Ancestors Sign to Pelagic Records; Stream Track from New Album Due this Summer

Posted in Whathaveyou on January 8th, 2018 by JJ Koczan

You should take the five-plus minutes to listen to the new Ancestors track. Seriously. It’s beautiful. It hasn’t been all that long since we last spoke about the Los Angeles progressive heavy rockers around here, reminiscing and waxing rhapsodic about their 2008 debut, Neptune with Fire (discussed here), but even in that post, I had half my mind on the prospect of what a new full-length from them might hold. My reason for that is my enduring affection for 2012’s In Dreams and Time (review here), which I consider one of the best albums released this decade.

And yes, I mean that. Not just spouting hyperbole. You’d be hard pressed to find a better amalgam of thoughtful, sonically-rich and emotionally resonant heavy anywhere. If you want to put it in context, it’s on a pedestal next to YOB‘s Clearing the Path to Ascend.

I mean that too. Pelagic Records seems like a good home for them, but frankly their next album could come directly shipped from the moon and I’d be happy as long as I got to hear it.

The PR wire ignites the imagination with the promise of things to come:

ancestors

ANCESTORS Joins The Pelagic Records Roster; New Track Streaming

Pelagic Records is pleased to welcome Los Angeles’ ANCESTORS to their eclectic roster for the release of their forthcoming new full-length.

ANCESTORS manifests mighty, modern music that dovetails innovative arrangement, crushing primordial riff interplay, and melodic instrumental passages with textural atmospherics. The band was forged in 2006. A deal with Tee Pee Records resulted in four critically acclaimed, expansive albums, which incorporated the heaviness of doom metal with the vast dynamics of post-rock, the structural elements of progressive rock, and the fluidity of psychedelic rock.

In the five years that have passed since the band’s last album, In Dreams And Time, they’ve continued to hone their craft in anticipation of their return to stage and wax.

“We’re honored to be joining the Pelagic Records family,” says guitarist/vocalist Justin Maranga. “We’re excited to start the next chapter of ANCESTORS and we believe that Pelagic is the perfect label to partner with on this adventure.”

ANCESTORS’ as-yet-untitled new full-length will see release this Summer. Stay tuned for details.

http://www.facebook.com/ancestorsband
http://www.pelagic-records.com/
http://www.facebook.com/pelagicrecords

Ancestors, “Gone”

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Friday Full-Length: Ancestors, Neptune with Fire

Posted in Bootleg Theater on November 24th, 2017 by JJ Koczan

Ancestors, Neptune with Fire (2008)

The timing of Ancestors‘ debut album, Neptune with Fire, is important to remember. This is by no means a complete context, but in particular, three factors stand out to my mind about its release in 2008: First, it was right before Thee Facebooks really started to take over the planet when it came to being the primary outlet for bands to communicate with their fanbase. MySpace at that point had kind of crapped the bed, but the shift hadn’t yet fully been made in terms of groups finding ways to promote themselves through Facebook, so it was kind of a grey area and a transitional period. The notion of a group talking directly to their fans via Twitter or Instagram, or effectively bringing their whole audience on tour via mobile updates, etc., was radically new and not at all nearly as widespread as it would become.

Second, Sleep hadn’t reunited yet, but there was basically an entire generation of new listeners waiting for them to do so, or waiting for someone to pick up that mantle and become that band, leading the charge for a weedian vision of stoner metal that, as we know, continues to be relevant nearly a decade later perhaps even more than it was at the time and certainly more than it was during Sleep‘s original run in the 1990s.

Third, Neptune with Fire was released by Tee Pee Records in August 2008. In the US, the presidential campaign that would elect Barack Obama was just really heating up, and about two months after this two-song full-length’s arrival, the prior seven years of needless war would catch up with and effectively bottom out the American economy, costing countless individuals (myself included) their jobs, bankrupting investments, semi-collapsing the housing market, and so on. To a degree that would resonate for years, shit hit the fan.

Despite all of this, I remember the response to Neptune with Fire being absolutely massive. Part of it, I think, relates to the second factor above — that there had just been this generational shift in the general heavy rock fanbase, and particularly as internet word of mouth was becoming more widespread about the existence of all this music to start with, listeners were looking for someone to spearhead a movement of new stoner rock. Along comes Ancestors out of Los Angeles with this massive two-song/38-minute debut album (actually it was their demo that got picked up and issued as a full-length), topped with Arik Roper art and a vibe that not only captured huge and lumbering riffs in its extended component cuts, “Neptune with Fire” (16:47) and “Orcus’ Avarice” (21:38), but added to that a sense of spaciousness and atmosphere, as each of those songs boasted a sprawling break in its midsection, side A with a lengthy foray into psychedelic trancemaking and side B with a more progressive roll topped with ambient and operatic vocalizations. Neptune with Fire captured the core righteousness of the heavy rock and roll of the decade prior — clearly those lessons had been learned — but carried forward into something new of which its audience could take ownership. They could make the sound theirs, just as the band was doing.

Thing of it is, though — Ancestors never really wanted to be that band. With their second record, 2009’s Of Sound Mind (review here), they’d distance themselves almost immediately from the lumbering riffcraft of Neptune with Fire and especially the title-track thereof. One can hear shades in “Orcus’ Avarice” of the post-rock vibes they’d elicit on the subsequent Invisible White EP (review here) in 2011 and the progressive soundsculpting they’d do on 2012’s aesthetic triumph In Dreams and Time (review here), but though it was just the beginning of the departure, their sophomore outing nonetheless sent a clear signal that Ancestors were going to be a different kind of outfit than people might be expecting.

Guitarist/vocalist Justin Maranga spoke directly about this in an interview here back in 2012:

I think people thought we were gonna be a stoner rock band. And I think it put us in that hole where we constantly still get referred to as a stoner rock band, and I don’t think we’re that at all. Are we music for stoners? Yeah, but so’s jazz, and I can say without a doubt that we all listen to 50 times more jazz than we do stoner rock. None of us really listen to stoner rock.

I mean, I like Sleep, I like Kyuss, and a good stoner rock band comes out once in a while, but to me, it’s a genre full of retread. That’s not exciting to me. I don’t know where I would put us, genre-wise, but we definitely got lumped into the stoner rock genre, and I won’t say that we’ve gone out of our way to spite it ever since, but there doesn’t really seem to be a way out… I feel like you can’t escape from where you started.

And Neptune’s a cool record, it’s just not really us anymore. I like the song “Neptune with Fire” a lot. “Orcus Avarice” we’re never going to play again – it’s just not us. But it’s not a bad record, it’s just I feel like we’ve grown up a little bit.

Ancestors would not be the first or the last band to exist in the shadow of their first offering and the expectations it set up on the part of their listeners, but this is also where the other two factors come in. Very soon after Neptune with Fire‘s release, the entire world seemed to slam into a wall. All of a sudden, money to go out drinking at shows was nil, and the impetus to do so became less drastic anyway with the proliferation of online/mobile engagement with artists. Fact of the matter is Ancestors that whatever else they had going for them in terms of songwriting and the will toward sonic growth — and that’s plenty, to be sure — Ancestors were never much for self-promotion. Did they ever tour the Eastern Seaboard? I’m not sure they did. I’d finally see them at Roadburn 2012 (review here), and I continue to feel fortunate for having done so, but they were never one of those bands who seemed to have an Instagram post up about it every time one of the dudes cut a fart. You know the kind of bands I’m talking about. Ancestors were always more keen to let the music do the talking for them, and mind you that’s not necessarily a negative.

Rumors have been abound of a fourth Ancestors long-player over the last couple years, and back in August, the band posted a new track called “Gone” that they said would open the album, to be released in 2018. Stranger things have certainly happened. In the meantime, they started their own label, Dune Altar (discussed here), and have used it not only to reissue Neptune with Fire on tape, but to act as an outlet for members’ other projects as well, so they’ve been keeping busy one way or the other. As a fan of their work and someone who thought In Dreams and Time was not only their greatest accomplishment but one of the best records of this decade — yup, I mean it; it’s on the list — obviously the concept of a follow-up is one I’d find duly intriguing. We’ll see how it goes, I guess.

Until then, and as always, I hope you enjoy Neptune with Fire for what it is and for the depth, richness and heft it brings to bear. Thank you for reading.

Yesterday was Thanksgiving here in the US — a holiday with a troubled historical foundation that’s manifest basically as an excuse to get together with loved ones and enjoy a ridiculously proportioned meal. If you’ve been reading these posts, you know I’ve been having some food issues of late. I made myself a protein shake and The Patient Mrs. made me some low-carb scones for dessert and that was my Thanksgiving dinner. After a breakfast of protein powder in coffee, I skipped lunch — which would’ve been the same thing anyway — on account of traveling to Connecticut, where we were to dine with her family at their house and with my family, up from New Jersey. And yeah, no turkey or anything else for me. I sat at the table for basically as long as I could do so with my shake and then kind of had to vacate.

The day ended with The Patient Mrs. asking me if I wanted to talk to a therapist, so perhaps not my best showing. I told her yes, incidentally. I’ve been through one therapy cycle in my life and didn’t get much from it, but I’ve been on antidepressants for about the last six months now, maybe longer, and I kind of feel like I owe it a little bit to The Pecan to at least take as many steps as I can take toward not being a miserable bastard and infecting him with my negative point of view. Or at least do something to mitigate it. A step my own father never took. Call it generational progress.

Better yet: don’t.

So let’s talk about next week. I was supposed to do an album stream on Monday, but the band put the record up on Bandcamp in its entirety, so there goes that. I don’t know yet how that’ll shake out, if they’ll take it down and we’ll just pretend they didn’t already share it on Facebook, etc., or if I’ll review something else, but whatever. Plenty of fish in the sea as regards stuff needing review. The point, as ever, is that the notes are subject to change. Here they are:

Mon.: Les Lekin review/stream OR Uncle Acid Vol. 1 review; Monarch ticket giveaway.
Tue.: Eggnogg Six Dumb Questions & track premiere; Sun Voyager video premiere.
Wed.: Slow review; The Atomic Bitchwax video.
Thu.: Eternal Elysium reissue review; Cyanna Mercury video.
Fri.: Stahv track premiere; Merlin video premiere.

Busy busy, but that’s how I like it, apparently.

Was up at four this morning with The Pecan, who needed changing. The Patient Mrs. handling the feeding, I’ve been doing the bulk of the diapers still the last couple weeks. That’s fine. She gets more time with him at this point but I imagine that equation will change once he’s on a bottle and she goes back to work and so on. These things are fluid anyway, though I’ll admit I’m jealous of the quality time they spend. A shitty diaper ain’t no thing, though. I’ve gotten pretty good at catching the Rocketass output and for the most part the fountain around front is contained too, so yeah. The boy likes waiting until the diaper comes off to really go to town. We all have our preferences.

For what it’s worth, he did better at Thanksgiving than I did, so I take that as an encouraging sign.

I hope you have a great and safe weekend. If you’re the kind of go out and do post-Thanksgiving holiday shopping, be kind to retail employees. I worked retail for years at a toy store and it’s hard, especially right now, and a little basic courtesy can really go long in helping someone get through their day. Just something to keep in mind. Whatever you’re up to though, enjoy it as much as you can.

And as always, thanks again for reading. Please check out the forum and the radio stream.

The Obelisk Forum

The Obelisk Radio

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Völur Announce Ancestors LP out June 2; New Song Streaming

Posted in Whathaveyou on May 9th, 2017 by JJ Koczan

volur

Toronto-based rune-doomers Völur are gearing up to release their second album, Ancestors, June 2 on Prophecy Productions. To herald its coming, the band has unveiled the 10-minute second track “Breaker of Skulls,” which as you can see below is one of the four included cuts, all of which features a “Breaker” of some kind or other.

Symmetry of presentation would seem to be something of a running theme for the band, which features Blood Ceremony‘s Lucas Gadke, as “Breaker of Skulls” and “Breaker of Oaths” — which also tops 10 minutes — are bookended by “Breaker of Silence” and “Breaker of Famine,” both of which are even longer at over 15 minutes. I haven’t had the chance to dig into the full record yet, but I’m guessing from what I’m hearing in “Breaker of Skulls” below that it’s doomed as hell, and yeah, I’ll take that.

Art, info and audio follow here, all courtesy of the PR wire:

volur ancestors

VÖLUR to Release New LP, ‘Ancestors’, June 2; Band Debuts New Song “Breaker of Skulls”

Toronto-based experimental doom trio VÖLUR will release its sophomore album, Ancestors, on June 2 via Prophecy Productions. Produced by the band and mixed by Charles Spearin (Broken Social Scene), Ancestors is the follow-up to VÖLUR’s celebrated debut, Disir.

“‘Breaker of Skulls’ is a dark, sludgy slab of doom inspired by the ancient Icelandic warrior poet Egil Skallagrímsson, a man who fought terrible battles across the North Sea,” comments the band. “He was at once barbarous and poetic. A man who would commit a brutal act of violence and then recite a beautiful poem immediately after. The song was inspired by his epic poem, ‘The Loss of My Sons’. It moves from a combative, gnarly sludge riff to a bittersweet and almost beautiful conclusion, all the while filled with yearning chromatic movement. The piece finds the band at its most aggressive, and almost its most experiment with disjointed improvised passages paired against bleak heavy doom.”

Just as the band’s debut, Disir, dealt with themes surrounding female figures from mythology, Ancestors focuses on the heroine’s male counterparts and is the second part of a planned four album series spotlighting various elements of the old Germanic spiritual world. VÖLUR’s songs are long, quasi-narrative pieces that feature Laura C. Bates’ violin assuming the role traditionally executed by a guitar, allowing the bass playing of Lucas Gadke (also of Blood Ceremony) to take on unique responsibilities in both lead and melodic roles while drummer Jimmy Payment (Do Make Say Think) feeds the band’s bombastic, crushing oomph. Doom music (not necessarily metal) is about slow contemplation and the transfixing power of heaviness and VÖLUR’s weighty riffs, layers of feedback, dynamic, angular melodies and moments of beauty give heed to the band’s promise to always seek newer modes of musical expression and discovery.

Moving between high-tension heaviness and beautiful pastoral moods, VÖLUR aims to reflect the world of primordial nature inspired by ancient myths and chilling poems of death and heroism. Ancestors shares the stories and sagas of great men from the past that have been shrouded by the obscurity of time while simultaneously spotlighting one of North America’s most ambitious and striving young acts.

Track listing:
1.) Breaker of Silence
2.) Breaker of Skulls
3.) Breaker of Oaths
4.) Breaker of Famine

https://www.facebook.com/VolurDoom/
https://twitter.com/VolurDoom
https://www.instagram.com/volurdoom/
http://us.prophecy.de/artists/voelur/
https://www.facebook.com/prophecyproductions/

Völur, “Breaker of Skulls”

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Ancestors Reissue Neptune with Fire on New Label Dune Altar

Posted in Whathaveyou on May 10th, 2016 by JJ Koczan

ancestors (Photo by Darrel D'Itri)

I don’t know how many tapes are left, but Los Angeles progressive heavy rockers Ancestors have reissued their riffy 2008 debut, Neptune with Fire, via their newly unveiled imprint Dune Altar, and if you haven’t heard that record (it was also their demo), it basically presaged all the Sleep-style stoner epicness that has become so de rigueur the last couple years by at least half a decade. Comprised of two extended tracks and originally issued through Tee Pee Records, it legitimately brought something new to ‘heavy’ that had been, at that point, lacking.

Dune Altar will reportedly serve as a releasing base for Ancestors‘ past work, as well as solo offerings and other projects. The band’s last album, 2012’s In Dreams and Time (review here), had a scope that few records I’ve heard since came close to matching, and from what I hear there’s new stuff in the works as well that will hopefully be out (or at least in my inbox) sooner rather than later. Across all their offerings to-date, Ancestors have never lost their drive to keep growing and adding something new to the mix. In Dreams and Time wound up a long ways away from where Neptune with Fire started out, but it’s been the force of the creativity behind it that has ultimately united everything Ancestors have done up to now.

If you’re wondering, I went for the bundle with the tape, the t-shirt and the split 7″ with Graveyard. Couldn’t resist. Also didn’t want to:

ancestors-neptune-with-fire

ANCESTORS – NEPTUNE WITH FIRE CASSETTE

Cassette reissue release with bonus track

Limited to 150

‘Neptune With Fire’ was the 2008 debut release from Los Angeles-based band Ancestors.

‘Neptune With Fire’ is a concept album that tells of the metaphorical trials of Orcus and Neptune, respectively, and their cosmic, psychological journey through war, celebration, remorse and revelation. The character of Neptune was written as an immortal personification of the mortal man, and for the band, his plight was conceived of as a way of realizing their own epistemological struggles.

Since the release of this now out-of-print album, Ancestors has continued to create new and innovative music. But it all starts here.

https://www.facebook.com/ancestorsband/
http://ancestorsmusic.com/
https://www.facebook.com/dunealtar/
http://dunealtar.bigcartel.com/products

Ancestors, Neptune with Fire (2008)

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The Debate Rages: What are the Best Songs of the Last Five Years?

Posted in The Debate Rages on July 10th, 2015 by JJ Koczan

what are the best songs from the last five years

Mostly around here I concentrate on albums. Best albums of the year. Best albums of the decade. Still, kind of on a whim this morning I was thinking about the shape of heavy of the last half-decade — or rather, the shapes of it.

Different scenes moving in various directions, the emergence of the Pacific Northwest as a hotbed, the growth of West Coast psych and how in-conversation that seems to be both with California’s skater past and the current European market, itself branched out between heavy psych and ’70s traditionalism, which has also begun to take root throughout the US while, at the same time, a new generation has come up to embrace full-on stoner riffing and/or desert rock ideals.

While I have my album lists going back six years to refer to, this time around, I was wondering specifically about individual songs from the same era. What are the best songs from the last five years?

It’s not always the best album that has the best single piece of work on it, so it seemed worth asking the question separately.

Me, I go in for epics: YOB‘s “Marrow” (2014), Ancestors‘ “First Light” (2012), Colour Haze‘s “Grace” (2012), Hypnos 69‘s “The Great Work” (2011), Witch Mountain‘s “Can’t Settle” (2014), Elder‘s “Lore” (2015) definitely is worth having in the conversation, Solace‘s “From Below” (2010), Grayceon‘s “We Can” (2011), and so on.

But then you have Uncle Acid and the Deadbeats‘ “I’ll Cut You Down,” which has had a massive influence since it came out in 2011. And what about a cut like Clutch‘s “D.C. Sound Attack,” or Goatsnake‘s “Grandpa Jones,” or Graveyard‘s “Ain’t Fit to Live Here,” or Mars Red Sky‘s “Strong Reflection?” Does a track have to be long to make an impact? What if there’s a perfectly-executed two-minute verse/chorus trade? Shouldn’t that also be considered?

I guess that’s the question.

We haven’t done one of these in a while, so I’m hoping you’ll take the time to add your answers and picks for the best songs of the last five years 2010-2015 in the comments to this post. I know we’re not through 2015 yet, but we’re just trying to have some fun anyway.

Thanks to all who take the time to leave a note in the comments below.

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Red Fang, Weedeater, Elder and More Confirmed for CA’s Day of the Shred on Nov. 1

Posted in Whathaveyou on October 16th, 2014 by JJ Koczan

day of the shred banner

A Day of the Dead-concurrent companion for earlier this year’s Psycho de Mayo fest, Santa Ana, California’s Day of the Shred has assembled an unfuckwithable lineup of East and West Coast acts — go ahead and picture Ancestors and Elder on the same show, or Red Fang and Weedeater headlining with Hot Lunch and All Them Witches jamming out prior — for an all-dayer that promises hearses, skating and volume in good measure. Oh yeah, and Bongripper‘s gonna be there. Fucking hell it’s a solid bill. I don’t know what time they’re getting started on Nov. 1 but there are enough acts included to fill two stages and then some, so if you’re fortunate enough to find yourself in that part of the world come the Dias de los Muertos, Day of the Shred seems like one to mark on the calendar. Assuming there are still tickets available by the time the day actually arrives.

All the more staggering is that Radio Moscow will be flying out West from being on tour with Pentagram, Bang and Kings Destroy (the latter of whom I’ll be accompanying on the road) and then coming back east afterwards. No stopping the boogie, it would seem.

Dig the lineup and info for the fest below, courtesy of the PR wire:

 

day of the shred poster

From the creators of Psycho De Mayo…THIEF brings to life the first annual DAY OF THE SHRED – an all-day music festival celebrating megalithic riffs, skateboarding, and the souls of the departed. Join us this Dia De Los Muertos as we gather the living and raise the dead.

The forces behind Thief are preparing a bountiful sacrifice for the extinguished souls at this year’s inaugural DAY OF THE SHRED. Paying tribute to the fallen, Earthquaker Devices has teamed up with Thief and Arik Roper to birth an exclusive festival edition fuzz pedal, entitled; “The Grim Reefer.” The cool ghouls over at KR3W are hosting an open air skate jam and giving concert goers the opportunity to shred the dead on their mini ramp. Screen printed textiles both wearable and collectible will be available on November 1st, including a 9-color design by David D’Andrea and additional prints by UK legend, Godmachine. Vintage hearses will consume the blacktop of the Observatory and vagabond moto maidens: Babes Ride Out will also be in attendance morphing into the “Babes Of The Shred.” Thrasher Magazine will serve as the festivals official media partner, while Midnite Collective completes the festival’s ouroboros with a panorama of genres and audiences. On November 1st, these leaders in ceremony will unite to gather the living and raise the dead.

The Observatory in Santa Ana
3503 S. Harbor Blvd
Santa Ana, CA

Red Fang
Weedeater
Windhand
Elder
Bongripper
ASG
Radio Moscow
The Shrine
Danava
Graves At Sea
Glitter Wizard
Ancestors
Hot Lunch
Arctic
Goya
All Them Witches
(16)
Trapped Within Burning Machinery
Greenbeard

http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=5312945&pl=observatory
www.DayOfTheShred.com
https://www.facebook.com/events/1437936696479204/
www.instagram.com/thiefpresents
https://www.facebook.com/Thiefpresents

The Shrine, Live at Psycho de Mayo 2014

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Southwest Terror Fest Starts Tonight

Posted in Whathaveyou on October 10th, 2013 by JJ Koczan

If you’re gonna book your flight to get to Tucson for the Southwest Terror Fest, you might want to get on it. There are only a few hours left till the four-dayer kicks off and time’s a wastin’! There’s a good chance this’ll be the only all-ages show some of these bands play this year,  so for the kids, all the better, but even for an aged cave ogre such as myself, an assemblage that culls toghether Kylesa, Ancestors (one day I will bring them East for a show and it will be glorious; mark my words), SubRosa and Red Fang is worthy of note. In just their second year out, the Southwest Terror Fest crew have not only outdone what they were able to make happen last year, but set the bar pretty high for 2014. Would be nice to make the trip to the desert one of these days…

Until then, I live vicariously through the PR wire:

SOUTHWEST TERROR FEST – Year Of The Snake; Four Days Of Mayhem Takes Over Tucson Tonight

SOUTHWEST TERROR FEST 2013: Year Of The Snake, the second annual installment of the Tucson-based extreme underground music gathering featuring over sixty bands in four days, begins tonight.

A fully DIY undertaking, envisioned and organized by Tucson-based sludgecore instigators GODHUNTER, the SOUTHWEST TERROR FEST is a low-cost event for all ages and brings a one-of-a-kind festival to the Southwestern sector of America. Following the dominant 2012 debut of SWTF, this year’s installment of the now annual outing has more than doubled in duration and has expanded to include a more sizable roster of national acts and dozens more crushing newcomers.

Beginning tonight, October 10th, and running through Sunday the 13th at The Rock, the SOUTHWEST TERROR FEST 2013: Year Of The Snake lineup features Sacred Reich Vehemence, Kylesa, Red Fang, Demon Lung, Ancestors, Subrosa, Landmine Marathon, Early Graves, Theories, Transient, Pinkish Black, Helms Alee, Dog Shredder, Children Of God, ACxDC and literally dozens of other acts hailing from across the vast extreme music subgenre spectrum.

SOUTHWEST TERROR FEST 2013: Year Of The Snakeis sponsored by Earsplit PR, Moon Smoke Shops, Lace Pickups, Cvlt Nation, Zombie Effects Lab, Ear/Splitters, Axe Of Contrition, Acid Reflux Records, Violent Resonance.com, Lindy’s on 4th, Black Rose Tattoo and Sticks N’ Strings Music Center

Any metalhead with an internet connection can stay current with the fest action via Cvlt Nation who will be running day-to-day coverage throughout the entire ordeal.

SOUTHWEST TERROR FEST 2013: Year Of The Snake
10/10-13/2013 The Rock – Tucson, AZ

Thursday, October 10th: Kylesa, Pinkish Black, Sierra, Ancestors, Demon Lung, Godhunter, Anakim, Vanish Twin, Goatroper

Friday, October 11th: Sacred Reich, Landmine Marathon, Vehemence, Transient, Magguts, Cave Dweller, Angelic To Ashes, Necrambulant, Sovereign, Our Daily Trespasses, Lethal Dosage, Casket Birth, Kvasura, Evasion, Eight Legged Horse, Napalm Strike

Saturday, October 12th: Red Fang, Helms Alee, Dog Shredder, Subrosa, Deathkings, Crankbait, Aseethe, Thorncaster, North, Sorxe, Goya, Ladybird, Oryx, Skulldron, Bhorelord, Acidalia, Funerary, Methra, Conqueror Worm, Destroy Her

Sunday, October 13th: Early Graves, Children Of God, Theories, ACxDC, Lost Lands, GAT ROT, Territory, Inoculara, Magnum Force, Sex Prisoner, Seas Will Rise, Sorrower, American Standards, Biocidio, Berith, Freedom Assault, Swamp Wolf, Wookiee Rage, Get A Grip, SLUG

http://southwestterrorfest.bigcartel.com
https://www.facebook.com/southwestterrorfest

Godhunter, Wolves (2011)

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Revisiting the Top 20 of 2012

Posted in Features on June 27th, 2013 by JJ Koczan

They always say you there’s no going back. I don’t know who they are, but they’re right. As I searched back through posts to find the Top 20 of 2012, I realized it had been way too long since I heard some of these records. It’s so easy to get caught up with what’s current and what’s coming next that sometimes I forget to actually listen to albums I already enjoyed. That happened a couple times along the way.

When a year ends and the lists start coming out, it’s like records as numbered, stocked and then forgotten. I guess I’m guilty of it too. With that in mind, here’s a quick revisit to what I had as my favorites of 2012:

The Top 20 of 2012 Revisited

20. Mos Generator, Nomads
I can’t even look at this album cover without hearing the chorus to “Lonely One Kenobi” play in my head. Still a sentimental favorite.

19. Golden Void, Golden Void
Haven’t put it on in a while, but probably should.

18. Wight, Through the Woods into Deep Water
Ditto. This record was great and if I made the list today, it would probably be higher than it is here.

17. Lord Fowl, Moon Queen
Didn’t I start this week off with Moon Queen? Well, I guess it’s pretty fresh on my mind.

16. Pallbearer, Sorrow and Extinction
I’ve seen them three times so far this year and they’ve delivered each time, but haven’t put on the album itself in a while. Still looking forward to new stuff though.

15. Kadavar, Kadavar
I think I’ve had more fascinating conversations about Kadavar than any other band in the last year. So many opinions, so widely varied. I dig the self-titled, will probably have the follow-up on my list at the end of 2013. Nuclear Blast needs to bring them over to tour, maybe opening for Witchcraft?

14. Stubb, Stubb
Yay fuzz! Catchy songs, easy formula, well structured and impeccably performed.My favorite straight-up heavy rock record of 2012.

13. Orange Goblin, A Eulogy for the Damned
Hard to fuck with these dudes. The production here was a presence, but the songs still hold up.

12. Ararat, II
No shit, I live in terror of having Ararat release their third album and missing it. Like all of a sudden the album will have been out for three months and I’d have no idea.

11. Ufomammut, Oro
Haven’t listened to Opus Primum or Opus Alter since. Can’t help but think if Oro was released as one record, I’d put it on from time to time.

10. Conan, Monnos
I put this in the top 10 for a reason. Because it’s fucking ridiculously heavy. I stand by my reasoning. Looking forward to their new one.

9. My Sleeping Karma, Soma
An album I couldn’t manage to put down even when I wanted to, and one I still pick up from time to time. Glad I finally gave in an bought a copy to get away from the shitty digital promo version.

8. Graveyard, Lights Out
Maybe I burnt myself out on this? I went on a binge after their show in January for a bit and then put Lights Out away and that was that.

7. Saint Vitus, Lillie: F-65
Every time I’m in a record store, flip through the Vitus selection and see my quote on the sticker on the front of the jewel case of Lillie: F-65, I feel like an entire decade of shitty career decisions is justified. No bullshit.

6. Ancestors, In Dreams and Time
Brilliant. Mostly brilliant for closer “First Light,” but that song was brilliant enough to get this spot on the list anyway.

5. High on Fire, De Vermis Mysteriis
Hard to argue with its intensity. Not much staying power as I would’ve thought, but god damn that’s a heavy record.

4. Neurosis, Honor Found in Decay
An overwhelming listen. I have to prepare my head for putting it on, but I continue to find it worth the effort.

3. Greenleaf, Nest of Vipers
It was the highlight of my year last year to see this material live. Greenleaf have a new lineup now and another album in the works, but if Nest of Vipersis how the last one was going out, they killed it.

2. Om, Advaitic Songs
Sometimes I fantasize about living in a temple where I wake up and Advaitic Songs is playing every day. That is 100 percent true.

1. Colour Haze, She Said
I’d probably listen to it even more if it was on one CD, but god damn, this record is amazing. Another one that’s kind of overwhelming, but it gets regular play as I expect it will continue to do into perpetuity.

All in all, pretty great year. Some stuff that’s fallen by the wayside, but a few landmarks as well that have carried over, and more importantly, some that seem like they’ll continue to carry over and grow in appeal as more time passes. Wight should’ve been higher on the list, but other than that, I’ll take it.

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