Review & Full EP Stream: Godhunter, Codex Narco

Posted in audiObelisk, Reviews on May 18th, 2017 by JJ Koczan

godhunter codex narco

[Click play above to stream Godhunter’s Codex Narco EP in full. It’s out this Friday, May 19, on Battleground Records and Baby Tooth Records with sale proceeds going to Planned Parenthood.]

Tucson, Arizona’s Godhunter have always had a violent and/or aggressive edge to their approach, but most of what they’re demolishing on their latest EP, Codex Narco, are the expectations listeners might have of them. Delivered through Battleground Records and Baby Tooth Records with cover art by Bailey Illustration as the result of a few tumultuous years on the part of the once-sludge metallers, Codex Narco only tops out at about 21 minutes, and as it moves between the intro “A Dread of Some Strange Impending Doom” and outro “Distant Fading Screams of a Dying World,” rest assured, the fare is still suitably dark, but the band nonetheless hugely expand their sonic palette even from what it was two years ago on their Endsville split with Destroyer of Light (discussed here), let alone on their prior 2014 full-length, City of Dust (review here), which remains their only long-player to-date. They were a six-piece at that time and have since pared back to a core trio of guitarist/sampler David Rodgers, guitarist/keyboardist Matthew Davis and drummer Andy Kratzenberg, all of whom are spread out geographically.

The fact that Codex Narco‘s tracks were written via internet exchange between these three might ultimately be a factor in the aesthetic outcome of the EP, but that’s not to discount guest appearances from CHRCH vocalist Eva Rose on the aforementioned opening/closing pair, or Josh Thorne of Thorne on “Like Glass Under Black Fingernails” and centerpiece “Cocaine Witches and Lysergic Dreams,” or Methra‘s Nick Genitals on the penultimate Tegan and Sara cover, “Walking with a Ghost,” which here becomes a blown-out vision of doomwave with additional guitar from Clayton Bartholomew (Mountaineer) and bass from Demon Lung‘s Adam Sage. Nick Genitals contributes bass and guitar as well to the opener and closer and to the ambient “Unarmed Combat,” and Sage handles low end on “Like Glass Under Black Fingernails,” “Cocaine Witches and Lysergic Dreams” and “Walking with a Ghost” while Bartholomew also plays guitar on “Like Glass Under Black Fingernails,” “Our Blood is Poison” and “Cocaine Witches and Lysergic Dreams.”

One imagines it was quite a chain of emails by the time these songs actually started coming together, or at very least a barrage of Dropbox notifications, but however it was done, the wash that Codex Narco creates ties together this dizzying interchange of personnel, and with a headphone-ready depth of mix unlike anything Godhunter have produced before, these tracks offer atmospheric weight to coincide with their sheer tonal density. Interplay between shorter pieces like the intro and outro, the sample-topped rumble and feedback of “Our Blood is Poison” and the bass-and-drum “Unarmed Combat,” which seems to recount for 100 seconds a military experiment drugging soldiers and finding them refusing to train, the two longer tracks “Like Glass Under Black Fingernails” (5:53) and “Cocaine Witches and Lysergic Dreams” (5:45), and the unabashedly poppy “Walking with a Ghost” (2:31) ensure a steady flow from one piece to the next, and but for its runtime, Codex Narco could just as easily pass as an LP as an EP in terms of how its component pieces feed into and off of each other.

godhunter codex narco lineup

Davis‘ work on synth and keys becomes a huge factor in tying the release together as a whole, whether he’s playing to the post-punk chug and hook of “Walking with a Ghost” or adding electronica-style tension beneath the massive and blasted buzz tones of “Cocaine Witches and Lysergic Dreams.” No doubt a mastering job by the esteemed Brad Boatright had something to do with bringing the various tracks in line as well, but the handling of the synth and keys in the mix alongside the guitar and bass casts a scope behind the trades between screams and clean vocals on “Like Glass Under Black Fingernails” that proves as immersive as it is aggressive, and where in the past Godhunter have been driven to confront, to attack, Codex Narco feels more inwardly-directed as an examination, more personal, and thus more likely to draw listeners along with it on its brief but substantial path.

It’s the kind of release for which reviewers might generally fall over themselves to invent descriptors — which is an impulse that “doomwave” above notwithstanding I’m going to try to resist — but when one sees vague-eries like “post-sludge,” “sludgegaze,” “doomtronic” and so on, it’s a sign that at very least Godhunter are doing something of their own and something original, which on Codex Narco more than ever, they definitely are. RodgersDavis and Kratzenberg haven’t by any means abandoned their aggro tendencies or their underlying sense of purpose in creation — sales of the EP benefit Planned Parenthood and an anti-suicide video for “Walking with a Ghost” is reportedly in production — but they’ve successfully achieved a stylistic turn that even for those who’ve experienced their various experiments on collaborations with Secrets of the Sky (review here) and Amigo the Devil will no doubt prove a surprise. Still, even if one approaches Codex Narco anticipating the band Godhunter were on City of Dust, they’ve always warranted and encouraged a kind of open-mindedness that should make it relatively easy for listeners to get on board with the moves they have made and may or may not continue to make.

When it comes to the aftermath of this EP, that’s really the big question: whether Codex Narco, with its slew of guests and lung-collapsing soundscapes, is a sign of the future direction for Godhunter or a one-off experiment. Given the accomplishment and the fluidity of these songs, I’m inclined to hope for the former, but less than ever does it seem reasonable to predict what the band might do doing forward. Codex Narco is a quick listen, but it presents a huge shift in method and practice for Godhunter, and that’s as much palpable in the audio as it is in the context in which the EP arrives. What has remained most constant about them, however, is the boldness with which they’ve undertaken these changes, and that seems to be the thread that unites all of their work: They’re going to do what they’re going to do, on their own terms, without compromise. Whatever else might swirl around it, righteousness persists.

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Six Dumb Questions with Rozamov

Posted in Six Dumb Questions on May 15th, 2017 by JJ Koczan

rozamov

There is an odd duality to Boston three-piece Rozamov at this stage in their career. With numerous tours under their collective belt, years of experience slogging it out at fests like Psycho California, that time they opened for Slayer at a Converse show in their hometown, numerous short releases, lineup changes, and so on, it seems improper to think of them as anything but veterans. And yet, some five years after the arrival of their first, self-titled EP, it’s only now that Rozamov have hit the point of releasing their debut album. To call it “awaited” feels like a definite understatement.

The record is This Mortal Road (review here), issued this past March via Battleground Records and comprised of five darkened tracks that unquestionably benefit from Rozamov‘s tenure leading up to hitting the studio. Their doom finds heft in ambient stretches as well as in its most crushing moments, is patient when it wants to be but capable of a noisy assault, and when Rozamov want to punish — as on the 11-minute finale “Inhumation,” discussed below — the results leave bruises on the inner ear. They’ve proven to be as much a force in the studio as they have been on the stage. No small feat, but one hell of a debut.

Recorded with the trio of guitarist/vocalist Matt Iacovelli, bassist/vocalist Tom Corino and drummer Will Hendrix, the band is now comprised of Iacovelli, Corino and drummer Jeff Landry, and I’m happy to say that all three took part in this interview to talk about making the album, their experience to this point, the shift that brought Landry aboard and their plans going forward. You’ll find the Q&A below.

Please enjoy the following Six Dumb Questions:

rozamov this mortal road

Six Dumb Questions with Rozamov

Where did the title This Mortal Road come from? It’s been quite a journey for Rozamov to get to the point of releasing your first album. Was there an element of self-reflection in naming the record? Why is the road “mortal?”

Tom Corino: The title came basically out of some brainstorming and some in depth conversations between all of us. The road to making this record was certainly plagued or (or blessed in some cases) with twists and turns so I felt that the title was fitting.

Matt Iacovelli: The mortal road would be a metaphor for life and death and everything in between. The band feels like a crazy journey and ride that you don’t want to end.

Tell me about your time in the studio with Jon Taft at New Alliance Audio. How long was the recording process, what was the vibe like in the studio, and how do you feel about the sounds and tones you were able to capture?

MI: The time in the studio was a really great experience. Jon pushed us all to be tight and play tight. It took five-to-six days in the studio.

TC: I think Jon brought an outsider’s perspective to the record and a non-metal approach. It was really important to him that we not fall into certain trends he saw in other recent heavy recordings, so I think the album doesn’t necessarily have a prototypical modern metal sound. I’m pretty sure we used only amp distortion for the guitar tracks, which was a completely out of the box idea for us. I got to fiddle around with a bunch of distortions and amps. Nerd Knuckle Effects boxes had a huge hand in the way my bass sound came together on the record, Brad [Macomber] is really making some interesting stuff in his lab and has been a long time friend and solid dude.

What was the timeline on the recording in terms of when Jeff joined on drums? My understanding is he came aboard after the tracking was done. How has his joining changed the band?

Jeff Landry: Yeah it’s been about a year now, I think. I joined after the record was tracked but I helped with a lot of the physical record itself, so I still feel attached to it. As for the songs itself, Matt and Tom gave me free range on rewriting the drum parts without drastically changing the songs, which I am grateful for. My initial goal was to give these songs more energy live and I really feel we nailed that. They ended up a little faster then the recordings.

MI: Jeff has brought a real songwriting aspect to the band. It’s good ‘cause now we are working on all cylinders.

TC: Our previous drummer, Will Hendrix, recorded all of the drums on the record. After recording we did a tour with our friends in Destroy Judas and Trapped Within Burning Machinery. It was shortly after that tour that Matt and I decided we needed to find a new solution behind the kit. Things had come to a head personally and musically, it was just impossible for the three of us to move on “as is” and be able to promote this record the way we wanted to. We wish Will all the best but it was just time for new blood, and Jeff has supplied that and then some.

Tell me how “Inhumation” came together.

MI: “Inhumation” was written right after Psycho Fest 2015. I remember putting the opening riff together in the jam room. I had one of the change riffs sort of around. The end riff… it’s really one set of chords played in a revolving order. It’s the doomiest we had ever been up to that point. I think it was all of the built up tension that Slayer, Psycho Fest, flying and eminent fact that changes need to be made. A ritualistic burial.

TC: It was the last song we finished for the record and cemented This Mortal Road’s “doom” feel. I remember walking in to Matt working on the last riff in the song and being very excited because we had never done anything that slow or noise-based before. As with all of the songs on the record, Jeff has breathed new life into it.

JL: This is the song that is the most drastically changed from record to live. We recorded it live in Chicago on this past tour and it will be hitting Spotify and Bandcamp pretty soon. Just waiting for some final mixes.

You went coast-to-coast on tour this past March. How was that experience for you as a band? What were the shows like? How was Austin Terror Fest and the rest of SXSW? You’ve of course done tours before. Is it strange to feel like a veteran while touring on your first record?

JL: I’ve been on a bunch of tours before, big and small. I have to say that spending almost a month on the road with my homies was a blast. We were able to establish a routine pretty quickly due to fact that I get a massive discount on hotels with my job. That was a huge deal. It enabled us to be pretty comfortable and focus more on our sets and getting better every night. We don’t really drink too much ether, so that helps. I think I had like three beers all tour. We did smoke a ton of weed though so I promise we are not boring.

TC: It was definitely the healthiest I’ve ever been on tour, both mentally and physically. We’ve done shorter tours before but this was by far the most ambitious outing yet. It is a little strange to have been a band for so long and to still have all these firsts happening; first LP, first full US tour… it’s odd I suppose, but in some aspects we’ve already done a lot in our five years or so as a band. This lineup is far and away the best we’ve ever been. I’m excited for the future of this band, now more than ever and this tour cemented that feeling.

MI: The tour was great, absolutely great. With each tour you learn things, you come back a little older and a little bit more experienced. You realize how your own personal world is so small and exact. We as humans are very ritualistic in nature so on tour you have to change your tune and adapt the best you can. You see other parts of the country and it’s not like home, but strangely it’s similar, strangely we are all in this together as I whiz by going hopefully 75 mph.

Any plans or closing words you want to mention?

JL: Yeah, we are more than halfway through writing our next record. We have a bunch of shows coming up too. We are playing Stoned to Death fest in Western Mass early next month; doing a few gigs in New York this July with Blood Sun Circle; doing a run with our homies and labelmates The Ditch and the Delta out to the Pacific Northwest, then down to Salt Lake for a fest out there, as well as Forge Fest down in Providence in Sept. We have this really rad tour/recording project we are working on for October that will be announced later.

TC: I’m eternally grateful for all of the people who had a hand in making this record a reality and who have supported us throughout the years. I want to specifically thank David [Rodgers] at Battleground Records for taking a chance on us. It’s a really tough climate for independent music and he’s been an absolute rock, and I’ve honestly learned a lot from him. He’s a man of his word and that’s a hard thing to find in today’s underground music “business.”

MI: Like the great Kid Rock once mused: “It’s been a couple of months in this smokey room/Eaten shrooms drinking Boones writing tunes/And hoping to get one of these mother fuckin’ songs to hit.”

Rozamov, This Mortal Road (2017)

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Fuzz Evil Post “Black Dread” Video; Tour with Dandy Brown Starts this Weekend

Posted in Bootleg Theater on April 10th, 2017 by JJ Koczan

fuzz evil

Ah, the public domain. Someday the greedy, soulless, oligarchical bastards who run our lives will take away that most human of notions — that something created and put into a public sphere belongs, after a time, to that sphere more than to its creator — because royalty checks, but while we’ve still got it, it’s nice to see it being put to good use. “Black Dread” is the second DIY video from Fuzz Evil‘s 2016 Battleground Records self-titled debut (review here) to cull its footage from such sources behind a lyric clip that surfaced in Nov. for “Killing the Sun” (posted here), and it uses creative editing to give a psychedelic impression from old educational cartoons filled with gloriously outdated science about atoms, space and the threat of nuclear annihilation. My mother tells stories about being told to “duck and cover” if the bomb got dropped. I’d say it was a horrifying time to be alive, but when wasn’t?

Anyhoozle, the song “Black Dread,” the title of which refers to one of Aegon Targaryen’s dragons in George R.R. Martin’s A Song of Ice and Fire — Balerion, if you’re wondering — may or may not have anything to do with the structure of atoms or humanity’s thanatos drive, but it was one of my favorite tracks on Fuzz Evil‘s Fuzz Evil, so I’m happy for the chance to revisit it. More laid back than the bulk of the record, which found the trio of guitarist/vocalist Wayne Rudell, bassist Joseph Rudell and drummer Marlin Tuttle (the latter since replaced by Daniel Graves) dug into the crisp execution of sans-frills fuzz rockers like “Good Medicine” and “My Fuzz,” it was both the longest track at nearly seven minutes and the finale of that sub-half-hour outing, leaving the audience with a dreamier impression and perhaps a sign of sonic expansion and progression to come from the Arizona-based three-piece, whose desert vibes were writ large one way or another over each groove and the laid back, unpretentious atmosphere of the record as a whole.

Fuzz Evil, it just so happens, head out this coming weekend on a run to support the self-titled, going alongside Hermano‘s Dandy Brown and his band for shows in the Southern Californian desert and in Phoenix and their hometown of Sierra Vista, AZ. You can find those dates included under the video for “Black Dread” below, which it’s my pleasure to host for your streaming enjoyment.

So please, enjoy:

Fuzz Evil, “Black Dread” official video

Music by: Fuzz Evil
Edited by: Joseph Rudell of Fuzz evil

Music written, recorded, and owned by Fuzz Evil
All Footage from The archive.org and in the public domain.

Footage from:
–“Principles of Electricity” – Published 1945 – Usage Public Domain
–“Duck and Cover” by Archer Productions, Inc. – Published 1951 – Usage Public Domain
— “Drug Addiction” by Encyclopaedia Britannica Films, Inc. – Published 1951 – Usage Public Domain
— “A is for Atom” by Sutherland (John) Productions – Published 1953 – Usage Public Domain

Fuzz Evil live w/ Dandy Brown:
Saturday – 4/15 – San Diego, CA – Tower Bar
Monday – 4/17 – Riverside, CA
Tuesday – 4/18 – Joshua Tree, CA – The Beatnik Lounge
Wednesday – 4/19 – Palm Desert, CA – The Red Barn
Thursday – 4/20 – Pheonix, AZ – Yucca Tap Room
Friday – 4/21 – Sierra Vista, AZ – The Horned Toad

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Godhunter Post Codex Narco Trailer and Release Details

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

godhunter and friends

Earlier this month, when Arizona sludge-with-a-purpose outfit Godhunter announced their new release, Codex Narco, would be out in May through Baby Tooth and Battleground Records, the guest-laden offering was positioned as an EP. As I look at the seven tracks below — granted they could all be a minute long; one doesn’t want to predict or pre-judge — and take a peak at the newly-posted trailer, it’s looking more and more like a full-length album every minute. I don’t necessarily know that Godhunter give a shit about such concerns — they’ve got bigger fish to fry, aesthetically and politically — but these are the things I get hung up on, basically so I know which list something belongs on for December. Godhunter, almost invariably, will wind up on one or the other.

The PR wire brings art, the aforementioned tracklisting and the also-aforementioned trailer. Busy busy busy. Dig it:

godhunter codex narco

GODHUNTER Releases Art, Trailer, And More For Codex Narco Record Featuring Members Of CHRCH, Demon Lung, Mountaineer, Thorne, Methra, And More

GODHUNTER has issued the artwork, track listing, and a brief trailer for the band’s impending Codex Narco record, which features contributions from members of CHRCH, Demon Lung, Mountaineer, Thorne, Methra, and others.

In line with GODHUNTER’s commitment to speaking out about social issues, the proceeds of Codex Narco’s sales will be donated to Planned Parenthood, the statement reflected in the pink color scheme of the artwork by Bailey Illustration and layout by Cool Ghoul Ltd. (Ethan McCarthy of Primitive Man). Codex Narco was mastered by Brad Boatright at Audiosiege, and features a cover of Tegan & Sara’s “Walking With A Ghost,” for which a video is being created to support suicide prevention.

Codex Narco will see digital release through Battleground Records and cassette release through Baby Tooth Records on May 19th; preorders and further audio samples will be issued in the weeks ahead.

Codex Narco Track Listing:
1. A Dread Of Some Strange Impending Doom
2. Like Glass Under Black Fingernails
3. Our Blood Is Poison
4. Cocaine Witches & Lysergic Dreams
5. Unarmed Combat
6. Walking With A Ghost
7. Distant Fading Screams Of A Dying World

In September of 2015, after finishing a successful US tour with Destroyer Of Light, several members of GODHUNTER amicably split with the band, simply moving on with more family commitments and unable to commit to regular touring. Within weeks of the lineup shift, the rest of the band began writing new material together through internet conversations and individual recording sessions, as remaining guitarist/vocalist David Rodgers, drummer Andy Kratzenberg, and keyboardist Matthew Davis, currently reside on opposite ends of the country, spread across Washington, Arizona, and Georgia. Shortly into the creation process, it was realized that the band was deviating from their usual lyrical content on our deteriorating world and current events, and for the first time were instead focusing towards their own realms of inner darkness. Everyone in the band has experienced some dramatic personal trauma in recent years, a factor which is intensely reflected in the writing of Codex Narco, where dependency, depression, and loss are the driving factors, resulting in the most personal and deeply introspective material the band has ever made.

After fleshing out the main skeleton of the new material, the remaining members of GODHUNTER secured additional elements from several of the band’s closer personal and musical friends. Several of the contributors recorded a large amount of Codex Narco at Homewrecker Studios in Tucson, with the additional material recorded by each musician at their hometown studio of choice. The record features guest vocals from Eva Rose (CHRCH) and Josh Thorne (Thorne), bass from Adam Sage (Demon Lung), guitars from Clayton Bartholomew (Mountaineer, ex-Secrets Of The Sky), and vocal, bass, and guitar contributions from Nick Genitals (Methra).

http://www.facebook.com/godhuntersludge
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Godhunter, Codex Narco trailer

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Godhunter Announce New EP Codex Narco Due in May

Posted in Whathaveyou on March 3rd, 2017 by JJ Koczan

Tucson sludgers Godhunter taking on a more directly political lyrical bent makes sense, as the band has always been keen to offer some latent social commentary both on the local level of their home in Arizona and in the wider sphere of worldly goings on. Not to mention these are deeply politicized times blah blah blah, but yeah, that makes sense as a turn the band would make. Interestingly, they’ve called in a few friends to help them make their point. Their new EP, Codex Narco, is set to release this May on Battleground Records and Baby Tooth Records and with guest spots from CHRCH‘s Eva Rose — well that’s going to be fucking unbelievably heavy — as well as members of Methra, Demon Lung and others, although Godhunter have undergone some lineup changes over the last couple years, they still clearly know how to put a party together. Interested to hear how this one turns out.

No art or audio yet, but the PR wire has release details:

godhunter

GODHUNTER To Release Codex Narco In May; Record Features Contributors From CHRCH, Demon Lung, Mountaineer, Thorne, Methra, And More

GODHUNTER has completed a new EP titled Codex Narco, featuring a cast of fellow musicians hailing from the likes of CHRCH, Demon Lung, Mountaineer, Thorne, Methra, and others. The EP will see release in May, with the proceeds from each format going to several important charities.

In September of 2015, after finishing a successful US tour with Destroyer Of Light, several members of GODHUNTER amicably split with the band, simply moving on with more family commitments and unable to commit to regular touring. Within weeks of the lineup shift, the rest of the band began writing new material together through internet conversations and individual recording sessions, as remaining guitarist/vocalist David Rodgers, drummer Andy Kratzenberg, and keyboardist Matthew Davis, currently reside on opposite ends of the country, spread across Washington, Arizona, and Georgia.

Shortly into the creation process, it was realized that the band was deviating from their usual lyrical content on our deteriorating world and current events, and for the first time were instead focusing towards their own realms of inner darkness. Everyone in the band has experienced some dramatic personal trauma in recent years, a factor which is intensely reflected in the writing of Codex Narco, where dependency, depression, and loss are the driving factors, resulting in the most personal and deeply introspective material the band has ever made.

After fleshing out the main skeleton of the new material, the remaining members of GODHUNTER secured additional elements from several of the band’s closer personal and musical friends. Several of the contributors recorded a large amount of Codex Narco at Homewrecker Studios in Tucson, with the additional material recorded by each musician at their hometown studio of choice. The record features guest vocals from Eva Rose (CHRCH) and Josh Thorne (Thorne), bass from Adam Sage (Demon Lung), guitars from Clayton Bartholomew (Mountaineer, ex-Secrets Of The Sky), and vocal, bass, and guitar contributions from Nick Genitals (Methra).

Codex Narco was mastered by Brad Boatright at Audiosiege, and features artwork by Bailey Illustration and layout by Cool Ghoul Ltd. (Ethan McCarthy of Primitive Man). The record will see release through Battleground Records in conjunction with Baby Tooth Records who will release a cassette version, on May 19th; all profits will be donated to Planned Parenthood.

GODHUNTER’s commitment to speaking out about social issues has not changed though, and as such, the proceeds from this album will be donated to Planned Parenthood, as reflected in the pink color scheme. Mitch Wells from Thou is also making us a video for the Tegan & Sara cover song “Walking With A Ghost.” This video is being made to support suicide prevention. Even though the album is very personal, the resulting effort is all about giving back to organizations the band members care deeply about.

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Godhunter vs. Destroyer of Light, Endsville (2015)

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Rozamov, This Mortal Road: Beating a Path

Posted in Reviews on March 2nd, 2017 by JJ Koczan

rozamov this mortal road

Consuming in its atmospheric darkness and vicious in intent, the debut album from Boston trio Rozamov arrives not without the ground suitably prepared. Actually, it’s been something of a wait. Founded in 2011 by the trio appearing here of guitarist/vocalist Matt Iacovelli (also piano), bassist/vocalist/noisemaker Tom Corino (also of Kind) and drummer Will Hendrix (since replaced by Jeff Landry), as well as guitarist Liz Walshak, they would quickly turn around two EPs, a self-titled and Of Gods and Flesh, in 2012 and 2013, offering heavy-toned crusher riffs with a thrashy edge and a nascent undertone of doom.

It didn’t seem unreasonable to think a full-length would follow soon after, but Rozamov took something of a turn at that point. They parted ways with Walshak (now in Sea) and undertook their first real stretch of touring. I don’t know what other work they were doing, but by the time 2015 came around and they released their cross-coastal split 7″ with L.A.’s Deathkings (review here), they were a different band. Still heavy, still nasty, but driven in a post-sludge direction in a new way and one that, excitingly, was more their own than what they’d shown on their earliest work. As their first long-player, This Mortal Road lands via Battleground Records and Dullest Records with five tracks/40 minutes that draw that line further out to a new point in their longer-term progression. It has been a while in the making, but it’s a pivotal declaration from Rozamov of who they are as a band, and it comes through loud and clear in these songs. Emphasis on loud.

With a recording and mix by Jon Taft at New Alliance Audio and mastering by Nick Z. at New Alliance East Mastering, This Mortal Road seethes with a particularly New England-style anger and intensity. It is bookended by its two longest pieces in the opening title-track (10:49) and closer “Inhumation” (11:29), and finds a sense of variety in switching between Iacovelli‘s shouts and cleaner, post-Oborn howls, and Corino‘s shouts, which particularly on the rolling second cut “Wind Scorpion” remind of Rwake‘s poetic extremity. There is precious little letup, as “This Mortal Road” makes plain at the outset, beginning almost like the listener got there late with an unfolding mid-paced intro that leads the way into the first verse, cleaner-sung than much of what will follow and thoroughly doomed.

At about three minutes in, the roll-and-rumble comes to a halt and they turn to a quieter but still tense stretch of guitar and either keys or guitar effects leading to an instrumental midsection that gradually, patiently, brings them around to the opener’s grueling, shouted apex, in which the full impact of their churn really begins to show itself, perhaps as a precursor to “Wind Scorpion,” which is marked out by Hendrix‘s tortured thud and the play between the bass — which, on a tonal level, feels like it might just bury us all — and the airier impulses of the guitar.

rozamov-photo-by_Reid_Haithcock

When they hit into a stop, as they do several times in the verse, I don’t care what speaker you’re listening on, it sounds like it’s about to blow. Vocals are shouted with a sense of the space in the room in which they were recorded, but not necessarily buried in the mix for effect, and as “Wind Scorpion” passes its midpoint, Corino and Iacovelli seem to come together on vocals in a moment of extra-righteous malevolence, transitioning into a slow-motion nod drawn to more resonant thudding and a plotted but effective layered-in lead that rounds out. They cap side A with a final chug that, in the context of the lurch and push before it, feels almost humorous in its understatement.

It’s important to note that while This Mortal Road is unquestionably structured to break into two sides, as mentioned above, the flow front-to-back is linear and the resulting full-album feel palpable. Listening digitally or on CD, there’s a quick stop between “Wind Scorpion” and the subsequent “Serpent Cult,” which brings back the clean vocals, but in their order as much as in how “Serpent Cult” feeds into the two-minute interlude “Swallowed and Lost” and that feeds into the finale, Rozamov do well in creating an immersive experience — think Steve Buscemi in a woodchipper, you children of the ’90s — across the presentation of the record as a whole, which is something that, as a newer and less mature outfit, they probably wouldn’t have been able to do.

“Serpent Cult” proves a worthy centerpiece of the tracklist as it oozes forth to execute its seven minutes of hellscaping, and though its instrumental aspects are thoroughly, persistently sludged, the shifts in vocal approach offer diversity both on their own and in relation to “Wind Scorpion” before it. Vague speech, either sampled or spoken, accompanies the piano of “Swallowed and Lost,” and the movement into “Inhumation” — a title that brings to mind some lost death metal band from either Florida or New York — comes via a brief foreboding drone. Fittingly enough, “Inhumation” is the darkest, most outwardly brutal inclusion on This Mortal Road, making its way toward a crawl in its second half that seems bent on tearing itself apart from about its seventh minute onward.

Noble, and I’m not sure how else Rozamov might’ve ended the album other than with the noise and feedback they do, but it follows a churning roll into the bleakest sphere the band has yet to occupy, as though they were forcibly willing themselves to be heavier, meaner, rawer. That impression, savage as it turns out to be in the actual listening experience, is another sign of how much they’ve grown, and while This Mortal Road was recorded over a span of months, the obvious efforts Rozamov have put into crafting their aesthetic with it can be heard in the overarching cohesiveness of purpose in the songs. In other words, it took a while for the band to realize This Mortal Road, but This Mortal Road seems to be all the more realized for that, and as their debut, it strikes with deceptive efficiency and poise. Is it possible for something so harsh to be progressive? One gets the sense that as Rozamov continue forward, they’re setting themselves up to pursue an answer.

Rozamov, This Mortal Road (2017)

Rozamov on Thee Facebooks

Rozamov on Bandcamp

Battleground Records website

Battleground Records on Thee Facebooks

Battleground Records webstore

Dullest Records on Bandcamp

Dullest Records on Thee Facebooks

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Rozamov Announce Coast-to-Coast US Tour

Posted in Whathaveyou on January 26th, 2017 by JJ Koczan

Not to say I called it or anything — though I most definitely, definitely called it — but Boston three-piece Rozamov have announced a considerable round of tour dates in support of their forthcoming debut album, This Mortal Road. It’s a run that will take them from one coast to the other as they herald the March 3 release on Battleground Records and Dullest Records, and includes a certainly noteworthy appearance at the Austin Terror Fest, put on by the same crew as the South West Terror Fest.

There are a few open days around that appearance that I assume will be filled by gigs at SXSW or on their way to or from Austin, but either way, it’s a substantial amount of travel and an awesome barrage of shows, so all the best to Rozamov on hitting the road hard and getting out to deliver their onslaught in-person. I haven’t heard the record yet, but I’m rooting for these guys already to make a significant impression this year. A tour like this won’t hurt.

From the PR wire:

rozamov us tour

ROZAMOV Announces US March Tour Supporting This Mortal Road Full-Length

Boston’s ROZAMOV will tour across the US in support of their upcoming debut full-length, This Mortal Road, beginning directly in conjunction with the album’s release through Battleground Records and Dullest Records.

The new ROZAMOV tour will begin with a record release show the day This Mortal Road is issued, Friday, March 3rd, in Allston, Massachusetts. From there, the band will venture in a clockwise path around the country through the entire month. At press time, nineteen shows have been confirmed, with several additional performances yet to be announced. Hush will join ROZAMOV on first three shows in Brooklyn, Baltimore, and Richmond, and the tour also includes a set at Austin Terror Fest. The remaining dates will be issued in the coming days, as the band issues further information and audio to the anxiously anticipated This Mortal Road.

This Mortal Road will see release March 3rd on vinyl through Battleground Records, on CD and cassette through Dullest Records, and digitally through ROZAMOV. Digital preorders are posted HERE, and physical preorders at Battleground HERE and Dullest HERE.

ROZAMOV Tour Dates:
3/03/2017 O’Briens – Allston, MA *record release show
3/08/2017 The Well – Brooklyn, NY w/ Hush
3/09/2017 The Depot – Baltimore, MD w/ Hush
3/10/2017 25 Watt – Richmond, VA w/ Hush
3/11/2017 Star Bar – Atlanta, GA
3/12/2017 The Nick – Birmingham, AL
3/13/2017 Shantytown Pub – Jacksonville, FL
3/18/2017 The Lost Well – Austin, TX @ Austin Terror Fest
3/19/2017 Zombies – Amarillo, TX
3/20/2017 Moonlight Lounge – Albuquerque, NM
3/21/2017 Yucca Taproom – Tempe, AZ
3/22/2017 Complex – Los Angeles, CA
3/24/2017 High Water Mark – Portland, OR
3/25/2017 Funhouse – Seattle, WA
3/26/2017 Club X – Salt Lake City, UT
3/27/2017 Bar Bar – Denver, CO
3/28/2017 Riot Room – Kansas City, MO
3/29/2017 Livewire Lounge – Chicago, IL
3/30/2017 Buzzbin – Canton, OH

With five monolithic passages consuming over forty minutes of textured, melody-laced doom metal, This Mortal Road presents a sonic catharsis featuring the longest, heaviest, and most progressive tracks ROZAMOV has ever created. The crushing production was recorded and mixed by Jon Taft at New Alliance Audio, and mastered by Nick Z at New Alliance East Mastering, the album finalized with photography by Andrew Weiss and layout by Matt Martinez.

https://www.facebook.com/Rozamov
http://battlegroundrnr.com/
http://www.facebook.com/battlegroundrecords
http://battlegroundrecords.bigcartel.com
https://dullestrecords.bandcamp.com
https://www.facebook.com/DullestRecords

Rozamov, This Mortal Road album trailer

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Tomorrow’s Dream: 200+ of 2017’s Most Anticipated Releases

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

tomorrow's dream 2017

Looks like it’s going to be another busy 12 months ahead. It’s been a busy better-part-of-a-month already, so that stands to reason, but you should know that of the several years now that I’ve done these ‘Tomorrow’s Dream’ posts, this is the biggest one yet, with over 150 upcoming releases that — one hopes — will be out between today and the end of 2017.

Actually, at last count, the list tops 180. Do I really expect you to listen to all of them? Nope. Will I? Well, it would be nice. But what I’ve done is gone through and highlighted 35 picks and then built lists off that in order of likelihood of arrival. You’ll note the categories are ‘Gonna Happen and/or Likely Candidates,’ ‘Definitely Could Happen’ and ‘Would be Awfully Nice.’

Beyond that last one, anything else just seems like speculation — one might as well go “new Sabbath this year!” with zero info backing it up. The idea here is that no matter where a given band is placed, there has been some talk of a new release. In some cases, it’s been years, but I think they’re still worth keeping in mind.

Another caveat: You can expect additions to this list over the next week — probably album titles, band names people (fingers crossed) suggest in the comments, and so on — so it will grow. It always does. The idea is to build as complete a document as possible, not to get it all nailed down immediately, so please, if you have something to contribute and you’re able to do so in a non-prickish, “You didn’t include Band X and therefore don’t deserve to breathe the same air as me,” kind of way, please contribute.

Other than that, I think it’s pretty straightforward what’s going on here and I’ll explain the category parameters as we go, so by all means, let’s jump in.

— Tomorrow’s Dream 2017 —

Presented Alphabetically

1. Abrahma, TBA

Late last year, Paris heavy progressives Abrahma announced a new lineup and third full-length in progress. No reason to think it won’t come to fruition, and a follow-up to 2015’s Reflections in the Bowels of a Bird (review here) is an easy pick to look forward to. Even with the shift in personnel, it seems likely the band will continue their creative development, driven as they are by founding guitarist Seb Bismuth.

2. All Them Witches, Sleeping Through the War

all them witches sleeping through the warIf 2017 ended today, Sleeping Through the War would be my Album of the Year. Of course, there’s a lot of year to go, but for now, Nashville’s All Them Witches have set the standard with their second album for New West Records behind 2015’s Dying Surfer Meets His Maker (review here) and fourth overall outing. They’ve got videos up so far for “3-5-7” (posted here) and “Bruce Lee” (posted here). Both are most definitely worth your time. Out Feb. 24. Full review should be later this week.

3. Alunah, Solennial

Seems like UK forest riffers Alunah are on this list every year. Wishful thinking on my part. Nonetheless, their fourth LP and Svart Records debut, Solennial, is out March 17, and if the tease they gave already with the clip for “Fire of Thornborough Henge” (posted here) is anything to go from, its Chris Fielding-produced expanses might just be Alunah‘s most immersive yet.

4. Arbouretum, TBA

I asked the Baltimore folk fuzzers a while back on Thee Facebooks if they had a new record coming in 2017 and they said yes, so that’s what I’m going on here. The last Arbouretum album was 2013’s Coming out of the Fog (review here), and even with frontman Dave Heumann‘s 2015 solo outing, Here in the Deep (review here), factored in, you’d have to say they’re due. Keep an eye on Thrill Jockey for word and I’ll do the same.

5. Atavismo, Inerte

This is another one that already has a spot reserved for it on my Best-of-2017 year-end list. Spanish heavy psych rockers Atavismo up the progressive bliss level with their second full-length, Inerte, without losing the depth of style that made 2014’s Desintegración (review here) so utterly glorious. It probably won’t have the biggest marketing budget of 2017, but if you let Atavismo fly under your radar, you are 100 percent missing out on something special.

6. Bison Machine, TBA

In addition to the video for new track “Cloak and Bones” that premiered here, when Michigan raucousness-purveyors Bison Machine put out the dates for their fall 2016 tour, they included further hints of new material in progress. As much as I dug their earlier-2016 split with SLO and Wild Savages (review here) and 2015’s Hoarfrost (review here), that’s more than enough for me to include them on this list. Killer next-gen heavy rock.

7. Brothers of the Sonic Cloth, TBA

News of a follow-up to Brothers of the Sonic Cloth‘s 2015 Neurot Recordings self-titled debut (review here) came through in October, and it remains some of the best news I’ve heard about 2017 doings. Took them a while to get the first record out, so we’ll see what happens, but it kind of feels like looking forward to a comet about to smash into the planet and cause a mass extinction, and by that I mean awesome. Can’t get here soon enough.

8. Cloud Catcher, Trails of Kosmic Dust

cloud catcher trails of kosmic dustOkay, so maybe I jumped the gun and did a super-early review of Denver trio Cloud Catcher‘s second long-player and Totem Cat Records debut, Trails of Kosmic Dust, but hell, no regrets. Some albums require an early-warning system. Their 2015 debut, Enlightened Beyond Existence (discussed here), was a gem as well, but this is a band in the process of upping their game on every level, and the songwriting and momentum they hone isn’t to be missed.

9. Colour Haze, TBA

I’ve gotten some details on the upcoming full-length from Colour Haze. They do not include a title, artwork, audio, song titles or general direction. Less details, I guess, than word that the CD version of this answer to 2015’s To the Highest Gods We Know (review here) is set to come out next month, as ever, on Elektrohasch. That puts it out in time for Colour Haze‘s upcoming tour with My Sleeping Karma (announced here). Fingers crossed it happens. Colour Haze are perpetual top-albums candidates in my book.

10. Corrosion of Conformity, TBA

Signed to Nuclear Blast after being rejoined by guitarist/vocalist Pepper Keenan, North Carolina’s C.O.C. have been in the studio since last year. The lineup of Keenan, bassist/vocalist Mike Dean and guitarist Woody Weatherman and Reed Mullin on drums is the stuff of legend and last worked together on 2000’s America’s Volume Dealer, so no question this reunion makes for one of 2017’s most anticipated heavy rock records. They nailed the nostalgia factor on tour. Can they now add to their legacy?

11. Elder, TBA

I was incredibly fortunate about a month ago to visit progressive heavy rockers Elder at Sonelab in Easthampton, MA, during the recording process for their upcoming fourth album. I heard a couple of the tracks, and of course it was all raw form, but the movement forward from 2015’s Lore (review here) was palpable. That LP (on Stickman) brought them to a wider audience, and I expect no less from this one as well, since the farther out Elder go sound-wise, the deeper the level of connection with their listeners they seem to engage.

12. Electric Wizard, TBA

Could happen, could not happen. That’s how it goes. Announced for last Halloween. That date came and went. Word of trouble building their own studio surfaced somewhere along the line. That was the last I heard. Frankly, I wouldn’t be surprised if it showed up tomorrow, if it showed up in 2018, or if the band broke up and never put it out. They’re Electric Wizard. Anything’s possible.

13. John Garcia, The Coyote Who Spoke in Tongues

Out Jan. 28 on NapalmThe Coyote Who Spoke in Tongues (review here) is the first-ever acoustic album from former Kyuss frontman John Garcia, also of Unida, the reunited Slo BurnHermanoVista ChinoZun, etc. — basically the voice of desert rock. He does a couple Kyuss classics for good measure, but shines as well on the new/original tracks, and while it’s a piece for fans more than newcomers — that is, it helps if you know the original version of “Green Machine” — his presence remains as powerful as ever despite this new context.

14. Goya, Harvester of Bongloads

Riffs, dude. Goya seem to have them to spare. The Arizona-based wizard doomers have set a pretty prolific clip for themselves at this point, with at least two short releases out in 2016, one a 7″ of Nirvana covers (review here), and the The Enemy EP (review here). Set for a March 3 release through their own Opoponax Records imprint, Harvester of Bongloads continues the march into the abyss that 2015’s Obelisk (review here) and 2013’s 777 set in motion, finding the band coming more into their own as well. Creative growth — and bongloads! The best of both worlds.

15. Ides of Gemini, TBA

Ides of Gemini are set to record their yet-untitled third album with Sanford Parker early this year, and it will also mark their debut on Rise Above Records upon its release. They’ve also got a new lineup around vocalist Sera Timms and guitarist J. Bennett, so as they look to move forward from 2014’s Old World New Wave (review here), one can’t help but wonder what to expect, but to be honest, not knowing is part of the appeal, especially from a band who so readily specialize in the ethereal.

16. Kind, TBA

Three-fourths of Kind feature elsewhere on this list. Bassist Tom Corino plays in Rozamov. Drummer Matt Couto is in Elder. Vocalist Craig Riggs is in Roadsaw. And for what it’s worth, guitarist Darryl Shepherd has a new band coming together called Test Meat. How likely does that make Kind to release a second LP in 2017? I don’t know, but their 2015 Ripple Music debut, Rocket Science (review here), deserves a follow-up, and I know they’ve demoed some new songs. If it happens, great. If it’s 2018, at least these dudes will be plenty busy besides.

17. Lo-Pan, In Tensions

lo-pan in tensionsYes, Lo-Pan‘s In Tensions (review here) has already been released — CD/LP with an artbook on Aqualamb. It’s out. Limited numbers. You can get it now. Why include it on a list of most anticipated releases? Because that’s how strongly I feel about your need to hear it. The fruit of a shortlived lineup with guitarist Adrian Zambrano, it distinguishes itself from everything they’ve done before in style while still keeping to the core righteousness that one hopes the Ohio outfit will continue to carry forward. It’s more than a stopgap between albums. Listen to it.

18. The Midnight Ghost Train, TBA

It seems to have been a rough ride for hard-boogie specialists The Midnight Ghost Train since their 2015 Napalm debut and third album overall, Cold was the Ground (review here). They’ve never taken it easy on the road or in terms of physicality on stage, and between injuries and who knows what else, their intensity at this point veers toward the directly confrontational. Nonetheless, they’ve been writing for album number four, may or may not have started the recording process, and I expect that confrontationalism to suit them well in their new material.

19. Monster Magnet, TBA

I have it on decent authority that NJ heavy psych innovators Monster Magnet were in the studio this past autumn. I’ve seen no concrete word of a new album in progress from Dave Wyndorf and company, and I wouldn’t necessarily expect to until it was time to start hyping the release, but after their two redux releases, 2015’s Cobras and Fire (review here) and 2014’s Milking the Stars (review here), their range feels broader than ever and I can’t wait to hear what they come up with next.

20. Mothership, High Strangeness

A pivotal moment for Mothership arrives with High Strangeness, and the heavy-touring, heavy-riffing Texas power trio seem to know it. Their third record on Ripple Music pushes into new avenues of expression and keeps the energy of 2014’s Mothership II (review here) and 2012’s Mothership (review here), but thus far into their career, it’s been about their potential and what they might accomplish going forward. 2017 might be the year for Mothership to declare a definitive place in the sphere of American heavy rock.

21. The Obsessed, Sacred

On Halloween 2016, founding The Obsessed guitarist/vocalist and doom icon Scott “Wino” Weinrich announced a new lineup for the band, with his former The Hidden Hand bandmate Bruce Falkinburg on bass/vocals, Sara Seraphim on guitar and Brian Costantino continuing on drums. A genuine surprise. Their first album since 1994, Sacred (due on Relapse) was tracked as the trio of WeinrichCostantino and bassist/vocalist Dave Sherman, but clearly they’ve moved into a new era already. Wouldn’t even guess what the future holds, but hopefully Sacred still comes out.

22. Orange Goblin, TBA

When it was announced that London’s Orange Goblin were picked up by Spinefarm as part of that label’s acquisition of Candlelight Records last Spring, the subheadline from the PR wire was “Working on Ninth Studio Album.” I haven’t heard much since then, but even as 2014’s Back from the Abyss (review here) pushed them deeper into metallic territory than ever before, their songs retained the character that’s made the band the institution they are. Always look forward to new Orange Goblin.

23. Pallbearer, Heartless

pallbearer heartlessDoomers, this is your whole year right here. I haven’t heard Pallbearer‘s third album, Heartless (out March 24 on Profound Lore), but I have to think even those who haven’t yet been won over by the Arkansas four-piece’s emotive, deep-running style have to be curious about what they’ve come up with this time around. I know I am. These guys have been making a mark on the genre since their 2012 debut, Sorrow and Extinction (review here), and there’s little doubt Heartless will continue that thread upon its arrival.

24. Radio Moscow, TBA

Fact: Radio Moscow stand among the best classic heavy rock live acts in the US. They’re the kind of band you can watch upwards of 15 gigs in a row — I’ve done it — and find them putting on a better show night after night, in defiance of science, logic and sobriety. Word of their signing to Century Media came just this past week and brought with it confirmation of a follow-up to 2014’s stellar Magical Dirt (review here), and for me to say hell yes, I’m absolutely on board, seems like the no-brainer to end all no-brainers. Can’t wait.

25. Roadsaw, TBA

Nearly six full years later, it’s only fair to call Boston scene godfathers Roadsaw due for a follow-up to their 2011 self-titled (review here). Granted, members have been busy in KindWhite Dynomite, and other projects, but still. Their upcoming outing finds them on Ripple Music after years under the banner of Small Stone Records, and though I haven’t seen a solid release date yet, my understanding is they hit Mad Oak Studio in Allston, MA, this past fall to track it, so seems likely for sooner or later. Sooner, preferably.

26. Rozamov, This Mortal Road

Speaking of albums by Boston bands a while in the making, This Mortal Road (out March 3 on Battleground Records and Dullest Records) is the debut full-length from Boston atmospheric extremists Rozamov. Haven’t heard it yet, but I got a taste of some of the material when I visited the band at New Alliance Audio in Aug. 2015, and the bleak expanses of what I heard seem primed to turn heads. I’m a fan of these guys, but in addition, they’ve found a niche for themselves sound-wise and I’m curious to hear how they bring it to fruition.

27. Samsara Blues Experiment, TBA

It’s been a pleasure over the last couple months to watch a resurgence of Berlin heavy psych trio Samsara Blues Experiment take shape, first with the announcement of a fourth album in October, then with subsequent confirmations for DesertfestRiff Ritual in Barcelona, and a South American tour. Reportedly due in Spring, which fits with the timing on shows, etc., the record will follow 2013’s righteous Waiting for the Flood (review here) and as much as I’m looking forward to hearing it, I’m kind of just glad to have these guys back.

28. Seedy Jeezus, TBA

Work finished earlier this month on Melbourne trio Seedy Jeezus‘ second full-length. As with their 2015 self-titled debut, the band brought Tony Reed of Mos Generator to Australia to produce, and after their blissed-out 2016 collaboration with Earthless guitarist Isaiah MitchellTranquonauts (review here), it’s hard not to wonder what experimentalist tendencies might show in the trio’s style this time out, and likewise difficult not to anticipate what guitarist Lex “Mr. Frumpy” Wattereus comes up with for the cover art.

29. Shroud Eater, Strike the Sun

Not to spoil the surprise, but Feb. 1 I’ll host a track premiere from Florida’s Shroud Eater that finds them working in a different context from everything we’ve heard from them to this point in their rightly-celebrated tenure. They also recently had a split out with Dead Hand, and their second long-player, Strike the Sun, will be their debut through STB Records. It’s been since 2011’s ThunderNoise (review here) that we last got a Shroud Eater album, so you bet your ass I’m dying to know what the last six years have wrought.

30. Sleep, TBA

If Sleep were any other band, they’d probably be in the “Would be Awfully Nice” category. But they’re Sleep, so even the thought of a new record is enough to put them here. The lords of all things coated in THC are reissuing their 2014 single, The Clarity (review here), on Southern Lord next month, but rumors have been swirling about a proper album, which of course would be their first since the now-legendary Dopesmoker. If it happens, it’ll automatically be a heavy underground landmark for 2017, but it’s one I’m going to have in my ears before I really believe it.

31. Stoned Jesus, TBA

Even as they tour playing their second album, 2012’s Seven Thunders Roar (review here), to mark its fifth anniversary and continued impact, Ukrainian trio Stoned Jesus are forging ahead with a fourth record behind 2015’s The Harvest (review here). The capital-‘q’ Question is whether or not looking back at Seven Thunders Roar and engaging that big-riffing side of their sound will have an impact on the new material, and if so, how it will meld with the push of The Harvest. Won’t speculate, but look forward to finding out.

32. Stubb, TBA

Since reveling in the soul of 2015’s Cry of the Ocean (review here) on Ripple, London trio Stubb have swapped out bassists, and they were in Skyhammer Studio this month recording a single that may be an extended psychedelic jam. I’ll take that happily, but I’m even more intrigued at the prospect of a third LP and what guitarist/vocalist Jack Dickinson, bassist/vocalist Tom Hobson and drummer Tom Fyfe might have in store as the band moves forward on multiple levels. Might be 2017, might not.

33. Sun Blood Stories, It Runs Around the Room with Us

sun blood stories it runs around the room with usIt Runs around the Room with Us seems to find peace in its resonant experimentalist drones, loops, open, subdued spaces, but there’s always some underlying sense of foreboding to its drift, as if Boise’s Sun Blood Stories could anticipate the moment before it happened. Toward the end of the follow-up to 2015’s Twilight Midnight Morning (review here), they execute the 90-second assault “Burn” and turn serenity to ash. Look for it in April and look for it again on my best of 2017 list in December.

34. Ufomammut, TBA

Any new offering from the Italian cosmic doom magnates is worth looking forward to, and while Ufomammut have left the 15-year mark behind, they’ve never stopped progressing in style and form. To wit, 2015’s Ecate (review here) was a stunner after 2012’s two-part LP, Oro (review here and review here), tightening the approach but assuring the vibe was no less expansive than ever. They started recording last summer, finished mixing in November, so I’m hoping for word of a release date soon.

35. Vokonis, The Sunken Djinn

Born out of Creedsmen Arise, whose 2015 demo, Temple (review here), offered formative thrills, Swedish trio Vokonis debuted with last year’s Olde One Ascending (review here) and proved there’s still life in post-Sleep riffing when it’s wielded properly. They signed to Ripple in November and confirmed the title of their sophomore effort as The Sunken Djinn, as well as a reissue for the first album, which will probably arrive first. I don’t know how that will affect the timing on this one, but keep an eye out anyway.

Gonna Happen and/or Likely Candidates

Obviously some of these are more likely than others. Some have solidified, announced release dates — Dopelord‘s out this month, Demon Head‘s out in April, etc. — and others come from social media posts of bands in studios and hints at upcoming releases and so on. A big tell is whether or not a band has an album title with their listing, but even some of those without have their new albums done, like Atala and Royal Thunder, so it’s not necessarily absolute.

Either way, while I’m spending your money, you might want to look into:

36. Against the Grain
37. Amenra
38. Atala
39. Attalla, Glacial Rule
40. Ayahuasca Dark Trip, II
41. Beastmaker
42. Beaten Back to Pure
43. Blackout
44. Bretus
45. Buried Feather, Mind of the Swarm
46. The Clamps
47. Cold Stares
48. Coltsblood, Ascending into the Shimmering Darkness
49. Come to Grief, The Worst of Times EP
50. Cortez
51. Cruthu, The Angle of Eternity
52. The Dead-End Alley Band, Storms
53. Dead Witches, Dead Witches
54. Dealer
55. Death Alley, Live at Roadburn
56. Demon Head, Thunder on the Fields
57. The Devil and the Almighty Blues, II
58. Devil Electric
59. Doctor Cyclops, Local Dogs
60. Dool, Here Now There Then
61. Dopelord, Children of the Haze
62. Doublestone, Devil’s Own/Djævlens Egn
63. Dread Sovereign, For Doom the Bell Tolls
64. Drive by Wire
65. Elbrus, Elbrus
66. Electric Age
67. Electric Moon, Stardust Rituals
68. Endless Floods, II
69. Five Horse Johnson
70. Forming the Void, Relic
71. Funeral Horse
72. Greenbeard
73. Green Desert Water
74. Greenleaf
75. Grifter / Suns of Thunder, Split
76. Hair of the Dog, This World Turns
77. Heavy Temple, Chassit
78. Here Lies Man, Here Lies Man
79. Hollow Leg, Murder EP
80. Holy Mount, The Drought
81. Hooded Menace
82. Horisont, About Time
83. Hymn, Perish
84. Lecherous Gaze
85. Magnet, Feel Your Fire
86. Mastodon
87. Merlin, The Wizard
88. Merchant
89. Mindkult, Lucifer’s Dream
90. Mirror Queen
91. Moonbow, War Bear
92. Mos Generator
93. The Moth
94. MotherSloth
95. Mouth, Vortex
96. My Sleeping Karma, Mela Ananda – Live
97. Orango
98. Papir
99. PH, Eternal Hayden
100. Psychedelic Witchcraft, Magick Rites and Spells
101. Royal Thunder
102. Saturn, Beyond Spectra
103. Season of Arrows, Give it to the Mountain
104. Siena Root
105. Six Organs of Admittance, Burning the Threshold
106. Six Sigma, Tuxedo Brown
107. Sólstafir
108. The Sonic Dawn, Into the Long Night
109. Spelljammer
110. Spidergawd, IV
111. Steak
112. Stinking Lizaveta, Journey to the Underworld
113. Sula Bassana, Organ Accumulator
114. Summoner
115. Sun Voyager, Sun Voyager
116. Sweat Lodge, Tokens for Hell EP
117. Thera Roya, Stone and Skin
118. Toke
119. Troubled Horse, Revelation on Repeat
120. VA, Brown Acid The Third Trip
121. Weedpecker
122. Youngblood Supercult, The Great American Death Rattle

Definitely Could Happen

Maybe a recording process is upcoming (Gozu, Cities of Mars, YOB), or a band is looking for a label (The Flying Eyes), or they’ve said new stuff is in the works but the circumstances of an actual release aren’t known (Arc of Ascent, Dead Meadow, High on Fire), or I’ve just seen rumors of their hitting the studio (Freedom Hawk, La Chinga, Ruby the Hatchet). We’ve entered the realm of the entirely possible but not 100 percent.

So, you know, life.

Dig it:

123. The Age of Truth
124. Ape Machine
125. Arc of Ascent
126. At Devil Dirt
127. Bantoriak
128. Bask
129. BCAD
130. BoneHawk
131. La Chinga
132. Chubby Thunderous Bad Kush Masters
133. Cities of Mars
134. Crypt Sermon
135. Dead Meadow
136. Death Alley (Studio LP)
137. Dee Calhoun
138. Destroyer of Light
139. Devil
140. Devil Worshipper
141. Duel
142. Dustrider
143. Egypt
144. Electric Moon
145. Elephant Tree
146. Farflung
147. The Flying Eyes
148. Freedom Hawk
149. Gozu
150. The Great Electric Quest
151. Green Meteor, Consumed by a Dying Sun
152. High on Fire
153. Horrendous
154. Insect Ark
155. In the Company of Serpents
156. Iron Monkey
157. Jeremy Irons and the Ratgang Malibus
158. The Judge
159. Killer Boogie
160. King Dead
161. The Kings of Frog Island
162. Lords of Beacon House, Recreational Sorcery
163. Mangoo
164. Mondo Drag
165. Monolord
166. Mountain God
167. The Munsens
168. Naxatras
169. Never Got Caught
170. Ommadon
171. Orchid
172. Ordos
173. Pilgrim
174. Poseidon
175. Purple Hill Witch
176. Ruby the Hatchet
177. Sasquatch
178. Satan’s Satyrs
179. Serpents of Secrecy
180. Shabda
181. Shooting Guns
182. Sleepy Sun
183. Slow Season
184. Snowy Dunes, Atlantis
185. Spectral Haze
186. The Sweet Heat
187. Switchblade Jesus
188. Superchief
189. Tÿburn
190. YOB
191. Zone Six

Would be Awfully Nice

This last category is basically as close as I’m willing to come to rampant speculation. Endless Boogie have hinted at new material, and Queens of the Stone Age have talked about hitting the studio for the last two years. There were rumors about Om, and though Kings Destroy just put out an EP, they have new songs as well, though I doubt we’ll hear them before the end of 2017. I’ll admit that Across Tundras, Fever Dog, Lord Fowl, Lowrider and Hour of 13 are just wishful thinking on my part. A boy can hope:

192. Across Tundras
193. Eggnogg
194. Elephant Tree
195. Endless Boogie
196. Fever Dog
197. Fu Manchu
198. Halfway to Gone
199. Hour of 13
200. Kadavar
201. Kings Destroy
202. Lord Fowl
203. Lowrider
204. Masters of Reality
205. Om
206. Orodruin
207. Queens of the Stone Age

If you’ve made it this far, thanks for reading. Whatever this year brings, I hope it’s been great so far for you and I hope it continues to be so as we proceed inexorably to 2018 and all the also-futuristic-sounding numbers thereafter. At least we know we’ll have plenty of good music to keep us company on that voyage.

As always, comments section is open if there’s anything I’ve left out. I’m happy to add, adjust, etc., as need be, so really, have at it, and thanks in advance.

All the best.

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