LOMMEL.- With a programming that emphasized heavy industry, the new terrain of the third Rockwood edition turned out to be perfectly situated; on the Balendijk, barely a few hundred meters away from dozens of other SMEs. Last year, that expertly organized festival attracted more than ten thousand visitors with a bill that was more middle of the road -but on which Carmel, The Scene and the Stray Cats were featured as decoys-, but this time they opted for the more modern approach. That meant an alternative, guitar-oriented collection of bands, the day before yesterday estimated to be just under ten thousand people. Is that a relapse? Yes and no. Yes, because despite intensive publicity, fewer people came to Lommel. And no, because an identity has been chosen. And maybe it just takes time. But what about the concerts? Let's just say we've seen a lot of ups, a few downs, and a terribly misplaced Björk at work. Nice terrain by the way. Nice and spacious and green and wide enough to guarantee everyone a good view of the big stage. Also nice; Almost all the bands sounded very good. But anyway, the groups. 

Burma Shave opened with a set that immediately aimed for the knees. Controlled vehemence and excellent songs, with of course «Hippies» and «Movin' Up The Cattle» as landmarks, but also with very strong versions of «Stash» and a new song that we think was called «Noone Said It Would Be Easy». Look, it's like this with Burma Shave: it's going to be a powerful group. Soapstone was also looking forward to it, although you can hardly tell from the group members. Their warm-hearted music always sounds sincere, always good and always with that heavenly voice of Tom Derie. There's nothing wrong with that. And the group should also be praised. Soapstone is probably the best thing there is at the moment in terms of newcomers. If there has to be any criticism, it's that Soapstone just presents too much of the same. One hour of mid-tempo promotes boredom. Jason Rawhead had nothing to do with midtempo. For them, it's all about the higher gears. A speed trio where the vocals come from behind the drums and where the guitarist and bassist walk around a bit blankly, all too often spying on their singing drummer in order to fulfill some musical agreements. But other than that; Brilliant tension in the songs, well-played and well-found nuances in the rhythms and just a nice set. «Thrash», «Bigmouth» and «21st Schizoid Man» were delicious and the audience piled up in two floors for the first time that day. Pretty Spinal Tap was the end: chaos and orchestrated whistling, just a little too long to be impressive. And yet the group effortlessly masters an entire genre in the Low Countries.

Tool 

Tool as a replacement for the derailed Thelonious Monster. Kind of a shame, because I loved Bob Forrest and his gang. But many loved Tool, as it turned out. That is somewhat understandable: the British group has impressive rhythms, a frontman who combines charisma with good vocal cords and delivered a remarkable performance at Pukkelpop. And yet it is meaningless to elaborate on patterns that UDS and RATM have mapped out. There would be intelligent engagement in Tool, we were assured. Didn't notice anything, or it should be that the constant repetition that «everything fucks» is intelligent engagement. Kind of the problem where, say, the screaming sessions of Therapy? Suffering: nice and greasy but nothing else. And we can be brief about The Mighty Mighty Bosstones - a ragtag bunch from Boston that explores the European territories together with Fishbone - because that's what they were. In barely 20 minutes, this hopping group of shorts managed to scatter so much pathetic corniness that they didn't feel good about it themselves. Afterwards, the gentlemen got into a heated argument in their own dressing room: it turned out that two members were dissatisfied with the furious stage behaviour of singer Charlie, who managed to get rid of equipment for 15,000 francs, while the total salary of the team was only 50,000 francs. So that was fries without it again, that night. What did we hear from them? A grunge approach to ska, including the Stiff Little Fingers cover «Tin Soldier». Oh well, just forget it. Claw Boys Claw was strong, but we already knew that. Peter Te Bos stayed calm, brought out a strong voice and used it in clever songs such as «Superkid», «Rosie», «Devol» and in the powerful phrase «sorry that we woke you up!». « No, I can't get in!», he summoned the few thousand fans who invited him, according to old custom, to dive into the crowd. Te Bos gritted his teeth.

Björing! 

And then there's Björk, the Icelandic girl with the oddly adjusted larynx. A short impression of her concert: pling, plong, plang and occasionally tingel and tangle. The whole nothingness in a nutshell. On record that's okay, and in a plush Elisabeth Hall, Björk might also be artistically responsible live. Not at Rockwood. There were some brave people clapping because they thought it was obligatory. Björk herself surrounded herself with talented flute players, seated keyboard bigots and an extensive percussion shop (no guitar), and sometimes cooed something at the foot soldiers below her. But the message didn't get across. No more brisking and straight back on the bus, towards the four-star hotel. Because making the world a better place is one thing, but I would like to have room service on hand. No, the real highlight came later, with a truly fiery concert by Urban Dance Squad. A few months ago it was to be feared that the group around Rude Boy had lost the pedals (lost DNA along with scratcher), but now the remaining foursome is back on track. Powerful versions of «Mr. Ezray», «Brainstorm UDS», «Fast Lane», «No Kid» and «Prayer For My Demo», which came through even more gripping than usual given their contract loss with BMG/Ariola. But also great new songs, played comfortably for the first time in Lommel: «Boys In Bands» had a merciless dance rhythm and «On A Candy Strip» can also be played on new records. What's more; in the last 20 minutes, UDS shifted up a gear and the group almost fell into a trance from their own performance. Nice to see. 

Fishbone opened with a lecture, followed by rousing funk in the form of «Everyday Sunshine». Beautiful for minutes, and with Stevie Wonder-like vocal lines. It was all wonderful, until after half an hour keyboardist Christopher Gordon Dowd blew the fuses and the man thought he had to take the whole sheet to himself. Rumbling and roaring, a keyboard clattering to the floor and a tripod cleaving above the heads of the front stage. Not fun anymore. It's a pity, because Fishbone's party music is impressive. Top class from «Give A Monkey A Brain And He'll Swear He's The Center Of The Universe» and high-quality fidget funk, but loose keyboardists can ruin that thoroughly. Gosh, Björk was so bad, I thought on the way back. And boy was UDS good. 

Stijn MEURIS - Het Belang van Limburg Sept 13 1993

i remember that Fishbone was headlining this festival where was also playing Bjork and Tool. Fishbone came off stage due to the curfew and angelo came back out in the field, playing high school marching band music with his saxophone. Or maybe i had smoked too much.

Fun fact, Angelo was wearing a TShirt with a Fishbone that he had traded with a friend of mine during Bjork's set.