Quarterly Review: Alcest, Galley Beggar, Pontiak, White Light Cemetery, Fever Dog, Duel, Seven Nines and Tens, Automatic Sam, The Next Appointed Hour, Blown Out

Posted in Reviews on March 29th, 2017 by JJ Koczan

cropped-Charles-Meryon-Labside-Notre-Dame-1854

Always a special moment in the Quarterly Review when we pass the halfway mark. That’s where today’s batch brings us, and in rocking style as well. You might say I’ve been taking it easy on myself with the selections this time out — albums there’s plenty to say on and generally good stuff — but the basic fact of the matter is even with 50 reviews in a week, this is still just a fraction of what’s out there and still just a fraction of what I’d cover if I had the time. I couldn’t in terms of my own sanity, but one could probably do 10 reviews a day every day of the year and still have room for more. I do the best I can. Picking and choosing is a part of that process. Let’s get to it.

Quarterly Review #21-30:

Alcest, Kodama

alcest kodama

After the bold departure presented in 2014’s Shelter (review here) toward even-airier, more indie-hued fare, French post-black metal innovators Alcest make a no-less-bold return to their core sound – screams included, as they’re quick to show on “Eclosion” – with 2016’s Kodama (on Prophecy Productions). It’s a less progressive move, and for that distinct in Alcest’s discography, but one can’t argue with their execution of a track like “Je Suis d’Ailleurs” and the immediately recognizable melodic wash they craft, as resonant emotionally as it is heavy in its tone. Most of the six cuts seem contented to have (re-)found their place, but “Onyx” finishes out with just under four minutes of layered guitar droning, and so Alcest seem to tease that perhaps they’re not completely ready to settle the issue of their aesthetic just yet. One hopes that’s the case, and in the meantime, the reorientation that Kodama brings with it should no doubt please those longtime fans who bristled at the turn they made their last time out.

Alcest on Thee Facebooks

Prophecy Productions on Bandcamp

 

Galley Beggar, Heathen Hymns

galley-beggar-heathen-hymns

Galley Beggar’s fourth offering and second for Rise Above, Heathen Hymns, brings 42-minutes of the traditional acid folk one has come to expect from them over the last half-decade plus, no less graceful in its melodies, harmonies and weaving into and out of psychedelia, Eastern inflections on the sitar-laced “The Lake” and cleverly rhythmic in the post-rocking electric flourish of “Let No Man Steal Your Thyme.” Knowing what to expect, however, does nothing to diminish the joy of the listening experience. Rather, the return of Galley Beggar’s fluid string and/or more rock-based arrangements, memorable songcraft and gorgeous vocal treatments is welcome, and perhaps most of all on closer “My Return,” which draws their multiple sides together in a cohesive vision of futures past that only benefits from the maturity they’ve grown into. With poise as a defining feature as much as their British folk stylistic lineage, Galley Beggar remain a special outfit doing deeply individualized and satisfying work.

Galley Beggar on Thee Facebooks

Rise Above Records website

 

Pontiak, Dialectic of Ignorance

pontiak-dialectic-of-ignorance

A steady foundation of low-end drone underpins songs like “Ignorance Makes Me High” and “Hidden Prettiness” on Pontiak’s Dialectic of Ignorance (released via Thrill Jockey), and though they move away from it somewhat in the more active freakout “Dirtbags,” the patience shown by the Virginian trio forms a key part of the album’s personality. To wit, they open with “Easy Does It,” essentially telling their listener their intention for what will ensue throughout the eight-track/46-minute offering. Brothers Jennings, Van and Lain Carney bring forth willful drift in that opener and across the percussive-but-still-shoegazing “Tomorrow is Forgetting,” finding an organ-laced folkadelic middle ground later in “Youth and Age” and punctuating the dreamy harmonized gorgeousness of “Herb is My Next Door Neighbor” with fervent tom runs and ping ride before closer “We’ve Fucked this Up” starts out amid blistering chaos only to smooth itself as it goes. Serene and somewhat moody to the same degree their last outing, 2014’s Innocence, was raw, Dialectic of Ignorance carries the feel of a personal journey undertaken, but is ultimately too warm in tone and melody not to welcome its audience to be a part of that as well.

Pontiak on Thee Facebooks

Pontiak at Thrill Jockey Records

 

White Light Cemetery, Careful What You Wish For

white-light-cemetery-careful-what-you-wish-for

Nearing the mark of their first decade together, Louisiana Southern heavy four-piece White Light Cemetery issue their second full-length, Careful What You Wish For, through Ripple Music and keep a steady focus on songcraft throughout. Heavy riffs, a bit of boogie on “Sky River” and the stomping “Better Days,” boozy Southern-isms on the directly countrified “On a Dime” and a cowbell-infused finish with “Bullet to Erase” – it’s only fair to say White Light Cemetery hit all the marks. The beery post-Deliverance execution of “Looking Out (For Number One)” will likely ring familiar to many who take it on, but that’s the idea, as vocalist/guitarist Shea Bearden, guitarist Ryan Robin, bassist Tara Miller and drummer Thomas Colley are clearly less concerned with reinventing rock in their own image than honoring the pantheon of those who’ve come before them in the style. Hard to argue with the ethic preached or the dual-guitar harmonies of “Quit Work, Make Music,” though the record as a whole seems awfully “workingman’s rock” for any such bohemian aspirations.

White Light Cemetery on Thee Facebooks

Ripple Music on Bandcamp

 

Fever Dog, Mainframe

fever dog mainframe

It’s been three years since next-gen Californian desert trio Fever Dog released their last album, Second Wind (review here), which was long on potential, big on songwriting and resonant in vibe. I’d been hoping for a third long-player in 2017, but even the arrival of new single Mainframe – which of course doesn’t preclude a subsequent album release – is fine by me, the three-piece of guitarist/vocalist Danny Graham, bassist Nathan Wood and drummer/organist/synthesist/vocalist Joshua Adams digging into progressive vibes on the title-track and the subsequent, talkbox-inclusive “Let Me Out.” I don’t know if they’re planning to press a 7” – somebody call H42 Records! – but the cover art certainly justifies one if the songs themselves don’t (and they do), and the name-your-price download comes with the raw 19-minute classic heavy rock jam “Alpha Waves Medley Live at Club 5,” which emits buzz like it’s a bootleg from 1973. If Mainframe is the process of Fever Dog getting weirder, it bodes well. All the more reason one might keep their fingers crossed for a new full-length.

Fever Dog on Thee Facebooks

Fever Dog on Bandcamp

 

Duel, Witchbanger

duel witchbanger

“If you see him it’s much too late/Close your eyes, girl, accept your fate.” So goes the title-track hook of Duel’s Witchbanger, the Austin-based rockers’ second album for Heavy Psych Sounds. Released on a quick turnaround from last year’s debut, Fears of the Dead (review here), the eight-track/34-minute swaggerfest delves into fantasy themes drawn from classic metal – hard not to look at six-minute closer “Tigers and Rainbows” and not think of Dio, at least thematically – but cuts like “Astro Gypsy” and “Heart of the Sun” in the record’s midsection build on the ‘70s loyalism of the first outing and find guitarist/vocalist Tom Frank, guitarist Jeff Henson, bassist/vocalist Shaun Avants and drummer JD Shadowz clear in their intentions in that regard. Though it takes a sizable grain of salt to get over that title, Duel’s heavy rock traditionalism comes complemented by efficient songwriting and a natural-sounding recording that’s neither completely retro nor totally modern but draws strength and fullness from both sides. A worthy and rousing follow-up.

Duel on Thee Facebooks

Heavy Psych Sounds website

 

Seven Nines and Tens, Set the Controls for the Heart of the Slums

seven-nines-and-tens-set-the-controls-for-the-heart-of-the-slums

If the dates are to be believed, the second full-length from Vancouver’s Seven Nines and Tens, cleverly-titled Set the Controls for the Heart of the Slums, has roots going back to 2014, when basic live tracks were recorded and subsequently built on for about two years. Indeed, the four-song offering – whose tracks “I Come from Downtown,” “Metropolis Noir / Rigs” and closer “Rave Up” have been presented in the meantime as singles and/or on early 2017’s Live at the Smilin’ Buddha Cabaret – has plenty of layers in its heavy post-rock wash, and it’s with depth and heft that guitarist/bassist/vocalist David Cotton and drummer Mario Nieva (the current incarnation of the band has a different lineup), make their prevailing impression, be it in the roll of 13-minute “Metropolis Noir / Rigs” or the loud/quiet trades of “Dope Simple,” which follows. With a focus on atmosphere over structure, Seven Nines and Tens offer a quick 32-minute immersion that feels less pretentious than purposeful and would seem to have been worth the time it took to construct.

Seven Nines and Tens on Thee Facebooks

Seven Nines and Tens website

 

Automatic Sam, Arcs

automatic sam arcs

With their third album, Nijmegen’s Automatic Sam bring together a straightforward and coherent collection of well-intentioned semi-psychedelic heavy rock. Their past works, 2011’s Texino and 2013’s Sonic Whip, have been conceptual or at least thematic pieces, and it may be that the 13-track/38-minute Arcs (on Goomah Music) is as well, but if so, it would seem to find that theme in a vision of post-grunge ‘90s alt rock, cleanly and clearly executed and vibrant in the performance of vocalist/guitarist Pieter Holkenborg, guitarist/vocalist Rense Slings, bassist/vocalist Erik Harbers and drummer/vocalist Lars Spijkervet, who open with the five-minute “Ukiyo” (their longest inclusion; immediate points) and then run through a varied swath of shorter pieces from the attitude-laden “City Lights” through the uptempo post-punk of “This is Not a Holiday” and the fuller push of “Parnassia.” Side B seems more flowing, with that song, “Tarantula,” a complementary reprise, the title-track and drifting acoustic closer “So Long in E Minor,” but Automatic Sam manage to hone a diverse approach across Arcs’ span while skillfully directing themselves around choppier waters.

Automatic Sam on Thee Facebooks

Automatic Sam at Goomah Music

 

The Next Appointed Hour, Not the End of the World

the-next-appointed-hour-not-the-end-of-the-world

Ambition may be the defining aspect of Not the End of the World. The 2016 self-released debut from Birmingham, Alabama’s The Next Appointed Hour willfully refuses easy categorization, basking in bright psychedelic space rock harmonies one minute and digging into folkish melancholia the next in a way that one is left with no other option but to call “progressive.” What ultimately makes songs like “Keeper’s Heart” and the ethereal pop of “Back to You back to Me” work is an underlying cure of songcraft, and whatever ground the six-piece cover on the 10-track outing, from the fuzzy rush of “Drone Riot” to the trippy shimmer of the penultimate “Red Flame,” that core is maintained, uniting the material and making Not the End of the World a work of scope rather than haphazard. It requires an open mind, but rewards open-mindedness with moments like the accordion on “Valley,” or the rhythmic drift of “Any Who but Here,” the nuance of which is no less gracefully held together than the overarching flow of the album as a whole.

The Next Appointed Hour on Thee Facebooks

The Next Appointed Hour on Bandcamp

 

Blown Out, Superior Venus

blown out superior venus

Already sold out on preorders, the vinyl edition of Superior Venus from UK cosmic jammers Blown Out features two tracks – one per side – of space-wash heavy righteousness. “Impious Oppressor” and “Superior Venus” both top 15 minutes (and are accompanied by demo versions if you get the download), and proffer the kind of progressive improvisation-based flow that, indeed, might make one inclined to get an order in while the getting’s good. Blown Out, with members of Bong and Pigs Pigs Pigs Pigs Pigs Pigs Pigs, have put out a slew of live and studio releases over the last three years, but as planets invariably revolve in cyclical patterns, so too does the regular frequency of their work become part of the expression itself. If you’re going to jam, do it all the time. On Superior Venus, Blown Out once more bring this ethic to life, and the resulting material spreads itself wide over its still relatively brief span. A short trip to orbit, perhaps, but well worth the undertaking.

Blown Out on Thee Facebooks

Riot Season Records on Bandcamp

 

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Alcest Announce Australia / New Zealand Tour Dates

Posted in Whathaveyou on January 23rd, 2017 by JJ Koczan

Currently embroiled in a US run that kicked off last week in Boston, Parisian post-black metallers Alcest have announced they’ll head to Australia and New Zealand in April — spring here, fall there — as they continue to herald the return to a more aggressive style presented on their 2016 full-length, Kodama. Seems kind of strange to think of Alcest going back to their core sound as kind of a departure, but after the drifting ambient rock of 2014’s Shelter (review here), that’s kind of how it worked out. Cheers to them for being unpredictable even as they bask in the lush melodic melancholia that’s become their signature. Not every band could pull that one off.

Shows are presented by Life is Noise, and you can find the dates below, along with the remaining gigs on the North American stint happening now:

alcest

LIFE IS NOISE PRESENTS: ALCEST (FRA) AUSTRALIA / NEW ZEALAND TOUR APRIL 2017

LIFE IS NOISE is ecstatic to announce the return of Alcest to Australian soil this April, with the band also venturing to New Zealand for the first time.

The French post-black metal masterminds will be reaching into the hearts and heads of audiences in Wellington, Auckland, Brisbane, Sydney, Melbourne and Perth.

Alcest have always been a strangely entrancing beast. Originally serving as a solo project for Neige (Stephane Paut), the outfit evolved into a creative connection between the frontman and drummer Winterhalter (of legendary Peste Noire fame) over more than 16 years.

Transcending their early black metal ties through five very different releases, their latest effort—Kodama—sees the band meticulously reframe their origins through a kaleidoscope of rich, warm and soaring sounds that connect with the very soul of the listener.

Influenced by the gorgeous Hayao Miyasaki film, Princess Mononoke, Kodama – meaning ‘tree spirit’ or ‘echo’ in Japanese – delves into the concept of living between two worlds; of not belonging and striving to establish a sense of being through contrasting planes of existence.

Exploring the juxtaposition of nature and humanity and the perpetual struggle faced trying to achieve cohesion in a modern world, the album taps into the divide to serve as a reminder that the spiritual is often neglected in a time that embraces the physical.

Alcest live is a truly humbling experience. Their emotive power works its way through every inch of your psyche, as they effortlessly transition from darker, harsher tones to climbing, ethereal highs. This is a sonic adventure that will leave you breathless and yearning for more.

Catch Alcest on the following dates:
Wellington – San Fran – April 23
Auckland – Kings Arms – April 24
Brisbane – Crowbar – April 25
Sydney – Newtown Social – April 27
Melbourne – Max Watt’s – April 28
Perth –Badlands – April 29

Alcest US tour:
01/23/2017 Cleveland OH Grog Shop
01/24/2017 Grand Rapids MI Pyramid Scheme
01/25/2017 Chicago IL Reggies Rock Club
01/26/2017 St Paul MN Turf Club
01/28/2017 St Louis MO Ready Room
01/29/2017 Kansas City MO Riot Room
01/30/2017 Denver CO Marquis Theater
01/31/2017 Salt Lake City UT Metro Music Hall
02/02/2017 Seattle WA Highline
02/03/2017 Portland OR Dantes
02/04/2017 Vancouver BC Rickshaw Theater
02/06/2017 Oakland CA Oakland Opera House
02/07/2017 Los Angeles CA Roxy Theater
02/08/2017 San Diego CA Brick By Brick
02/09/2017 Mesa AZ Club Red
02/10/2017 Albuquerque NM Sister Bar
02/11/2017 Dallas TX Curtain Club
02/12/2017 Austin TX Grizzly Hall
02/14/2017 Nashville TN The End
02/15/2017 Atlanta GA Aisle 5
02/16/2017 Richmond VA Strange Matter
02/17/2017 Baltimore MD Metro Gallery
02/18/2017 Philadelphia PA Foundry
02/19/2017 New York NY Irving Plaza

Tickets from lifeisnoise.com, the venues and undertheradar.co.nz for NZ shows.

https://www.facebook.com/events/249725725466365/
https://www.alcest-music.com/
https://www.facebook.com/alcest.official
https://twitter.com/Alcestofficial
https://www.instagram.com/alcestofficial/
http://en.prophecy.de/alcest/

Alcest, Kodama (2016)

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Alcest to Release Kodama Sept. 30; Preorders Available Now

Posted in Whathaveyou on August 1st, 2016 by JJ Koczan

alcest

I remain intrigued at the prospect of an Alcest album that even the band seems to position as a return to form, if not in such direct language, as they’ve never done anything in their career that wasn’t a move forward from where they were previously and one wonders what lessons they’ll incorporate from their last outing, 2014’s Shelter (review here), as they make their way back to the post-black metal aesthetic they — as their label, Prophecy Productions, rightly asserts — helped to pioneer in their earlier work. I dug Shelter in part for the bold step away from that that it represented, but it seemed like much of their audience was missing the lush, textured emotionalism. We’ll see where their fifth album, Kodama, ends up upon its Sept. 30 release.

The band posted the artwork and tracklisting and Prophecy has preorders up now for worldwide shipping, so if you want to get in on it, you can indeed get in on it. Here goes:

alcest kodama

We are really excited to announce that our new album “Kodama” will be out on September 30th through Prophecy Productions.

“Kodama” is the Japanese word for both “tree spirit” and “echo”. The artwork has been done by the French duo Førtifem.

Tracklist :
– Kodama
– Eclosion
– Je suis d’ailleurs
– Untouched
– Oiseaux de proie
– Onyx

Pre-order:
World: http://en.prophecy.de/artists/alcest/
US: http://us.prophecy.de/artists/alcest/

“Kodama” the fifth album from Blackgaze pioneers, Alcest, marks the French duo’s ferocious return to the stylistic maximalism of its early albums while continuing the band’s relentless pursuit for new sounds and fresh ideas.

“Kodama” is the Japanese word for ‘tree spirit’ and ‘echo’ and from the album’s structure and dynamics to its cinematic sound, “Kodama” indeed ‘echoes’ Alcest’s 2010 classic, “Écailles De Lune”. But this is no simple back-to-the-roots album: the band has more punch, rhythm and organic feel than ever before. While clearly influenced by bands like The Smashing Pumpkins, Tool, Dinosaur Jr, Grimes and The Cure, “Kodama” ultimately reveals itself as Alcest’s ‘Japanese album’, drawing substantial inspiration from Japanese art and culture.

Originally triggered by Hayao Miyazaki’s anime film “Princess Mononoke”, “Kodama” picks up on the fate of its protagonist and, at its core, deals with the sensation of not belonging; of living in between worlds, be it city and nature or the physical and spiritual one. Duality is also crucial for the visual approach of the album, realized by French graphic designer duo Førtifem. Paying tribute to Japanese illustrators like Takato Yamamoto, the visuals portray contrasting elements like nature/urbanity, youth/death, femininity/animality and combine poetic elements with darker ones that were not present in Alcest’s earlier works.

By giving the album a cultural, stylistic and compositional narrative, Neige and Winterhalter keep “Kodama” from just being the latest improvement on the Alcest sound and instead make the album a most rare and exciting thing: a vital, relevant record from a pioneer that not only upholds the band’s trailblazing legacy but actually makes you want to see where they go next.

Available editions:
– CD digipak with die-cut sleeve
– LP (33rpm) on heavy-weight 180g black virgin vinyl
– 2CD hardcover book (36 pages with lyrics, elaborate liner notes by Neige, Winterhalter and Fortifem, translations of the lyrics, ca. 18x18cm) incl. bonus CD with bonus track “Notre Sang Et Nos Penseées”
– Deluxe 3LP box (45rpm) with vinyl etching, 6 art prints and lyric sheet; ltd. to 777 copies, split to: 200x black vinyl, 200x clear vinyl, 200x clear/black marble vinyl, 177x magenta/black marble vinyl (exclusive to the Prophecy online shop!)
– “Complete Kodama Box”: 4LPs (45rpm) incl. vinyl etching and bonus track “Notre Sang Et Nos Penseées”, 2CD hardcover book (36 pages with lyrics, elaborate liner notes by Neige, Winterhalter and Fortifem, translations of the lyrics, ca. 18x18cm) incl. bonus CD with bonus track “Notre Sang Et Nos Penseées”, 6 art prints and certificate; ltd. to 777 copies, split to: 200x black vinyl, 200x clear vinyl, 200x clear/black marble vinyl, 177x magenta/black marble vinyl (exclusive to the Prophecy online shop!)

https://www.facebook.com/alcest.official/
https://twitter.com/Alcestofficial
http://www.alcest-music.com/

Alcest, “Opale” Live in NYC, Sept. 22, 2015

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Alcest Recording Fifth Album; Touring Europe this Fall

Posted in Whathaveyou on April 22nd, 2016 by JJ Koczan

alcest

Released in 2014, Alcest‘s fourth album, Shelter (review here), was a bold step away from the post-black metal style the French unit had proffered on its first three outings. You can see it in the video below for “Opale” — it’s practically obsessed with color. I’m not entirely surprised to read that for the yet-untitled follow-up fifth LP, Alcest are looking more toward their earlier work than continuing to build on what they accomplished with Shelter, but I wouldn’t necessarily expect them to come out with Souvenirs d’un Autre Monde Pt. 2 or anything like that either. Alcest has never been anything but forward thinking, and I’d imagine the lessons they learned on Shelter will be a factor in whatever the new one is called as well when it’s finished.

We’ll find out this fall, reportedly, which also happens to be when Alcest are touring Europe with Japan’s Mono. PR wire info and tour dates follow:

alcest tour dates

ALCEST Working on New Album; Band Issues Statement

Celebrated French Shoegaze Exemplars Ready Fifth Full-Length

Parisian Post-metal duo ALCEST will release its new album this fall via Prophecy Productions. The band — vocalist / multi-instrumentalist Neige and drummer Winterhalter — are currently putting the finishing touches on the record, which they have described as “intense songs full of contrasts and dynamics.” The as-yet-untitled release follows the duo’s celebrated 2014 LP, Shelter.

“For the past 3 months we have been recording our new album, and right now we are doing small adjustments on the mix,” comments Neige. “It’s coming to an end of a very long journey (the longest studio experience we’ve had so far) and we feel quite exhausted, but really happy. For each album we try to challenge ourselves, developing the songs in new directions. This time will be just as special, but also a return to the approach we had in our earlier albums; with intense songs full of contrasts and dynamics. Even if this album is quite “alien” in character, we felt the need to come back to the origins of the project. The release date is planned for Autumn 2016 and then we will embark on a 37 date European co-headlining tour with the Japanese band MONO. We are very much looking forward to this tour and to show you the work of our last couple of years.”

This summer, ALCEST will join labelmates GERM, Secrets of the Moon, Les Discrets, Helrunar, Völur and more at the 2016 Prophecy Fest, set to take place July 29-30 inside Balver Höhle, “a natural cave from old stone age” in Balve, Germany. For full details, visit this location.

Alcest & MONO on tour:
Oct 27, 2016 // Beatpol // Dresden, DE
Oct 29, 2016 // Strom // Munich, DE
Oct 30, 2016 // Gebaude 9 // Cologne, DE
Oct 31, 2016 // Jubez // Jubez, DE
Nov 1, 2016 // Salzhaus // Salzhaus, CH
Nov 2, 2016 // Circolo Magnolia // Segrate, IT
Nov 3, 2016 // Mostovna // Nova Gorica, SI
Nov 4, 2016 // Locomotiv // Bologna, IT
Nov 5, 2016 // Init // Rome, IT
Nov 6, 2016 // Spazio 211 // Turin, IT
Nov 7, 2016 // Cco Villeurbanne // Lyon, FR
Nov 8, 2016 // La Maroquinerie // Paris, FR
Nov 9, 2016 // Engine Rooms // Southampton, UK
Nov 10, 2016 // The Institute // Birmingham, UK
Nov 11, 2016 // Queens Hall // Leicester, UK
Nov 12, 2016 // Classic Grand // Glasgow, UK
Nov 13, 2016 // Brudenell Social Club // Leeds, UK
Nov 14, 2016 // Gorilla // Manchester, UK
Nov 15, 2016 // The Globe // Cardiff, UK
Nov 16, 2016 // Marble Factory // Bristol, UK
Nov 17, 2016 // Brixton Electric // London, UK
Nov 18, 2016 // VK // Brussels, BE
Nov 19, 2016 // 013 // Tilburg, NL
Nov 20, 2016 // P60 // Amstelveen, NL
Nov 21, 2016 // Uebel & Gefährlich // Hamburg, DE
Nov 22, 2016 // Lille Vega // Copenhagen, DK
Nov 23, 2016 // Pustervik // Gothenburg, SE
Nov 24, 2016 // Parkteatret // Oslo, NO
Nov 25, 2016 // Debaser Strand // Stockholm, SE
Nov 26, 2016 // KB // Malmo, SE
Nov 27, 2016 // Binuu // Berlin, DE
Nov 28, 2016 // B90 // Gdansk, PL
Nov 29, 2016 // Firlej // Wroclaw, PL
Nov 30, 2016 // Szene // Vienna, AT
Dec 1, 2016 // Durer Kert // Budapest, HU
Dec 2, 2016 // Tabacka // Kosice, SK
Dec 3, 2016 // Rockstadt // Brasov, RO

https://www.facebook.com/alcest.official
https://twitter.com/Alcestofficial
http://prophecy.de/

Alcest, “Opale” official video

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Alcest Announce North American Headlining Tour

Posted in Whathaveyou on July 16th, 2015 by JJ Koczan

alcest

If like me you’ve been lamenting the fact that you didn’t get to see Alcest when they toured in the US with Anathema since pretty much the day after the show happened, you’ll be glad to note you’ve got another chance to catch them supporting their 2014 fourth album, Shelter (review here), which departed the post-black metal melancholia of their first three outings for altogether brighter fare — they made a good pairing for Anathema in that way; both acts boldly foraying into positivity in the face of an expectation of the morose. They’ll be out this time headlining with support from Emma Ruth Rundle and the tour begins in Mexico City on Sept. 19, picks up in Boston on Sept. 21 and rolls on from there coast to coast with dates in Canada as well, making it a true North American run.

The PR wire has details:

alcest north american tour

ALCEST Announces North American Headlining Tour

Celebrated French Shoegaze Exemplars to Perform in the U.S., Canada and Mexico this Autumn

Parisian Post-metal duo ALCEST has announced a fall North American headlining tour. The critically-lauded group, will launch the month-long trek on September 19 in Mexico City. The scheduled 23-city, major market jaunt will run through October 17 in Philadelphia, PA. Support on the ALCEST tour will come from singer-songwriter and visual artist Emma Ruth Rundle. ALCEST continues to perform globally in support of its most recent album, Shelter.

“We are very happy to announce that Alcest will tour in Mexico and North America in September and October of 2015,” comments Neige. “It’s been three years since we played in North America as headliners, so we are very excited to be back. Our support guest on this tour will be the talented Emma Ruth Rundle (Marriages, Red Sparrowes). Be sure to catch us on one of these dates!”

ALCEST tour dates:
September 19 Mexico City Billar Billy’s
September 21 Boston, MA Brighton Music Hall
September 22 New York, NY Highline Ballroom
September 23 Montreal, QC L’Alize
September 24 Ottawa, ON Mavericks
September 25 Toronto, ON Hard Luck Bar
September 26 Chicago, IL Subterranean
September 28 Denver, CO Bluebird Theater
September 30 Boise, ID Neurolux
October 1 Vancouver, BC Venue
October 2 Seattle, WA Crocodile
October 3 Portland, OR Dante’s
October 6 San Francisco, CA Slim’s
October 7 Los Angeles, CA The Regent
October 8 Mesa, AZ Club Red
October 9 Albuquerque, NM Launchpad
October 10 Dallas, TX Sons Of Hermann Hall
October 11 Austin, TX Red 7
October 13 Atlanta, GA The Masquerade
October 14 Tampa, FL The Orpheum
October 15 Raleigh, NC King’s Baracde
October 16 Baltimore, MD Metro Gallery
October 17 Philadelphia, PA Johnny Brenda’s

https://www.facebook.com/alcest.official
https://alcest.bandcamp.com
https://twitter.com/alcestofficial

Alcest, Shelter (2014)

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Revisiting 2014’s Most Anticipated Albums

Posted in Features on December 11th, 2014 by JJ Koczan

tomorrows-dream-REVISITED-Original-etching-by-Wenceslas-Hollar

[PLEASE NOTE: This is not my Top Albums of 2014 list. That’s coming later in the month.]

First of all, the math was wrong. The list went to 42, not 40…

I did two major “stuff is coming out” posts this year. The first was January’s Tomorrow’s Dream: 42 of 2014’s Most Anticipated Albums, and the second was July’s 30 Before ’15: Records Not to Miss Before the New Year Hits. Apparently I have thing for cumbersome titles.

At best, this stuff is a crapshoot. Until something’s just about in your hand, you never really know when or if it’s going to come out. But they’re fun, and it’s exciting to think of good music being released, so you do it anyway. On the whole, I don’t think I did that badly between the two lists. Of course there was stuff that wasn’t anticipated — Colour Haze‘s new album, To the Highest Gods We Know, walks by and waves en route to its Dec. 15 release date — but for what we got, it worked out well.

That’s the general overview, but because I hold myself to a standard of accountability more rigorous than, say, my nation’s torture-happy secret police, here’s a full rundown of the list as it was, now (as then), presented alphabetically and with the titles listed as they were at the time:

42 of 2014’s Most Anticipated Albums — REVISITED!

 

1. Acid King, TBA: Word is Acid King‘s first in 10 years was mastered last month and will be out in Feb. 2015 on Svart.
 

2. Alcest, Shelter: Was way less post-black metal than their prior stuff, and I think it threw a lot of people off. Not a bad record (review here), but worked against lofty expectations.
 

3. All Them Witches, TBA: I remember including this because they said they were going back into the studio. Turned out they were recording the Effervescent EP/jam (review here). No regrets.
 

4. Alunah, TBA: Their new one was their Napalm Records debut, Awakening the Forest (review here). It was awesome. Score one for the list.
 

5. Blackwolfgoat, Drone Maintenance: Yeah, it was cheating to include this since I was there when it was recorded. Still a killer record though.
 

6. Causa Sui, Live at Freak Valley: Ruled. Reviewed and streamed here. Made me want to see them even more.
 

7. Conan, Blood Eagle: What does complete dominance sound like? Sounds like Conan to me.
 

8. Eggnogg, You’re all Invited: Was dying to hear what the Brooklyn trio came up with. No word on it yet.
 

9. Elder, Live at Roadburn 2013: Still don’t have a copy of this. Maybe I can pick one up when I get their forthcoming third studio album, Lore, out early next year.
 

10. 40 Watt Sun, TBA: More like “MIA” than TBA. Anyone heard from these guys?
 

11. The Golden Grass, TBATheir self-titled debut (review here) was one of the finest first-albums I heard all year.
 

12. Greenleaf, Trails and Passes: Any Greenleaf is a treat. Trails and Passes (review here) was no exception.
 

13. Grifter, The Return of the Bearded Brethren: Solid follow-up (review here). Grifter‘s humor and lack of pretense serves them well.
 

14. Hull, TBA: Well, they had the Legend of the Swamp Goat single (review here) to coincide with their Euro tour. Waiting on the album.
 

15. Lowrider, TBA: I wouldn’t mind if this materialized right now. Or now. Or now. Or 2015. Or 2016.
 

16. The Machine, TBA: Might’ve jumped the gun on this. Hopefully in 2015.
 

17. Mars Red Sky, TBA: Easily one of the year’s best records. Stranded in Arcadia (review here) continues to get regular spins.
 

18. Mos Generator, Electric Mountain Majesty: A highlight of early 2014. Darker record (review here), but inarguable songwriting.
 

19. Mr. Peter Hayden, Archdimension NowFitting end to their trilogy and hopefully not their last outing.
 

20. Pallbearer, TBA: Their Foundations of Burden has topped year-end lists already. It’s still on my desktop. I’ve barely listened to it.
 

21. Papir, IIII: Very, very good. They seem to be developing, but IIII (review here) was a satisfying chronicle.
 

22. Pilgrim, TBA: Can’t say II: Void Worship (review here) wasn’t a win for the band since they did a month on the road with Spirit Caravan. Maybe overshadowed by more recent stuff, but a quality record.
 

23. Radio Moscow, Magical Dirt: Their incendiary heavy blues was in top form on Magical Dirt (review here). Glad I got to see them live once or twice (or 18 times) as well this year.
 

24. Sigiriya, Darkness Died Today: Also residing on my desktop. A vocalist switch caught me off guard and I feel like I still haven’t given it a fair shot.
 

25. Sixty Watt Shaman, TBA: Really? I had Sixty Watt on the list? That seems ambitious. No doubt they’ll have something new eventually, but that was a pretty high expectation it would be out this year.
 

26. Skraeckoedlan, Gigantos: If this came out, no one told me. Seems like not yet.
 

27. The Skull, TBA: A stunner. As much as I looked forward to it, For Those Which are Asleep (review here) exceeded the excitement.
 

28. Sleep, TBA: Included as wishful thinking. Their The Clarity single (review here) was something to celebrate.
 

29. Slough Feg, Digital Resistance: I was really looking forward to this one. Kind of fell off with Digital Resistance (review here) after a while. Hard to argue with Slough Feg though.
 

30. Snail, FeralWaiting on it for 2015.
 

31. Steak, TBAThe London four-piece followed two strong EPs with Slab City (review here), as heartfelt a showing of desert rock loyalty as I’ve heard.
 

Damn, this was a long list.
 

32. Stubb, TBA: I had my doubts it would arrive, but Stubb‘s Ripple Music debut, Cry of the Ocean (review here), found welcome when it did.
 

33. SunnO))) & Ulver, Terrestrials: One of two collaborations SunnO))) would have out in 2014. Heard a lot about it at the beginning of the year. Less now.
 

34. Tombs, Savage Gold: Good band, doing interesting stuff. I have a hard time transitioning from appreciating it to actually being a fan.
 

35. Triptykon, Melana ChasmataSorry, but when Tom G. Warrior puts out a record, you hop to. I didn’t review it to save myself having to buy a copy, but dug it anyway.
 

36. Truckfighters, Universe: I feel like this one picked up steam as the year went on. I didn’t go back to it as much as its predecessor, but Universe (review here) was a logical next step for them.
 

37. Valley of the Sun, Electric Talons of the Thunderhawk: Nothing to complain about with the Ohio three-piece’s debut (review here) or the effort they put into supporting it throughout the year.
 

38. Weedeater, TBA: Nope. At least I knew it at the time.
 

39. Wolves in the Throne Room, TBA: Surprised a lot of people when Celestite (review here) was a companion piece for their last record instead of a new album proper, myself included.
 

40. The Wounded Kings, Consolamentum: 2014 was quite a year for doom, and The Wounded Kings were right there at the start. This lineup may be gone, but Consolamentum (review here) holds up.
 

41. Yawning Man, Gravity is Good for You: Rumor is guitarist Gary Arce has a few projects in the works for next year. Not sure if this is one of them or not.
 

42. YOB, TBA: We certainly know how this worked out, don’t we? If the votes in the Readers Poll are anything to go by, yes. Clearing the Path to Ascend (review here) was a landmark, and this won’t be the last year-end list around here on which YOB make a showing.
 

The list from July had a few winners on it as well — Apostle of Solitude, Blues Pills, Bongripper, Brant Bjork, Earth, Lo-Pan, The Well, Witch Mountain, etc. — but I think we’ve probably got enough as it is.

With the year starting to wind down, I’ll be putting together my Top 30 Albums of 2014 in the next week or so. Please keep an eye out for that, and thanks for reading.
 

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Alcest Interview with Neige: Shelter by the Sea

Posted in Features on February 7th, 2014 by JJ Koczan

There’s a point at which an artist has to decide why and for whom he or she creates, and for French post-black metal innovators Alcest, that point seems to have been during the recording of their 2012 full-length, Les Voyages de l’Âme (review here). As guitarist, vocalist, keyboardist, founder and principle songwriter Stéphane “Neige” Paut recalls, it was during this time that he began to feel as though he was playing to routine, making music more to please his fans and to meet expectations than to answer the call of his own creativity. If there was any question where Neige might end up on that issue, certainly the band’s fourth album, Shelter (review here), puts them to rest.

Released through Prophecy Productions and recorded in Iceland by Birgir Jón Birgisson (Sigur Rós), Shelter maintains the emotional core that’s been at the center of Alcest‘s approach since their groundbreaking 2007 debut, Souvenirs d’un Autre Monde. What’s changed is the context in which that signature element arrives. Shelter dispatches with most (not all) of the band’s black metal influence, Neige and drummer Jean “Winterhalter” Deflandre opting instead to shift their focus to a dreamy, bright melodicism which has always been there in Alcest‘s sound, but has never come to the fore in the way it does now, post-intro album opener “Opale” working quickly to establish a new clean, clear tonal foundation that songs like “L’Éveil des Muses” and “Voix Sereines” build on with the band’s signature shoegazing adventurousness.

One could easily argue that adventurousness has never been more prominent in Alcest‘s approach than it is on Shelter, both in terms of departing from what they’d established as their “norm” to unknown aesthetic ground, and in more obvious factors like choosing an English word for the title and bringing Slowdive‘s Neil Halstead to sing lead on “Away,” one of the album’s most central melodic washes. I spoke to Neige about these things and more prior to Alcest beginning a European tour with Hexvessel that wraps up this week in support of Shelter. He was both conscious of the changes in his band’s sound and of Shelter‘s potential to alienate some of their following, but resigned in having to do what he had to do to keep the band going. As much as it was one, his choice clearly had been made.

Please find the Q&A enclosed after the jump, and enjoy:

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Tomorrow’s Dream: 42 of 2014’s Most Anticipated Albums

Posted in Features on January 13th, 2014 by JJ Koczan

Getting ready to type this list is like standing on the precipice of a canyon. Maybe that’s a little dramatic, but you get the idea. Last year was an all-out assault of music. I couldn’t have heard it all even if I’d wanted to, and while it’ll probably be June before I feel like I’m sufficiently caught up on 2013, the new-car-smelling rush of 2014 is already underway.

And the only thing to do is press on — though I’ve tried on several occasions, I can’t seem to stop time and review everything that I’m fortunate enough to encounter — and that means glancing ahead to what’s coming in 2014. I know I said so before, but once again, Happy New Year.

One of my favorite things to do is to look forward to a new album. I consider it a sign of the endurance of the human spirit not only that new creative works are being completed and distributed at such a constant rate, but that we can still anticipate the resonance of those works upon their arrival. I don’t mind telling you this is the largest of any such list I’ve ever written for this site. Even as I start it, I’m finding more to add, and I’m sure when it’s done it won’t be complete. So it goes.

There’s more to say, but I’ve delayed enough. We’ll go alphabetically, which is only unfortunate because it puts YOB last. Thanks in advance for reading.

 

1. Acid King, TBA

We start the same place we started in 2013, with Acid King. The San Francisco giants have sworn up and down they’ll have a new record out this year, and while I’ve yet to see any solid word of its coming manifest, I remain hopeful that it happens. Of course, that was also pretty much the case going into 2013, but they toured Europe last fall and even came out to the East Coast for a show and played some new material (review here), so if it’s to be that III finally gets a follow-up some nine years later, it’s worth keeping an eye out ahead of time. Acid King on Thee Facebooks.

 

2. Alcest, Shelter

To be released this coming week on Prophecy Productions, the fourth Alcest full-length, Shelter (review here), is billed as a major sonic turn away from the France-based outfit’s black metal influences toward brighter sonic fare. It is that, but the nostalgic melodies and crucial emotionality that has always been the root of Alcest’s sound remains intact. It will be interesting to see what the response is upon its release, but Shelter is an early point of fascination for 2014. Alcest on Thee Facebooks.

 

3. All Them Witches, TBA


I’m not sure what they’re doing in the studio, if it’s a single, an EP or a full-length album, but this past weekend, on Jan. 11, Nashville heavy psych rockers All Them Witches posted the above picture with the simple tagline “Recording.” Fair enough. It seems soon for them to have another LP after 2013’s excellent Lightning at the Door (discussed here), but that album seemed to arrive soon after 2012’s Our Mother Electricity (reissued by Elektrohasch in 2013; review here), so who knows? It’ll be fun to find out either way. All Them Witches on Bandcamp.

 

4. Alunah, TBA

UK doomers Alunah will make their debut on Napalm Records with yet-untitled third album. With wider distribution at their disposal than that received by their 2012 outing, White Hoarhound (review here), I wouldn’t be surprised to see Alunah really leave a mark on 2014, but more fascinating to me than how many people get to hear it is how the band — who’ve swapped out bassists since their last outing — will follow-up the tremendously memorable songs on White Hoarhound. No doubt they can do it, it’s just hard not to be impatient. Alunah on Thee Facebooks.

 

5. Blackwolfgoat, Drone Maintenance

I was fortunate enough to be invited down to Amps vs. Ohms in Boston when Blackwolfgoat (aka Darryl Shepard, also of Black Pyramid, The Scimitar, ex-Hackman, Roadsaw, etc. and a new project I don’t think I’m allowed to talk about yet) was tracking the follow-up to 2011’s Dronolith, which was released on this site’s in-house label, The Maple Forum. Raw tracks can sometimes prove to tell little about the finished product of an album, but each piece on Drone Maintenance that I heard had a distinct atmosphere, and “Cyclopean Utopia” was heavy enough on its own to warrant inclusion here. Rumor also has it that Black Pyramid offshoot The Scimitar will release a studio debut this year. Blackwolfgoat on Bandcamp.

 

6. Causa Sui, Live at Freak Valley

Holding the promise of over 90 minutes of live-recorded material from the 2013 Freak Valley festival in Germany, Causa Sui‘s Live at Freak Valley will see release through the band’s own El Paraiso Records and should provide further insight as a companion piece to their 2013 studio full-length, Euporie Tide. As that album boasted such an engaging live and progressive feel, successfully meshing desert and krautrock influences, I’d expect no less from the live outing, which though they’ve put out studio jams before — their three-volume 2008-2009 Summer Sessions is a joy worthy of the season — is their first official concert recording. El Paraiso Records website.

 

7. Conan, Blood Eagle

Six devastating tracks that both continue Conan‘s sonic dominance and usher in a new era for the band. Not only is their second full-length, Blood Eagle, their debut on Napalm Records, but it’s also the first Conan LP to be recorded at Skyhammer Studios, which was built and is owned by guitarist/vocalist Jon Davis. Producer Chris Fielding worked with the band previously on 2012’s Monnos (review here) and 2010’s Horseback Battle Hammer EP (review here), and Blood Eagle benefits from that now familiar collaboration, bridging the gap between the faster, catchy sides of Monnos and the complementing ultra-plod of its longer tracks. Album opener “Crown of Talons” also ranks among the heaviest things they’ve ever done, and “Foehammer” takes it’s name from Gandalf’s sword, Glamdring, so I don’t know what more you could ever ask of a full-length than that. Conan on Thee Facebooks.

 

8. Eggnogg, You’re all Invited

With the addition of bassist Corey Dozier to the rhythm section with drummer Jason Prushko, Brooklynite doom-funk stompers Eggnogg have been able to move vocalist Bill O’Sullivan to guitar from bass, giving Justin Karol a chance to act all the more as a lead player. How this new four-piece dynamic might play out on You’re all Invited — or even if Dozier played on it — remains to be seen, but from what I’ve caught live, it’s turned them into a thicker, fuller-sounding band, and on new material and old, Eggnogg are coming into their own. They’re still a better band than they know, and one hopes they can get some road time in as well as release the LP to continue to refine their approach. Eggnogg on Thee Facebooks.

 

9. Elder, Live at Roadburn 2013

Granted it’s been available through Burning World Records digitally since last November, but Elder‘s Live at Roadburn 2013 is set for physical issue early this year through the label, and having stood in front of the stage to witness the set myself at Het Patronaat in Tilburg and then seen the line running outside the venue and down the block, I can tell you it’s a beast. Put it on vinyl with cover art by Adrian Dexter and maybe a photo or two by yours truly and you’ve got a good way to get a preview for what their sets at the two Desertfests might hold this year. Elder on Thee Facebooks.

 

10. 40 Watt Sun, TBA

Speaking of Roadburn, emotive UK doomers 40 Watt Sun are set to make a return appearance at the fabled fest in the Netherlands, and the word was they’d do so with material from the follow-up to their 2011 Metal Blade debut, The Inside Room (review here), which established the band, led by guitarist/vocalist Patrick Walker (Warning), as a deeply affecting act with a rich sonic texture. No word of an exact release date for the sophomore effort yet, but one expects it will receive no shortage of fanfare prior to and upon its arrival. 40 Watt Sun on Thee Facebooks.

 

11. The Golden Grass, TBA

Brooklyn trio The Golden GrassOne More Time b/w Tornado debut single was one of the best short releases of 2013, and the sunshiny classic heavy rockers will look to follow it with a first long-player this year. Recording is completed — the tracking was helmed by Andréa Zavareei, who also did the 7″ — and so is mixing, done by Jeff Berner (Naam, etc.), so with mastering in progress, hopefully it’s not too long before The Golden Grass can offer a right-on cure for wintry blues. It will be interesting to hear how they sustain and work within their positive vibes over the course of a complete LP. The Golden Grass on Thee Facebooks.

 

12. Greenleaf, Trails and Passes

Trails and Passes will be Greenleaf‘s first outing since 2003’s Secret Alphabets not to be fronted by Oskar Cedermalm (also of Truckfighters) and also finds the Swedish unit both with a new drummer (hello, Sebastian Olsson) and down from two guitars to one. It was five years between their third album, 2007’s Agents of Ahriman and 2012’s Nest of Vipers (review here), so with a quicker turnaround and a stripped-down songwriting approach that seems geared more toward a live-sounding heavy rock presentation, Greenleaf could easily be positioning themselves as a full(er)-time touring act. The more the merrier. Greenleaf on Thee Facebooks.

 

13. Grifter, The Return of the Bearded Brethren

UK power trio Grifter surprised some with the quality of songwriting on their 2011 self-titled debut (review here), the lacking pretense of which was in proportion to its classic heavy rock influence, but The Return of the Bearded Brethren, which is set to release on Ripple Music, won’t have the advantage of sneaking up. If they’re throwing down a gauntlet, the confrontational pose of the shirtless tattooed beardo on their LP cover would seem to indicate it’s a considerable one indeed, but I wouldn’t be shocked if Grifter made following up on their self-titled sound as easy as they made infectious hooks sound the last time out. Grifter on Thee Facebooks.

 

14. Hull, TBA

Down from a five-piece to a foursome after having lost one of their three guitars since the release of 2011’s stellar second LP, Beyond the Lightless Sky (review here), 2014 marks an interesting point for singular Brooklyn post-thrashers Hull. With a Roadburn appearance slated and a limited vinyl reissue of their 2007 Viking Funeral debut EP in hand, they’ll look to bring their conceptual songwriting into a new presentational arc, and while that’s a fascinating prospect, I’m also looking forward to their new album because it promises to be heavy as fuck whenever it happens to arrive, hopefully by the end of the year. Hull on Thee Facebooks.

 

15. Lowrider, TBA

Were this list numbered in anticipatory rather than alphabetical order, Lowrider would be much closer to the top than lucky number 13. The Swedish four-piece will be recording their first outing since 2000’s genre-landmark Ode to Io this year after reuniting on stage at Desertfest 2013 — they’ll return to London next month with Dozer — and while I don’t know if it’ll be out by the time 2014 is done, I do know that the sheer prospect of a new Lowrider makes this year much better than it would be otherwise. I already invited myself to Sweden for an in-studio. More to come. Lowrider on Thee Facebooks.

 

16. The Machine, TBA

A couple weeks back, Dutch heavy psych rockers The Machine — whose split with now-defunct countrymen Sungrazer (review here) was my favorite short release last year — held a poll on their Thee Facebooks page to name their upcoming fifth album, which will follow 2012’s Calmer than You Are (review here) on Elektrohasch. My suggestion? Come to Light. It has the advantage of sounding psychedelic with an undertone of enlightenment to speak to the band’s continuing progression and it keeps with the prior album in being a reference to The Big Lebowski. No word on whether or not they’ll use it, but I’ve got my fingers crossed. The Machine’s website.

 

17. Mars Red Sky, TBA

Currently in the mixing stage, the second Mars Red Sky long-player will arrive on the heels of 2013’s Be My Guide EP (review here) and the Bordeaux fuzz trio’s self-titled 2011 debut (review here) and a host of tours and festival appearances. While their plans to record in the California desert reportedly didn’t pan out, the trio put much of the album to tape over the course of a week in Brazil following dates in South America, so it should boast plenty of sunshine either way. The album is due for release in April — a pro-shot live video of the new song “Satellites” was recently unveiled — and Mars Red Sky will also play at Hellfest in their native France in June. Mars Red Sky on Bandcamp.

 

18. Mos Generator, Electric Mountain Majesty

The Washington trio’s first album for Listenable Records and their second since picking back up after several years of inactivity while guitarist/vocalist Tony Reed concentrated on Stone Axe, Electric Mountain Majesty is done and mastered as of Jan. 5. Recorded by Reed himself, it will follow a pair of live outings in 2013 (reviews here and here) and 2012’s infectious return, Nomads (review here). I am fully prepared to have these songs stuck in my head for most of 2014, so bring it on. A March release has been floated, which would come ahead of an appearance at Freak Valley in late May. Mos Generator on Thee Facebooks.

 

19. Mr. Peter Hayden, Archdimension Now

Triumphantly creative Finnish cosmic doomers Mr. Peter Hayden will complete a trilogy with Archdimension Now that began with 2010’s Faster than Speed (review here) and 2012’s single-song 68-minute LP, Born a Trip (review here). Crushing tones and a formidable scope don’t seem like unreasonable expectations, though what really interests me is how the Satakunta five-piece will expand on the sound of their last album, which still seems to reveal something new each time I put it on. Their new single “We Fly High,” was streamed here recently and bodes well. Mr. Peter Hayden on Bandcamp.

 

20. Pallbearer, TBA

Pallbearer have toured hard since their 2012 debut, Sorrow and Extinction (review here), hit a nerve with doomers across the globe, and the four-piece from Arkansas are set to begin recording their next LP (presumably) for Profound Lore in February. If that puts a release for sometime in late Spring/early Summer, I would imagine it will come coupled with no shortage of live dates, since the band seems most at home on tour. Should be intriguing to have a document of how all that stage time has manifested in solidifying and adding confidence to their approach, and this is another one preceded by much anticipation. Pallbearer on Thee Facebooks.

 

21. Papir, IIII

It would seem I have some purchases to make in order to catch up with Danish heavy psych jammers Papir. Aside from their recent collaboration with Electric Moon, the upcoming IIII will sure enough be their fourth album. Available now to preorder through El Paraiso Records, it is a vinyl-ready 47 minutes of smoothly shifting transitions between lush atmospherics and driving fuzz-heavy rock, ready to stand in line with progressive European instrumentalists like 35007, My Sleeping Karma and indeed their label honchos, Causa Sui. I had caught wind of 2013’s III previously, but deeper back catalog investigation is definitely warranted. Papir on Thee Facebooks.

 

22. Pilgrim, TBA

Just before they left to tour Europe with Windhand, Providence, Rhode Island, doomers Pilgrim recorded their sophomore full-length at Moonlight Mile Recording in scenic Jersey City, NJ. After the huge response garnered — and, I should say, earned — by their 2012 debut, Misery Wizard, the band jumped from Alan Averill of Primordial‘s Metal Blade imprint, Poison Tongue Records, to Metal Blade proper for the new one, which along with Pallbearer, 40 Watt Sun, Serpent Venom and The Wounded Kings (and no doubt others) makes a prospect for a thoroughly doomed 2014. So be it. Pilgrim on Thee Facebooks.

 

23. Radio Moscow, TBA

As I type these words, heavy rockers Radio Moscow are mixing their yet-untitled fourth album (fifth if you count 2012’s 3 & 3 Quarters, which was comprised of early unreleased material) at Big Fish Recording in Encinitas, CA. Details on the release are sketchy at best at this point, and by that I mean nil, but at least there’s progress being made, and since it’s still January, it seems entirely likely the album will surface one way or another in the next 11 months, barring disaster. The bombastic blues jammers led by Parker Griggs toured Europe last fall and rumor is there’s a run in the works for the US at the end of February into March. Radio Moscow on Thee Facebooks.

 

24. Sigiriya, Darkness Died Today

What’s not to like about a new Sigiriya album? The UK four-piece premiered “Tribe of the Old Oak” from Darkness Died Today here last month, and in addition to the considerable pipes of new vocalist Matt Williams, the track showcased a somewhat moodier psychedelic vibe from the band, who continue to distance themselves from Acrimony, of which bassist Paul Bidmead, guitarist Stuart O’Hara and drummer Darren Ivey were members, while also exploring new avenues from those of Sigiriya‘s debut, 2011’s Return to Earth (review here). I haven’t heard the whole thing yet, but they set a high standard last time. Sigiriya on Thee Facebooks.

 

25. Sixty Watt Shaman, TBA

Reason to Live, was released by Spitfire Records (remember them?) in… wait for it… 2002. Some 12 years ago. Now, these dudes have been kicking around in other bands since Sixty Watt Shaman sort of melted away in the manner that underrated bands often unfortunately do, but with the announcement of their appearances this year at Desertfest (info here) in April and The Eye of the Stoned Goat 4 in May (info here) came word of a new studio release. EP or LP unknown at present. As killer as Reason to Live was, it just doesn’t seem fair to expect Sixty Watt Shaman to be the same band they were more than a decade ago. As such, I don’t know what’s coming, but I’m keen to find out. Sixty Watt Shaman on Thee Facebooks.

 

26. Skraeckoedlan, Gigantos

The 2011 debut from upstart Swedish heavy-hitters Skraeckoedlan, titled Äppelträdet (review here), was recorded by Oskar Cedermalm of Truckfighters and had much of that band’s fuzzy compression in blend with their own Mastodon-ic plod. It was a combination that worked so well I thought for sure the young outfit would return to Studio Bombshelter for their next outing, but no dice. As a result, I’m not sure what to expect from Gigantos, but I dug what I heard in a recent live video from them, so we’ll see how it turns out when the LP is done and I’m not about to judge either way until then. Skraeckoedlan on Thee Facebooks.

 

27. The Skull, TBA

I have no interest in downplaying any of the original members of Trouble‘s contributions to that legendary Chicago doom band (nor the work they’re doing now or those contributing to it), but there can be no question that Eric Wagner‘s voice is a signature element, and right now, that’s something The Skull has over the outfit from whence they sprang. Add to that Ron Holzner‘s bass and Jeff “Oly” Olson‘s drums and you’re well on your way to some foundational heavy. Among the best signs is that The Skull were recording with Billy Anderson (Sleep, the Melvins, Acid King, etc.), who obviously knows his shit and is likely to capture their sound as it should be: Completely doomed. Also keep an eye out for Wagner‘s side-project, Blackfinger, who have an LP coming. The Skull on Thee Facebooks.

 

28. Sleep, TBA

This would be the mother of them all, I guess. A new Sleep album. In addition to hinting at new studio outings by his own three-piece Om and Matt Pike‘s High on Fire, bassist/vocalist Al Cisneros let it slip casual-style in an interview somewhere that Sleep were working on new material, thus snapping my Thee Facebooks feed in half. Fair enough. Working on material doesn’t mean we’ll see a record this year, or at all, but obviously if there’s a chance a new album might happen (I’ve been nerding out about the idea for a while; see here and here), it would be proof of justice in the universe. Seems an obvious thing that Billy Anderson would record this as well, and all the better. Can the Sons of Sabbath prove there’s life after Dopesmoker? For now, only the Antarcticans know. Sleep’s website.

 

29. Slough Feg, Digital Resistance

Slated for release through Metal Blade — they’re taking preorders — what if I’m not mistaken is the 32nd Slough Feg LP is due on Feb. 18. As much as I’m looking forward to the release of the record itself, having very, very much enjoyed 2010’s The Animal Spirits (review here), I’m even more interested to see if I finally get up the gumption to interview guitarist/vocalist Mike Scalzi. Something about a dude who doubles as a philosophy professor and who’s been putting out records in his band since I was nine and long before anyone gave a shit I’ve always found intimidating. We’ll see if I’m up to it this year. @Slough_Feg.

 

30. Snail, Feral

Last summer, West Coast riffers Snail announced the departure of guitarist Eric Clausen, which means that their fourth outing, Feral, will be their first as the trio of guitarist/vocalist Mark Johnson, bassist Matt Lynch and drummer Marty Dodson since their 1993 self-titled debut full-length (reissue review here). Should be interesting to see how the shift to their original lineup changes the tenor of Feral as opposed to their two albums with Clausen, 2009’s comebacker Blood (review here) and 2012’s Terminus (review here), but as the first audio from the record begins to surface, Snail‘s sound seems to still very much have its core intact. Terminus brought in something of a rawer heavy metal influence coming off the languid, dreamy Blood, but as they’ve been back together now for going on half a decade, no doubt a few more twists are in store. Snail on Thee Facebooks.

 

31. Steak, TBA

Quickly emerging at the fore of London’s enviable up and coming heavy rock scene — and, in the case of guitarist Reece Tee, helping shape it as one of the architects of DesertfestSteak are set to debut this year on Napalm Records with what will be their first full-length following two EPs, 2012’s Disastronaught (review here) and 2013’s Corned Beef Colossus (review here). They’ve put in time on tour — they’ll play in Spain with Monster Magnet and in London with Lowrider and Dozer in February — and seem to be ready to take the next step in releasing an album, and after the conceptual elements of both EPs, I’m eager to see where the next chapter of their story goes. Steak on Bandcamp.

 

32. Stubb, TBA

Tracking is to begin a few weeks from now for Stubb‘s second album at Jon Davis of Conan‘s Skyhammer Studios. After the release of their 2013 single, Under a Spell (review here), and the departure of drummer Chris West, guitarist/vocalist Jack Dickinson and bassist/vocalist Peter Holland acquired Tom Fyfe to fill the position, and subsequently found a label home on Ripple Music. It’ll be a different Stubb than they were on their 2012 self-titled debut (review here), but the fuzz runs strong in them however the changes might manifest in the finished product from the studio, and I can’t even think of “Under a Spell” without hearing the chorus in my head, so yeah, I’m on board. Stubb on Thee Facebooks.

 

33. SunnO))) & Ulver,Terrestrials

A collaboration between drone lords SunnO))) and Norwegian post-black metal progenitors Ulver probably isn’t the kind of thing that’s going to make you crush a beer can on your forehead and call your bros to come over and check it out (actually, I don’t know what kind of music does that, but it probably sucks), but Terrestrials has the potential to be one of 2014’s most unique releases all the same. After Ulver‘s delving into orchestral minimalism on 2013’s Messe I-IX, it’s really anyone’s best guess what this will sound like when it comes out on Feb. 4. SunnO))) explored some cinematic ground with 2009’s Monoliths and Dimensions (review here), but still, to speculate seems like setting myself up to be a fool later. Southern Lord Recordings website.

 

34. Tombs, Savage Gold

For their third album for Relapse, Brooklyn three-turned-four-piece Tombs headed south to Florida to record with Hate Eternal‘s Erik Rutan. If vague Thee Facebook posts are anything to go by, the resulting LP is 57:18 and titled Savage Gold. I’m not sure when it’ll be out, but as the follow-up to 2011’s widely and loudly lauded Path of Totality, whatever it’s called and whenever the new Tombs shows up, chances are it’s going to receive as much extremity as it doles out. Tombs on Thee Facebooks.

 

35. Triptykon, Melana Chasmata

Heirs to the black, shiny and probably spiky throne of Celtic Frost, ultra-dark metallers Triptykon will answer 2010’s Eparistera Daimones (review here) with Melana Chasmata, which though it’s somewhat easier to type is no doubt even more gleefully excruciating a listen. As with the debut, they’ll mark the release with an appearance at Roadburn (info here). No audio has surfaced yet, but with a release date set for April 24, that can’t be too far off. Will Tom G. Warrior push Triptykon further away from their Celtic Frost lineage? I don’t know, but if there’s beauty in darkness, he’s the one to find it. Triptykon on Thee Facebooks.

 

36. Truckfighters, Universe

Feb. 4 is the stated release date for Universe (review here), the fourth album from Örebro fuzzdudes Truckfighters. The Swedish three-piece explore ground that at the same time is more emotionally complex than their last outing, 2009’s Mania (review here), and also more straightforward in the songwriting, resulting in a collection of tracks not necessarily as upbeat as some of what they’ve done in the past, but ultimately working toward a different kind of realization. No doubt hard touring will follow throughout the rest of this year, so if you want to catch Truckfighters, you’re likely to get your chance. Truckfighters on Thee Facebooks.

 

37. Valley of the Sun, Electric Talons of the Thunderhawk

Like Truckfighters, Midwestern heavy rockers Valley of the Sun will issue their new album, the somewhat cumbersomely-titled Electric Talons of the Thunderhawk on Fuzzorama Records, and the two acts are slated to tour together in Europe from Feb. 8 through March 14 ahead of Valley of the Sun‘s April 1 release date. If you contributed to their crowdfunding campaign, you might already have a copy of Electric Talons of the Thunderhawk on vinyl, but either way, the official release is worthy of note, particularly for as much growth as the full-length (their debut) shows from 2011’s already-impressive The Sayings of the Seers (review here). Valley of the Sun on Thee Facebooks.

 

38. Weedeater, TBA

Not certain how to tell you this, but I’m not sure we’re going to see a new Weedeater album this year. Between the North Carolina sludgers’ busy tour schedule and Season of Mist reissuing their other four albums, it seems like an awful lot for Weedeater to then also write and record a follow-up to 2011’s Jason… the Dragon (review here). I’m not saying it can’t be done — hell, for all I know they’ve finished writing and the studio is booked — but if a new Weedeater arrives, although it was mentioned with their West Coast tour dates that start this week, right now it seems like it would be later in 2014 or maybe early 2015 by the time it gets here. Hey, I could be wrong. I’d prefer it that way. Weedeater on Thee Facebooks.

 

39. Wolves in the Throne Room, TBA

They put out BBC Session 2011 Anno Domini last year as a kind of holdover release, but last month brought news of new songs for 2014, which would be Wolves in the Throne Room‘s first since Celestial Lineage in 2011. They toured their heaviest yet that record, so a bit of a break wasn’t necessarily out of order, but for an act who inspire the kind of loyalty that Wolves in the Throne Room do, three years can be a long time. Not much by way of specifics on the new release, whether it’s a full-length or not, when they might record, where, or when it might surface, but we know they’ve got new material, and that’s a step. Wolves in the Throne Room’s website.

 

40. The Wounded Kings, Consolamentum

Due Feb. 24 on Candlelight, Consolamentum is the fourth long-player in the tumultuous career of British progressive doomers The Wounded Kings, who despite a seemingly endless series of lineup shifts have managed to release their four albums in a span of six years. With guitarist/founder Steve Mills at the core and the eerie but powerful vocals of Sharie Neyland over top, The Wounded Kings have tapped into a doom quick to separate itself from the pack, and Consolamentum conjures some of their most oppressive atmospherics yet, with expansive cuts like “Gnosis” and “The Silence” fed into by ambient passages and interludes. The Wounded Kings on Thee Facebooks.

 

41. Yawning Man, Gravity is Good for You

Desert legends Yawning Man released a split with Fatso Jetson in 2013 — only appropriate, since the two acts share Mario Lalli — but Gravity is Good for You, like whatever Acid King might have in store, is a holdover from last year’s list. Guitarist Gary Arce of the long-running and hugely influential instrumental jammers has reportedly been in the studio with Lalli and Third Ear Experience drummer Erik Mouness (video surfaced), but there’s yet to be concrete word on when Gravity is Good for You, reportedly a double album and the band’s follow-up to 2010’s Nomadic Pursuits (review here), might be finished. Got my fingers crossed it’s this year. Yawning Man on Thee Facebooks.

 

42. YOB, TBA

Feels like a terribly long way to go only to get to one of the albums I’m most looking forward to hearing, but the alphabet works in mysterious ways sometimes. On Jan. 7, Eugene, Oregon, überdoomers YOB posted the following on their Thee Facebooks: “Had an amazing YOB practice. The new songs are fully in focus. 2 mega DOOM bludgeoners, one “faster” song, and the most beautiful arrangement we’ve ever written to close. 4 songs, 55 minutes.” Last I heard, they were to begin recording for their seventh (man, time flies) LP this week with a release in the months to follow, and since YOB haven’t put out an album since 2004 that I didn’t pick it as my Album of the Year, you can bet your ass I’m looking forward to what they do next. Particularly that part about “the most beautiful arrangement we’ve ever written.” Sold. YOB on Thee Facebooks.

Others to keep an eye on, some mentioned above, some not:

Ararat, III (Another 2013 holdover)
The Atlas Moth, The Old Believer (Out in June)
Brant Bjork, Jakoozi
Blackfinger, Blackfinger
Godhunter, City of Dust
Ice Dragon (Some older releases are being physically pressed and new stuff is never far off)
King Buffalo (Their demo ruled)
King Dead (First audio just surfacing, but holds promise)
Lo-Pan (Been a while in the making at this point, hopefully 2014)
Pet the Preacher, The Cave and the Sunlight
The Proselyte (EP coming on Gypsyblood Records)
Rainbows are Free, Waves ahead of the Ocean
Saint Vitus (Began writing last Fall)
Salem’s Pot, Lurar ut dig på prärien
The Scimitar (Debut from Black Pyramid offshoot)
Seedy Jeezus (Recording in Australia now with Tony Reed)
Serpent Venom, Of Things Seen and Unseen
Spirit Caravan (Nothing announced but you never know)
Various Artists, Songs of Townes Van Zandt Pt. II
Wino & Conny Ochs (Maybe, maybe not)
The Wisdoom, Hypothalamus
Wo Fat (New album recorded)

I’m quite positive that the first thing to happen after this is posted is that someone will chime in with something I forgot. At least I hope that’s what happens. As large as this list has turned out to be (much, much larger than I thought it would be when I started taking notes for it), there’s no way it could cover everything, and I hope if there’s an upcoming release in particular that you’re looking forward to, you’ll please let me know in the comments.

Thank you so much for reading and for all of your support. Here’s to an amazing 2014.

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