

4th March – New Age, Milan, Italy

6th March – Ninkasi Kao, Lyon, France

8th March – Razzmatazz 2, Barcelona, Spain

9th March – Mon, Madrid, Spain

10th March – Garaje, Murcia, Spain

11th March – Custom, Seville, Spain

12th March – Lisboa Ao Vivo, Lisbon, Portugal

13th March – Hard Club, Porto, Portugal

15th March – Connexion Live, Toulouse, France

16th March – Ferrailleur, Nantes, France

17th March – Alhambra, Paris, France

19th March – Rockhal, Esch-Sur-Alzette, Luxembourg

20th March – Bürgerhaus Stollwerck, Cologne, Germany

21st March – Trix Club, Antwerp, Belgium

22nd March – 013 Poppodium, Tilburg, Netherlands

23rd March – SWX , Bristol, England

24th March – Academy 2, Manchester, England

25th March – The Garage, Glasgow, Scotland

26th March – 02 Shepherds Bush Empire, London, England

28th March – Voxhall, Aarhus, Denmark

29th March – Rockefeller, Oslo, Norway

30th March – Pumpehuset Kransal, Copenhagen, Denmark

31st March – Fryshuset Klubben, Stockholm, Sweden

2nd April – Olympia-kortelli, Tampere, Finland

3rd April – Vanha Ylioppilastalo, Helsinki, Finland

5th April – Pustervik, Gothenburg, Sweden 

Tickets available here: https://hakenmusic.com/tour/

The band recently completed the recording of their forthcoming new studio album, their first with keyboardist Pete Jones back in the band. You can listen to the recently released single, ‘Nightingale’, below:

Watch the video here: https://youtu.be/IeENKWcitCw

Stream & download the track here: https://haken.lnk.to/Nightingale-Single

The band comments: “Nightingale was the first track Pete Jones presented to the band after rejoining Haken this year. The initial song idea quickly inspired of the classic Haken sound and naturally evolved into some new harmonic territory. The song ranges from delicate moments to monstrous riffs. 

We enlisted Jens Bogren to mix Nightingale and, as always, he’s blown us away by capturing every detail while delivering power and energy. We couldn’t be happier with the finished product. 

Lyrically, the song reflects on the creative process itself; with a message that although it may be difficult of late, we must remember to be thankful for the positives in life; be they big or small.” 

In March, the band announced the initial details of ‘Nightingale’, as well as held a competition for fans to submit their own original artwork for the forthcoming single. The winning artwork was chosen by the band themselves, from Belgium’s Rein Van Oyen.

BETWEEN THE BURIED AND ME CONTINUE 20th ANNIVERSARY CELEBRATION WITH VINYL REISSUE OF FORMATIVE SELF-TITLED 2002 DEBUT ALBUM FEATURING NEWLY REMIXED AND REMASTERED AUDIO

OUT MAY 15TH FROM CRAFT RECORDINGS AND AVAILABLE TO PRE-ORDER TODAY (3/24)- LIMITED-EDITION CLEAR VINYL EXCLUSIVELY AVAILABLE ON BAND’S WEBSTORE

Craft Recordings is pleased to announce a vinyl reissue of the scorching, 2002 eponymous debut from progressive hardcore outfit Between the Buried and Me. The album, which has been remixed and remastered by its original producer, Jamie King, is set for a May 15th release date and is currently available for pre-order. A limited-edition version of Between the Buried and Me, pressed on clear-colored vinyl, can be found exclusively on the band’s website and is also available to pre-order today. These reissues are both part of the band’s 20thanniversary celebrations, which will be marked by special releases and extensive touring.

Praised as “One of the fiercest albums in the hardcore community” by AllMusic, Between the Buried and Me set the North Carolina five-piece up to become a key player in the scene – catching the ears of fans and music critics alike with their impressive musicianship, sharp lyricism, and unique blend of progressive metal and math rock. Produced by Jamie King, who would go on to collaborate with Between the Buried and Me on numerous projects to come, the 10-track album was cerebral yet aggressive, and included some of the band’s earliest material, re-worked from their 2001 three-song demo – “What We Have Become,” “More of Myself to Kill,” and “The Use of a Weapon.” The group also wrote and recorded seven new songs, including “Arsonist,” a scathing statement against the Westboro Baptist Church, “Aspirations,” a melody-forward tune which highlights the guitar chops of Nick Fletcher and Paul Waggoner, and the epic, nine-minute long “Shevanel Cut a Flip,” which closes the album.

Reflecting on Between the Buried and Me 18 years later, guitarist Paul Waggoner said, “It’s always a strange feeling when you bring faded memories back into focus and find yourself reflecting on an adventure that started two decades ago and somehow still continues to this day. All the daily ups-and-downs and side-to-sides of being in a band can sometimes blur the past and make you forget where you came from, and why you started doing this thing in the first place. So it’s nice to dig up the bones of our humble beginnings, make them sound a little better, and present them to the people that have made this all possible.”

Frontman Tommy Rogers added, “If you told me in 2001 that this album, we recorded in five days would eventually turn into a career that’s lasted 20 years, I would think you were absolutely mad. Here we are in 2020 getting to remix and remaster what started it all. It’s been a great experience listening back and giving this original Between the Buried and Me album a new life. We hope the fans enjoy this new mix by Jamie King as much as we have.”

Often referred to as a “Thinking man’s metal band,” Between the Buried and Me continue to push the boundaries of their musical and technical abilities, even as they celebrate their 20th anniversary together. Formed in 2000, the band has released nine studio albums, including 2007’s watershed Colors, The Parallax II: Future Sequence (2012), as well as 2015’s Coma Ecliptic—which not only peaked at #12 on the Billboard Top 200 (a career-high for the band), but also garnered widespread acclaim from NoiseyRevolverAlternative Press, and The Guardian, who welcomed the album with a rare perfect score. The group has launched countless sold-out headline tours and support runs with the likes of Mastodon, Opeth, and Coheed and Cambria. Most recently, Between the Buried and Me released a two-part studio album, Automata I and Automata II in 2018. Currently, the band is gearing up for an extensive, North American retrospective tour, where they will perform the entirety of their epic, 2009 LP, The Great Misdirect, as well as a set of career-spanning material.

Click here to pre-order/pre-save Between the Buried and Me (remixed and remastered).

TRACKLIST: Between the Buried and Me

Side A

1. More Of Myself To Kill

2. Arsonist

3. Aspirations

4. What We Have Become

Side B

1. Fire For A Dry Mouth

2. Naked By The Computer

3. Use Of A Weapon

4. Shevanel Cut A Flip

About Craft Recordings:

Craft Recordings is home to one of the largest and most prestigious collections of master recordings and compositions in the world. Its rich and storied repertoire includes legendary artists such as Joan Baez, Ray Charles, John Coltrane, Creedence Clearwater Revival, Miles Davis, Bill Evans, Vince Guaraldi, John Lee Hooker, Little Richard, Nine Inch Nails, Thelonious Monk, Otis Redding, R.E.M. and Traveling Wilburys, to name just a few. Renowned imprints with catalogs issued under the Craft banner include Concord, Fania, Fantasy, Fearless, Milestone, Musart, Nitro, Prestige, Riverside, Rounder, Specialty, Stax, Sugar Hill, Vanguard, Vee-Jay and Victory, among many others. Craft creates thoughtfully curated packages, with a meticulous devotion to quality and a commitment to preservation—ensuring that these recordings endure for new generations to discover. Craft Recordings is the catalog label team for Concord Recorded Music. For more info, visit CraftRecordings.com and follow on FacebookTwitterInstagram, YouTube, and Spotify.

Leprous to tour US with Between the Buried and Me & The Dear Hunter

On the heels of their critically acclaimed 2017 release ‘Malina,’ Leprous are excited to announce a US tour alongside progressive metal giants Between the Buried and Me. Also joining the tour are The Dear Hunter making this one of the highly anticipated tours in 2018.

The tour kicks off March 2nd in Chicago.

Pre-sale tickets go on sale now and general tickets go on sale Friday at 10 AM (local time).

Pre-sale: http://www.showstubs.com/btbam

Tour Dates

3.2 – Chicago, IL – House of Blues
3.3 – Minneapolis, MN – First Ave
3.5 – Denver, CO – Ogden Theatre
3.6 – Salt Lake City, UT – The Complex
3.8 – Seattle, WA – Showbox
3.9 – Portland, OR – Wonder Ballroom
3.10 – San Francisco, CA – The Regency Ballroom
3.11 – Anaheim, CA – House of Blues
3.13 – Los Angeles, CA – Belasco Theater
3.15 – Las Vegas, NV – House of Blues
3.16 – Phoenix, AZ – Marquee
3.17 – Albuquerque, NM – Sunshine Theater
3.19 – Austin, TX – Come and Take It Live
3.20 – Dallas, TX – Canton Hall
3.21 – Houston, TX – Warehouse Ballroom
3.23 – Orlando, FL – The Beacham Theater
3.24 – Ft. Lauderdale, FL – Revolution
3.27 – Nashville, TN – Cannery Ballroom
3.28 – Asheville, NC – Orange Peel
3.30 – Pittsburgh, PA – Mr. Smalls
3.31 – Philadelphia, PA – Electric Factory
4.2 – Albany, NY – Upstate Concert Hall
4.3 – Boston, MA – Royale
4.4 – New York City, NY – Playstation Theater
4.5 – Silver Spring, MD – Fillmore Silver Spring
4.6 – Cleveland, OH – Agora Theatre
4.7 – Mount Clemens, MI – Emerald Theatre

 

BE PROG, MY FRIEND! 2016 part 2 (t-shirt wars) – by Kevin Thompson

KF_Amorphis_PosterA1.eps

Day two arose to bright sunshine and we ate an ample breakfast in the hotel before a morning in the wonderful Museum of Art, with so many treasures to see. But enough of that, I am not here to talk about the wonderful historic sites in Barcelona, the colonnades  lining the street to the museum, waterfalls and twin towers replicating the style of San Marco Campanile in Venice. Nor am I about to tell you of the excellent Spanish guitarist delighting a crowd in front of the museum, on his ‘silent guitar’. No, we shall leap forward to our much needed early afternoon siesta from which we woke abruptly, making haste to reach  the Pobel Espanyol and the beckoning sounds of day 2, at Be Prog My Friend.

Unfortunately the second day started an hour earlier and we joined the queue of latecomers as we fed into the square just in time to catch the last three songs from the ravishing Anneke Van Giersbergen and The Gentle Storm. This lady’s voice as those who have heard her will know, is a tour de force and her powerful vocals tore through the tracks with gusto engaging with the slowly swelling crowd in some grand Prog Metal. Her energy was infectious and warmed the audience up nicely as did the mid afternoon sun and we watched from floor level partaking of much needed liquid refreshment.

Anneke

Buoyant from the night before and with a rousing first act to start the day we were feeling rather pleasant and whilst we waited for the next band we wandered round and checked out the t-shirts. No contest as I have to say the lovely Sarah Ewing’s artwork conquered all comers. I thought I had done well in the t-shirt battle yesterday but Big Big Train’s ‘Grimspound’ drew so many admiring glances it felt like being on a catwalk.

Grimspound

We briefly met the gang from yesterday for a chat, but they wanted to go down the front and we decided we would hang back and find a seat somewhere with a decent view, if we were lucky.

And so to the second band, whilst I had only heard a couple of tracks from Between the Buried and Me which sounded promising. They appeared to be attracting favourable attention from the media recently and I was looking forward to being impressed as they had travelled over from the US of A. I’m still waiting I’m afraid. The sound wasn’t brilliant, louder than clearer and Konnie and I agreed it was like listening to an extended promo reel, with clips from songs cobbled together.

Konnie said she was unable to decipher when one track ended and another began as it sounded so disjointed. Despite an enthusiastic following nearer the stage and you may read differently elsewhere, we didn’t seem to be the only ones and for me the guttural vocals only added to my disappointment, sorry guys I’m sure there are many disagree with us including those at the front, but here’s a photo.

Between

I was a child of the 70’s it was the blossoming of my teenage musical years and the awakening of my eyes and ears to Prog. Now I’m sure many will agree, some records are timeless and transgress all era’s without ageing badly and some you raved about then, you find hard to reconcile why in the present day. I would not have bought the next band’s albums then and wouldn’t now as I will happily tell you, ‘it’s not my sort of thing’. So on an increasingly hot and sunny, Spanish afternoon surrounded by a sizeable crowd of MAGMA t-shirts, what happened?

Like a rabbit in headlights or with myxomatosis, I stood rooted to the spot as MAGMA took the stage. They seemed quite the perfectionists and had taken some time to set up which may have explained why they couldn’t play as long as they wished, but as they strode on to the stage and the music and chanting of the first song began I was transported to Summerisle. I was transfixed as if drugged and the tune grew like some creeping, Dario Argento film soundtrack as it swelled most disturbingly. I forced myself to look away from the stage and those around me seemed entranced and swayed to the the throbbing rhythms. I’m glad there was still daylight to bring me comfort.

Magma

As the music continued the young man in his twenties standing in front of us took up the song. A cherub faced middle aged man, with rosy cheeks and glasses, clad in walking gear with a backpack, wandered through the ranks of the audience singing the lyrics in a deep resonating tone, an angelic smile spread across his face, arms wide in subjugation. Had I stepped into a pagan festival? Konnie stood on my left enraptured and I glanced to my right and the terrace above. A boy of no more than twelve stood in front of his father, chanting in the knowledge of every word, his small hands air drumming without missing a beat.

And then they finished , disgruntled they could not extend their set, with a shorter tune (over 10 minutes) and the veil lifted from everyone’s eyes. Konnie talked enthusiastically and I tried to figure out what had just happened. Would I buy the music, no. Would I travel and pay to watch them, I don’t think so. Would I be able to resist the lure of their unique performance if they were on a festival bill again, probably not and they have a new disciple in Konnie. Strangely watchable, if you have never seen them and happen upon them, watch, you may be enchanted but rest in the knowing you don’t have to weave flowers in your hair and there are no human sacrifices required during the performance.

Opeth 1

It’s worth mentioning at this stage that the transitions between bands was not as smooth as the previous day. Whether the crew were different or more likely the bands on the second day were more demanding, either way the wheels were not as well oiled. This gave us more time for food and liquid sustenance and to soak up the atmosphere. A couple of large tattooed Scandinavian  bikers asked we take their photos and they kindly reciprocated snapping the ‘Grimspound’ shots of Konnie and I. They also gave some of their stone step space so we could sit for a while which was most welcome until we found seating a little further back with a better view.

Opeth 2

It was time for the main acts of the day, first came Opeth. I am a late convert and up until now only have ‘Pale Communion’ and still feel some of their older material may not be to my liking. But I have since ordered a couple of older CD’s to try and Lamentations DVD on the strength of their performance and what a show. The sun descended as the atmosphere grew, Michael Akerfeldt and the band striding the stage as giants of the prog metal genre, rousing the crowd who need little encouragement. With acknowledgement to the long faithful that the newer material has not always received favour, they pulled old favourites from their earlier albums to rapturous applause and drove them like giant machines crushing any doubters under the sound, loud and clear with the lighting matching the moods. It is well known Michael and Steven Wilson have become firm friends and you can catch elements of influence in the work, enhancing the massive production here.

Opeth 3

Revelation of the day was Konnie’s response, she has never taken interest in Opeth before and had neglected to listen on the occasions I have played ‘Pale Communion’, fearing they weren’t to her liking. By the end of the first song she was hooked, loving every minute, extolling the virtues of their live performance and on completion she was grinning like a kid at Christmas. Had they been the only head-liner, the day would have finished on a tremendous high. As it was, we were to be spoiled further…..

Opeth 4

We knew what to expect from Steven Wilson as we have seen him on his last three tours, but this did not lessen our excitement, merely settled us in the privy we bestowed upon our Spanish friends, eager to watch a man who verges on deity status in the genre and learn all they can about him. Mr Wilson has developed and perfected his style with such precision he holds all in his sway and has carefully honed his stage craft since we first saw him. Again I feel his friendship with Michael has influenced and benefited him especially in performing as he seems more at ease talking to and joking (yes, joking), with the crowd. His live sets are always louder these days, the tracks played are heavier and rockier than the album versions. We always pack our ear defenders, but that could be our age, yet he balances the delicate, ‘Lazarus/Routine’ finely, gently sprinkled like fairy dust on the sounds emanating from his current band.

Steven 1

All masters in their own fields, with none finer on the drums than Craig Blundell, as readily recognised by the work he has done as an international clinician for Paiste, Premier, and RolandAdam Holzman is a rare keyboardist, having moved from the jazz fusion field to his current position in the band, he consistently earns critical acclaim as one of the most daring and best contemporary keyboardists alive.

No one could have predicted back in the Kajagoogoo days that Nick  Beggs would go on to be such a luminary in Bass guitar and Chapman Stick, his mighty presence up front ably bookending Steve with current guitarist Dave Kilminster. Having spent the last few years as principal guitar player in the Roger Waters band, Dave brings his own, skillful style to the well renowned tracks and my only regret is that they didn’t play Drive Home, as I would like to have heard his take on the beautiful guitar solo.

steven 2

It’s a commanding show and a fitting end to a wonderful couple of days though the fuzzier lighting employed for the majority of the set prevented my getting many photos.

But not quite an end: it was by now 02:00, weariness took hold and with an early start the next morning we elected to leave with the majority and head for our hotel. Which leaves me to apologise to metalcore band Textures, who bravely came on after we left and played to a greatly reduced crowd, so I cannot comment on their performance.

It only remains to say ‘Gracias’ to the organisers of BPMF, everyone who helped make it possible the bands themselves and the Spanish people we met along the way. Watch for next year’s line up, take the leap, make the trip and revel in what Barcelona and Be Prog My Friend have to offer, you won’t be disappointed.

Adios, hasta pronto………