Posted in Features on June 27th, 2013 by H.P. Taskmaster
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.
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 Primumor Opus Altersince. 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 Outaway and that was that.
7. Saint Vitus, Lillie: F-65
Every time I’m in a record store, flip through the Vitus selectionand 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 Songsis 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.
Posted in Features on January 15th, 2013 by H.P. Taskmaster
Last year was a monster. You might say I’m still catching up on reviews for records that came out in October. Yet here we stand in 2013. It’s a whole new year and that means instead of looking back at some of the best releases, it’s time to look ahead and nerd out at what’s to come. Frankly, either way is a good time, but with some of what’s included on this list, 2013 has the potential to be yet another incredible year for lovers of the heavy.
Across a range of genres and subgenres, there are bands big and small, known and unknown, getting ready to unleash debuts, follow-ups and catalog pieces that by the time December rolls around, will have defined the course of this year. It’s always great to hold an album in your hands, to put it on and listen to it for the first or 19th time, but part of the fun is the excitement beforehand too, and that’s where we’re at now.
Some of these I’ve heard, most I haven’t, and some are only vague announcements, but when I started out putting this list together, my plan was to keep it to 10 and I wound up with twice that many because there was just too much happening to ignore. The list is alphabetical because it doesn’t make any sense to me to rate albums that aren’t out yet, and I hope if you find something you’d like to add, you’ll please feel free to leave a comment below.
Thanks in advance for reading, and enjoy:
Acid King, TBA
We begin with only the basest of speculations. Would you believe me if I told you that 2013 makes it eight years since the heavier-than-your-heavy-pants San Francisco trio Acid King released their last album, III? Of course you wouldn’t believe me. You’d be like, “Dude, no way,” but it’s true. Eight friggin’ years. They’ve hinted all along at new material, toured Europe and played fests in the States like Fall into Darkness, but really, it’s time for something new on record. Even an EP. A single! I’ll take what I can get at this point, so long as it’s Lori S. riffing it.
Chances are, the above isn’t the final art for Argentinian Los Natas-offshoot Ararat‘s forthcoming III, but frontman Sergio Chotsourian has posted a few demos over the last several months and the logo image came from that. Either way, with as far as last year’s II(review here) went in expanding their sound, I can’t wait to hear the final versions of the tracks for the next one. They’re still flying under a lot of people’s radar, it seems, but Ararat are quickly becoming one of South America’s best heavy psych acts. Do yourself a favor and keep an eye out.
Brooklyn trio Bezoar‘s 2012 debut, Wyt Deth, might have been my favorite album that I never reviewed last year, and needless to say, that’s not a mistake I’m going to make twice. The new songs I’ve heard the three-piece play live have ruled and an alliance with engineer Stephen Conover (whose discography includes Rza and Method Man) is intriguing to say the least. I’m sure whatever Bezoar come out with, the performances from bassist/vocalist Sara Villard, guitarist Tyler Villard and drummer Justin Sherrell will be as hard to pin down as the debut was. It’s a record I’m already looking forward to being challenged by.
Blaak Heat Shujaa, The Edge of an Era
Due out April 9, Blaak Heat Shujaa‘s The Edge of an Era will mark the full-length debut for the ambitious trio (now based in L.A.) on Tee Pee Records following on the heels of the impressive The Storm Generation EP (review here). From the Scott Reeder production to the band’s engaging heavy psych/desert rock blend, this one seems bound to win Blaak Heat Shujaa a lot of new friends, and if the advance EP is anything to go by, The Edge of an Eracould prove to be aptly-titled indeed.
Black Pyramid, Adversarial
No release date yet, but so far as I know, Adversarial, which is Massachusetts doom rockers Black Pyramid‘s third album and first to be fronted by guitarist/vocalist Darryl Shepard, is recorded, mixed and mastered. Song titles include “Swing the Scimitar,” “Onyx and Obsidian,” “Issus,” “Bleed Out” and “Aphelion” (the latter was also released as a limited single in 2012 by Transubstans as a split with Odyssey), and having seen the band live with this lineup, expect no less than a beheading. Also watch for word from the recently announced side-project from Shepard and bassist Dave Gein, The Scimitar.
Black Sabbath, 13
There was a bit of a shitstorm this past weekend when the title of Black Sabbath‘s first Ozzy Osbourne-fronted album since 1978 was revealed in a press release. Nonetheless, 13is set for release in June and will feature Brad Wilk of Rage Against the Machine on drums in place of Bill Ward, who last year was engaged in a well-publicized contract dispute with the band. Bummer though that is and as crappy and generic a title as 13 makes — especially this year — let’s not forget that Heaven and Hell‘s The Devil You Know also had a crap title and it was awesome. I’m not sure if I’m willing to stake anticipation on the difference between the vocals of Ronnie James Dio circa 2010 and Ozzy Osbourne in 2013, or Rick Rubin‘s production, but hell, is Geezer Butler playing bass on it? Yes? Well, okay then, I’ll listen. The world can do a lot worse than that and another batch of Tony Iommi riffs, whatever else may be in store.
Clutch, Earth Rocker
It’s a ripper. With Earth Rocker, Clutch reunite with Blast Tyrant producer Machine and the results are a record varied enough to keep some of the recent blues elements of the past couple albums (“Gone Cold”) while also showcasing a reinvigorated love of straight-up heavy rock numbers on tracks like “Crucial Velocity,” “Book, Saddle & Go” and “Cyborg Betty.” Longtime Clutch fans can expect a bigger guitar sound from Tim Sult, killer layering and much personality from vocalist Neil Fallon and yet another stellar performance from the best rhythm section in American heavy, bassist Dan Maines and drummer Jean-Paul Gaster. No doubt in my mind it’ll prove one of the year’s best when 2013 is done. Once more unto the breach!
Devil to Pay, Fate is Your Muse
Last month, I hosted a Devil to Pay video premiere for the Indianapolis-based rockers’ new track, “This Train Won’t Stop,” from the 7″ single of the same name that precedes the release of their Ripple Music debut full-length (fourth overall), Fate is Your Muse. If the 575-plus Thee Facebook “Likes” are anything to go by, anticipation for the album is pretty high. Reasonably so. When I saw Devil to Pay at last year’s SHoD fest, the new material was killer and the band seemed more confident than ever before. Stoked to hear how that translates to a studio recording and how the band has grown since 2009′s Heavily Ever After.
Egypt, Become the Sun
Technically speaking, Become the Sun is the full-length debut from North Dakota doomers Egypt. The band released their self-titled demo through MeteorCity in 2009 (review here), were broken up at the time, and reassembled with a new guitarist for Become the Sun– which is the only album on this list to have already been reviewed. I don’t know about a physical release date, but it’s available now digitally through iTunes and other outlets, and however you do so, it’s worth tracking down to get the chance to listen to it. Underrated Midwestern riffing, hopefully with a CD/LP issue coming soon.
The Flying Eyes, TBA
Currently holed up in Lord Baltimore Studios with producer Rob Girardi, Baltimore’s The Flying Eyes are reportedly putting the finishing touches on the follow-up to 2011′s immersive Done So Wrong, an album full of young energy and old soul. Along with Blaak Heat Shujaa above, I consider these dudes to be right at the forefront of the next generation of American heavy psych and I’m excited to hear what kind of pastoral blues works its way into their tracks when the album finally gets released. They’re a band you’re probably going to hear a lot about this year, so be forewarned.
Gozu, The Fury of a Patient Man
The melodicism of Boston-based Gozu‘s second Small Stone full-length, The Fury of a Patient Man (I swear I just typed “The Fury of a Patient Mrs.”) is no less striking than its album cover. I’ve had this one for a while, have gotten to know it pretty well and my plan is to review it next week, so keep an eye out for that, but for now, I’ll just say that the sophomore outing is a fitting answer to the potential of Gozu‘s 2010 debut, Locust Season (review here) and marks the beginning of what already looks like another strong year for Small Stone. I never thought I’d be so into a song called “Traci Lords.”
Halfway to Gone, TBA
What I’d really like to see happen is for Halfway to Gone – who are high on my list of New Jersey hometown heroes and who haven’t had a new LP out since their 2004 self-titled — to put out a new record in 2013, for it to lay waste to everyone who hears it, and for the band to finally get the recognition they’ve long since deserved. I’ve been charged up on revisiting their three albums since I saw them at the Brighton Bar this past July and after a long wait, rumors, breakups, makeups, etc., I’ve got my hopes up that this year is when these dudes pull it together and make a new one happen. It’s been too long and this band is too good to just let it go.
Kings Destroy, TBA
Confession time: I have the Kings Destroy record. I’ve had it for a bit now. It rules. I don’t know when you’re gonna hear it, but it’s strange and eerie and kind of off the wall stylistically and it doesn’t really sound like anything else out there. Last I heard they’re looking for a label, and whoever ends up with it is lucky. I use a lot of descriptors for bands and their albums, but rarely will I go so far as to call something unique. This album is. If you’ve had the chance to check out songs like “The Toe” and “Turul” live, you know what I’m talking about, and if you haven’t, then stick around because with all the sessions I’ve had with the tracks, I still feel outclassed by what these guys are doing. Shine on, you doomed weirdos.
The Kings of Frog Island, Volume IV
I keep going back to the video for “Long Live the King” that Leicester, UK, fuzz rockers The Kings of Frog Island put up back in October. No, really, I keep going back. It’s a good song and I keep listening to it. Just about any other details regarding their fourth album and first without guitarist/vocalist Mat Bethancourt (Josiah, Cherry Choke), Volume IV, are nil, but periodic updates on the band’s Thee Facebooks have it that progress on the recording is being made, and in the meantime, I don’t seem to have any trouble paying return visits to “Long Live the King.” Hopefully Elektrohasch stays on board for a CD release, and hopefully it happens soon.
Several times over the last couple months I’ve had occasion to say it to people and I’ll say it here as well: I think Lo-Pan are the best American stoner rock band going right now. I was interested to see how they handled the bigger stage for their opening slot for High on Fire and Goatwhore (review here), and as ever, they killed. I haven’t the faintest idea what their recording plans might be, if they’ll even sit still long enough to put an album to tape in time to have it out in 2013 — I suspect it depends on what tour offers come up in the meantime — but new songs “Colossus” and “Eastern Seas” bode well for their being able to continue the course of momentum that the excellence of 2011′s Salvador(review here) and all their hard work before and since has put them on.
Queens of the Stone Age, TBA
It probably wouldn’t be fair to call the upcoming Queens of the Stone Age album a reunion between Josh Homme and Dave Grohl since the two also played together in Them Crooked Vultures and Grohl only drummed on Songs for the Deaf, but it’s exciting news anyway and could mean good things are coming from QOTSA, whose last outing was 2007′s comparatively lackluster Era Vulgaris. The big questions here are how the time apart from the band may or may not have affected Homme‘s songwriting and where he’s decided he wants to take the Queens sound. We’ll just have to wait and see.
Sungrazer & The Machine, Split
With the Strikes and Gutters tour already booked to support it (dates above; or here), Dutch upstart heavy psych jammers The Machine and Sungrazer have teamed up for a split release as well that’s bound to feature some of the year’s best fuzz. The two bands have a lot in common, but they’re pretty distinct from each other sonically too, and with The Machine guitarist/vocalist David Eering helming the recording, you can safely bet it’ll capture the live, jammy feel both groups share. Latest word has it that the mastered tracks are in-house, so watch for more to come as we get closer to the Valentine’s Day launch of the tour.
The Swedish fuzz juggernauts’ fourth album overall, this will be Truckfighters‘ first with new drummer McKenzo alongside the core songwriting duo of Dango and Ozo. They’ve been teasing recording updates and threatening song clips, but as soon as I run into something concrete, I’ll share. I’m especially looking forward to the Truckfighters album since it means they’ll likely come back to the US for another tour, and since 2009′s Mania (review here) was so damned brilliant. Not sure on a release date, but it’s high on the list of necessities anyway, however low it may appear alphabetically.
Valley of the Sun, TBA
All I’m going on in including Ohio-based desert rockers Valley of the Sun on this list is a New Year’s message they put out there that read, “Happy New Year, Brothers and Sisters!!! You can count on a Valley of the Sun full-length in 2013.” Hey, I’ve relied on less before, and even if you want to call it wishful thinking, the Cincinnati trio are due a debut full-length behind 2011′s righteous The Sayings of the Seers EP (review here). Even if it doesn’t show up until November or December, I’ll basically take it whenever the band gets around to releasing. Riffs are welcome year-round.
Well, I mean, yeah. Right? Yeah, well, sure. I mean. Well. Yeah. I mean, sure. Right? It’s a supergroup with YOB‘s Mike Scheidt on vocals, John Cobbett of Hammers of Misfortune on guitar, Sigrid Sheie of Hammers of Misfortune on bass and Aesop Dekker of Agalloch and Worm Ouroboros on drums. Album’s done, set for release on Profound Lore. So, I mean, you know, yeah. Definitely. No music has made its way to the public yet — though that can’t be far off — but either way, sign me the fuck up. Anywhere this one goes, I’m interested to find out how it gets there.
Vista Chino, TBA
After that lawsuit, it’s not like they could go ahead and call the band Kyuss Still Lives!, so the recently-announced Vista Chino makes for a decent alternative and is much less likely to provoke litigation. But still, the Kyuss Lives! outgrowth featuring former Kyuss members John Garcia, Nick Oliveri and Brant Bjork along with guitarist Bruno Fevery is of immediate consequence. I’m not sure what the timing on the release is, but they’ve already been through enough to get to this point that one hopes a new album surfaces before the end of 2013. What I want to know next is who’s recording the damn thing.
Yawning Man, Gravity is Good for You
Not much has been said in the time since I interviewed Gary Arce, guitarist and founder of influential desert rock stalwarts Yawning Man, about the 2LP Gravity is Good for Yourelease (the Raymond Pettibon cover for which you can see above), but the band has been confirmed for Desertfest since then and they’re playing in L.A. on Jan. 25, so they’re active for sure and presumably there’s been some progress on the album itself. It remains to be seen what form it will take when it surfaces, and the lineup of the band seems somewhat nebulous as well, but when there’s a desert, there’s Yawning Man, and there’s always a desert. 2010′s Nomadic Pursuits(review here) was a triumph, and deserves a follow-up.
Anyone else notice that the “20 Albums to Watch for” list has 22 albums on it? Maybe I wanted to see if you were paying attention. Maybe I can’t count. Maybe I just felt like including one more. Maybe I had 21 and then added Vista Chino after someone left a comment about it. The possibilities are endless.
So too is the list of bands I could’ve included here. Even as I was about halfway through, a new Darkthrone track surfaced from an album due Feb. 25 called The Underground Resistance, and news/rumors abound of various substance concerning offerings from YOB, Eggnogg, When the Deadbolt Breaks, Mars Red Sky, Asteroid, Apostle of Solitude, Windhand, Phantom Glue, the supergroup Corrections House, Kingsnake, Sasquatch — I’ve already made my feelings known on the prospect of a new Sleep record — news went up yesterday about Inter Arma‘s new one, and you know Wino‘s gonna have an album or two out before the end of the year, and he’s always up to something good, so 20, 22, 35, it could just as easily go on forever. Or at least very least the whole year.
If there’s anything I forgot, anything you want to include or dispute, comments are welcome and encouraged.
Posted in Features on December 20th, 2012 by H.P. Taskmaster
Please note: This list is my personal picks, not the Readers Poll, which is ongoing — if you haven’t added your list yet, please do.
As ever, I’ve kept a Post-It note on my wall all year long, and as the weeks and months have ticked away, I’ve added names of bands to it in preparation for putting together my Top 20 of 2012. There was a glut of excellent material this year, and I know for a fact I didn’t hear everything, but from bold forays into new sonic territory to triumphant returns to startling debuts, 2012 simply astounded. Even as I type this, I’m getting emails about new, exciting releases. It’s enough to make you lose your breath.
Before we get down to it and start in with the numbers, the hyperbole, etc., I want to underscore the point that this list is mine. I made it. It’s not the Readers Poll results, which will be out early in January. It’s based on how I hear things, how much I listened to each of these records, the impressions they left on me — critical opinion enters into it, because whether or not I want to I can’t help but consider things on that level when I listen to a new album these days — but it’s just as much about what I put on when I wanted to hear a band kick ass as it is about which records carried the most critical significance or import within their respective genres.
Over the last couple years, I’ve come to think of the #20 spot as where I put my sentimental favorite. That was the case with Suplecs last year, and in 2012, the return of Mos Generator earns the spot. The band being led by guitarist/vocalist Tony Reed, Nomadsmarked a rehifting of Reed‘s priorities from Stone Axe, with whom he’d proffered ’70s worship for several years prior, and wound up as a collection of some of my favorite heavy rock songs of 2012 — tracks like “Cosmic Ark,” “Torches” and “Lonely One Kenobi” were as strong in their hooks as they were thorough in their lack of pretense. But the bottom line is I’m a nerd for Reed‘s songwriting, playing and production (more on that to come), and at this point it’s not really something I can even pretend to judge impartially. Still, the record’s friggin’ awesome and you should hear it as soon as you can.
Seems like it would make sense to say Golden Void would be higher on the list if I’d spent more time with it — written up just a month ago, it’s the most recent review here — but the fact is I’ve sat with Golden Void‘s self-titled debut a lot over the course of the last month-plus, and I’ve been digging the hell out of it. Really, the only reason it’s not further up is because I don’t feel like I have distance enough from it to judge how it holds up over a longer haul, but either way, the Isaiah Mitchell-led outfit’s blend of heavy psych, driving classic rock and retro style gave some hope for beefing up the US’ take on ’70s swagger — usually left to indie bands who, well, suck at it — and also showed Mitchell as a more than capable vocalist where those who knew him from his work in Earthless may only have experienced his instrumental side. A stellar debut, a wonderful surprise, and a band I can’t wait to hear more from in the years to come.
This was basically the soundtrack to my summer. From the catch-you-off-guard aggression in opener “I Spit on Your Grave” to the extended stoneralia of “Master of Nuggets” and the jammy “Southern Comfort and Northern Lights,” the follow-up to Wight‘s self-produced debut Wight Weedy Wight(review here) showed an astonishing amount of growth, and though it had the laid back, loose feel that distinguishes the best of current European heavy psych, Through the Woods into Deep Waterwas also coherent, cohesive and impeccably structured. I thought it was one of the year’s strongest albums when it was released, and its appeal has only endured — as much as I listened to it when it was warm over the summer, now in December I put it on wishing the temperature would change to match. The songs showed remarkable potential from the German three-piece and cast them in an entirely different light than did their first out. Really looking forward to where they might go from here, but in the meantime, I’m nowhere near done with Through the Woods into Deep Wateryet.
“Oh, Moon Queen! Flyin’ down the world on a moonbeam!” Somehow the first lines of the opening title-track to Lord Fowl‘s Moon Queen always seem to wind up stuck in my head. The Connecticut foursome made their debut on Small Stone with the loosely thematic full-length, and touched on a sense of unabashedly grandiose ’70s heavy rock in the process. That said, Moon Queenwasn’t shooting for retro in the slightest — rather, guitarist/vocalists Vechel Jaynes and Mike Pellegrino fronted the band’s classic sensibilities with a wholly modern edge, like something out of an alternate dimension where rock never started to suck. The classic metal guitar in “Streets of Evermore” and the swaying groove from bassist Jon Conine and drummer Don Freeman under the wandering leads of “Hollow Horn” made Moon Queenmore stylistically diverse than it might otherwise have been, but at its core, it was a collection of stellar heavy rock songs, unashamed of its hooks and unafraid to put its passions front and center. They packed a lot into a 47-minute runtime, but I’ve yet to dig into Moon Queen and regret having pressed play. Another band to watch out for.
It was impossible not to be swept up in the hype surrounding Pallbearer‘s Profound Lore debut, but one listen to Sorrow and Extinctionand it was clear that its resounding praise was well earned. By blending thickened psychedelic tonality and emotionally resonant melodies, the Little Rock, Arkansas, four-piece concocted the single most important American doom release of the year. Their efforts did not go unnoticed, and as they supported the album on tour, the swell of the crowds spoke to the right-idea-right-time moment they were able to capture in songs like the stunning “An Offering of Grief” and “The Legend.” There’s room for growth — I wouldn’t be surprised to find guitarist Brett Campbell‘s vocal range greatly developed next time out — but Pallbearer have already left a mark on doom, and if they can keep the momentum going into wherever they go from here, it won’t be long before they’re being cited as having a significant impact on the genre and influencing others in their wake.
I already singled out Kadavar‘s Kadavaras the 2012 Debut of the Year, so if you need any sense of the reverence I think the German trio earned, take whatever you will from that. There really isn’t much to add — though I could nerd out about Kadavar‘s ultra-effective retroisms all day if you’re up for it — but something I haven’t really touched on yet about the record: When I was out in Philly last weekend, the DJ cleverly mixed Kadavar into a set of early ’70s jams, and it was all but indistinguishable in sound from the actual classics. That in itself is an achievement, but Kadavar‘s level of craft also stands them out among their modern peers, and it was drummer Tiger‘s snare sound that I first recognized in “All Our Thoughts,” so right down to the most intricate details, Kadavar‘s Kadavarwas a gripping and enticing affair that proved there’s still ground to cover in proto-heavy worship.
The fuzz was great — don’t get me wrong, I loved the fuzz — but with Stubb‘s Stubb, it was even more about the songs themselves. Whether it was the interplay between guitarist Jack Dickinson and bassist Peter Holland (also of Trippy Wicked) on vocals for the chorus of “Scale the Mountain” or the thickened shuffle in “Soul Mover” punctuated by drummer Chris West‘s (also Trippy Wicked and Groan) ever-ready fills, there wasn’t a clunker in the bunch, and though it’s an album I’ve basically been hearing since the beginning of the year, its appeal has endured throughout and I still find myself going back to it where many others have already been forgotten. With the acoustic “Crosses You Bear” and more laid-bare emotionality of “Crying River,” Stubb showed there was more them than excellence of tone and with the seven-minute finale “Galloping Horses,” they showed they were ready to jam with the best. Truly memorable songs — and also one of the live highlights of my year.
Orange Goblin‘s purpose seemed reborn on their seventh album and Candlelight Records debut, A Eulogy for the Damned. Culling the best elements from their last couple albums, 2007′s Healing Through Fire and 2004′s Thieving from the House of God, the long-running London troublemakers upped the production value and seemed bent from the start on taking hold of the day’s sympathy toward their brand of heavy. With tales of alcoholic regret, classic horrors and a bit of cosmic exploration for good measure, they marked their ascent to the top of the British scene and took well to the role of statesmen, headlining Desertfest and proceeding to smash audiences to pieces around the continent at fests and on tours. Look for them to do the same when they bring the show Stateside in 2013 with Clutch. Their plunder is well earned, and I still rarely go 48 hours without hearing the bridge of “The Fog” in my head. Can’t wait to see them again.
While I still miss Los Natas, my grief for their passing has been much eased over the last two years by frontman Sergio Chotsourian‘s doomier explorations in Ararat. The first album, 2009′sMusica de la Resistencia(review here), ran concurrent to Los Natas‘ swansong, Nuevo Orden de la Libertad, but with II, the new three-piece came into their own, setting space rock synth against low-end sprawl, thick drumming and Chotsourian‘s penchant for experimenting with structure. Extended tracks “Caballos” and “La Ira del Dragon (Uno)” were positively encompassing, and showed Ararat not only as a distinct entity from Los Natas, but a turn stylistically for Chotsourian into elephantine plod, wide-open atmospherics and a likewise expansive creative sensibility. The acoustic “El Inmigrante” and piano-led “Atenas” offered sonic diversity while enriching the mood, and closer “Tres de Mayo” hinted at some of the melding of the various sides that might be in store in Ararat‘s future. If the jump from the first record to the second is any indicator, expect something expansive and huge to come.
Italian cosmic doom meganauts Ufomammut outdid themselves yet again with Oro, breaking up a single full-length into two separate releases, Oro: Opus Primum and Oro: Opus Alter. But the album — which I’ve decided to list as the single entity Oro rather than its two component parts basically to save myself some brain space — was more than just big in terms of its runtime. More importantly, Ufomammut were able to hold firm to their commitment to stylistic growth, drawing on their greatest triumph yet, 2010′s Eve (review here), the trio pushed themselves even further on their Neurot Recordings debut, resulting in an album worthy of the legacy of those releasing it. I don’t know if Oro will come to define Ufomammut as Eve already seems to have — dividing it as they did may have made it harder for listeners to grasp it as a single piece — but it shows that there’s simply no scaring the band out of themselves. Brilliantly tied together around a central progression that showed up in “Empireum” from Opus Primumand “Sublime” on Opus Alter, I have the feeling Ufomammut will probably have another album out before Oro‘s breadth has fully set in.
Behold the standard bearers of heavy. It wasn’t long after hearing UK trio Conan for the first time that I began using them as a touchstone to see how other bands stacked up, and to be honest, almost no one has. Led by the inimitable lumber provided by the tone of guitarist/vocalist Jon Davis (interview here), Conan stripped down their approach for Monnos, returning to Foel Studio in Wales to work with producer Chris Fielding — who’d also helmed their 2010 Horseback Battle HammerEP — and the resulting effort was both trim and humongous. Early tracks like “Hawk as Weapon,” “Battle in the Swamp” (an old demo given new life) and “Grim Tormentor” actually managed to be catchy as well as sonically looming, and the more extended closing duo of “Headless Hunter” and “Invincible Throne” showed that Conan could both use their tone to build forward momentum and plod their way into ultra-slow, ultra-grim despairing nothingness. Monnos affirmed Conan as one of the most pivotal acts in doom, and with new material and a home studio reportedly in the works, as well as further European touring on the docket for early 2013, their onslaught shows no signs of letting up. Right fucking on.
In some ways, it seems like the easiest thing in the world, but with My Sleeping Karma‘s fourth full-length, Soma, it really was just a question of a band taking their sound to a completely new level. The German heavy psych instrumentalists brought forth the sweetness of tone their guitars have harnessed over the course of their three prior offerings, but the progressive keyboard flourishes, the warmth in the bass, the tight pop of the drums — it all clicked on Somain a way that the other records hinted was possible and made the album the payoff to the four-piece’s long-established potential. Wrapped around the titular theme of a drink of the gods and with its tracks spaced out by varying ambient interludes, no moment on the album felt like it wasn’t serving the greater purpose of the whole, and the whole proved to be a worthy purpose indeed. Hands down my favorite instrumental release of the year and an effort that pushed My Sleeping Karma to the front of the pack in the crowded European heavy psych scene.
The damnedest thing happens every time I turn on Graveyard‘s third album, Lights Out, in that before I’m halfway through opener “An Industry of Murder,” I have to turn it up. The reigning kings of Swedish retro heavy wasted no time following up 2011′s stunning sophomore outing, Hisingen Blues(review here), and with the four-year gap between their self-titled debut and the second record, it was a surprise from the moment it was announced, but more than that, Lights Outshowed remarkable development in Graveyard‘s sound, offering elements of classic soul on songs like “Slow Motion Coundown” and “Hard Times Lovin’” to stand alongside the brash rock and roll of “Seven Seven” or the irresistible hook provided by “The Suits, the Law and the Uniforms” or the single “Goliath.” A landmark vocal performance from guitarist Joakim Nilsson and newly surfaced political bent to the lyrics hinted that Graveyard were nowhere near done growing, but seriously, if they put out four or five more records in the vein of Lights Out, I doubt there’d be too many complaints. Already one can hear the influence they’ve had on European heavy rock, and Lights Outisn’t likely to slow that process in the slightest.
Three drum hits and then the lurching “Let Them Fall” — the leadoff track on the first Saint Vitus studio album since 1995 — is underway, and it’s exactly that lack of pomp, that lack of pretense, that makes Lillie: F-65so righteous. Admittedly, it’s a reunion album. They toured for a couple years playing old material, then finally decided to settle in and let guitarist Dave Chandler (interview here) start coming up with a batch of songs, but you can’t argue with the results. They nailed it. With Tony Reed‘s perfect production (discussed here), Vitus captured the classic tonality in Chandler‘s guitar and Mark Adams‘ bass and kept to their sans-bullshit ethic: A short, 33-minute album that leaves their audience wondering where the hell that assault of noise just came from. Scott “Wino” Weinrich‘s presence up front was unmistakable with Chandler‘s punkish, no-frills lyrics (as well as his own on “Blessed Night,” the first song they wrote for the album), and drummer Henry Vasquez not only filled the shoes of the late Armando Acosta but established his own persona behind the kit. I hope it’s not their last record, but if it is, Saint Vitus came into and left Lillie: F-65as doom legends, and their work remains timeless.
Talk about a band who shirked expectation. Guitarist/vocalist Justin Maranga and I discussed that aspect of Ancestors a bit in an interview over the summer, but it’s worth underscoring. There was next to nothing in either of Ancestors‘ first two albums to hint at where they’d go with the third. Both Neptune with Fire and Of Sound Mind(review here) were rousing, riff-led efforts that headed toward a particular heavy sensibility, but it was with last year’s Invisible WhiteEP (review here) that the L.A. outfit began to show the progressive direction they were heading. And In Dreams and Timeis even a departure from that! It’s kind of a departure from reality as well, with the Moog/organ/synth mesh from Matt Barks and Jason Watkins (also vocals), dreamy basslines from Nick Long and hold-it-all-together drumming of Jamie Miller — since out of the band. Closer “First Light” was my pick for song of the year, and had the album been comprised of that track along, it’d probably still be on this list somewhere, but with the complement given to it by the piano sprawl of “On the Wind” and driving riffs and vocal interplay of “Correyvreckan” (if you haven’t heard Long‘s bass on the latter as well, you should), there was little left to question that this was the strongest Ancestors release of their career to date and hopefully the beginning of a new era in their sound. They’ve never been what people wanted them to be, but I for one like not knowing what to expect before it shows up, at least where these guys are concerned.
After what I saw as a lackluster production for 2010′s Snakes for the Divine, Oakland, CA, trio High on Fire aligned themselves with producer Kurt Ballou (Converge) for De Vermis Mysteriis and completely renewed the vitality in their attack. Built on the insistence of “Bloody Knuckles,” furious fuckall of “Fertile Green,” unmitigated piracy of “Serums of Laio” and eerie crawl in “King of Days,” De Vermis Mysteriis was both aggressive in High on Fire‘s raid-your-brain-for-THC tradition and extreme in ways they’ve never been before. Groovers like the instrumental “Samsara” and earlier “Madness of an Architect” offered bombast where the thrash may have relented, while “Spiritual Rites” proved that guitarist/vocalist Matt Pike (also Sleep; interview here), bassist Jeff Matz and drummer Des Kensell had arrived at a new threshold of speed and intensity. Whatever personal issues may have been in play at the time, High on Fire delivered a blistering full-length that stands up to and in many ways surpasses any prior viciousness in their catalog, and their level of performance on their current tour makes it plain to see that the band is ready for ascendency to the heights of metal. They are conquerors to the last, and if De Vermis Mysteriisis what I get for wavering, then I’ll consider my lesson hammered home in every second of feedback, tom thud and grueling second of distortion topped with Pike‘s signature growl.
When I interviewed interviewed Steve Von Till about Honor Found in Decay, the Neurosis guitarist/vocalist called the band “a chaos process” in reference to their songwriting. I have no trouble believing that, because while Neurosis stand among the most influential heavy metal bands of their generation — having had as much of an effect on what’s come after them as, say, Meshuggah or Sleep, while also having little sonically in common with either of them — it’s also nearly impossible to pinpoint one aspect of their sound that defines them. The churning rhythms in the riffing of Von Till and his fellow frontman, guitarist/vocalist Scott Kelly (interview here), Dave Edwardson‘s intensity on bass and periodic vocal, the assured percussive creativity of Jason Roeder and theexperimental edge brought to bear in Noah Landis‘ synth and sampling all prove to be essential elements of the whole. On Honor Found in Decay — and this isn’t to take away anything from any other particular member’s songwriting contributions — it would be Landis standing out with his greatest contributions yet, becoming as much a defining element in songs like “At the Well,” “Bleeding the Pigs” and “Casting of the Ages” as either Kelly or Von Till‘s guitars. Had I never seen the band before, I’d have a hard time believing Honor Found in Decay could possibly be representative of their live sound, but they are every bit as crushing, as oppressive and as emotionally visceral on stage — if not more so — as they are on the album, and while their legacy has long since been set among the most important heavy acts ever, period, as they climb closer to the 30-year mark (they’ll get there in 2015), Neurosis continue to refuse to bow to what’s expected of them or write material that doesn’t further their decades-long progression. They are worthy of every homage paid them, and more.
It’s hard for me to properly convey just how happy listening to Greenleaf‘s Nest of Vipersmakes me, and I’ve got several false starts already deleted to prove it. The Swedish supergroup of vocalist Oskar Cedermalm (Truckfighters), guitarists Tommi Holappa and Johan Rockner (both Dozer), bassist Bengt Bäcke (engineer for Dozer, Demon Cleaner, etc.) and drummer Olle Mårthans (Dozer) last released an album in 2007. That was Agents of Ahriman, which was one of my favorite albums of the last decade. No shit. Not year, decade. With a slightly revamped lineup and Dozer‘s maybe-final album, 2008′s Beyond Colossal, and the never-got-off-the-ground side-project Dahli between, Nest of Viperslanded this past winter and with the shared membership, Karl Daniel Lidén production and consistency of songwriting from Holappa (interview here), I immediately saw it as a sequel to the last Dozer, but really it goes well beyond that. Tracks like “Dreamcatcher,” “Case of Fidelity,” “The Timeline’s History” and soaring opener “Jack Staff” show that although they’d never really toured to that point and been through various lineups over the years, Greenleaf was nonetheless an entity unto its own. Cedermalm‘s vocals were a triumph, Mårthans‘ drumming unhinged and yet grounded, and guest appearances from organist Per Wiberg and vocalists Peder Bergstrand (Lowrider/I are Droid) and Fredrik Nordin (Dozer) only enriched the album for repeat listens, which I’m thrilled to say it gets to this very day. If I called it a worthy successor both to Dozer and to Agents of Ahriman, those words alone would probably fall short of conveying quite how much that means on a personal level, so let its placement stand as testimony instead. This is one I’ll be enjoying for years to come, and when I’m done writing this feature, this is the one I’m gonna put back on to listen through again. It has been, and no doubt will continue to be, a constant.
Go figure that the Om record two albums after the one called Pilgrimagewould feel so much like a journey. Further including multi-instrumentalist/vocalist Robert A. A. Lowe (also of experimental one-man outfit Lichens) alongside the established core duo of drummer Emil Amos (also of Grails) and bassist/vocalist Al Cisneros (also of Sleep), as well as incorporating a range of guest appearances from the likes of Grayceon‘s Jackie Perez Gratz on cello and Worm Ouroboros‘ Lorraine Rath (who appeared on 2010′s God is Goodas well) on flute, Om fleshed out what was once a signature minimalism to the point of being a lush, constantly moving and markedly fluid entity. Cisneros, as the remaining founder and lead vocalist, served as a unifying presence in the material — his bass still was still very much as the center of “Gethsemane” or the more straightforward and distorted “State of Non-Return” — but those songs and “Addis,” “Sinai” and gloriously melodic closer “Haqq al-Yaqin” amounted to more than any single performance, and where prior Om outings had dug themselves deep into a kind of solitary contemplation, Advaitic Songslooked outward with a palpable sense of musical joy and a richness of experience that could only be called spiritual, however physically or emotionally arresting it might also prove. I’ve found it works best in the morning, as a way to transition from that state of early half-there into the waking world — which no doubt has more harshness in mind than the sweet acoustics and tabla at the end of “Haqq al-Yaqin” — so that some of that sweetness can remain and help me face whatever might come throughout the day. A morning ceremony and a bit of meditation to reorder the consciousness.
Didn’t it have to be Colour Haze? Didn’t it? Two discs of the finest heavy psychedelic rock the world has to offer — yes I mean that — plus all they went through to get it out, the drama of building and rebuilding a studio, recording and re-recording, pressing and repressing, what else could it have been but She Said? After two-plus years of waiting, I was just so glad when it actually existed. Late in 2008, the Munich trio released All, and that was my album of the year that year as well (kudos to anyone who has that issue of Metal Maniacs), but I feel like even if you strip all that away and take away all the drama and the band’s influence, their standing in the European scene, guitarist/vocalist Stefan Koglek (interview here) fostering next-gen talent on Elektrohasch and whatever else you want or need to remove, She Said still holds up. Just the songs themselves. The extra percussion layered in with Manfred Merwald‘s drums on “She Said,” the horns and Duna Jam-ambience on “Transformation,” the unpretentious boogie of “This” on disc one, or the rush of “Slowdown” on disc two and the culmination the whole album gets when the strings kick in on “Grace.” Those strings. God damn. Suddenly a 2CD release makes sense, when each is given its own progression, its own destination at which to arrive, and tired as I am I still tear up like clockwork when I put on “Grace” just to hear it while I type about it. Beautifully arranged, wonderfully executed, She Saidcouldn’t be anywhere but at the top spot on this list. The warmth in Koglek‘s guitar and Philipp Rasthofer‘s bass on “Breath” and the way their jams always seem to have someplace to go, I feel like I’m listening to a moment exquisitely captured. There isn’t a doubt in my mind Colour Haze are the most potent heavy rock power trio in the world, and that their chemistry has already and will continue to inspire others around them, but most importantly, She Saidmet the true album-of-the-year criteria in not seeming at all limited to the confines of 2012 — as though it had some kind of expiration date. Not so. Even though I’ve already been through them more times than I know or would care to share had I counted, I look forward to getting to know the songs on She Saidover the years to come, and as I have with Colour Haze‘s works in the past, seeing their appeal change over time the way the best of friends do. It couldn’t have been anything but Colour Haze. Whatever hype other albums or bands have, for me, it’s this, and that’s it.
If this list went to 25, the next five would be:
21. Snail, Terminus
22. Revelation, Inner Harbor
23. Wo Fat, The Black Code
24. Groan, The Divine Right of Kings
25. Caltrop, Ten Million Years and Eight Minutes
Honorable mention goes to: Trippy Wicked and the Cosmic Children of the Knight (another one about whom I have a hard time being impartial), Mighty High, At Devil Dirt, Bell Witch, Samothrace, Enslaved, Viaje a 800, and Larman Clamor.
Also worth noting some conspicuous absences: Witchcraft, Swans, Baroness, Royal Thunder, The Sword, Torche. These albums garnered a strong response and have done well in the Readers Poll looking at the results so far, but please keep in mind, this is my list, I took a night to sleep on it, I stand by it and I’ve got my reasons for selecting what I did. You’ll find about 5,000 words of them above.
Thank you as always for reading. If you disagree with any picks, want to add your own take on any of the above, or anything else — really, whatever’s cool — please leave a comment below.
Of all the ways to possibly start off this week, somehow a full set makes the most sense, and the way this this pro-shot 49-minute Ararat gig from earlier this year lurches to life only reminds me of the slow ascent into consciousness I made not so terribly long ago, pulled ahead as I tried to resist by the digitized chime of the alarm clock. They do four songs in their allotted time: “Caballos,” “Lobos de Guerra y Cazadores de Elefantes,” “La Ira del Dragon (Parte 1),” and the new cut “Nicotina y Destruccion” that will presumably be out on their third album next year.
Actually, if you want to dig into that song further — and why not? — there’s a demo the band posted on Sergio Chotsourian‘s often and quietly updated Soundcloud page:
One more thing to look forward to in 2013. At some point I’ll get a list of those up before the New Year. I’ve got my notes in progress right here on my desk next to my Top 20 of 2012 list, which currently has 26 acts on it. I’ll work on whittling that down and hope to post it sometime before this week is out. I’m thinking tomorrow, but don’t want to lock myself into anything since time’s short these days however quiet things are supposed to be in the music industry around the holidays. Doom never sleeps.
In the meantime, I’ve got a new column from Chris “Woody” MacDermott that will be posted shortly, and a review of the Serpent Throne, EYE and Randall of Nazareth gig I saw Friday night in Philly. If you’ve sent me an email in the last week or so, I apologize for the delay in getting back. And that’s not just “hey here’s my Bandcamp it took me 30 seconds to write this email now go spend seven hours reviewing it”-type emails either. It’s friends. I hope to catch up on that today as well and spend some time preparing for an interview tomorrow with guitarist Arthur Seay of Unida/House of Broken Promises about what’s going on with his bands, Unida headlining both Desertfests, and so on. Dude seems to pretty much have life figured out. Maybe I’ll ask him what that feels like.
Oh, the drama.
If you’ve been keeping up with The Obelisk Radio, then you probably already saw that in the last week or so, another 200-plus albums have gone up. There’s some genuine classics in there, from C.O.C. to Earthride to Neurosis, and I’ve tried to mix in some new bands and obscure stuff as well to keep in the original K666 spirit. I hope you’ve had the chance to listen and if you have, hope you’ve dug it. Like everything else around here, that’s a work in progress, but it’s getting there.
Time to buckle down and start the week. Whatever you’ve got on your to-do list, I hope you complete it quickly and can move about as you will for the remainder of the day, and while doing so, I hope you’ll keep things in mind like the forum and the radio station as effective and enjoyable ways to pass the time. For the time being, I’m gonna finish out watching this Ararat set, grab a second cup of coffee and see if I can’t trick my brain into starting up. Here we go.
Posted in Features on June 25th, 2012 by H.P. Taskmaster
The last couple years, I’ve done a top five of the first half, and that’s cool, but as I sat down the other day to make the list that follows, I realized the numbers didn’t work. If I’m going to finish 2012 off with a top 20 — which unless a piano falls on my head between now and then I am — then half of that is 10. Half a year, half a top 20. I was never much for math, folks.
But the important thing is I got there in the end, and with a full top 10, I have a little more room to nerd out on what I think are some (not all) of the best releases of the last six months. And just so I can say I said it twice, these are my personal picks, based on what I’ve listened to most as much as whatever estimation of aesthetic value I might make. Let’s get to it:
10. Witch Mountain, Cauldron of the Wild
If you’re asking yourself, “Hey, wasn’t Witch Mountain‘s Cauldron of the Wild just reviewed the other day?” you’re right, it was. That’s why it’s number 10 — because I know it’s a really good record, but I’m not sure yet what the replay value will be as the year progresses. Let it say something that I didn’t want to make this list without including the third album from the Portland doom bluesers, but without the benefit of a little distance from the songs (I still have “Shelter” stuck in my head from reviewing it, though that may prove a permanent scenario), I thought it better to play it cautious than be overly excited. Sometimes it’s hard to restrain the geek within, and I know I’m not the only one Cauldron of the Wild has had that effect on.
9. Caltrop, Ten Million Years and Eight Minutes
Deceptively progressive and study on repeat visits, the newest full-length from North Carolina’s Caltrop, Ten Million Years and Eight Minutes, is an album that doesn’t bow to accessibility but gets there naturally on its own anyway. The music the four-piece makes is technically complex, but the use they put that complexity to is warm and inviting, where so much prog feels cold and showy. Maybe that’s the Southern heat working its way into the tracks, but either way, with the varied work of multiple songwriters and a consistency of atmosphere running throughout, Ten Million Years and Eight Minutes helped me make the transition out of winter and into the warmer weather. I continue to think of Caltrop as a woefully underrated band.
8. Stubb, Stubb
The self-titled Superhot Records debut from London-based trio Stubb (review here) was a simple case of fuzz done right. The rhythm section here also had a strong outing on Superhot in the form of Trippy Wicked and the Cosmic Children of the Knight‘s Going Home (review here), but partnered up with guitarist/vocalist Jack Dickinson, the bass/vocals of Pete Holland and drums of Chris West formed a power trio inspired by classic rock but not imitating it, which is increasingly rare. Their stoner groove was straightforward and heartfelt and the songwriting on tracks like “Mountain” and “Hard Hearted Woman” left absolutely nothing to be desired. I consider myself lucky for having seen them live, and doing so only increased my appreciation for the album.
7. Ararat, II
Sergio Chotsourian‘s second album in post-Los Natas project Ararat (review here) was both more cohesive than its 2009 predecessor, Musica de la Resistencia (review here), and thicker. Indeed, it was his bass tone that made the rumble in extended tracks like “Caballos” and “La Ira del Dragon (Uno)” so indispensable. Ararat has a different dynamic than did Los Natas, but hearing the beginning of what will hopefully be a long process of development has been part of the fun of listening to the band so far. Still, it’s the songs themselves more than their context that stand out, and every time I listen to “Lobos de Guerra y Cazadores de Elefantes,” I swear it seems like my brain is going to turn into liquid and start seeping out of my ears. It’s hard not to dig a record that makes you feel that way.
6. Ufomammut, Oro: Opus Primum
I’ll admit, this one’s a bit of a running gag I have with myself. Ever since I put Ufomammut‘s Eve as the number six on my top 10 of 2010, I’ve regretted it, and the thing about Oro: Opus Primum is (review here) that it’s only half the album, with Oro: Opus Alter still to come as the second part of their Neurot Recordings debut. So when I was wondering where to stick this thing on the list, the number that immediately came to my head was six and there it stands. Amazing to think that we’ll get another Ufomammut record before the year’s out. I look forward to hearing that, and in the meantime, there have been several occasions for which nothing has seemed quite doomed enough that Oro: Opus Primum has fit just right. Ufomammut have been and continue to be something really special.
5. Orange Goblin, A Eulogy for the Damned
What’s not to like about the prospect of a new Orange Goblin record? Nothing, that’s what. With killer songs like “Acid Trial,” “The Fog,” “The Filthy and the Few” and blistering leadoff single “Red Tide Rising,” A Eulogy for the Damned (review here) was the first highlight of 2012 and a fitting summation of much of what’s always been awesome about the band, who’ve become godfathers of the British heavy underground. The production on the album is cleaner than the band comes off live, but the energy in the tracks is undeniable, and it’s with that that Orange Goblin justify the five-year wait since 2007′s Healing through Fire last tore the heavy rock scene a new arsehole. They might be real rock ‘n’ roll’s best kept secret at this point, and their seventh album sends the damned out with a fitting tribute from some of their own kind.
4. Conan, Monnos
Try though I may — and I should probably say here that I haven’t tried — I still can’t get the riff to “Grim Tormentor” from Conan‘s Monnos (review here) out of my head. The album, which was the follow-up to 2011′s split with Slomatics and 2010′s mighty Horseback Battle Hammer debut, found the British trio bringing their songwriting up to a level to match Jon Davis‘ monstrous guitar tone, furthering their dual vocal approach between Davis and bassist Phil Coumbe while upping the pace somewhat on the album’s first half lend fleetness to the stomp in Paul O’Neil‘s drums. Monnos‘ second half was more ethereal, slower, swampier, with the morose “Golden Axe” paving the way for “Headless Hunter” and “Invincible Throne” to level everything in their path with atmosphere as dense as their musical weight. Easily the heaviest album I’ve heard so far this year.
3. Greenleaf, Nest of Vipers
Whenever I do these lists, I hit a point where on a given day they’re all number one. Sometimes it’s just between two albums. In 2010, it was six. This list, so far into 2012, it’s three, and Swedish heavy rock supergroup Greenleaf‘s Nest of Vipers (review here) is the first of them. I’ve been stoked on this record since before I heard it, and while that probably doesn’t do much to argue for my impartiality on the matter, I also don’t give a crap, because Greenleaf fucking rules. I’ll have an interview in the weeks to come with guitarist Tommi Holappa (also ex-Dozer) about the band, and once again, this is definitely one that is going to reappear on the top 20 come December. Not a doubt in my mind. I wasn’t sure the band would be able to live up to 2007′s landmark Agents of Ahriman, but the more I listen to Nest of Vipers, the clearer it becomes that they did precisely that.
2. Ancestors, In Dreams and Time Brilliantly melodic, rife with complexity of emotion and execution, Los Angeles-based Ancestors‘ third album, In Dreams and Time, was the full-length answer to last year’s blissfully melancholic Invisible White EP. Finding the band mature, progressive and worshiping the song rather than the form, they transcended genre as easily as they embarked on it, crafting a wash of melody in Moog, synth, organ, guitar and vocals alike in their richest arrangements yet, culminating in what’s probably the single best extended guitar solo I’ve heard in the last five years on 19-minute closer “First Light,” a song that’s got so many ups and downs contained within its runtime that it’s practically an album unto itself. A gorgeous record and one that has enriched my excitement for Ancestors as they continue to throw creativity in the face of expectation and not look back either on what they’ve done before or what others think they should be doing.
1. Saint Vitus, Lillie: F-65
I’m more than happy to confess that part of my enduring affection for Lillie: F-65 comes from the fact that it’s Saint Vitus‘ first album in 17 years. If you want to tell me which part of that isn’t a totally valid reason to make it number one on this list, I’ll listen. It might not change my mind about the album, which arrives following three successfully reunited years touring and doing shows together. Led as ever by the stripped-down songwriting of guitarist Dave Chandler (interview here), Saint Vitus perfectly reinvigorated their most classic methods on Lillie: F-65 (review here) without sounding like they were wearing a suit that didn’t fit. The Tony Reed-produced album was the first to be fronted by Scott “Wino” Weinrich since 1990′s V, and proved that the chemistry between he and Chandler is a huge part of what has made the band legendary in American doom these last several decades. Together with bassist Mark Adams and drummer Henry Vasquez, Chandler and Wino issued the greatest of 2012′s doom triumphs so far, and in a mere fucked-up, feedback-soaked 33 minutes silenced every reunion naysayer with ears to hear their distant scream. Saint Fucking Vitus.
Wouldn’t be a list without a fair bit of honorable mentions. First to Snail, whose Terminus will probably end up on the year-end list when the time for that arrives, and also to C.O.C., High on Fire, Les Discrets, Wino & Conny Ochs and Electric Moon. Been a pretty good year so far. Here’s to the next six months of it.
Posted in Reviews on March 28th, 2012 by H.P. Taskmaster
In the two-plus years since Los Natas guitarist/vocalist Sergio Chotsourian made his debut with Ararat, a lot has changed. Long story short, Ararat has become a band and Los Natas – for all intents and purposes – has stopped being one. While the self-titled Ararat debut (review here), which was released in the US by MeteorCity and in Chotsourian’s native Argentina on Oui Oui Records, was essentially a solo-project on which Sergio was joined by a few friends and his brother, pianist Santiago Chotsourian, and which sought to bridge the musical gaps between Middle Eastern and Latin American cultural and musical influences, Ararat II, or simply II, follows a much more rounded course. Both Chotsourian brothers return, with Sergio once more handling guitar, bass, vocals and piano while Santiago also contributes piano, and Alfredo Felitte of Banda de la Muerte has taken over on drums for material that’s more aligned to fuzzy groove than any specific cultural modus – though those elements certainly show up as well. II, however, is less outwardly experimental than was its foot-getting predecessor, with Chotsourian’s bass (he plays bass live, while Tito Fargo of Sumo handles slide guitar and noise) taking much of the fore instrumentally on heavier songs like the lumbering “Lobos de Guerra y Cazadores de Elefantes” or the psychedelically ranging low-end bliss of “Caballos.” It’s still pretty clear Sergio is driving these songs, and II, released by Elektrohasch on CD and LP, has its commitment to variety in common with the 2009 self-titled that came before it, but where that album drew a direct line to – and in fact shared a few tracks with – Los Natas’ excellent Nuevo Orden de la Libertad (review here), the second Ararat outing feels more bent on standing on its own than being allied to any of Chotsourian’s past work.
It’s a darker atmosphere overall than was the first album, doomier in more than just Chotsourian’s bass tone, but if the sophomore Ararat proves anything, it’s that the personality of the band is still developing. Each side of II centers itself around an extended, highly atmospheric and massively heavy single track. Side A seems bent on serving the will of “Caballos” (16:20) and Side B counters with “La Ira del Dragon (Uno)” (15:48). Not that the material surrounding doesn’t have substance – the album opens with perhaps its most experimental moment in “El Carro”’s blend of acoustics, electrics and what sounds like flute – but those two songs are impossible to ignore as the focal points or landmarks around which the rest of the album’s total seven tracks are working. “Atenas” and the closing “Tres de Mayo” are piano-led pieces of significant length – 6:34 and 4:49, respectively – and atmosphere, and even the shortest cut, the acoustic CD-centerpiece “El Inmigrante,” is granted weight through Chotsourian’s echoing vocals and bluesy lead. The real anomaly of the bunch, then, is “Lobos de Guerra y Cazadores de Elefantes,” which, though far from being a misstep of any kind with its start-stop bass riff, huge-sounding tone, undeniable groove and Felitte’s locked in cymbal work, doesn’t fit the pattern. It’s somewhat faster than “Caballos” preceding, and more straightforward where “Caballos” patiently unfolds its build and makes sure its synth ambience matches the nod-worthy doomed lurching, but to pick one over the other is hard and, honestly, not worth the effort without a gun to the head. And if its inclusion on II makes the album that much more complex and harder to classify or dissect, well, that also makes it more fascinating to listen.
Though the clip above of Los Natas guitarist/vocalist Sergio Chotsourian‘s side-project Ararat doing the new song “Caballos” rules, spliced with ’70s film footage and in high definition and quality sound as it is, it’s really just there because I couldn’t imagine putting up a Frydee post without a video at the top. The real reason I wanted to close out this week with Ararat is to post the studio version of the same song, which Chotsourian put on Soundcloud last night. Check it out:
The gorgeous psychedelic groove, synth undertones and riffy plod of it all bode very well for the follow-up to Ararat‘s 2009 debut, Musica de la Resistencia (MeteorCity). According to Chotsourian‘s Soundcloud info, the 16-minute track is serving as a preview for the next album, which will be called Ararat II and will be released on Elektrohasch Schallplatten before the end of the year. It’s a nice thought, and though early 2012 seems more likely — and if “Caballos” is any indication — it will hopefully build on the adventurous spirit of the debut, whenever it’s out.
Hope you enjoy the track, in either incarnation. If you listen to the studio version, make sure you stick around for the bass part a little after 13 minutes in. It’s killer.
And speaking of sticking around, next week I’ll have reviews of The Wounded Kings, Elder, Sandrider, Beastwars and Wiht, my interview with CT from Rwake (I’ll transcribe it if it kills me — and at an hour long, it might), new music from Lonely Kamel and the aforementioned Sandrider, plus September’s numbers and a lot more. The semester has picked back up and between that and work, I’m all kinds of busy, but since most days it’s The Obelisk keeping me sane, I’m not about to let it go neglected. Hence the 1AM Frydee post. Ha.
Oh, and before I forget: Next week the HeavyPink 7″ on The Maple Forum is going to go up for pre-sale. That’ll probably be Monday night or Tuesday, so stay tuned, because you don’t want to miss out on it.
As always, I hope you have a great and safe weekend. I’ll see you on the forum and back here Monday for more of this nonsense.
Posted in Features on September 22nd, 2009 by H.P. Taskmaster
Stepping outside his identity as one third of Argentine free riffers Los Natas, guitarist/vocalist Sergio Chotsourian formed the solo outing Ararat as a means for expressing experimental tendencies that did not otherwise fit into his main outfit. Ararat‘s debut, Musica de la Resistencia, crosses cultures and sonic norms en route to bleeding ambience and sometimes dark psychedelia. Based as much around acoustic guitar as noisescaping, the outing defies expectation in almost every way and produces an unsettling, challenging atmosphere.
Chotsourian, joined in his endeavor by his brother Santiago, El Topo (Dragonauta) and others, has shown there’s more to his musical personality than riffs, solos and singing about revolution. With Musica de la Resistencia, a new sonic direction is established and the boundaries seem limitless for what Ararat can accomplish. Sergio was kind enough to once again answer some email questions, and the resulting interview is after the jump. Enjoy.
A while back, MeteorCity premiered new videos at the same time for Black Pyramid, Freedom Hawk and Farflung. Of course, they were hosted here. Now they’ve done it again, this time Argentinian style with the recently reviewed Ararat (“Little Grissy”) and new label signings Humo de Cairo (“Cauce”), who also hail from Buenos Aires. Give the Humo de Cairo track a little time to open up, and enjoy.
Posted in Reviews on August 20th, 2009 by H.P. Taskmaster
Even looking at the two titles with which he?s chosen to represent his first solo outing apart from Los Natas, it?s plain to see Sergio Chotsourian is working to reconcile two sides of himself. For a band moniker, he?s chosen Ararat, the highest mountain in and national symbol of his ancestral Armenia (actually it?s located in Turkey now, but everyone pretty much considers it Armenian anyway), and for an album title, Musica de la Resistencia, which is inextricably linked to the Latin American revolutionary ideal. The Argentine guitarist/vocalist lets loose this cross-cultural interplay across seven mostly experimental tracks on Ararat?s MeteorCity debut, making a marked sonic departure from his main outfit — at least mostly.
There are two extended tracks on the mostly instrumental Musica de la Resistencia, and the first of them is opener ?Gitanoss,? named for the Romani peoples of Spain. The song begins with an echoey sample and high desert tones with drums underneath before devolving into more ambient territory. Chotsourian wastes no time establishing the fact that Ararat is not going to be a band with one particular approach and a darker track such as the organ-infused ?Gitanoss? is only one face he might choose to show at any given time. Surprisingly, he follows it with an exact port of ?Dos Horses? from Los Natas? latest album, Nuevo Orden de la Libertad(Small Stone). The tones that began and ended that record appear here almost as a flotation device to keep listeners from drowning in the dreariness of the 14 minutes prior, although one wonders if Chotsourian was looking to connect Musica de la Resistencia with Nuevo Orden de la Libertad, he couldn?t have taken the central musical theme of ?Dos Horses? and put it into a new context. The piece has already shown itself malleable enough to be used for multiple purposes, but this is a small gripe.