Posted in Features on February 22nd, 2017 by JJ Koczan
[TO ENTER GIVEAWAY: Leave a comment on this post with your email address in the form. You’ll be contacted at that address if you win. Winner is chosen one week from today.]
Feelin’ saucy? Well go ahead and get yourself in on the chance to win a free t-shirt and a copy of Vermilion Whiskey‘s new album, Spirit of Tradition. The Lafayette, Louisiana, double-guitar five-piece put the thing out just last week and if you leave a comment on this post, you can get your very own disc and a shirt with artwork by Mont Doom.
Bolstered via a mix by Wo Fat‘s Kent Stump and a mastering job by Mos Generator‘s Tony Reed, Spirit of Tradition lives up to its name in bringing together Southern heavy rock and metallic charge. Frontman Thaddeus Riordan and guitarists Ross Brown and Carl Stevens lead the way with Jeremy Foret on bass and Buck Andrus on drums, and Vermilion Whiskey ask nothing more than that you consume as irresponsibly and as often as possible.
You know how these things go at this point, so I’ll just remind you to please leave your email in the form when you leave a comment on this post. Without it I can’t contact you to let you know you’ve won, and it seems like an awful bummer to bother to enter and then basically make yourself ineligible. As always, I don’t keep email address, I don’t sell info. I wouldn’t know how to if I wanted to, and I don’t want to, so there. I’m way more about giving away free shit than adding spam to your inbox.
If you haven’t yet had a taste, you can hear Vermilion Whiskey‘s Spirit of Tradition in full below. Good luck to everyone who enters! And if you don’t, why the hell not?
Vermilion Whiskey, Spirit of Tradition (2017)
[TO ENTER GIVEAWAY: Leave a comment on this post with your email address in the form. You’ll be contacted at that address if you win. Winner is chosen one week from today.]
Posted in Features on January 23rd, 2017 by JJ Koczan
Looks like it’s going to be another busy 12 months ahead. It’s been a busy better-part-of-a-month already, so that stands to reason, but you should know that of the several years now that I’ve done these ‘Tomorrow’s Dream’ posts, this is the biggest one yet, with over 150 upcoming releases that — one hopes — will be out between today and the end of 2017.
Actually, at last count, the list tops 180. Do I really expect you to listen to all of them? Nope. Will I? Well, it would be nice. But what I’ve done is gone through and highlighted 35 picks and then built lists off that in order of likelihood of arrival. You’ll note the categories are ‘Gonna Happen and/or Likely Candidates,’ ‘Definitely Could Happen’ and ‘Would be Awfully Nice.’
Beyond that last one, anything else just seems like speculation — one might as well go “new Sabbath this year!” with zero info backing it up. The idea here is that no matter where a given band is placed, there has been some talk of a new release. In some cases, it’s been years, but I think they’re still worth keeping in mind.
Another caveat: You can expect additions to this list over the next week — probably album titles, band names people (fingers crossed) suggest in the comments, and so on — so it will grow. It always does. The idea is to build as complete a document as possible, not to get it all nailed down immediately, so please, if you have something to contribute and you’re able to do so in a non-prickish, “You didn’t include Band X and therefore don’t deserve to breathe the same air as me,” kind of way, please contribute.
Other than that, I think it’s pretty straightforward what’s going on here and I’ll explain the category parameters as we go, so by all means, let’s jump in.
— Tomorrow’s Dream 2017 —
1. Abrahma, TBA
Late last year, Paris heavy progressives Abrahma announced a new lineup and third full-length in progress. No reason to think it won’t come to fruition, and a follow-up to 2015’s Reflections in the Bowels of a Bird (review here) is an easy pick to look forward to. Even with the shift in personnel, it seems likely the band will continue their creative development, driven as they are by founding guitarist Seb Bismuth.
2. All Them Witches, Sleeping Through the War
If 2017 ended today, Sleeping Through the War would be my Album of the Year. Of course, there’s a lot of year to go, but for now, Nashville’s All Them Witches have set the standard with their second album for New West Records behind 2015’s Dying Surfer Meets His Maker (review here) and fourth overall outing. They’ve got videos up so far for “3-5-7” (posted here) and “Bruce Lee” (posted here). Both are most definitely worth your time. Out Feb. 24. Full review should be later this week.
3. Alunah, Solennial
Seems like UK forest riffers Alunah are on this list every year. Wishful thinking on my part. Nonetheless, their fourth LP and Svart Records debut, Solennial, is out March 17, and if the tease they gave already with the clip for “Fire of Thornborough Henge” (posted here) is anything to go from, its Chris Fielding-produced expanses might just be Alunah‘s most immersive yet.
4. Arbouretum, TBA
I asked the Baltimore folk fuzzers a while back on Thee Facebooks if they had a new record coming in 2017 and they said yes, so that’s what I’m going on here. The last Arbouretum album was 2013’s Coming out of the Fog (review here), and even with frontman Dave Heumann‘s 2015 solo outing, Here in the Deep (review here), factored in, you’d have to say they’re due. Keep an eye on Thrill Jockey for word and I’ll do the same.
5. Atavismo, Inerte
This is another one that already has a spot reserved for it on my Best-of-2017 year-end list. Spanish heavy psych rockers Atavismo up the progressive bliss level with their second full-length, Inerte, without losing the depth of style that made 2014’s Desintegración (review here) so utterly glorious. It probably won’t have the biggest marketing budget of 2017, but if you let Atavismo fly under your radar, you are 100 percent missing out on something special.
6. Bison Machine, TBA
In addition to the video for new track “Cloak and Bones” that premiered here, when Michigan raucousness-purveyors Bison Machine put out the dates for their fall 2016 tour, they included further hints of new material in progress. As much as I dug their earlier-2016 split with SLO and Wild Savages (review here) and 2015’s Hoarfrost (review here), that’s more than enough for me to include them on this list. Killer next-gen heavy rock.
7. Brothers of the Sonic Cloth, TBA
News of a follow-up to Brothers of the Sonic Cloth‘s 2015 Neurot Recordings self-titled debut (review here) came through in October, and it remains some of the best news I’ve heard about 2017 doings. Took them a while to get the first record out, so we’ll see what happens, but it kind of feels like looking forward to a comet about to smash into the planet and cause a mass extinction, and by that I mean awesome. Can’t get here soon enough.
8. Cloud Catcher, Trails of Kosmic Dust
Okay, so maybe I jumped the gun and did a super-early review of Denver trio Cloud Catcher‘s second long-player and Totem Cat Records debut, Trails of Kosmic Dust, but hell, no regrets. Some albums require an early-warning system. Their 2015 debut, Enlightened Beyond Existence (discussed here), was a gem as well, but this is a band in the process of upping their game on every level, and the songwriting and momentum they hone isn’t to be missed.
9. Colour Haze, TBA
I’ve gotten some details on the upcoming full-length from Colour Haze. They do not include a title, artwork, audio, song titles or general direction. Less details, I guess, than word that the CD version of this answer to 2015’s To the Highest Gods We Know (review here) is set to come out next month, as ever, on Elektrohasch. That puts it out in time for Colour Haze‘s upcoming tour with My Sleeping Karma (announced here). Fingers crossed it happens. Colour Haze are perpetual top-albums candidates in my book.
10. Corrosion of Conformity, TBA
Signed to Nuclear Blast after being rejoined by guitarist/vocalist Pepper Keenan, North Carolina’s C.O.C. have been in the studio since last year. The lineup of Keenan, bassist/vocalist Mike Dean and guitarist Woody Weatherman and Reed Mullin on drums is the stuff of legend and last worked together on 2000’s America’s Volume Dealer, so no question this reunion makes for one of 2017’s most anticipated heavy rock records. They nailed the nostalgia factor on tour. Can they now add to their legacy?
11. Elder, TBA
I was incredibly fortunate about a month ago to visit progressive heavy rockers Elder at Sonelab in Easthampton, MA, during the recording process for their upcoming fourth album. I heard a couple of the tracks, and of course it was all raw form, but the movement forward from 2015’s Lore (review here) was palpable. That LP (on Stickman) brought them to a wider audience, and I expect no less from this one as well, since the farther out Elder go sound-wise, the deeper the level of connection with their listeners they seem to engage.
12. Electric Wizard, TBA
Could happen, could not happen. That’s how it goes. Announced for last Halloween. That date came and went. Word of trouble building their own studio surfaced somewhere along the line. That was the last I heard. Frankly, I wouldn’t be surprised if it showed up tomorrow, if it showed up in 2018, or if the band broke up and never put it out. They’re Electric Wizard. Anything’s possible.
13. John Garcia, The Coyote Who Spoke in Tongues
Out Jan. 28 on Napalm, The Coyote Who Spoke in Tongues (review here) is the first-ever acoustic album from former Kyuss frontman John Garcia, also of Unida, the reunited Slo Burn, Hermano, Vista Chino, Zun, etc. — basically the voice of desert rock. He does a couple Kyuss classics for good measure, but shines as well on the new/original tracks, and while it’s a piece for fans more than newcomers — that is, it helps if you know the original version of “Green Machine” — his presence remains as powerful as ever despite this new context.
14. Goya, Harvester of Bongloads
Riffs, dude. Goya seem to have them to spare. The Arizona-based wizard doomers have set a pretty prolific clip for themselves at this point, with at least two short releases out in 2016, one a 7″ of Nirvana covers (review here), and the The Enemy EP (review here). Set for a March 3 release through their own Opoponax Records imprint, Harvester of Bongloads continues the march into the abyss that 2015’s Obelisk (review here) and 2013’s 777 set in motion, finding the band coming more into their own as well. Creative growth — and bongloads! The best of both worlds.
15. Ides of Gemini, TBA
Ides of Gemini are set to record their yet-untitled third album with Sanford Parker early this year, and it will also mark their debut on Rise Above Records upon its release. They’ve also got a new lineup around vocalist Sera Timms and guitarist J. Bennett, so as they look to move forward from 2014’s Old World New Wave (review here), one can’t help but wonder what to expect, but to be honest, not knowing is part of the appeal, especially from a band who so readily specialize in the ethereal.
16. Kind, TBA
Three-fourths of Kind feature elsewhere on this list. Bassist Tom Corino plays in Rozamov. Drummer Matt Couto is in Elder. Vocalist Craig Riggs is in Roadsaw. And for what it’s worth, guitarist Darryl Shepherd has a new band coming together called Test Meat. How likely does that make Kind to release a second LP in 2017? I don’t know, but their 2015 Ripple Music debut, Rocket Science (review here), deserves a follow-up, and I know they’ve demoed some new songs. If it happens, great. If it’s 2018, at least these dudes will be plenty busy besides.
17. Lo-Pan, In Tensions
Yes, Lo-Pan‘s In Tensions (review here) has already been released — CD/LP with an artbook on Aqualamb. It’s out. Limited numbers. You can get it now. Why include it on a list of most anticipated releases? Because that’s how strongly I feel about your need to hear it. The fruit of a shortlived lineup with guitarist Adrian Zambrano, it distinguishes itself from everything they’ve done before in style while still keeping to the core righteousness that one hopes the Ohio outfit will continue to carry forward. It’s more than a stopgap between albums. Listen to it.
18. The Midnight Ghost Train, TBA
It seems to have been a rough ride for hard-boogie specialists The Midnight Ghost Train since their 2015 Napalm debut and third album overall, Cold was the Ground (review here). They’ve never taken it easy on the road or in terms of physicality on stage, and between injuries and who knows what else, their intensity at this point veers toward the directly confrontational. Nonetheless, they’ve been writing for album number four, may or may not have started the recording process, and I expect that confrontationalism to suit them well in their new material.
19. Monster Magnet, TBA
I have it on decent authority that NJ heavy psych innovators Monster Magnet were in the studio this past autumn. I’ve seen no concrete word of a new album in progress from Dave Wyndorf and company, and I wouldn’t necessarily expect to until it was time to start hyping the release, but after their two redux releases, 2015’s Cobras and Fire (review here) and 2014’s Milking the Stars (review here), their range feels broader than ever and I can’t wait to hear what they come up with next.
20. Mothership, High Strangeness
A pivotal moment for Mothership arrives with High Strangeness, and the heavy-touring, heavy-riffing Texas power trio seem to know it. Their third record on Ripple Music pushes into new avenues of expression and keeps the energy of 2014’s Mothership II (review here) and 2012’s Mothership (review here), but thus far into their career, it’s been about their potential and what they might accomplish going forward. 2017 might be the year for Mothership to declare a definitive place in the sphere of American heavy rock.
21. The Obsessed, Sacred
On Halloween 2016, founding The Obsessed guitarist/vocalist and doom icon Scott “Wino” Weinrich announced a new lineup for the band, with his former The Hidden Hand bandmate Bruce Falkinburg on bass/vocals, Sara Seraphim on guitar and Brian Costantino continuing on drums. A genuine surprise. Their first album since 1994, Sacred (due on Relapse) was tracked as the trio of Weinrich, Costantino and bassist/vocalist Dave Sherman, but clearly they’ve moved into a new era already. Wouldn’t even guess what the future holds, but hopefully Sacred still comes out.
22. Orange Goblin, TBA
When it was announced that London’s Orange Goblin were picked up by Spinefarm as part of that label’s acquisition of Candlelight Records last Spring, the subheadline from the PR wire was “Working on Ninth Studio Album.” I haven’t heard much since then, but even as 2014’s Back from the Abyss (review here) pushed them deeper into metallic territory than ever before, their songs retained the character that’s made the band the institution they are. Always look forward to new Orange Goblin.
23. Pallbearer, Heartless
Doomers, this is your whole year right here. I haven’t heard Pallbearer‘s third album, Heartless (out March 24 on Profound Lore), but I have to think even those who haven’t yet been won over by the Arkansas four-piece’s emotive, deep-running style have to be curious about what they’ve come up with this time around. I know I am. These guys have been making a mark on the genre since their 2012 debut, Sorrow and Extinction (review here), and there’s little doubt Heartless will continue that thread upon its arrival.
24. Radio Moscow, TBA
Fact: Radio Moscow stand among the best classic heavy rock live acts in the US. They’re the kind of band you can watch upwards of 15 gigs in a row — I’ve done it — and find them putting on a better show night after night, in defiance of science, logic and sobriety. Word of their signing to Century Media came just this past week and brought with it confirmation of a follow-up to 2014’s stellar Magical Dirt (review here), and for me to say hell yes, I’m absolutely on board, seems like the no-brainer to end all no-brainers. Can’t wait.
25. Roadsaw, TBA
Nearly six full years later, it’s only fair to call Boston scene godfathers Roadsaw due for a follow-up to their 2011 self-titled (review here). Granted, members have been busy in Kind, White Dynomite, and other projects, but still. Their upcoming outing finds them on Ripple Music after years under the banner of Small Stone Records, and though I haven’t seen a solid release date yet, my understanding is they hit Mad Oak Studio in Allston, MA, this past fall to track it, so seems likely for sooner or later. Sooner, preferably.
26. Rozamov, This Mortal Road
Speaking of albums by Boston bands a while in the making, This Mortal Road (out March 3 on Battleground Records and Dullest Records) is the debut full-length from Boston atmospheric extremists Rozamov. Haven’t heard it yet, but I got a taste of some of the material when I visited the band at New Alliance Audio in Aug. 2015, and the bleak expanses of what I heard seem primed to turn heads. I’m a fan of these guys, but in addition, they’ve found a niche for themselves sound-wise and I’m curious to hear how they bring it to fruition.
27. Samsara Blues Experiment, TBA
It’s been a pleasure over the last couple months to watch a resurgence of Berlin heavy psych trio Samsara Blues Experiment take shape, first with the announcement of a fourth album in October, then with subsequent confirmations for Desertfest, Riff Ritual in Barcelona, and a South American tour. Reportedly due in Spring, which fits with the timing on shows, etc., the record will follow 2013’s righteous Waiting for the Flood (review here) and as much as I’m looking forward to hearing it, I’m kind of just glad to have these guys back.
28. Seedy Jeezus, TBA
Work finished earlier this month on Melbourne trio Seedy Jeezus‘ second full-length. As with their 2015 self-titled debut, the band brought Tony Reed of Mos Generator to Australia to produce, and after their blissed-out 2016 collaboration with Earthless guitarist Isaiah Mitchell, Tranquonauts (review here), it’s hard not to wonder what experimentalist tendencies might show in the trio’s style this time out, and likewise difficult not to anticipate what guitarist Lex “Mr. Frumpy” Wattereus comes up with for the cover art.
29. Shroud Eater, Strike the Sun
Not to spoil the surprise, but Feb. 1 I’ll host a track premiere from Florida’s Shroud Eater that finds them working in a different context from everything we’ve heard from them to this point in their rightly-celebrated tenure. They also recently had a split out with Dead Hand, and their second long-player, Strike the Sun, will be their debut through STB Records. It’s been since 2011’s ThunderNoise (review here) that we last got a Shroud Eater album, so you bet your ass I’m dying to know what the last six years have wrought.
30. Sleep, TBA
If Sleep were any other band, they’d probably be in the “Would be Awfully Nice” category. But they’re Sleep, so even the thought of a new record is enough to put them here. The lords of all things coated in THC are reissuing their 2014 single, The Clarity (review here), on Southern Lord next month, but rumors have been swirling about a proper album, which of course would be their first since the now-legendary Dopesmoker. If it happens, it’ll automatically be a heavy underground landmark for 2017, but it’s one I’m going to have in my ears before I really believe it.
31. Stoned Jesus, TBA
Even as they tour playing their second album, 2012’s Seven Thunders Roar (review here), to mark its fifth anniversary and continued impact, Ukrainian trio Stoned Jesus are forging ahead with a fourth record behind 2015’s The Harvest (review here). The capital-‘q’ Question is whether or not looking back at Seven Thunders Roar and engaging that big-riffing side of their sound will have an impact on the new material, and if so, how it will meld with the push of The Harvest. Won’t speculate, but look forward to finding out.
32. Stubb, TBA
Since reveling in the soul of 2015’s Cry of the Ocean (review here) on Ripple, London trio Stubb have swapped out bassists, and they were in Skyhammer Studio this month recording a single that may be an extended psychedelic jam. I’ll take that happily, but I’m even more intrigued at the prospect of a third LP and what guitarist/vocalist Jack Dickinson, bassist/vocalist Tom Hobson and drummer Tom Fyfe might have in store as the band moves forward on multiple levels. Might be 2017, might not.
33. Sun Blood Stories, It Runs Around the Room with Us
It Runs around the Room with Us seems to find peace in its resonant experimentalist drones, loops, open, subdued spaces, but there’s always some underlying sense of foreboding to its drift, as if Boise’s Sun Blood Stories could anticipate the moment before it happened. Toward the end of the follow-up to 2015’s Twilight Midnight Morning (review here), they execute the 90-second assault “Burn” and turn serenity to ash. Look for it in April and look for it again on my best of 2017 list in December.
34. Ufomammut, TBA
Any new offering from the Italian cosmic doom magnates is worth looking forward to, and while Ufomammut have left the 15-year mark behind, they’ve never stopped progressing in style and form. To wit, 2015’s Ecate (review here) was a stunner after 2012’s two-part LP, Oro (review here and review here), tightening the approach but assuring the vibe was no less expansive than ever. They started recording last summer, finished mixing in November, so I’m hoping for word of a release date soon.
35. Vokonis, The Sunken Djinn
Born out of Creedsmen Arise, whose 2015 demo, Temple (review here), offered formative thrills, Swedish trio Vokonis debuted with last year’s Olde One Ascending (review here) and proved there’s still life in post-Sleep riffing when it’s wielded properly. They signed to Ripple in November and confirmed the title of their sophomore effort as The Sunken Djinn, as well as a reissue for the first album, which will probably arrive first. I don’t know how that will affect the timing on this one, but keep an eye out anyway.
Gonna Happen and/or Likely Candidates
Obviously some of these are more likely than others. Some have solidified, announced release dates — Dopelord‘s out this month, Demon Head‘s out in April, etc. — and others come from social media posts of bands in studios and hints at upcoming releases and so on. A big tell is whether or not a band has an album title with their listing, but even some of those without have their new albums done, like Atala and Royal Thunder, so it’s not necessarily absolute.
Either way, while I’m spending your money, you might want to look into:
36. Against the Grain
39. Attalla, Glacial Rule
40. Ayahuasca Dark Trip, II
42. Beaten Back to Pure
45. Buried Feather, Mind of the Swarm
46. The Clamps
47. Cold Stares
48. Coltsblood, Ascending into the Shimmering Darkness
49. Come to Grief, The Worst of Times EP
51. Cruthu, The Angle of Eternity
52. The Dead-End Alley Band, Storms
53. Dead Witches, Dead Witches
55. Death Alley, Live at Roadburn
56. Demon Head, Thunder on the Fields
57. The Devil and the Almighty Blues, II
58. Devil Electric
59. Doctor Cyclops, Local Dogs
60. Dool, Here Now There Then
61. Dopelord, Children of the Haze
62. Doublestone, Devil’s Own/Djævlens Egn
63. Dread Sovereign, For Doom the Bell Tolls
64. Drive by Wire
65. Elbrus, Elbrus
66. Electric Age
67. Electric Moon, Stardust Rituals
68. Endless Floods, II
69. Five Horse Johnson
70. Forming the Void, Relic
71. Funeral Horse
73. Green Desert Water
75. Grifter / Suns of Thunder, Split
76. Hair of the Dog, This World Turns
77. Heavy Temple, Chassit
78. Here Lies Man, Here Lies Man
79. Hollow Leg, Murder EP
80. Holy Mount, The Drought
81. Hooded Menace
82. Horisont, About Time
83. Hymn, Perish
84. Lecherous Gaze
85. Magnet, Feel Your Fire
87. Merlin, The Wizard
89. Mindkult, Lucifer’s Dream
90. Mirror Queen
91. Moonbow, War Bear
92. Mos Generator
93. The Moth
95. Mouth, Vortex
96. My Sleeping Karma, Mela Ananda – Live
99. PH, Eternal Hayden
100. Psychedelic Witchcraft, Magick Rites and Spells
101. Royal Thunder
102. Saturn, Beyond Spectra
103. Season of Arrows, Give it to the Mountain
104. Siena Root
105. Six Organs of Admittance, Burning the Threshold
106. Six Sigma, Tuxedo Brown
108. The Sonic Dawn, Into the Long Night
110. Spidergawd, IV
112. Stinking Lizaveta, Journey to the Underworld
113. Sula Bassana, Organ Accumulator
115. Sun Voyager, Sun Voyager
116. Sweat Lodge, Tokens for Hell EP
117. Thera Roya, Stone and Skin
119. Troubled Horse, Revelation on Repeat
120. VA, Brown Acid The Third Trip
122. Youngblood Supercult, The Great American Death Rattle
Definitely Could Happen
Maybe a recording process is upcoming (Gozu, Cities of Mars, YOB), or a band is looking for a label (The Flying Eyes), or they’ve said new stuff is in the works but the circumstances of an actual release aren’t known (Arc of Ascent, Dead Meadow, High on Fire), or I’ve just seen rumors of their hitting the studio (Freedom Hawk, La Chinga, Ruby the Hatchet). We’ve entered the realm of the entirely possible but not 100 percent.
So, you know, life.
123. The Age of Truth
124. Ape Machine
125. Arc of Ascent
126. At Devil Dirt
131. La Chinga
132. Chubby Thunderous Bad Kush Masters
133. Cities of Mars
134. Crypt Sermon
135. Dead Meadow
136. Death Alley (Studio LP)
137. Dee Calhoun
138. Destroyer of Light
140. Devil Worshipper
144. Electric Moon
145. Elephant Tree
147. The Flying Eyes
148. Freedom Hawk
150. The Great Electric Quest
151. Green Meteor, Consumed by a Dying Sun
152. High on Fire
154. Insect Ark
155. In the Company of Serpents
156. Iron Monkey
157. Jeremy Irons and the Ratgang Malibus
158. The Judge
159. Killer Boogie
160. King Dead
161. The Kings of Frog Island
162. Lords of Beacon House, Recreational Sorcery
164. Mondo Drag
166. Mountain God
167. The Munsens
169. Never Got Caught
175. Purple Hill Witch
176. Ruby the Hatchet
178. Satan’s Satyrs
179. Serpents of Secrecy
181. Shooting Guns
182. Sleepy Sun
183. Slow Season
184. Snowy Dunes, Atlantis
185. Spectral Haze
186. The Sweet Heat
187. Switchblade Jesus
191. Zone Six
Would be Awfully Nice
This last category is basically as close as I’m willing to come to rampant speculation. Endless Boogie have hinted at new material, and Queens of the Stone Age have talked about hitting the studio for the last two years. There were rumors about Om, and though Kings Destroy just put out an EP, they have new songs as well, though I doubt we’ll hear them before the end of 2017. I’ll admit that Across Tundras, Fever Dog, Lord Fowl, Lowrider and Hour of 13 are just wishful thinking on my part. A boy can hope:
192. Across Tundras
194. Elephant Tree
195. Endless Boogie
196. Fever Dog
197. Fu Manchu
198. Halfway to Gone
199. Hour of 13
201. Kings Destroy
202. Lord Fowl
204. Masters of Reality
207. Queens of the Stone Age
If you’ve made it this far, thanks for reading. Whatever this year brings, I hope it’s been great so far for you and I hope it continues to be so as we proceed inexorably to 2018 and all the also-futuristic-sounding numbers thereafter. At least we know we’ll have plenty of good music to keep us company on that voyage.
As always, comments section is open if there’s anything I’ve left out. I’m happy to add, adjust, etc., as need be, so really, have at it, and thanks in advance.
Posted in Features on January 1st, 2017 by JJ Koczan
The poll is closed, the results are counted and the top 20 albums of 2016 have been chosen. Hard to argue with the list as it’s shown up over the course of the past month, so I won’t try. Instead, let me just say thanks to incredible amount of participants who contributed this year.
All told, between Dec. 1 and Dec. 31, 612 people added their picks to the proceedings, compared to 388 in last year’s poll. Considering how much that number blew my mind on Jan. 1, 2016, I’m sure you can imagine how I feel about adding another 200-plus lists to the pot. In short, I’m astounded, deeply humbled and so, so, so grateful. I feel like we got enough of a sampling this year to give a genuinely representative showing for where people’s heads have been at, so thank you if you were a part of it.
Thank you as well as always to Slevin for running the poll’s back end and tabulating the results. As ever, the weighting system is 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. You’ll find that list (plus some honorable mentions) below, followed by the raw-vote tally.
And after the jump, as has become the tradition, are the full lists of everyone who submitted, alphabetized by name. I’m in there too. It’s a huge amount to wade through, and even if you thought you heard everything in 2016, it should be more than enough to keep you busy for the next year.
One last note: I’m no statistician. Please allow for these numbers to change over the next couple days on some small level.
Top 20 of 2016 — Weighted Results
1. Wo Fat, Midnight Cometh (375 points)
2. Greenleaf, Rise Above the Meadow (368)
3. Elephant Tree, Elephant Tree (324)
4. Asteroid, III (302)
5. Brant Bjork, Tao of the Devil (295)
6. Gozu, Revival (274)
7. Neurosis, Fires Within Fires (253)
8. King Buffalo, Orion (244)
9. Mars Red Sky, Apex III (Praise for the Burning Soul) (238)
10. Conan, Revengeance (232)
11. Cough, Still They Pray (228)
12. Holy Grove, Holy Grove (218)
13. SubRosa, For this We Fought the Battle of Ages (213)
14. Truckfighters, V (206)
15. Blood Ceremony, Lord of Misrule (200)
16. Khemmis, Hunted (192)
16. Red Fang, Only Ghosts (192)
17. Inter Arma, Paradise Gallows (181)
18. Witchcraft, Nucleus (174)
19. Opeth, Sorceress (173)
20. Church of Misery, And then there Were None (159)
Honorable mention to:
Causa Sui, Return to Sky (157)
Goatess, II: Purgatory Under New Management (157)
Black Mountain, IV (148)
Mos Generator, Abyssinia (144)
Wretch, Wretch (140)
Look at those tallies for number one and two. That race was close all month. Wo Fat kept out front for the most part, but Greenleaf kept it interesting and Elephant Tree’s debut snuck in there at third, which I love to see, both because it’s their first album and because that record was indeed so great. King Buffalo, another debut, also made the top 10, underscoring those two as bands to watch, and though Brant Bjork, Conan, Asteroid, Neurosis, Gozu and Mars Red Sky might be more expected names, they still certainly delivered excellent records, so again, nothing to fight with here. Things flesh out a bit in the 10-20 range, but I don’t think there’s one album on this list you could call is “miss.”
Top 20 of 2016 — Raw Votes
1. Wo Fat, Midnight Cometh (109)
2. Greenleaf, Rise Above the Meadow (92)
3. Brant Bjork, Tao of the Devil (87)
4. Elephant Tree, Elephant Tree (82)
5. Asteroid, III (80)
6. Gozu, Revival (76)
7. Conan, Revengeance (73)
8. Cough, Still They Pray (70)
9. Mars Red Sky, Apex III (Praise for the Burning Soul) (68)
10. King Buffalo, Orion (67)
11. Truckfighters, V (62)
12. Red Fang, Only Ghosts (61)
13. Khemmis, Hunted (60)
14. Blood Ceremony, Lord of Misrule (59)
14. SubRosa, For this We Fought the Battle of Ages (59)
15. Holy Grove, Holy Grove (58)
16. Church of Misery, And then there Were None (53)
17. Inter Arma, Paradise Gallows (49)
17. Witchcraft, Nucleus (49)
18. Opeth, Sorceress (47)
19. Mos Generator, Abyssinia (45)
20. Black Mountain, IV (44)
20. Causa Sui, Return to Sky (44)
20. Wretch, Wretch (44)
Honorable mention to:
Goatess, II: Purgatory Under New Management (43)
Mondo Drag, The Occultation of Light (43)
Geezer, Geezer (41)
Crowbar, The Serpent Only Lies (41)
Gojira, Magma (37)
Slomatics, Future Echo Returns (36)
Graves at Sea, The Curse that Is… (35)
Black Rainbows, Stellar Prophecy (33)
Beastmaker, Lusus Naturae (32)
Vokonis, Olde One Ascending (31)
Left a few more honorable mentions in the raw-vote count, just for fun and so you could get more of a feel beyond the top 20 itself, which you’ll notice has a couple ties in it as the raw votes usually do and reorganizes a bit from the weighted results. One and two remain the same, however, and in the same order, and you’ll see Wo Fat was the only album that scored more than 100 votes on its own. As a whole, there were over 2,400 separate entries for albums this year, which is by far the most spread out that the voting has ever been. Frankly, with so many people involved and such a variety of stuff being voted on, I’m amazed anyone managed to agree on anything at all, but of course they did and once again a stellar list is the result.
Well, Happy New Year.
Before I go, thanks again to Slevin for the work put into running the back end of this site and this poll particularly. I show up with the finish lists, but it’s his code that makes it happen, and his efforts are appreciated more than I can say. Dude has never asked me for anything in the nearly eight years I’ve been a constant pain in his ass.
After the jump, you’ll find everybody’s list, alphabetized by name. Please enjoy browsing. I hope you find something awesome, because there’s certainly plenty in there that qualifies, and if you see something that looks like it appears often enough that it should be included in one or both of the counts above, let me know in the comments.
Posted in Features on December 30th, 2016 by JJ Koczan
Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2016 to that, please do.
Yeah, I know I said as much when the Top 20 Debut Albums of 2016 went up, but I take it back: this is the hardest list to put together. And to be honest, there’s a part of me that’s hesitant even to post it because I know as soon as I do someone’s going to be like, “No way you dick your entire existence is shit because you forgot Release X,” and very likely they’ll be right. Up to the very moment this post is going live, I’ve been making changes, and I expect I’ll continue to do so for a while after it’s out there.
So what’s a “short release?” That’s another issue. Pretty much anything that’s not an album. Singles, digital or physical, as well as EPs, splits, demos, and so on. The category becomes nebulous, but my general rule is if it’s not a full-length, it qualifies as a short release. Sounds simple until you get into things like, “Here’s a track I threw up on Bandcamp,” and “This only came out as a bonus included as a separate LP with the deluxe edition of our album.” I’m telling you, I’ve had a difficult time.
Maybe that’s just me trying to protect myself from impending wrath. This year’s Top 30 albums list provoked some vehement — and, if I may, prickishly-worded — responses, so I might be a bit gunshy here, but on the other hand, I think these outings are worth highlighting, so we’re going forward anyway. If you have something to add, please use the comments below, but remember we’re all friends here and there’s a human being on the other end reading what’s posted. Thanks in advance for that.
And since this is the last list of The Obelisk’s Best-of-2016 coverage, I’ll say thanks for reading as well. More to come in the New Year, of course.
Here we go:
The Obelisk Presents: The Top 20 Short Releases of 2016
1. Scissorfight, Chaos County EP
2. Earthless / Harsh Toke, Split
3. Mars Red Sky, Providence EP
4. Mos Generator, The Firmament
5. Soldati, Soldati
6. Monolord, Lord of Suffering / Die in Haze EP
7. Wren, Host EP
8. Goya, The Enemy EP
9. The Sweet Heat, Demo
10. River Cult, Demo
11. Stinkeye, Llantera Demos
12. Megaritual, Eclipse EP
13. Ragged Barracudas / Pushy, Split
14. Mindkult, Witchs’ Oath EP
15. Iron Jawed Guru, Mata Hari EP
16. Brume, Donkey
17. Bison Machine / Wild Savages / SLO, Sweet Leaves Vol. 1 Split
18. BoneHawk / Kingnomad, The Second Coming of Heavy: Chapter Three Split
19. Wicked Gypsy, EP
20. Love Gang, Love Gang EP
An expansive category as ever. In addition to what’s above, the following stood out and no doubt more will be added over the course of the next few days. If you feel something is missing, please let me know.
Cambrian Explosion, The Moon EP
Candlemass, Death Thy Lover EP
Cultist, Cultist EP
Danava, At Midnight You Die 7″
Dos Malés, Dos Malés EP
Druglord, Deepest Regrets EP
Fu Manchu, Slow Ride 7″
Geezer, A Flagrant Disregard for Happiness 12″
Gorilla vs. Grifter, Split
Holy Smoke, Holy Smoke! It’s a Demo!
Karma to Burn, Mountain Czar
LSD and the Search for God, Heaven is a Place EP
Pallbearer, Fear and Fury
Reign of Zaius, Planet Of…
Sea of Bones / Ramlord, Split
Shallows, The Moon Rises
The Skull, EP
Snowy Dunes, “Atlantis Part I” digital single
Sun Voyager / The Mad Doctors, Split
Valborg, Werwolf 7″
Was it just the raw joy of having Scissorfight back? No, but that was for sure part of it. It was also the brazenness with which the New Hampshire outfit let go of their past, particularly frontman Christopher “Ironlung” Shurtleff, and moved forward unwilling to compromise what they wanted to do that made their Chaos County so respectable in my eyes. Having always flourished in the form, they delivered an EP of classic Scissorfight tunes and issued a stiff middle finger to anyone who would dare call them otherwise. They couldn’t have been more themselves no matter who was in the band.
At the same time, it was a hard choice between that and the Earthless / Harsh Toke split for the top spot. I mean, seriously. It’s Earthless — who at this point are the godfathers of West Coast jamadelica — and Harsh Toke, who are among the style’s most engaging upstart purveyors, each stretching out over a huge and encompassing single track. I couldn’t stop listening to that one if I wanted to, and as the year went on, I found I never wanted to.
I was glad when Mars Red Sky included the title-track of the Providence EP as a bonus cut on their subsequent album, Apex III (Praise for the Burning Soul), both because it tied the two releases together even further and because it gave me another opportunity to hear it every time I listened to the record. Their short releases have always shown significant character apart from their full-lengths, and this was no exception. I still tear up when I hear “Sapphire Vessel.”
To bounce around a bit: Had to get Mos Generator on the list for the progressive expansion of the live-recorded The Firmament. Stickman was right to put that out on vinyl. Both Monolord and Goya provided quick outings of huge riffs to sate their respective and growing followings, while Megaritual’s Eclipse basked in drone serenity and the debut release from Sergio Ch.’s Soldati provided hard-driving heavy rock with the particular nuance for which the former Los Natas frontman is known. It’s the highest among a slew of first/early outings — see also The Sweet Heat, Wren (Host was their second EP), River Cult’s demo, Stinkeye, Mindkult, Iron Jawed Guru, Brume, Wicked Gypsy and Love Gang.
Ultimately, there were fewer splits on the list this year than last year, but I’ll credit that to happenstance more than any emergent bias against the form or lack of quality in terms of what actually came out. The BoneHawk and Kingnomad release, the Ragged Barracudas and Pushy split, and that heavy rocking onslaught from Bison Machine and company were all certainly welcome by me, and I’ll mention Gorilla vs. Grifter there too again, just because it was awesome.
One more time, thank you for reading, and if you have something to add, please do so in the comments below. Your civility in that regard is appreciated.
This is the last of my lists for 2016, but the Readers Poll results are out Jan. 1 and the New Year hits next week and that brings a whole new round of looking-forward coverage, so stay tuned.
Posted in Features on December 28th, 2016 by JJ Koczan
A WINNER HAS BEEN CHOSEN AND THIS GIVEAWAY IS CLOSED. THANKS TO ALL WHO ENTERED.
[TO ENTER GIVEAWAY: Leave a comment on this post with your email address in the form. You’ll be contacted at that address if you win. Winner is chosen one week from today.]
Enter now to win an Argonauta Records CD prize pack featuring releases from Hollow Leg, Dee Calhoun, Suma, Komatsu, Varego, Indivia, Mountain Tamer, Obese, Lowburn and Beneath the Storm. When the label hit me up last week and asked if I wanted to do a giveaway, I kind of assumed it would be one, maybe two records tops, but I guess when you’ve built up a catalog like the Italian imprint has over the last few years, things like “prize packs” become much easier to assemble. A lot of these releases have been reviewed (and others I’m still catching up to this week — hello, Komatsu), so hopefully the names will be familiar, but either way, free music. Free music sells itself.
Hey, by the way, free music.
I’ve tried to be pretty assiduous in covering Argonauta‘s stuff the last couple years, since I believe that Gero, who runs the label and plays in Varego, is doing good work and for the right reasons. If you’ve hemmed and hawed on checking any of it out, consider this your opportunity to do so with no investment. As always, let me just say I don’t keep anyone’s emails, have no interest in your data, and wouldn’t know what to do with it if I did. So there.
Thanks to Gero and Argonauta for ponying up the prize. Here’s a pic and a list of what you get:
Argonauta Records prize pack – 10 CDs:
INDIVIA – Horta KOMATSU – Recipe for Murder One VAREGO – Epoch DEE CALHOUN – Rotgut MOUNTAIN TAMER – Mountain Tamer BENEATH THE STORM – Lucid Nightmare SUMA – Ashes LOWBURN – Doomsayer OBESE – Kali Yuga HOLLOW LEG – Instinct
[TO ENTER GIVEAWAY: Leave a comment on this post with your email address in the form. You’ll be contacted at that address if you win. Winner is chosen one week from today.]
Posted in Features on December 23rd, 2016 by JJ Koczan
Easthampton, MA, Dec. 22, 2016 — New England snow peppered the westward Masspike ride to Sonelab in Easthampton, MA, where Elder were working all week on their fourth album. Eight years ago, they made their self-titled debut (discussed here) as a youngling trio loaded with potential who’d already earned a reputation for blowing old dudes off stages. In less than a decade’s time and across the two follow-up records, 2011’s Dead Roots Stirring (review here) and 2015’s Lore (review here), they’ve traveled the world over and become arguably the most pivotal act in the American heavy underground. Released through Stickman Records and Armageddon Shop, Lore was nothing short of a landmark for Elder, as the three-piece of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto found a way to be heavy and progressive without sacrificing the impact of the one for the nuance of the other, or vice versa. Their cake, had and eaten.
They’d been at Sonelab all week putting pieces together for a crucial follow-up to Lore that, when released in 2017, will also mark their fastest turnaround between albums. The bulk of the recording was done. I pulled into the parking lot outside the studio, which is in a big warehouse space by the American Legion Hall with an independent brewery on either side — Easthampton is a big college area and looks to be gentrifying — and followed the low-end hum into the live room, where Elder were mid-jam. Sonelab engineer Justin Pizzoferrato and graphic artist Adrian Dexter were in the control room, further down the hallway, but in the live room the band was well dug in. A space longer than it was wide, with high ceilings — Pizzoferrato‘s recordings have a distinct snare drum sound, and with the space in question I immediately recognized its origin as Couto played — rooms off to the right for guitar and bass cabinets, painted concrete floors with the requisite rugs, amps and cabinets and organs and pianos and other assorted instrumentation lining the walls and otherwise scattered about. Old couches here and there. I took a seat on a piano bench and watched the jam unfold.
One does not necessarily think of Elder as a band given to improvisation. Particularly as time has gone on, their work has been clean, meticulous in its arrangements, and from what I heard of their impending fourth LP, that remains true, but these jams — and there were over 80 minutes of them recorded, ultimately — were being tracked with the intent of adding ambience to the record and building more of a sense of atmosphere. Interludes, maybe, or at very least complements to the structured songs. Joining the core lineup of the band were Mike Samos on a slide steel guitar setup and electric mandolin and keyboardist/guitarist Mike Risberg (a bandmate of DiSalvo‘s in the Gold & Silver side-project) on a Wurlitzer, who indeed fleshed out the effects wash bring proffered by the guitar as various jams built, established themselves, were held together by Donovan and pushed ahead by Couto‘s inimitable swing, and finally receded one by one. At times spacious and hypnotic and at times more active, this five-piece version of Elder was genuinely attempting to offer something different than anything the band has done before, and depending on which pieces actually make it onto the finished product, they just might get there.
Some meandering, some blending of progressive fuzzadelia and space rock, and some vital crash, the jams built from nothing into full-fledged explorations, each with their own personality. Arranged in a circle with a barrier setup behind Couto, they reveled in the process of creating this swirl, and though the going wasn’t always smooth — nor should it be — they held pieces together for as long as they wanted before letting them drift to a conclusion. The room was cold and bright, but the vibe warm and intimate, and standing outside some minutes later with the band and Dexter, whose designs for Elder have become an essential part of their presentation and whom I’ve had the pleasure of meeting several times over the years despite his being based in Denmark, the same chemistry could be found in their ease of conversation, laughing and tossing off stories about rest stops on the sides of mountains in Sweden and, with ski-worthy MassachusettsAppalachians in the distance, remarking about the relative altitudes in places like the Netherlands, Denmark, and so on. This is a band who have traveled continents together, who’ve created together for a decade now, and their bond — even with Samos and Risberg, who are clearly close friends — is familial. One imagines that when DiSalvo, who’s been living in Berlin for the last year-plus, returned to hit the studio, the transition back into this mode of working was no less fluid than the jams I was fortunate enough to watch unfold in the live room.
Following the break, it was time to hear a new track. Pizzoferrato had been setting up rough mixes in the control room, so the band, Dexter and I made our way there to listen. No title yet, but DiSalvo informed that the sweeping nine-minute cut would be one of five included (plus whatever they got out of the jams), and as its quick start got underway, I could immediately hear progression not only in his vocals but in the arrangements from where Elder left off with Lore. Parts swept through over careening rhythms, winding basslines, stellar lead guitar work, sung harmonies and other flourish. It was clear they were building out arrangements, and with the layers working on top of each other as they were, I understood why prior to hitting the studio they’d played several shows with a four-piece, two-guitar lineup. One key distinction? The title-track of Lore had a part in its middle where DiSalvo‘s guitar emulated a Mellotron sound. This time the Mellotrons are real. Featured in both pieces I’d ultimately hear, they added their particular progressive theatricality to the proceedings, and helped further a lush melodicism that, once again, was complemented by considerable heft. I took notes as quickly as I could to keep up with the transitions — a direct quote from them: “It’s amazing how identifiable their sound has become” — as the Mellotron led through a break into the next movement of the song that, when the band kicked back in, made me hope Donovan would be high in the final mix. One of several guitar solos propelled the gallop to a cold finish circa 9:40, and as sudden as it had started, it was over.
Dexter, while the song played, showed me some of the progress for the cover and inside-the-LP artwork on his laptop, which at least as of now moves away from the deep blue tones of Lore and into darker browns and earthy, forest-feeling colors. Still elemental, but land, not sea. It was, of course, beautiful. When the track was finished, the band decided to do some more jamming, so it was back into the live room with DiSalvo, Donovan, Couto, Risberg and Samos. They’d discussed a few beginnings and ends for where interludes might make sense, decided they needed something in ‘G’ and something in ‘C,’ and set to it. It was a little more business-like than the first portion of the session had been with that set goal in mind, but each of the two movements conjured — one more droning and trance-inducing (I swear I lost time), the other led by Couto‘s toms, which was a departure in itself — seemed like it would give them something to work from. When the second one was finished, it kind of devolved into a heavy metal Xmas song, Donovan picking up sleigh bells and growling carol lyrics, laughing all the way and so on. He’d been taking direction from Risberg and the line of communication seemed to come apart toward the end, but again, that became part of the process of feeling the way through what the jam turned out to be. There were more slide guitar overdubs for Samos to add to other finished tracks, so his gear was moved into the control room and set up so he’d be able to see the specific places within the songs where his parts would go.
I don’t know how familiar Samos had been previously with the material prior to playing on it, but by the third time through each of the two songs I watched him play on, he’d nailed it. The first take, was a listen, the second a feeling out, the third — done. A fourth shot on the second song seemed more perfunctory than necessary, but didn’t hurt anything either. Still, they’d decided the jamming was done and the afternoon was getting on. It had been a two-hour trip for me to the studio, which meant two hours back, but before I left, I asked if I could hear another full track, just to get a better sense of the course of the record overall to go with the pieces, snippets, jams, and song I’d already heard. The band and Pizzoferrato were kind enough to oblige with the cut on which Samos had just played. DiSalvo set it up by calling it an “outlier” on the album, and I wouldn’t have the chance to ask him in what way he meant that, but I could hear their prog leanings coming to the forefront, another quick start of a winding motion met with his lead guitar. Some almost peak-era Porcupine Tree-style swirl crashed into deeper low end, leading to an open verse marked by harmonies at the ends of lines, and the song moved into a chorus that would cycle through and into a solo before taking off on an instrumental stretch that would be where the slide featured. Tempo shifted, the chorus returned, the Mellotron appeared, the crunch came back at the end, and trying to keep “outlier” in mind, I was nonetheless taken by the depths of layering at work, the sense of arrangement at play and, again, the growth that has marked each of Elder‘s records to-date and which seems to be fully intact going into this one as well.
Up next for the band was to continue with mixing on a song Pizzoferrato referred to as “Staving,” and to comb through the improvised material and see what fit where. No doubt that would be as much of a creative process in editing as was the making of those jams in the first place, but if Elder have shown anything over the course of their career, it’s a burgeoning sense of mastery in their sound. Lore may prove over the longer term to have been a moment of arrival for them, and I won’t speak to this follow-up as a whole without having heard the entire thing, but it was obvious to me sitting in the control room that their interest in stagnation is nil. Rather, Elder are evolving willfully, expanding their palette and broadening their approach in the same way that they’ve become closer as people over the years. How that will ultimately manifest in their next album remains to be seen as the holidays and New Year take hold, but one consistent factor in Elder‘s tenure has been that the potential they showed on barroom stages when they were still too young to buy beer has remained and blossomed with them, and as they’ve realized a catalog on which to look back, they’ve never lost sight that the most fundamental direction must always be forward.
My deepest thanks to the band, to Dexter and Pizzoferrato for having me to Sonelab. Elder‘s fourth album will be released in 2017. Please find more pictures from the studio after the jump, and thanks for reading.
Through five full-lengths, Hamburg-based Larman Clamor kept up a near-impossible clip. One might expect a creative burst of sorts from the likes of Alexander von Wieding, a noted graphic artist who’s done work across the heavy rock underground on covers and posters for the likes of Karma to Burn, Kind, this site, and many many more, but it seemed that especially since Larman Clamor functioned as a solo-project after its first, 2011 self-titled outing (review here), von Wieding was able to really let it flourish on his own terms. Those terms may vary, but under both the various EPs and singles that have supplemented and his proper albums — 2011’s Altars to Turn Blood (review here), 2012’s Frogs (review here), 2013’s Alligator Heart (review here), and 2014’s Beetle Crown and Steel Wand (review here) — he’s kept a consistent thread of otherworldly boogie blues, a swampy porch stomp, and though the break between has been longer, that’s maintained on his sixth offering, Beyonder, as well.
One can hear it in the early cut “Pig Priest and the Motor Hag,” as von Wieding layers banjo and acoustic guitar and provides his own percussion amid electric guitar flourish: He’s progressed, but the core of his approach to Larman Clamor is intact. Self-released digitally with a potential physical release to follow, Beyonder is the longest Larman Clamor record at 14 tracks/42 minutes — seven of which are dedicated to closer “In the Circus of Night” alone — and though many of the elements will be familiar to those who’ve dug into von Wieding‘s songwriting before and the songs were evidently born of some significant personal struggles, one finds some of the most striking moments to be almost playful in their nature. To wit, the way the opening title-track seems to beam Queens of the Stone Age‘s stop-start “Little Sister” riff in from another dimension, or how even beneath the sad story of “Something Bitter to Do,” the rhythm feels so vibrant and builds such momentum over a still-short three-minute run. Elsewhere, the hook of “Fo’ What You Did” taps darker impulses and turns them into one of Beyonder‘s catchiest hooks, von Wieding experimenting with falsetto vocals as he provides his own backups to his generally gruff delivery, and interludes like “The Draining,” “Come See…” and the instrumental “Tarnkappe” broaden the scope of the album overall with spoken narrative or even just an additional stretch toying with atmosphere.
Could well be that taking his time — relatively speaking — between one long-player and the next allowed von Wieding to further develop the rubber-band bounce of “Swamp Healing” and the tortured string-pull of “Haunted, Hexed, Let Down and Torn,” but from wherever the progression in scope comes, Beyonder is the most forward-thinking Larman Clamor album yet, and though von Wieding has clearly established his aesthetic across his six records, he’s just as clearly a restless soul within that, working to reshape what’s been done before. Long after the mud-psych of “And the Hand” and past the penultimate quietude of “All Wrongs are Right,” the plainest evidence of his creative evolution is found in “In the Circus of Night,” which narrates its way through an intertwining of worlds via mumbled discoveries pushed along by stomping feet, handclaps, foreboding drones and of course much more, building a tension that resolves itself in a rising hum of electric guitar tone that sounds just as much like a beginning as an ending. Which it may well be. We’ll have to wait to find out where von Wieding takes Larman Clamor from here, but the fact that even with a year between Beetle Crown and Steel Wand and Beyonder he’s produced six albums in five years with the project speaks to the significant measure of urgency with which he hones his craft. That, maybe even more than the boogie, is likely to remain the unifying factor no matter what else the next record brings.
Today I have the extreme pleasure of hosting a full stream of Larman Clamor‘s Beyonder as an album premiere. Release date is tomorrow, Dec. 24. Below, you’ll find a full track-by-track courtesy of von Wieding, who was kind enough to discuss his motivations and inspirations in how these songs came together.
Please dig in and enjoy:
Track-by-Track through Larman Clamor’s Beyonder with Alex von Wieding
Like every Larman Clamor riff, it came out of nowhere. Suddenly I had this punkish riff and thought: Damn, this doesn’t work for LC stuff… And then there was the idea of putting those two Thin Lizzy-ish solo guitars into the third quarter of the song — and I was even more like “Naah, c’mon… I guess I’ll have to start a second band for this”… But who was I to tell, ha. As the idea for the lyrics came up, it suddenly turned into a Larman Clamor song. And I thought, hey, this is so straight rockin’ and sorta-different (at least to me), why not go the whole nine yards and even make it the album title song? And there you go. So story-wise, there’s this paranoid wizard sitting in the heath wasteland and he puts one rock unto another in the river, making art. And even though he does know something bad might actually happen, he continues to create. Like manic at some point. Simply because what’s this life for if not to create. Create joy. Beauty. Art. Inspiration. Make your mark, come what may. And even if the wizard’s nemesis-esque creatures, the owl-priests (don’t ask me, I dunno), appear, he is facing his fate with something along the lines of “Even if you kill me now, you won’t be able to destroy what I’ve created in this life. My legacy will remain.”
2. “And the Hand”
A gloomy wanna-be-intstrumental. The fragment it’s based on is back from the Frogs era, but I finally found a place for bringing in my Danelectro Sitar. Yay. Because I suck at playing full chords, I decided to use it more like a drone-guitar. Which made the whole thing sound “vast” to me… Like a theme for a… wasteland. Maybe it’s the sort-of theme song for the world of Larman Clamor? I don’t know. Maybe I will know at some point. And because even wastelands are full of beauty, why not stroke them a little? You know. Give them a little love. Even in the biggest chaos, destruction and weirdness – at some point, beauty will reveal itself. You just have to be willing to look close enough. And care. So, there’s the hand caressing over the wasteland.
3. “Fo’ What You Did”
Originially turned up on the Blackwolfgoat / Larman Clamor split 7″ we did on H42 Records in 2015. And I’m very proud of that. That one was fun. The inspiration for the song wasn’t that much of fun though. I was scammed. But when I realized that it actually had been ME who maneuvered myself into that bad situation, being dumb, instead of wasting even more of my life’s energy on the shit, I rather gave it a smile and carried on. As The Dude says, “I can’t be worried about that shit. Life goes on, man.” That’s where the lyrics started from. In the end, atmospherically speaking, I guess it turned into a pretty (meant literally) dark song… Ha. So it sort of feels like the character in the song might be friendly waving when he tells us his story, but snipped his opponent’s nuts off before that anyways. Guess that’s a double ha.
4. “Pig Priest and the Motor Hag”
Also a song from the Frogs era. Finished this one a long time ago, but didn’t know what to do with it, as it was so furiously riffin’, it didn’t fit in anywhere 100 percent. When I added the dueling banjos, it suddenly all made sense. And it perfectly fit on this album. So there you go.
5. “Haunted, Hexed, Let Down ‘n’ Torn”
…Originally was a mean, mean song. But that didn’t fit the album theme anymore. Also one of the reasons why I layed ‘Beyonder’ to rest for a long time. At the bottom line, this song is another one of those “being given something bad and making the best out of it” songs on this album. The story in this one is something like a summoning ritual. But with a hint of Beetlejuice. Drawing a door unto the wall with chalk and wait for the ‘right’ person to stumble through to you, after you mumbled the correct incantation phrases. Come, dance with me!
Hey, a German title?! Yes, indeed. I always liked that word. Like a lot. And “magic hood” (the literal meaning) felt just lame. For instrumentals, I usually like to put on a strange title, one that makes your mind paint the picture to the song. But then, it’s a thin line. You wouldn’t want to give too much of a direction… So, I can’t really say much about this song, except for: “Tarnkappe.” That word’s cool sound should be inspiration enough.
7. “Swamp Healing”
You should never say never… But for the moment, I guess this song is the closest to ‘reduced oldschool blues guitar stomp on a porch by sundown’ I’ve done yet. Aside from the ritual aspect of the track (I’ve had it on my list to do a “ritual song” for a while), it’s simply about seeing the good things in life. Again. And anew. You may get down, and it may take some weirdo shit to get you up again sometimes, but in the end, when noticing all of that is rather stupid and funny (and that’s why it brings you up!) – you’ll get the essence of everything again: Get up, move on, enjoy life! It’s short enough! So go on, make the best out of it!
8. “Somethin’ Bitter to Do”
Also was on my ‘songs-to-do-list’ for some time: A “counting” song. Mourning over a broken heart can poison you. So, after some failed attepts and desperate measures and rituals, the character in this song decides to do something bitter. What exactly that is, I don’t know. Seems that he already cut out one heart (his own?)… Rock-bottom, put into a trash-can drums banjo stomp, executed with a smile.
9. “The Draining” / 10. “Soul Sane Juice”
A little one I wrote in the middle of a gloomy fall night. Nothing too deep. A song about an UFO landing and alien capture …maybe? The return of the “intro song” for LC. I wanted to do something like that again since “Lost Path Through the Mountains / Deep tn the Tar” (on Altars to Turn Blood).
11. “Come See…” / 12. “…Sighed the River of Larvas”
So I had this instrumental based on a breathing choir, mumbling some nonsense. The lyrics of “River” were never to make any sense, but at some point, it sounded like there’s a group of people rowing a boat… That’s when it took more shape. Maybe this is even the ghouls from “Caravan of Ghouls” (on Beetle Crown & Steel Wand) again. Who knows? Like the narrator at the beginning tells us, it’s no use hanging around and wasting your life away. In the end, the River of Larvas awaits us all. So you might as well get your ass up and do something of worth. Be creative. Row a boat on a river made of spaghetti… or larvas. Whatever.
13. “All Wrongs are Right”
You ever had one of those nights, where you find yourself alone and can’t be with the one you love? But it’s not sad or anything, it all feels right? It’s like a test. You know you love her and you know she loves you. You just can’t be together right now. No matter why. The ‘why’ is neither of importance nor of to be taken care of. So you just center your spirit and go on an astral journey to your loved and loving soulmate…
14. “In the Circus of Night”
Even if I spoil something here: This is a revamp of an old song if you didn’t notice. It’s in the same tradition as “Aether Bound” (on Alligator Heart) or “My Lil’ Ghost” on Beetle Crown & Steel Wand). I’ve had that riff flying around my head since 1997. And this finally is THE song made of it. Instead of making it into a straight blues song (what the riff itself might scream for), I rather wanted it to be sort of otherworld-ish romantic. Imagine one of these nights, when spring turns to summer. And you’re strolling around alone, out in the fields, when a smooth breeze comes up. And it’s warm. Suddenly. Strangely warm, being the first real summer breeze. And then the magic appears, making the night a circus. And it’s all around you, with its weedy scents of the night flowers awaking, the cicadas singing and the moon and starlight guiding you onto your way into the wild… And it more becomes a real “circus” when suddenly — in the Larman Clamor cosmos, a path surrounded by fiery lights appears, and at the end of it, a real big top shows up… And there’s these strange figures inviting you in to enjoy their show, the main character being a Mephisto-ish mesmerist guy… You don’t know what he’s up to… but you follow him… into the Circus of Night.
Posted in Features on December 21st, 2016 by JJ Koczan
Stockholm riff-pummelers Domkraft made their debut this fall with The End of Electricity on Magnetic Eye Records — a blown-out collection of dense-toned low end push, mean in its execution and weighted on a planetary scale. Rest assured, plenty of electricity went into its making, though perhaps they chose the title for the number of fuses they blew in the studio trying to power all those tube amps. A question for another time.
Today we concern ourselves with what drove the three-piece of bassist/vocalist Martin Wegeland, guitarist Martin Widholm and drummer Anders Dahlgren to craft this monstrosity of riff in the first place. One learns early on in writing about music that the question “Who are your influences?” is off limits once you’re no longer writing for the high school newspaper. That’s some shit that you, as a critic, should know by the time you talk to someone. But Domkraft were kind enough to take the initiative and answer the question anyhow in the form of counting down (counting up? either way, counting) 10 records that made them who they are as a band.
And though I’m sure you’ve heard it by now, just like you already know they’ve been tapped to play Psycho Las Vegas 2017, because you’re hip like that and into the rock and/or roll, just in case you want some context for what the band discusses below, I’ve also included the stream of The End of Electricity at the bottom of this post, so you can hear what all this cool stuff sounds like when it comes out the other side of Domkraft‘s blender.
Thanks to Domkraft for taking the time and to Jadd Shickler for coordinating. Enjoy:
10 Records that Made Domkraft
PINK FLOYD, Meddle (1971)
Well, where to start with this one? A seminal album in every aspect. This is the very blueprint for how drums, guitar and bass can interact in long, sweeping, echoing compositions that grow in and out of one given theme. Some of us have listened to this album ever since we were kids. The epic pounding of “One of These Days” still lacks comparison. And even if we work in a different musical context, the live version of the song from Pompeii 1972 in particular captures the very essence of how music should feel for us; overwhelming, transcendental and all-consuming. An inspiration in so many ways.
SPACEMEN 3, Playing with Fire (1989)
“Just play one note. No fancy stuff.” With fancy stuff being two notes, this band is a marvel in itself. When it comes to creating greatness out of almost nothing, Spacemen 3 are still unrivalled. And Playing with Fire is arguably their finest moment. From the dream-like inner and outer journey of “Honey” and “How Does It Feel?” to downright life-transforming sonic freight trains such as “Revolution” and “Suicide,” this is probably one of the bands that has had the biggest impact on how we apprehend music. The tones themselves decide the structure of the song, not the other way around. And less is almost always so much more. We love both sides of this band, the mellow stuff as well as the really powerful, even though I think most of the people who appreciate Domkraft will get more out of the louder stuff. Anyway, an amazing band and an album that sounds as fresh today as it did when it was released in 1989.
LOOP, A Gilded Eternity (1990)
When we’re writing, groove and pace are two cornerstones. Loop purified the bond between sparse, focused rhythms and feedback guitars. Their music is so self-conscious — it’s almost as if all parts not proven vital for the song’s existence have been removed. Staccato drumming and kraut-like bass grooves together with screaming minimalistic, echo-drenched wah-wah guitars give songs like “The Nail Will Burn” a unique, hypnotic vibe. The riffs feel endless. No beginning. No end. Everything so simplified, repeated and recycled that even the smallest alteration makes a huge difference. In Domkraft, we work a lot with the idea of trusting a riff enough to let it take over a song. One riff, one firm groove. That’s all you need, really. And it does not necessarily have to space out — keeping it sharp can be equally mind-bending. And Loop knew that early on.
GOD MACHINE, Songs from the Second Storey (1993)
Apparently there’s at least one other band with the same name now, but we’re talking about the classic San Diego ’90s band here. So, yeah, some elements on this album haven’t aged that well and sound very much like a product of their time. But when they hit the sweet spot, oh man… they are sooo good. Not metal, but still heavier than most bands of that era, and with longing, desperate vocals floating upon gluey, crawling, rock-solid riffing. It becomes something that is hard to really label –- without making a fuss about being genre-bending. You can definitely hear echoes of God Machine in Domkraft, especially in how we work with vocals.
ENTOMBED, Wolverine Blues (1993)
If you’re Swedish and into heavier music, you just have to relate to Entombed somehow. We’re pretty old school, so the first three albums are where it’s at for us. Strangely though, with Wolverine Blues being the defining moment that moved them away from the classic death metal they played a big part in shaping, this is also one of their absolutely heaviest offerings. And it also features some of Nicke Andersson’s finest drumming –- he has that pretty unique Bill Ward-quality of making everything sound alive and in constant motion. Apart from being an inspiration rhythm-wise, there’s also a few scales that would probably not be there if it wasn’t for Entombed.
MELVINS, Houdini (1993)
When Melvins decided to slow things down, they certainly didn’t half-ass it. Their raw, bass-heavy and down-tuned sound made a huge impact on us (and still does). There is something about these guys that makes you feel like metal, punk or rock music never existed before. Seemingly uninterested in appearance and with almost surrealist lyrics, they challenge the whole concept of genres. That, combined with the intense drumming, the bass tone, the rhythmic and sludgy riffing of songs like “Hooch” and “Night Goat,” was a big reference for us when Domkraft was formed.
MONSTER MAGNET, Dopes to Infinity (1995)
Even though the band had released a few albums before, Dopes to Infinity was the album that really made us fall in love with them. At that time no one could deliver more powerful riffing and spaced-out songs and still be heavy as fuck. They seemed to mix the anglo-surrealism of Syd Barrett with punk rock attitude, Iommic riffing and the free-form song structures of Hawkwind. Echoing phasers, earth-shattering riffs and songs that, when needed, are long enough to make you lose track of time. The result was mind-bending to us then and still continues to influence us.
HIS HERO IS GONE, Monument to Thieves (1997)
Like a restless bastard sibling to Neurosis, Memphis’ His Hero Is Gone made a couple of albums in the late ’90s that sounded pretty much like the musical equivalent of nuclear war. Crusty pain-ridden hardcore, no nonsense d-beat and extreme, doomy low-end. Call it proto-sludge, if you will. Call it brilliant, you must. The atmosphere of this album is dark and gloomy, still somehow strangely beautiful in all of its intensity and almost bittersweet –- and it all sounds natural. That is something that very well might echo in our songs as well.
BURIED AT SEA, Migration (2003)
How low can you go? Well, this is about it. At least if you want to retain some kind of detail. Pretty minimalist as far as song structures go and manages to be extremely dense and atmospheric at the same time. The deranged, distorted vocals that appear very sparsely are almost like they’re just there to remind you that “oh! this is actually played by humans.” It’s also brilliantly produced, and well, what less could you expect with Sanford Parker in the band? The low-end just levels everything in its path and the highs accentuate everything that happens in the background (and that is quite a lot). Possibly one of the most intense — and groovy! — albums ever. The impact on Domkraft is probably mainly the realization that you don’t have to fear either mid or treble in order to still keep things heavy as fuck.
SWANS, The Seer (2011)
There is something about Swans that is close to impossible to describe in words alone. Especially regarding the second stage of their career. The constant building, how minor alterations make all the difference and the notion that you never really know if there could ever be an end to it. And you really don’t ever want it to end either. It’s a trance-like state, but the sheer power still makes you very aware of every change. It’s beautiful and threatening at the same time. Clean, crisp and sometimes almost orchestral. We might be on the other side of the sonic spectra with our massive use of fuzz and effects, but the spirit and the idea that each song itself sets its own rules has been a massive influence on us. Probably one of the three most important bands for us -– the other two being Sabbath and Spacemen 3.