POLL: The Top 20 Albums of the 2010s — VOTE NOW!

Posted in Features on November 4th, 2019 by JJ Koczan

top 20 of 2010s poll header

A year-end poll is nothing new around here. A decade-end poll, however, feels more like a special occasion. Here we are, on the cusp of entering the 2020s, and it’s time to take a look back at the decade that was. The landmarks. The albums that helped paint toward a brighter (or darker) future of heavy. The innovators, the purists, everything.

The same rules as the year-end polls apply. Here they are in the same cut-and-paste I’ve been using for years because I still don’t really understand it but it’s all set up by Slevin so I just roll with it: You submit your list of up to 20 favorites on the form below. Anything from 2010 to whatever’s coming out this and next month is eligible. At the end, there are two lists, one of the raw votes, and one in which a 1-4 ranking is worth five points, 5-8 worth four, 9-12 worth three, 13-16 worth two and 17-20 worth one.

And while we’re here, eternal gratitude to Slevin for setting up and running this poll.

We’ll do it for two months, from now until Jan. 1, and I’ll post the results on New Year’s Day. I don’t think I’ll do a separate year-end poll for 2019 unless the demand for it is significant, but of course anything released this year is eligible for that as well.

Maximum participation is sincerely appreciated. Here’s the form:

Everyone’s individual poll lists will be posted as well with the results.

Since 10 years is a long time, I thought I’d link to the past lists. You’re stuck with my list for 2010, since there wasn’t a poll that year. All the others are the poll results from 2011-2018, and I’ve never found a better resource than that for assessing what came out in a given 12 months.

The Obelisk Top 20 of 2010

Top 20 of 2011 Year-End Poll

Top 20 of 2012 Year-End Poll

Top 20 of 2013 Year-End Poll

Top 20 of 2014 Year-End Poll

Top 20 of 2015 Year-End Poll

Top 20 of 2016 Year-End Poll

Top 20 of 2017 Year-End Poll

Top 20 of 2018 Year-End Poll

Thank you in advance for taking part, sharing the link, etc. I can’t tell you how much I’ve been looking forward to seeing how it all comes out. Please note your email is neither stored nor used. Only asking for it to prove you’re not a bot. Much appreciated.

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Kirk Windstein to Release First Solo Album Dream in Motion in January

Posted in Whathaveyou on November 12th, 2019 by JJ Koczan

Hey, I’m down for a Kirk Windstein record. Why the hell not? After 30-plus years of sludging it out in Crowbar, I’d say the dude has well earned the right to give it a shot. And the title-track for Windstein‘s Dream in Motion is streaming now and it sounds cool a little bit more mellow kind of way than Crowbar has been for the most part over their last couple records, which have veered more toward an aggressive modern metal sound, but what I really want to hear is The Man Himself taking on “Aqualung.” I love that record. And who the hell wouldn’t want to hear Windstein‘s voice telling that story? That’s an anchor for the record right there, but I’m intrigued at the whole thing as well, of course. If the title-track is anything to go by, what started as an impulse to do an acoustic record clearly became something much more complex.

The PR wire brings details and that video:

kirk windstein dream in motion

Crowbar’s Kirk Windstein to Release Debut Solo LP, ‘Dream in Motion’, January 24, 2020

Revered Southern Metal Progenitor Unveils Music Video for Highly-Anticipated LP’s Title Track; Album Art and Track Listing Revealed

Kirk Windstein, the highly respected sludge metal pioneer and unmistakable earthmoving bellow of Crowbar, stomps forward as a solo artist for the very first time. On January 24, 2020, Entertainment One (eOne) will proudly release ‘Dream in Motion’, Windstein’s singular debut and a recording that sees the Dark Lord of the Southern Riff stretch his creative wings and strengthen his indelible legacy.

A first taste of what Kirk’s solo debut holds in store can be experienced now as Windstein drops a video for the record’s title track. Directed by Justin Reich (Black Label Society, Royal Thunder), “Dream in Motion” makes its debut via Consequence of Sound/Heavy Consequence. Watch Kirk Windstein’s “Dream in Motion” video at this location.

Recorded in Windstein’s native Louisiana over a period of two years between tours and over holidays, ‘Dream in Motion’ is a powerfully moving recording that pulls from every corner of the riff king’s three-decade-plus career. The LP owns a lyrical depth, emotional weight, and musical muscle forged from the fires of thousands of worldwide live shows, a well-earned reputation for creating the melancholic melody that has become synonymous with New Orleans heavy metal, and a reflection on a life well-lived. Windstein’s solo foray is a heartfelt throwback to album-oriented-rock supremacy, eschewing the predictable acoustic record route for a more straight-ahead guitars approach, albeit one that’s no less soulful or meditative than Crowbar fans expect. Kirk handled all vocal duties, guitars, and bass on the album, with drums and effects by longtime producing partner and collaborator, Duane Simoneaux (Crowbar, Down, Exhorder).

The idea to record a solo album started out as, ‘I’m going to do an acoustic record,’ but that’s just so cliché, you know?” says Windstein. “Nothing against that, but It’s been done a million times. But I had been thinking about doing something a little more mellow for some time. It’s something I wanted to do, I needed to do. It’s another side of my songwriting, my personality. It’s another side of me. It’s something I did for myself. It’s not even that this isn’t heavy, because there are bits and pieces that are very heavy. But even the heaviest riff on this is something I couldn’t really do in Crowbar. If some Crowbar fans don’t like it, I’ll understand. But I hope people dig it.”

The end result is simply stunning. Single note guitar work, simple power chords, clean tones, thundering five string bass guitar, and standard tuning with nary a “drop” to be heard. “Dream in Motion,” which opens the record, is a barn burning rock n’ roll song with just a taste of aggressive attitude. “Hollow Dying Man” is all vibe, with huge melodies and a hardscrabble blue-collar authenticity. The record closes with a faithful rendition of one of Windstein’s most enduring favorites: “Aqualung,” the title track of Jethro Tull’s 1971 conceptual masterpiece.

Track listing:

1.) Dream In Motion
2.) Hollow Dying Man
3.) Once Again
4.) Enemy In Disguise
5.) The World You Know
6.) Toxic
7.) The Healing
8.) Necropolis
9.) The Ugly Truth
10.) Aqualung (Jethro Tull cover)

Pre-order ‘Dream in Motion’ at this location.

https://www.facebook.com/crowbarmusic
https://www.instagram.com/crowbarmusic/
http://www.crowbarnola.com/
http://www.facebook.com/eoneheavy
https://www.instagram.com/eone_heavy/
https://eoneheavy.bandcamp.com/

Kirk Windstein, “Dream in Motion” official video

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Canyon of the Skull Stream New Album Sins of the Past in Full

Posted in audiObelisk, Reviews on November 12th, 2019 by JJ Koczan

canyon of the skull

Founded in Austin and now located in Chicago, Canyon of the Skull release their third album, Sins of the Past, on Nov. 20. It’s only been two years since founding guitarist Erik Ogershok — who then also handled bass duty — stood astride the band’s second full-length, the 37-minute single-tracker The Desert Winter, and yet clearly much has changed. For one, what had for a time been a duo with Ogershok and drummer Adrian Voorhies is now a trio with a full rhythm section in bassist Todd Haug and drummer Mike Miczek (also The Atlas Moth, etc.), and the latest work is produced and mixed by Sanford Parker with mastering by Collin Jordan, so yes, very much embracing the Windy City and its various resources. The changes go beyond that, however, as Sins of the Past brings forth two massive instrumentalist riff-slabs, lumbering and metallic in their root in kind, with “The Ghost Dance” hitting 25 minutes long as “The Sun Dance” on its own nearly matches the entirety of The Desert Winter at 34:12. The simple math has it at 59 minutes of plodding, sans-vocal sprawl, atmospheric but not overly ethereal or psychedelic while still managing to bring together elements out of post-metal, sludge, doom and traditional heavy metal.

Most impressively, Sins of the Past — which takes its thematic from Native American issues and stories from the Southwest — does not simply shift between styles. Throughout “The Ghost Dance” and “The Sun Dance” alike, it isn’t a case of “a doom part” and “a Canyon of the Skull Sins of the Pastmetal part,” or some such. Rather, OgershokHaug and Miczek bring these various sides together into one cohesive sound that is fluid in tipping its balance from one genre to another. This would almost have to be truer of “The Sun Dance,” which is even more extended than the leadoff track, but the ethos is the same across both, and it comes to fruition in thoughtful but not overthought progressions of patient, guitar-led rollout and sections of alternately tense and open-feeling movement. It’s not exploratory in the sense of jamming and seeing what happens — there’s a definite plan being followed here — but there’s still something about Sins of the Past that seems to draw the listener deeper into this complexity. It’s a heady release, to be sure, and a challenge in the sense of asking its audience to keep up with changes across 25- and 34-minute pieces that offer no vocals, much substance and purposefully little by way of an instrumental hook, but that only means there is more to dig into, and even in its later reaches, “The Sun Dance” in particular is immersive while holding to the relatively straightforward, grounded tones of its predecessor and the general spirit of the release overall, which doesn’t stray too far from the central, earthy atmosphere that “The Ghost Dance” incites early on — an immediacy underlying all the sprawl and end-to-end distance of the material.

It probably goes without saying (and yet, here I am, saying it) that a record comprised of two so drawn-out instrumental movements and makes so little play toward general accessibility probably isn’t going to be for everybody, but for more adventurous metallurgists and those craving depth and breadth alike, there’s plenty in Sins of the Past to inspire deep-dive listening, tracking each movement of the guitar, bass and drums as you go. I won’t say a negative word about that approach — it certainly has its advantages — but when it comes to Canyon of the Skull, it seems no less important to consider the overarching ambience that comes through the material even as the material itself isn’t all that ambient. That is, if one thinks of the record as a single work, then what’s the mood of that work? What is the work as a whole saying? In some ways, I wish Ogershok was more open in discussing the specific themes he’s working with in his songwriting — sometimes instrumentalists are surprisingly verbose on such matters, but apparently less so in this case — but his approach of “letting the listener decide” has arguable merits of its own as well. I’ll take it either way, I guess.

The more crucial matter would seem to be the urgency of the music itself, so maybe it’s best to let that do the not-talking. Ogershok does offer some comment on the record’s making below, following the player on which one can find the entirety of Sins of the Past streaming ahead of its Nov. 20 release.

I hope you enjoy:

Erik Ogershok on Sins of the Past:

“I try to do different things with each record and this one is no exception. This record is visceral and immediate, like the self-titled, while being highly conceptual and dynamic like The Desert Winter. ‘The Ghost Dance’ is probably the best thing that I have written to date. ‘The Sun Dance’ is unlike anything that I have ever written before. It incorporates my basic philosophies of composition but applies them differently, one that I jokingly call prog-doom.

The main aesthetic and themes that Canyon of the Skull was founded on remain unchanged. This band has always been focused on telling the stories of Indigenous Americans and their environments, specifically those of the American Southwest. I am still surprised at how many people have never met an Indigenous American, but we are not extinct, and this band exists to tell our stories both past, present, and future. This record is a bit more broad with the subject matter since it involves the rituals of tribes far from the land of my people. Also, this record is more influenced by recent events that have an impact beyond Native communities. I don’t like to talk specifically about the deeper meaning of any of my compositions as I want people to discover their meaning in our music. These two pieces have very specific meanings to both me and the wider world and googling the titles is my recommendation for people that want to delve deeper for the literal meanings.”

Recorded at Decade Music Studios March 2019
Recorded and Mixed by Sanford Parker
Produced by Sanford Parker and Canyon of the Skull
Mastered by Collin Jordan at Boiler Room Mastering
Artwork Layout and design by Erik Bredthauer

Canyon of the Skull is:
Erik Ogershok- Guitars
Todd Haug- Bass Guitar
Mike Miczek- Drums

Canyon of the Skull on Bandcamp

Canyon of the Skull on Thee Facebooks

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Orsak:Oslo Announce German Tour Dates for December

Posted in Whathaveyou on November 12th, 2019 by JJ Koczan

I don’t want to be Mr. Tellingtalesoutofschool, but I saw Orsak:Oslo briefly last month, I’ll happily unveil two factoids about the experience. First, they were awesome. I had to run back across the street and take pictures of the next band going on at Høstsabbat (review here), but I was sad to leave the bar they were playing as part of the fest’s local stage. Very cool stuff. Immediate vibe. Second factoid? There were four of them. I’ll admit, I don’t know much about the band — I want to and am in the process of learning more — but I recall it specifically because they were crammed onto a tiny stage and they barely fit. It was all the more a testament to their asskickery that they still locked in such a righteous vibe.

So yeah, I don’t know what the deal is lineup-wise, but if you happen to be in Germany next month, that’s where they’ll be, and posting about them again is an excuse for me to put up the stream of their 2019 for self-titled for anyone else who might just be getting caught up.

Here you go:

orsak oslo

Scandipsych Trio ORSAK:OSLO To Tour Germany in December!

Orsak:Oslo is a dark slow brew containing of psych, dystopian post-rock and trippy space blues. With their monolithic and melancholic instrumental pieces, this is music for the active listener.

After playing November 8th in Oslo @ Vaterland, the humble Scandipsych three piece finally heads over to Germany for the following live jams:

05.12. Hamburg @ MS Stubnitz
06.12. Naumburg @ The Black House
07.12. Bielefeld @ Cutie

A trio playing just 3 dates. This is cosmic!

Orsak:Oslo is a dark slow brew containing of psych, dystopian post-rock and trippy space blues. With their monolithic and melancholic instrumental pieces, this is music for the active listener.

Orsak:Oslo is a marriage between impulsive improv and thoughtful composition, later melodies and new harmonies are carefully woven in, layer by layer. With a reverence and underlying devotion to the aura and musical preconditions laid down from the start, the result is raw, unpolished and true.

Orsak:Oslo was founded by Christian from Gothenburg, Sweden and Øyvind from Olso, Norway. On the 1st of July 2014 they released their first EP Torggata Sway, named after the street where they had shared the flat. Soon after, they got a hold on Bjarne (keys then, now guitar). The final piece fit in 2016, when Peter joined on bass.

Now, less than 5 years after Torggata Sway, Orsak:Oslo has released 9 digital EPs. 6 of these tracks have been now compiled by German label Kapitän Platte as a sort of a best of – compilation.

www.orsakoslo.com
www.facebook.com/orsakoslo
https://orsakoslo.bandcamp.com
http://kapitaen-platte.de
https://kapitaenplatte.bandcamp.com/

Orsak:Oslo, Orsak:Oslo (2019)

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Sleep Announce ‘Hypersleep’ Indefinite Hiatus Starting in January

Posted in Whathaveyou on November 12th, 2019 by JJ Koczan

Sleep (Photo by JJ Koczan)

Sleep‘s Nostromo-software social media check-in method has provided the update that after their coming three-night stint at Thalia Hall in Chicago, they’ll go into an indefinite ‘hypersleep,’ which is basically being interpreted as a hiatus. Hey, fair enough. I mean, it’s been a decade, and for a band who were done, who lost their original drummer and whose bassist and guitarist had moved on to other, interesting, groundbreaking projects, to ask Sleep to get back together to even do a couple gigs a year was a lot, let alone the kind of touring they wound up doing over the course of the 2010s, headlining festivals and eventually releasing new material, first in the 2014 single “The Clarity” (review here) and then in last year’s holy-shit-there’s-a-new-Sleep-album The Sciences (review here) as well as its companion single “Leagues Beneath” (discussed here) and the follow-up 2019 3LP live album, Live at Third Man Records (review here), so it doesn’t seem unreasonable if they want to step away from it all for a bit. Matt Pike has continued with High on Fire and Al Cisneros has kept Om kind of in his pocket for a while now. Maybe they’ll get those revved up to full-time status — High on Fire kind of already are (they’re about to tour again), but still — while Jason Roeder works on other stuff, including Neurosis, who’ve also been touring more over the last several years.

The point is that listeners were lucky to get as much as they got from Sleep over the last 10 years, because it was never supposed to be like that. And to listeners’ credit, I think it was audience that kept the band going. People kept showing up, and that kept the material vital. Few and far between are the acts who’ve had as much of an influence on the heavy underground worldwide, from the crustiest doom to the stonedest of the stoned, and though they’ll be missed while they’re gone, it seems worth it to appreciate the fact that they came back at all rather than be like, “Oh this is bullshit because Sleep aren’t playing my house,” or whatever. These guys don’t owe anyone anything. Just the opposite.

Hey Sleep — thanks for everything. Hope to see you again soon.

Here’s their post and dates:

sleep hiatus

Sleep live:
Dec. 29 Thalia Hall Chicago IL
Dec. 30 Thalia Hall Chicago IL
Dec. 31 Thalia Hall Chicago IL

Sleep are:
Al Cisneros
Matt Pike
Jason Roeder

Sleep on Thee Facebooks

Sleep website

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Viaje a 800 Reissuing Santa Águeda for 20th Anniversary

Posted in Whathaveyou on November 12th, 2019 by JJ Koczan

At the time of this posting, there are five (5) copies left of Viaje a 800‘s Santa Águeda available on tap through Spinda Records, and as I watch and listen through to the video for the 11-minute closing track “Al-Yazhira,” I have to think they’ll be gone in no time flat. The desert tones are raw and gorgeous in the guitar and yet there’s an airy effects layer as well that serves as foreshadow for some of the more progressive and psychedelic elements the band would bring to their sound later on. After reissuing their first two records through Spinda, putting out a live album and now this demo — the tape limited to just 50 copies worldwide — I have to wonder if maybe the Algeciras-based troupe might be headed toward the inevitability of a new full-length. I know José “Pot” Moreno is plenty busy with other projects, and Algeciras isn’t exactly short on related bands at this point, but there’s an awful lot going on the last couple years with Viaje a 800 in terms of playing shows and putting out releases for a band who are, you know, not really a band anymore.

If you’re lucky enough to grab one of these tapes, congratulations. You will have beat me to it, thereby giving you bragging rights into perpetuity.

Don’t forget Viaje a 800 also play Spinda RecordsSpinda Fest this month. Info on that is here.

From the PR wire:

Santa Águeda viaje a 800

New from Viaje a 800: Santa Águeda, Limited Edition Cassette

A bit earlier than expected… We’ve just started pre-sale for Viaje a 800’s demo tape ‘Santa Águeda’. Ah, and there are only 50 copies worldwide, so be quick!!!

Recorded at Estudios Pinrrel de Santa Águeda in 1997 and 1998.
Please listen to this as a demo as that is what it is.
Re-issued by Spinda Records to celebrate band’s 20th Anniversary

Tracklisting:
1. El dios de mi mentira
2. Equivocación
3. Solo
4. Cardio Límite
5. Esfera Violencia
6. Al-Yazhira

Viaje a 800 is:
José Pot Moreno – vocals, bass
Océano Galindo – guitar
David Ruiz – drums
Carlos Navas – bass
Miguel Acuña – guitar

https://www.facebook.com/Viaje-a-800-373382802690104/
https://viajea800.bandcamp.com/
http://www.spindarecords.com/
https://spindarecords.bandcamp.com/

Viaje a 800, “Al-Yazhira” official video

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Across Tundras Release Complete Altered States Companion Remixes for Latest Album

Posted in Whathaveyou on November 11th, 2019 by JJ Koczan

I’ve been kind of expecting something like this, but it’s still kind of an overwhelming project. Since the release in June of Across Tundras‘ latest full-length, The Rugged Ranges of Curbs and Broken Minds (review here), founding guitarist/vocalist T.G. Olson has been going through and revisiting the album with track-by-track remixes, resulting in a series of digital EPs that have been trickled out one at a time over the past few months. He’s gone in order, one to the next through the entire album. They range from the “Hot Radio Mix” collection — which probably could’ve been released as the album proper — to more experimental styles like the “Ennio’s Mix” tracks, but the root of each is still the original itself. It’s in there somewhere. The only question is how hard one has to dig to find it.

Olson — self-releasing, as ever, through Bandcamp as a name-your-price download — has it organized in the same order as the tracklisting of the album, but as I’ve been going through, I’ve been listening to one version of the whole record at a time. I admit I’m not through the entire 28-track Complete Altered States at this point — only so many hours the day — but it’s a fascinating project however one might want to take it on. As Olson has done homemade CD box sets in the past, the chance to do a Complete Rugged Ranges collection seems to be self-evident.

Whether or not that comes to fruition, here’s the info off Bandcamp and the streams of both the remixes and the original for those feeling adventurous:

across tundras the rugged ranges complete altered states

Across Tundras – The Rugged Ranges of Curbs & Broken Minds ~ Complete Altered States

Altered States of The Rugged Ranges of Curbs & Broken Minds

released November 7, 2019

1. The Rugged Ranges of Curbs & Broken Minds (Ennio’s Mix) 03:35
2. The Rugged Ranges of Curbs & Broken Minds (Hot Radio Mix) 06:05
3. The Rugged Ranges of Curbs & Broken Minds (Stereo Cinemascope Instrumental Mix) 06:57
4. The Rugged Ranges of Curbs & Broken Minds (Campfire Mix) 05:52
5. Slow Down and Breathe (Ennio’s Mix) 02:29
6. Slow Down and Breathe (Hot Radio Mix) 04:18
7. Slow Down and Breathe (Stereo Cinemascope Instrumental Mix) 04:18
8. Slow Down and Breathe (Choral Mix) 06:22
9. Talkin’ Rust Cohle Existential Blues (Ennio’s Mix) 01:43
10. Talkin’ Rust Cohle Existential Blues (Hot Radio Mix) 04:22
11. Talkin’ Rust Cohle Existential Blues (Stereo Cinemascope Instrumental Mix) 05:41
12. Talkin’ Rust Cohle Existential Blues (Campfire Mix) 05:44
13. Boots of Snake Leather (Church Organ Mix) 04:44
14. Boots of Snake Leather (Hot Radio Mix) 04:14
15. Boots of Snake Leather (Stereo Cinemascope Instrumental Mix) 05:00
16. Boots of Snake Leather (Big Bass & Wide Slide Mix) 05:09
17. Whirlwind Reapin’ (Drone Out Mix) 03:00
18. Whirlwind Reapin’ (Hot Radio Mix) 05:17
19. Whirlwind Reapin’ (Stereo Cinemascope Instrumental Mix) 06:50
20. Whirlwind Reapin’ (Bass & Drumz Mix) 06:49
21. When We Were All One (Ennio’s Mix) 02:16
22. When We Were All One (Hot Radio Mix) 03:41
23. When We Were All One (Stereo Cinemascope Instrumental Mix 04:00
24. When We Were All One (Sky Jam Mix) 04:00
25. New War on the Range (Ennio’s Mix) 04:48
26. New War on the Range (Hot Radio Mix) 05:55
27. New War on the Range (Stereo Cinemascope Instrumental Mix) 07:39
28. New War on the Range (Thunder Jam Mix) 04:48

Tanner Olson ~ Ben Schriever ~ Caleb R.K. Williams ~ Abigail Lily O’hara ~ Noel Dorado

https://acrosstundras.bandcamp.com/

Across Tundras, The Rugged Ranges of Curbs and Broken Minds – Complete Altered States (2019)

Across Tundras, The Rugged Ranges of Curbs and Broken Minds (2019)

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Midas Stream Still Hungry EP; Touring This Week in Northeast

Posted in audiObelisk on November 11th, 2019 by JJ Koczan

midas

As they stand on the precipice of their second tape EP release of 2019, and having just played their first gig in March of this year, Detroit classic metal four-piece Midas extend that waste-no-time ethic to their songwriting. Their first offering was March’s Solid Gold Heavy Metal (review here) that found the four-piece with members of Wild Savages and Bison Machine coming together around a shared appreciation for Priest, Maiden and all things NWOBHM and proto-heavy rock raucousness. The follow-up 16-minute four-tracker, Still Hungry, follows a similar course — it’s only been a few months, after all — but seems to be even tighter in its presentation and even more than its predecessor both the triumph and the celebration thereof, the double-guitar four-piece bringing the party and the reason to celebrate in the first place. It’s a fun combination in a way that doesn’t actually take itself as seriously yet as Iron Maiden always seemed to. One hopes they never get to that point, frankly.

The guitars of Casey O’Ryan (lead) and Joe Kupiec (rhythm, also vocals) lead the charge as one would expect, and the sense of gallop on second track “Usurper” tells you nearly everything you need to know about where they’re coming from. Following the winding grandeur of opener “Sands of Time,” the charge midas still hungry tapeof “Usurper” is both the longest cut on the tape at 4:59 and a standout in terms of its pace. Choral vocals echo in the second half over drum thud from Breck Crandell as they make their way back toward the chorus, and whether it’s Anthony Franchina holding together the low-end beneath the head-spinning fretwork from his six-string compatriots or the turn to a more angular, heavy rocking jabs on “Street Knights,” Midas continue to wear their love of heavy metal glories on their sleeve. They call to mind the electrifying early days of Chicago’s Bible of the Devil in terms of their style and energy, and thereby seem to be picking up the torch of a Midwestern metallicism that, well, is the kind of thing that might produce a festival like Alehorn of Power or Legions of Metal, the latter of which Midas will play in Spring 2020.

They close Still Hungry with “White Wolf” and actually dare to hit the brakes momentarily in the process, but soon it’s back to choice dueling leads complemented by some particularly tasty basslines, and they cap with a driving forward riff and a few pow-pow-pow hits before dropping off cold at the finish. Boom, cue applause. You know, for a band in their first year to have such a sense of what they want to do, it basically tells you that they got together with an idea in mind. Midas isn’t a group that just happened to start playing in a room together and produced this grade of dual-axe antics. But even with a firm aesthetic goal, it’s hard to predict where they might go and what they might bring to their sound over the course of a whole album. Interludes, solos, arrangements, and so on. They’ve demonstrated twice now that they know what they’re doing in terms of songcraft, but that’s not the same as fleshing out their personality across a debut full-length. Before they get there, they’re reportedly in talks to bring Still Hungry and Solid Gold Heavy Metal to a compiled CD and LP for next Spring — presumably sometime around Legions of Metal, but who knows — and then I’d guess it’ll be sometime after that they settle down to work on their first proper long-player.

Whenever that shows up, it’ll be one to look forward to, as Still Hungry proves they are most certainly famished, what on earth might it take to sate a sound such as this?

Full Still Hungry EP stream is below, followed by tour dates. Thanks for reading:

And enjoy:

midas still hungry tourMIDAS has followed up ‘Solid Gold Heavy Metal’ with the heavier and more sinister ‘Still Hungry’. Still straddling that line that split the 70s and 80s, they bring bigger and more complex sounds to the feast with their latest release. Tape pre-order will be live on Nov. 11th. Tape release date is Nov. 20 through Hardcore Psychedelia in Detroit. Catch them on tour on the East Coast this November, and at Legions of Metal this spring in Chicago alongside speed metal legends, Exciter.

Still Hungry Tour
Nov. 15th – New York – Sunnyvale*
Nov. 16th – Philadelphia – The Tusk*
Nov. 17th – Baltimore – The Depot*
Nov. 19th – Providence – Dusk
Nov. 27th – Ann Arbor MI – Lo Fi
Nov. 29th – Dayton OH – Blind Bob’s

MIDAS is:
Casey O’Ryan – Lead Guitar
Joe Kupiec – Vox, Rhythm Guitar
Anthony Franchina – Bass
Breck Crandell – Drums

Midas on Bandcamp

Midas on Thee Facebooks

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Disastroid Sign to Heavy Psych Sounds; Mortal Fools out Feb. 14

Posted in Whathaveyou on November 11th, 2019 by JJ Koczan

disastroid

Yup, called it. Pardon the moment of self-congratulations, but when Heavy Psych Sounds announced its latest sampler last week, I couldn’t help but notice the tracklisting contained a seemingly new cut from San Fran three-piece Disastroid. That led to speculation they’d signed to the venerable Italian imprint, and indeed, that has turned out to be the case. They’ll release a new album, titled Mortal Fools, on Valentine’s Day. So yes, called it. Look at me, paying attention. What’s the prize again?

To mark the occasion of preorders going live, they’re streaming a new song that you can find at the bottom of the post here, following word from the PR wire making the whole thing official. These guys might seem like an odd fit for the label, being more punkish than a lot of the desert rock or SoCal boogie HPS has picked up of late, but they had a split with Fatso Jetson a few years back and there are some behind the scenes links to the desert scene that might’ve come into play as well.

Cool news either way. From the PR wire:

disastroid mortal fools

Heavy Psych Sounds Records & Booking is really proud to start the presale of the album DISASTROID – Mortal Fools

HPS 119

Today we are extremly proud to welcome the Bay Area’s noise metal trio DISASTROID in our roster.

The presale of their brand new album MORTAL FOOLS starts today: https://heavypsychsoundsrecords.bandcamp.com/album/disastroid-mortal-fools-presale

RELEASE DATE:
FEBRUARY 14th, 2020

San Francisco veterans Disastroid have been serving up sludgy, grunge-infused stoner rock for the better part of a decade now, refining a sound that weaves heavy riffs together with angular guitar lines, odd time signatures, and hazy walls of fuzz. As influenced by 90’s noise rock as they are by modern psych, doom, and post-metal, Disastroid delivers thick, satisfying stoner rock stomp while also embracing layers of noise, tripped-out feedback, and some unpredictable song structures.

Their original approach, captured on their 2014 record “Missiles” and the 2017 follow-up “Screen”, has made them one of the most essential bands in the Bay Area music scene. Their latest, “Mortal Fools” is their heaviest and most expansive-sounding album to date. Produced by Tim Green (Nation of Ulysses, The Fucking Champs), it’s sonically focused on what Disastroid does best, laying singer/guitarist Enver Koneya’s deep vocals and fuzzed-out riffs on top of a relentless, pummeling rhythm section. At the same time, it’s loose enough that it takes some unpredictable twists and turns, conveying the band’s rough edges, sense of humor, and noisy, experimental streak.

DISASTROID is:
Enver Koneya – Vox/Guitar
Travis Williams – Bass Guitar
Braden McGraw – Drums

https://www.facebook.com/disastroid/
https://disastroid.bandcamp.com/
http://www.disastroid.com/
heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/

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