Belzebong & The Necromancers Announce Spring Tour Dates

Posted in Whathaveyou on December 27th, 2018 by JJ Koczan

belzebong

the necromancers

Hey, if it works, don’t mess with it. Poland’s Belzebong and France’s The Necromancers toured together this past Fall and they’ll head out once more in March on an apparent second leg of their run together. The shows are presented by Sound of Liberation, and with Belzebong having released Light the Dankness (review here) in the meantime as The Necromancers continue to support their second LP, Of Blood and Wine (review here), it’s all the more an occasion. One assumes the bands must have gotten along pretty well or the tour wouldn’t be happening after the first one, so that’s kind of an awesome atmosphere to think of. Shows are better when the bands playing are having a good time. Thus spake science.

Sound of Liberation posted the following dates before breaking for the holidays:

belzebong necromancers tour

We couldn’t leave for our little x-mas/new year’s break without giving you one more tour set for the spring!

Just back from the road 3 weeks ago, BelzebonG & The Necromancers will team up again in March/April for the second leg of their “Purveyors of Dankness” Tour!

Still some dates missing, but most of the tour is here:
19.03.19 (D) Dresden / Chemiefabrik (Belzebong Only)
20.03.19 (D) Osnabrück / Westwerk (Belzebong Only)
21.03.19 (NL) Nijmegen / Merleyn
23.03.19 (FR) Le Havre / CEM (Belzebong Only)
25.03.19 (UK) Bristol / The Lanes
27.03.19 (UK) Glasgow / Nice N Sleazy
29.03.19 (UK) Cardiff / TBC
30.03.19 (UK) Manchester / Riffolution Festival
31.03.19 (UK) London / The Underworld
03.04.19 (D) Hamburg / Molotow
04.04.19 (DK) Copenhagen / Stengade
05.04.19 (D) Cottbus / Zum Faulen August
06.04.19 (CZ) Prag / 007

Polish heavy-doomfuzz-metal outfit BELZEBONG started in 2008, and since then they bring tons of evil weedian riffage for persistent ones. The band drowns themselves in a sea of distortion and fuzz, and after their appearances at prestigious festivals such as Stoned From The Underground, Desertfest Berlin & London, fans of Doom Metal have found a new hero in the scene!

From Progressive Rock to Doom Metal, THE NECROMANCERS’ music is a condensed hybrid of muddy influences emerging from fuzzy and mesmerising witchy riffs, metallic passion, and thickened doom. Think of an unhappy encounter between dark gods at the corner of a foggy street and you’ll get a feeling.

https://www.facebook.com/belzebong420/
www.soundofliberation.com/belzebong

https://www.facebook.com/thenecromancersband/
www.soundofliberation.com/the-necromancers

Belzebong, Light the Dankness (2018)

The Necromancers, Of Blood and Wine (2018)

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The Obelisk Presents: THE TOP 30 ALBUMS OF 2018

Posted in Features on December 20th, 2018 by JJ Koczan

the-top-30-of-2018

Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2018 to that, please do.

It just wouldn’t be a year if it wasn’t completely overwhelming, right?

2018 has certainly met that standard and then some. The swath of output, whether it’s a new generation adopting and adapting established methods or out and out reinventing the stylistic wheel and then pushing it uphill on a seemingly endless barrage of tours, has been staggering, and it’s still happening. There’s a little more than a week to go in the year. You think a band isn’t putting something out today? Of course they are. It’s every day. It’s all the time.

But this year wasn’t just about quantity either. I think one of my biggest struggles in writing about albums in 2018 — and with the last Quarterly Review and various premieres and video posts that were basically album reviews in disguise, let’s estimate we’re somewhere past 300 records reviewed one way or another — was in conveying just how killer so much of the stuff coming through was. How many times can you say the word “awesome?” Well, I’m sure we’ll see it a few more times before this list is over, so there you go.

I say something like this every time I do a list, but please keep in mind these are my picks and I’m one person. But I am a person. I know there’s the whole internet-anonymity thing, but I assure you, I’m a human being (more of a cave troll, really) typing these words. I’m all for everyone sharing their own picks in the comments, and all for passionate advocating, but please, let’s keep it civil and respectful. These things can spiral out of control quickly, but let’s remember that we’re all human beings and worth of basic courtesy, even if some of us are dead wrong about a good many things. You should definitely punch nazis, though.

Thanks in advance for reading. Here we go:

[UPDATE: You’ll notice the inclusion of an ’18a.’ I had Stoned Jesus in my notes as number 18 initially and they got dropped as I was adjusting things along the way. I’ve added them back in, but it didn’t seem fair to bump everyone else down after the post had already been published. That was the best I could come up with for a solution. If you’re pissed about one more killer record being added, please feel free to email me and tell me all about it.]

30. The Skull, The Endless Road Turns Dark

The Skull The Endless Road Turns Dark

Released by Tee Pee Records. Reviewed Sept. 12.

Chicago’s The Skull had no small task before them in following up their 2014 debut, For Those Which are Asleep (review here) — let alone living up to their pedigree — but their second album demonstrated a creative growth that sacrificed nothing of memorability when it came to songs like “Breathing Underwater” and “All that Remains (Is True).” They got down to work and got the job done, which is what a working band does. 2018 was by any measure a fantastic year for doom, and The Skull were a big part of why.

29. Foghound, Awaken to Destroy

foghound awaken to destroy

Released by Ripple Music. Reviewed Nov. 21.

The Dec. 2017 murder of Rev. Jim Forrester was tragic. No other way to say it. Foghound, who were in the midst of making Awaken to Destroy at the time, put together an album that not only features Forrester‘s last recorded performance, but pays respect to his memory while the wound is still raw and manages to kick ass all the while. It’s a record that can’t ever be divorced from its circumstances — just can’t — and so it can be a heavy listen in more than just its tones, but it’s basically Foghound proving they’re unstoppable. And so they are.

28. Orange Goblin, The Wolf Bites Back

orange goblin the wolf bites back

Released by Spinefarm Records. Reviewed June 13.

Who among us here today is not a sucker for Orange Goblin? Come forward an be judged. I mean, really. Nine records deep, the London sceneforgers are nothing less than an institution, beloved by boozehounds, riffhounds, doomhounds, and really, a wide variety of hounds the world over. Also dudes. With its essential title-track hook and highlight cuts in “Ghosts of the Primitives” and “Burn the Ships” — or, you know, any of them — they added to one of heavy’s most unshakable legacies with an album as furious as it is welcoming to its generations-spanning fanbase.

27. Fu Manchu, Clone of the Universe

fu manchu clone of the universe
Released by At the Dojo Records. Reviewed Feb. 15.

There are two kinds of people in this world, and they’re both Fu Manchu fans. Clone of the Universe turned heads with a guest appearance from Rush‘s Alex Lifeson on the 18-minute side-B-consuming “Il Mostro Atomico,” but really to focus on that instead of “Intelligent Worship,” “(I’ve Been) Hexed,” “Don’t Panic,” “Slower than Light,” etc., is only seeing half the point of the album in the first place. The long-running lords of fuzz hit a new stride with 2014’s Gigantoid (review here), and Clone of the Universe was in every way a worthy successor.

26. Witch Mountain, Witch Mountain

Witch-Mountain-Witch-Mountain
Released by Svart Records. Reviewed May 16.

It was an unenviable task before Witch Mountain in replacing vocalist Uta Plotkin, but founding guitarist Rob Wrong and drummer Nathan Carson found the right voice in Kayla Dixon and solidified the lineup with her and bassist Justin Brown enough to make a declarative statement in Witch Mountain‘s self-titled LP. That’s the story of it. They pulled it off. Met with what was unquestionably a bummer circumstance, they pushed through and moved their sound forward through a new beginning — and not their first one. Watch out when their next record hits.

25. Windhand, Eternal Return

windhand eternal return

Released by Relapse Records. Reviewed Oct. 3.

Richmond, Virginia, doomers Windhand‘s second collaboration with producer Jack Endino produced a marked and purposeful expansion of their sound, encompassing classic grunge influences and a heavy psychedelic swirl that added color their previously-greyscale sonic haze. Resonant in tone and emotionalism, Eternal Return readjusted Windhand‘s trajectory in such a manner that, where one might’ve thought they knew where the band were headed in terms of their progression, they’ve made themselves a less predictable outfit on the whole. For that alone, it’s a triumph. Then you have the songs.

24. Sun Voyager, Seismic Vibes

Sun Voyager Seismic Vibes

Released by King Pizza Records. Reviewed April 18.

I don’t even want to admit how long I was waiting for Sun Voyager‘s first long-player to show up, but when it finally did, the New York trio did not disappoint. Catchy, energetic, fuzzed-out tunes with driving rhythms and a heavy psych flourish, they tapped into shoegaze and desert vibes without losing any sense of themselves in the process, and if the extra wait was so they could be so remarkably coherent in their expression on their full-length, then I wouldn’t want it to have shown up any sooner. An easy pick to stand among 2018’s best debut albums. Now to wait for the next one.

23. Forming the Void, Rift

forming the void rift

Released by Kozmik Artifactz. Reviewed July 27.

It should tell you something that after working quickly to produce three albums, Louisiana’s Forming the Void are still defined by their potential. If I had my druthers, I’d put the recent Ripple signees on tour for the bulk of 2019, across the US and in Europe for festivals and support-slot club shows, really give them an opportunity to hammer out who they are as a band and then hit the studio for LP four. I don’t know if that’ll happen, but they’d only be doing the universe a favor by kicking into that gear. As it stands, their progression is palpable in their material and they stand absolutely ready for whatever the next level might be for them.

22. Spaceslug, Eye the Tide

spaceslug eye the tide

Released by BSFD Records and Oak Island Records. Reviewed June 29.

Aside from the speed at which Spaceslug have turned around offerings — with Eye the Tide following 2017’s Mountains and Reminiscence EP (review here) and Time Travel Dilemma (review here) full-length and their 2016 debut, Lemanis (review here) — the Polish outfit have undertaken significant progression in their sound, moving from pure heavy psychedelic warmth to incorporating elements out of extreme metal as they did on Eye the Tide. Adding to the latest record’s accomplishment is the smoothness with which they brought seemingly opposing sides together, only adding depth to an approach already worthy of oceanic comparison.

21. Conan, Existential Void Guardian

Conan Existential Void Guardian
Released by Napalm Records. Reviewed Sept. 14.

Conan‘s reign of terror has been unfolding for more than a decade now, and each of their albums has become a kind of step along a path of incremental growth. Consider the melody creeping into the shouts of founding guitarist Jon Davis, or the emergence of bassist Chris Fielding as a vocal presence alongside, the two sharing a frontman role more than ever before while welcoming drummer Johnny King to the fold of destructive tonality and doomly extremism. Existential Void Guardian may end up just being another stomp-print on their way to the next thing, but it affirmed the fact that as much as Conan grow each time out, their central violence continues to hold sway.

20. Pale Divine, Pale Divine

PALE DIVINE S/T
Released by Shadow Kingdom Records. Reviewed Nov. 21.

Look. A new Pale Divine record doesn’t come along every day, so yeah, their self-titled was probably going to be on my list one way or the other, but it definitely helps that not only was it their first outing in six years since 2012’s Painted Windows Black (review here), but it had the songs to live up to a half-decade-plus of anticipation. It marked the first studio appearance from bassist/backing vocalist Ron “Fezz” McGinnis alongside guitarist Greg Diener and drummer Darin McCloskey — now both of Beelzefuzz as well — and made a strong argument for how much Pale Divine deserve more than 20 years on from their initial demo to be considered classic American doom.

19. Mos Generator, Shadowlands

mos generator shadowlands
Released by Listenable Records. Reviewed May 11.

The return and rise to prominence of Washington pure heavy rockers Mos Generator might be the underground’s feelgood story of the decade, but it hasn’t by any means been easily won. In addition to rebuilding the band however many albums ago, guitarist/vocalist Tony Reed has put in innumerable hours on tour and worked to actually develop the group creatively in addition to in terms of stage presence. This is shown throughout some of the classic prog elements making their way onto Shadowlands, and perhaps some of the collection’s moodier aspects are born of the aforementioned road time as well. Hard for that kind of thing not to be a slog after a while, but at least they have killer tunes to play.

18a. Stoned Jesus, Pilgrims

STONED JESUS PILGRIMS

Released by Napalm Records. Reviewed Sept. 5.

The only safe bet about Stoned Jesus‘ fourth long-player, Pilgrims, was that it was going to sound different than the third. That 2015 outing, The Harvest (review here), preceded the band touring to celebrate the fifth anniversary and after-the-fact success of 2012’s Seven Thunders Roar (review here), but Pilgrims defied narrative in that instead of incorporating elements from the second record in more of a heavy psych or jam sound, Stoned Jesus instead showcased a tighter, more sureheaded sense of craft than they’ve ever displayed before, and arrived on Napalm Records with a collection of songs that demonstrated the growth and sense of creative will that drives them. While one can take a look at their moniker and think immediately they know what’s coming, Stoned Jesus have made themselves one of the least predictable bands in heavy rock.

18. Backwoods Payback, Future Slum

backwoods payback future slum

Self-released. Reviewed Aug. 15.

“Pirate Smile.” “Lines.” “Whatever.” “It Ain’t Right.” “Threes.” “Cinderella.” “Generals.” “Big Enough.” “Alone.” “Lucky. Mike Cummings, Jessica Baker, Erik Larson. Every player, every song, every minute. If you want to know what heart-on-sleeve sounds like, it fucking sounds like Backwoods Payback. In their line from hardcore punk to grunge to heavy rock, they encompass experiences and emotionalism that are both shown in raw form throughout Future Slum, and build all the while on the chemistry they set out in developing with 2016’s Fire Not Reason (review here), when they welcomed Larson to the lineup on drums and revitalized their mission. Also worth noting, they were the best live band I saw this year. Anywhere.

17. Corrosion of Conformity, No Cross No Crown

corrosion of conformity no cross no crown

Released by Nuclear Blast Records. Reviewed Jan. 3

No question the excitement of C.O.C. putting out their first record with frontman Pepper Keenan involved since 2005’s In the Arms of God was one of this year’s top stories in heavy. And No Cross No Crown tapped directly into the spirit of 1994’s Deliverance (discussed here) and 1996’s Wiseblood (discussed here) in terms of direction, while updating the band’s style with a four-part 2LP in mind. In some ways, it’ll be their next album that really gives listeners a sense of where they’re at and where they might be headed, but as welcome returns go, having Keenan alongside Mike DeanWoody Weatherman and Reed Mullin is in no way to be understated, and neither is the quality of their output together, then and now.

16. Naxatras, III

naxatras iii

Self-released. Reviewed Feb. 14.

It is no simple feat to hypnotize an audience and convey serenity while at the same time holding attention with songcraft, so that the listener isn’t actually so much unconscious as malleable of mood and spirit in such a direction as the band suggests. Greek trio Naxatras have worked quickly to become experts at this, and their third full-length fosters tonal warmth and jammy progressions with an overarching naturalism that finds them so committed to analog recording that one can buy direct transfers of the tape master of III. Some acts take classic-style practices as an aesthetic choice. With Naxatras, it seems to be the stuff of life, yet their sound is only vibrant and human in a way that, at least one hopes, is even more representative of the future than the past.

15. Clutch, Book of Bad Decisions

clutch book of bad decisions

Released by Weathermaker Music. Reviewed Aug. 27.

It was time for Clutch to make a change in producers, and the Maryland overlords of groove seemed to know it. Known as a live band, they went with Vance Powell, who’s known a live band producer. The results on Book of Bad Decisions might not have been so earth-shatteringly different from 2015’s Psychic Warfare (review here), which was the too-soon follow-up to 2013’s Earth Rocker (review here) — both helmed by Machine — but the inimitable four-piece indeed succeeded in capturing the electricity of their stage performance and, as ever, treated fans to a collection of songs bearing Clutch‘s unmistakable hallmarks of quirky lyrics, funky rhythms and heavy roll. They may always be a live band, but Clutch‘s studio work is in no way to be discounted, ever, as this record reaffirmed. Plus, crab cakes.

14. Ancestors, Suspended in Reflections

Ancestors Suspended in Reflections

Released by Pelagic Records. Reviewed Aug. 3.

After 2012’s In Dreams and Time (review here), I wasn’t sure Ancestors were going to put out another record. They kicked around word of one for a while, but it wasn’t until the end of last year that it really seemed to congeal into a possibility. And by then, who the hell knew what they might get up to on a full-length? With Suspended in Reflections, in some says, they picked up where they left off in terms of finding a niche for themselves in progressive and melodic heavy, but I think the time showed in the poise of their execution and the control of the material. Suspended in Reflections can’t help but be six years more mature than its predecessor, and that suits its contemplative feel. In tracks like “Gone,” and “The Warm Glow,” they tempered their expansive sound with an efficiency that can only be had with time.

13. High on Fire, Electric Messiah

high on fire electric messiah

Released by eOne Heavy. Reviewed Sept. 28.

The narrative here was hard to beat. Matt Pike spending an album cycle talking about Lemmy Kilmister and paying homage to his dirt-rock forebear and the gods of old? It doesn’t get much more perfect than that. Electric Messiah was the third collaboration between High on Fire and producer Kurt Ballou behind 2015’s Luminiferous (review here) and 2012’s De Vermiis Mysteriis (review here), and while it seemed after the last record that the formula might be getting stale, the band only sounded more and more lethal throughout the latest offering. Even putting aside their contributions to underground heavy, they’ve become one of the most essential metal bands of their generation. Metal, period. Doesn’t matter what subgenre you’re talking about it. If you’re listening to High on Fire, you know it. Usually because you’ve just been decapitated.

12. Yawning Man, The Revolt Against Tired Noises

yawning man the revolt against tired noises

Released by Heavy Psych Sounds. Reviewed July 2.

You know, if you take the time to separate Yawning Man from their 30-plus-year history and their legacy as one of the foundational acts of what later became desert rock, and you listen to The Revolt Against Tired Noises, you’re still left with basically a dream of an album. Mostly instrumental, as is their wont, they nonetheless had bassist Mario Lalli (also Fatso Jetson) sing this time around on a version of the previously-unreleased “Catamaran,” which Kyuss covered once upon a whenever although Yawning Man had never officially put it to tape. But really, that and all other novelty aside, guitarist Gary Arce, Lalli and drummer Bill Stinson are a chemistry unto themselves. I don’t know if they’ll ever be as huge as they should be, but every bit of acclaim they get, they’ve earned, and if The Revolt Against Tired Noises helps them get it, all the more so.

11. Greenleaf, Hear the Rivers

greenleaf hear the rivers

Released by Napalm Records. Reviewed Nov. 26.

Swedish heavy rock mavens Greenleaf have become an entirely different band than they once were. No longer a Dozer side-project from guitarist Tommi Holappa with a rotating cast of players, they’re a solidified, road-tested, powerhouse unit, and Hear the Rivers bleeds soul as a result. Holappa, frontman Arvid Hällagård, bassist Hans Fröhlich and drummer Sebastian Olsson sound like they’re absolutely on fire in the album’s tracks, and far from being staid or formulaic as one might expect a sixth long-player to be, Hear the Rivers built on what the band accomplished with 2016’s Rise Above the Meadow (review here) and came across as all the more vital and nearly frenetic in their energy. I won’t say Greenleaf has seen their last lineup change, because one never knows, but the band as they are today is the realization of potential I don’t think even Greenleaf knew was there.

10. Gozu, Equilibrium

gozu equilibrium

Released by Blacklight Media / Metal Blade Records. Reviewed April 4.

Five records deep into a career into its second decade, Gozu haven’t had a miss yet. Admittedly, some of their early work can seem formative considering where they are now, but still. And after the 2016 rager, Revival (review here), to have the band return to the same studio — Wild Arctic in Portsmouth, New Hampshire, where strides producer Dean Baltulonis — for the follow-up allows for the four-piece to directly show how their sound has grown more encompassing in the last couple years. And it has. Equilibrium is a rich and varied listen that holds true to Gozu‘s well-established penchant for soulful vibes and crunching, hard-hitting riffs and groove, but while it shares the directness of approach with Revival, it makes moves that a band could only make moving from one record to the next. I expect nothing less their next time out as well, because a decade later, that’s Gozu‘s proven track record.

9. Monster Magnet, Mindfucker

monster magnet mindfucker
Released by Napalm Records. Reviewed Feb. 23.

The battle for the best album title of 2018 ended early when New Jersey everything-rockers Monster Magnet announced the release of Mindfucker. And what else to call a Monster Magnet LP at this point? They’ve stopped writing to genre. They’re driven by the creative mania of frontman/founder Dave Wyndorf, and they’ve seen psychedelic expanses and commercial success the likes of which would serve the tenure of four lesser bands. What’s left to do but whatever the hell you want? So that’s what Monster Magnet are doing. It just so happens that while they’re doing it, they’re still basically outclassing the entirety of the former planet earth as songwriters. As Monster Magnet fan in 2018, there was nothing more I could’ve asked than what Mindfucker delivered. And if you’re still trying to get your brain around it however many months later, you’re not alone. I think that’s the idea.

8. Apostle of Solitude, From Gold to Ash

Apostle of Solitude From Gold to Ash

Released by Cruz del Sur Music. Reviewed Feb. 20.

Best doom album of 2018. The combination of craft and passion behind the delivery. The way the dark tones fed into the emotions so clearly on display and sheer presence of it in listening to songs like “Keeping the Lighthouse,” “Ruination by Thy Name” and “My Heart is Leaving Here.” Apostle of Solitude never seem to be the highest profile band out there, but their work seems never to be anything less than outstanding, and I refuse to accept them as anything less than among the most pivotal American acts out there making traditional doom. And not just making it, but making it their own, with a sense of new pursuits and individualism that extends to playing style as well as atmosphere. I know doom isn’t exactly in short supply these days — figuratively or literally — but if you miss out on what Apostle of Solitude are doing with it, you’ll only regret it later. I’ll say it one more time: Best doom album of 2018.

7. Holy Grove, Holy Grove II

holy grove ii
Released by Ripple Music. Reviewed Oct. 31.

Every now and again, anticipating the crap of an album really pays off, and such was the case with Holy Grove II, the Ripple Music debut from the Portland outfit whose 2016 self-titled (review here) seemed like such a herald of excellence to come while also, you know, being killer. Holy Grove II brought the four-piece of vocalist Andrea Vidal, guitarist Trent Jacobs, bassist Gregg Emley and drummer Eben Travis to entirely new levels of composition and execution. In songs like “Blade Born,” the shorter, sharper “Aurora,” the patiently rolling “Valley of the Mystics,” “Solaris” and closer “Cosmos,” which boasted a not-really-necessary-but-definitely-welcome guest vocal appearance from YOB‘s Mike Scheidt, — and oh wait, that’s all of the tracks — Holy Grove entered a different echelon. Anticipation will likewise be high for Holy Grove III, but it’ll be hard to complain with this record to keep company in the meantime.

6. All Them Witches, ATW

all them witches atw
Released by New West Records. Reviewed Sept. 18.

Over five All Them Witches albums, the Nashville four-piece have gone from a nascent heavy Americana jam band to one of the most distinct acts in the US underground. Their development in sound is chemistry-driven, so it was a risk when the founding trio of bassist/vocalist Charles Michael Parks, Jr., guitarist Ben McLeod (who also produced) and drummer Robby Staebler welcomed new keyboardist Jonathan Draper into the lineup to take the place of Allan van Cleave. Amid a more naturalist production than that of 2017’s Sleeping Through the War (review here), the revamped four-piece flourished in terms of songwriting and conveying their stage-born sonic personae. From the gleeful fuckery of opener “Fishbelly 86 Onions” to the memorable moodiness of “Diamond” and the back-end jam “Harvest Feast” en route to the stretched-out end of “Rob’s Dream,” All Them Witches essentially confirmed they could do whatever they wanted and make it work.

5. YOB, Our Raw Heart

yob our raw heart
Released by Relapse Records. Reviewed June 7.

Actually, if you want a sample of YOB‘s raw heart, the place to go is probably 2014’s Clearing the Path to Ascend (review here), but whatever the Eugene, Oregon, shapers of cosmic doom might’ve lacked in titular accuracy on their eighth long-player, they made up for in a new, statesman-like posture. Their approach was mature, hammered out to a professionalism working completely on its own terms, and they never sounded so sure of who they are as a band or as confident of their direction. In extended cuts “Beauty in Falling Leaves” and “Our Raw Heart,” they explored new and progressive textures and melodies, and managed to reaffirm their core aspects while finding room for conveying emotion that came across as nothing but ultimately sincere. They have been and still are one of a kind, and as they continue to move forward, they remain a band that makes one feel lucky to be alive to witness their work. Our Raw Heart was perhaps more refined than it let on, but the heart was there for sure, as always.

4. Brant Bjork, Mankind Woman

brant bjork mankind woman

Released by Heavy Psych Sounds. Reviewed Sept. 13.

I’m not going to say I wasn’t a fan of the (relatively) harder-hitting approach Brant Bjork and his Low Desert Punk Band took on 2014’s Black Power Flower (review here) and 2016’s Tao of the Devil (review here), but Mankind Woman brought in some more of his soul influences, and whether it was the subtly subversive funk of “Chocolatize” and “Brand New Old Times” or the callout “1968” and laid back vibes of the title-track and “Swagger and Sway,” Bjork — working with guitarist Bubba DuPree on songwriting and production — offered a definitive look at what has made his 20-year solo career so special and demonstrates not only his longevity and his legacy, but his will to continue to progress as an artist honing his craft. His discography is well populated by now to be sure, but Mankind Woman represents a turn from the last couple records, and if it’s in any way portentous of things to come, it bodes well. Bjork is right at home nestled into classic-style grooves, and his legacy as one of the principal architects of desert rock is continually reaffirmed.

3. Earthless, Black Heaven

earthless black heaven

Released by Nuclear Blast Records. Reviewed March 15.

They’ve been great, not just good, for a long time now, and as forerunners of the San Diego heavy scene, they’re godfathers to an up and coming generation of bands taking their influence — let alone acts from the rest of the world — but Black Heaven is a special moment for them because of its departure. No, it wasn’t not the first time guitarist Isaiah Mitchell sang on an Earthless recording, but it did represent a tip of the balance in that direction for the band on a studio full-length, and that resulted in a special moment. Album opener “Gifted by the Wind” was one of the best songs I heard this year, and while “End to End” and the all-thrust “Volt Rush” affirmed that more traditional songwriting was well within the grasp of Mitchell, bassist Mike Eginton and drummer Mario Rubalcaba, they still found space for a sprawling jam or two, keeping their claim on the instrumentalism that’s (largely) fueled their tenure to date. Earthless don’t want for acclaim, but every bit of it is earned, and while their primary impact has always been live, Black Heaven saw them construct a traditional-style LP that still bore the hallmarks of their collective personality. It was the best of all worlds.

2. King Buffalo, Longing to Be the Mountain

king buffalo longing to be the mountain
Self-released/released by Stickman Records. Reviewed Sept. 27.

In the dark early hours of 2018, the Rochester, New York, trio of guitarist/vocalist Sean McVay, bassist Dan Reynolds and drummer Scott Donaldson issued the Repeater EP (review here) as a follow-up to their 2016 debut, Orion (review here), so Longing to Be the Mountain didn’t exactly come out of nowhere, but even with Repeater preceding its arrival, I don’t think anyone necessary expected King Buffalo‘s second album to have such a scope or to be so engrossing with it. In its melody, patience, atmosphere and heft, it was an absolute joy to behold. Its songs were memorable at the same time they were far-reaching, and while Orion was already my pick for the best debut of 2016, Longing to Be the Mountain realized even more potential than that record had hinted toward. It could be intimate or majestic at its whim, and its dynamic set an individual characterization of heavy psychedelia and blues-style sprawl that the band wholly owned. With production by Ben McLeod of All Them Witches behind them, they worked to serve notice of a progression undertaken the results of which are already staggering and still seem to be looking ahead to the next stage, literally and figuratively. One of the principal standards I use in constructing this list every year is what I listen to most. That’s this record.

1. Sleep, The Sciences

sleep the sciences

Released by Third Man Records. Reviewed May 1.

Obviously, right? To some extent, when Sleep surprise-announced on April 19 they’d release their first album in 15 years the next day, and then did, they took ownership of 2018. Even with records still to come at that point from YOB and Sleep guitarist Matt Pike‘s own High on Fire, there was no way that when the end of the year came around, it wasn’t going to be defined by the advent of a new Sleep record. And even if it sucked, it would probably still be Album of the Year, but fortunately, as Pike, bassist/vocalist Al Cisneros (also Om) and drummer Jason Roeder (also Neurosis) took their long-running stage reunion to the studio, they brought material that highlighted the best elements from all players. Pike‘s wild soloing, Cisneros‘ meditative vocals and Roeder‘s intricate but smooth style of roll all came together in older pieces like “Antarcticans Thawed” and “Sonic Titan” and newer highlights “Giza Butler” and “Marijuanaut’s Theme,” and aside from the excitement at their existence, they showed the mastery of form that Sleep had been demonstrating live since 2009 and which they hinted toward in the 2014 single, The Clarity (review here). A new Sleep full-length was something long-discussed, long-rumored and long-considered, but when it finally happened, I think the results vaporized expectation in a way no one could’ve anticipated. There’s a reason Sleep are Sleep. Having The Sciences as a reminder of that brought about the defining moment of 2018.

The Next 20

Indeed, it wouldn’t be much of a Top 30 at all if it didn’t go to 50. Don’t try to make sense of it, just look at the records.

31. Atavismo, Valdeinfierno
32. Grayceon, IV
33. Clamfight, III
34. Seedy Jeezus, Polaris Oblique
35. Megaton Leviathan, Mage
36. Uncle Acid and the Deadbeats, Wasteland
37. Arcadian Child, Superfonica
38. Freedom Hawk, Beast Remains
39. The Machine, Faceshift
40. Messa, Feast for Water
41. Black Rainbows, Pandaemonium
42. Church of the Cosmic Skull, Science Fiction
43. Domkraft, Flood
44. Träden, Träden
45. Mythic Sunship, Another Shape of Psychedelic Music
46. Samavayo, Vatan
47. Foehammer, Second Sight
48. Bongripper, Terminal
49. Mansion, First Death of the Lutheran
50. Sunnata, Outlands
51. Chubby Thunderous Bad Kush Masters, Come and Chutney

Believe me when I tell you, I sweated over this section more than I did the actual top 30. Mansion should be higher. So should Chubby Thunderous, though something in me thought they might like being #50 on a list of 30. Church of the Cosmic Skull, Clamfight, Black Rainbows, Foehammer, Seedy Jeezus, Messa, Domkraft. All of these were fucking awesome. And there are more (we’ll get there). Eventually numbers add up. I won’t say a bad word about any of these. That’s it.

Honorable Mention

This section always winds up expanded as other people point out things I missed and so on, but here’s what I’ve got in the immediate, alphabetically:

  • Alms, Act One
  • Ape Machine, Darker Seas
  • Belzebong, Light the Dankness
  • Black Moon Circle, Psychedelic Spacelord
  • Blackwater Holylight, Blackwater Holylight
  • Bong, Thought and Existence
  • Carpet, About Rooms and Elephants
  • Churchburn, None Shall Live… The Hymns of Misery
  • Deadbird, III: The Forest Within the Tree
  • Dead Meadow, The Nothing They Need
  • Death Alley, Superbia
  • Drug Cult, Drug Cult
  • Dunbarrow, II
  • Electric Citizen, Helltown
  • Eagle Twin, The Thundering Heard: Songs of Hoof and Horn
  • Evoken, Hypnagogia
  • Funeral Horse, Psalms for the Mourning
  • Fuzz Evil, High on You
  • Graven, Heirs of Discord
  • Graveyard, Peace
  • Green Dragon, Green Dragon
  • Green Druid, Ashen Blood
  • Here Lies Man, You Will Know Nothing
  • High Priestess, High Priestess
  • Horehound, Holocene
  • IAH, II
  • JIRM, Surge ex Monumentis
  • Killer Boogie, Acid Cream
  • Lonely Kamel, Death’s Head Hawkmoth
  • MaidaVale, Madness is Too Pure
  • Moab, Trough
  • Mountain Dust, Seven Storms
  • Mouth, Floating
  • Mr. Plow, Maintain Radio Silence
  • T.G. Olson, Earthen Pyramid
  • Onségen Ensemble, Duel
  • Orango, Evergreen
  • Owl, Nights in Distortion
  • Pushy, Hard Wish
  • Rifflord, 7 Cremation Ground/Meditation
  • River Cult, Halcyon Daze
  • Rotor, Sechs
  • Somali Yacht Club, The Sea
  • Sumac, Love in Shadow
  • Sundrifter, Visitations
  • Svvamp, Svvamp II
  • Thou, Magus
  • Thunder Horse, Thunder Horse
  • Weedpecker, III

Special Note

Somehow it didn’t seem appropriate to include these in the list proper because they’re not really underground releases, but there were two more records I especially wanted to highlight for their quality:

  • Alice in Chains, Rainier Fog
  • Judas Priest, Firepower

Best Short Release of the Year

Normally I’d do this as a separate post, but as a result of being robbed earlier this year, I feel like my list is woefully incomplete. If you have any demos, EPs, splits, singles, etc., to add to it, please feel free to do so in the comments below. Still, the top pick was clear:

  • Mammoth Weed Wizard Bastard & Slomatics, Totems Split

Rarely do two bands work in such coherent tandem to their mutual benefit. Here are a few other essential short releases for 2018, alphabetically:

  • All Them Witches, Lost and Found
  • Alunah, Amber & Gold
  • Canyon, Mk II
  • Demon Head, The Resistence
  • Destroyer of Light, Hopeless
  • Ecstatic Vision, Under the Influence
  • Godmaker & Somnuri, Split
  • Holy Mushroom, Blood and Soul
  • King Buffalo, Repeater
  • Minsk & Zatokrev, Split
  • Sleep, Leagues Beneath
  • Stonus, Lunar Eclipse
  • Sundecay, Gale

Looking Forward

A good many albums have already been announced or hinted at for 2019. I in no way claim this to be a complete roundup of what’s coming, but here’s what I have in my notes so far, in absolutely no order:

Kings Destroy, Lo-Pan, Cities of Mars, Heavy Temple, Mr. Peter Hayden, Curse the Son, High Fighter, Destroyer of Light, Year of the Cobra, Buffalo Fuzz, Zaum, The Sonic Dawn, Alunah, Candlemass, Elepharmers, Grandier, Dorre, Abrahma, Mars Red Sky, Eternal Black, Elephant Tree, Atala, No Man’s Valley, Sun Blood Stories, Crypt Sermon, The Riven, Hibrido, Snail, Red Beard Wall, 11Paranoias, Dead Witches, Monte Luna, Captain Caravan (LP), Swallow the Sun, Oreyeon, Motorpsycho, Vokonis, Hexvessel, Saint Vitus, Mammoth Weed Wizard Bastard, Kind, Mastiff, Shadow Witch, Om.

Okay, That’s It

Yeah, no, I’m serious. List is done. Everybody go back to your lives. Your families miss you.

Really though, while this is by no means my last post of 2018, I can’t let it pass without saying thank you so much to everyone for checking out the site this year, or for just digging into this, or for sending me music, or hitting me up on social media, sharing a link, anything. Thank you. Thank you. I could never have imagined when it started out where it would be now. Or that I’d still be doing it. Your support means more to me than I can say, and I thank you so much for being a part of this with me.

So thanks.

If you have something to add to the list, please do so by leaving a comment below, but keep in mind as well the above note requesting civility. Please don’t make me feel stupid because I forgot your favorite record. I forgot a lot of people’s favorite records. I’m one dude. I’m doing my best.

And please keep in mind if you’ve got a list together that the Year-End Poll is open and results will be out Jan. 1.

Everybody have a great and safe 2019.

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Høstsabbat 2019: Belzebong Added to Lineup; Tickets on Sale Today

Posted in Whathaveyou on December 14th, 2018 by JJ Koczan

belzebong

Yeah, it’s been like three days since the last time I posted an update from Høstsabbat 2019. Maybe two days? Let me look… Oh shit, it was yesterday. Well, alright. Not my fault that as they come upon their ticket on-sale date, the Oslo-based fest is doling out bands at such a rate. And who the hell wants to risk falling behind? Certainly not me.

The latest to join next October’s shindig in the ol’ culturechurch is Belzebong, the Polish ultrastoner-sludge veterans whose new album, Light the Dankness (review here), has already seen them on tour in Europe. They’ll hit the US as well to participate in the Psycho Smokeout come April, and no doubt they’ll be on the road duly between the two events as well, giving the people what they want like you got to do when what the people want is dank riffing and crusty grooves.

At least we know from when Toner Low played this year that all the lights upstairs at the Kulturkirken Jakob can be turned green.

From the social medias:

hostsabbat 2019 belzebong

Please welcome BelzebonG back to Høstsabbat!

Since their last visit in 2015, the polish dudes have become a trademark of instrumental stoner doom in its purest form. Their recent album “Light The Dankness”, out October 2018 on Emetic Records, shows a band who is confident in their expression and at the top of their game, showing no sign of slowing down.. except for the actual tempo of the songs of course.

The sound of this amazing record is so rich, heavy and full of low end, it’s no surprise it went through the hands of Chris Fielding at Skyhammer Studio. It’s like joining Belzebong for a rehearsal, while your body is being encompassed by their riffs and you find yourself numb and lost in their hazy smoke. It’s glorious.

After touring Europe numerous times, playing Psycho Las Vegas, and even returning to the US for the first Psycho Smokeout next spring, we are stoked they’ll make a return to Høstsabbat.

We can’t wait for them to cast their green shadow over the Chapel stage at Høstsabbat 2019.

Hail the riff, hail Belzebong!

Tix for Høstsabbat Festival go live at 11:00 CET

MUSIC
Spotify: http://bit.ly/Belzespoti
Bandcamp: https://belzebong.bandcamp.com/

HØSTSABBAT 2019 SPOTIFY PLAYLIST
http://bit.ly/HS2019playlist

https://www.facebook.com/events/274561413173994/
https://www.facebook.com/hostsabbat/
http://hostsabbat.no/

Belzebong, Light the Dankness (2018)

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Belzebong, Light the Dankness: Eternal Stench

Posted in Reviews on November 27th, 2018 by JJ Koczan

Belzebong_light_the_dankness_cover

Nobel laureate Bob Dylan once told us that everybody must get stoned. Poland’s Belzebong would seem to proceed from the assumption that they already have. The instrumentalist four-piece of guitarists Alky Dude and Cheesy Dude, bassist Sheepy Dude and drummer Hexy Dude present four lumbering tracks of stoner sludge on their third album, Light the Dankness — released by the band as well as Emetic Records and Abraxas Records — and if one is a sucker for weedian themes and puns, the record’s titles are sure to please, from the name of the thing itself through component cuts “The Bong of Eternal Stench,” “Pot Fiend” (okay, not so much wordplay there), “Doperganger” and “Roached Earth.” Riffs lead the plodding charge through a 35-minute, two-sided LP that could hardly be more smoked out if it covered itself in hash oil and self-immolated.

It is a crust of tone and vibe that one can trace back to bands like Bongzilla and Dopethrone, but the fact of the matter is Belzebong have been at this for a decade now and over the course of their 2009 demo (discussed here), 2011’s Sonic Scapes and Weedy Groves (discussed here), 2015’s Greenferno and this album, they’ve made the style their own and brought a sense of character to the familiar addled-ism of the overarching aesthetic. Light the Dankness, which is vocalized only with periodic samples, is nonetheless able to convey its sensibilities not only through its titles, but through the bare riffs and grooves themselves.

That is, even without knowing the name of the band, record, or any of the songs, one would hear “Doperganger” and realize the Dudes who made it were bombed out of their collective gourd. And they may or may not have been at the time of recording — they may or may not be right now; infinite universes of infinite possibilities, folks — but the point is they want to sound that way and they do, so by the time the ur-lurch of “Roached Earth” takes hold, all rumble and searing fuzz leads and crash cymbal-washout, their victory in meeting that goal is complete.

Belzebong are not strangers to this way of life, and they don’t come off like it. Over the course of their decade together, they’ve toured steadily with SheepyAlky and Cheesy as founding members and Hexy coming aboard in 2014, and that has helped fuel the reputation that at this point precedes their work, but regardless, Light the Dankness has no trouble making an impression on its own. The album begins with a homemade sample introducing “The Bong of Eternal Stench” as a disgusted woman’s voice pleads, “Oh god, what is it?” only to be answered by the creature itself, “It’s the bong of eternal stench!” And so it is. The mood and tone for the record is quickly set in the opening track, which is also the shortest of the four at 6:07, and while Belzebong‘s material has always seemed to leave room for verses — as though they wanted the listener to bring their own supply — the crashing, lumbering, downward riff seems to speak out the song’s title as it thuds away into the murky cannabinoid abyss.

belzebong

Searing leads crop up and dissipate like the smoke they are, and the underlying rhythm makes the most of the band’s penchant for repetition without redundancy, seeming to change not necessarily predictably but just when a part has worn itself into the consciousness fully. The bass tone is must-hear and well present in the Skyhammer Studios mix, and “The Bong of Eternal Stench” gives over to “Pot Fiend” with a sample announcing the change, but otherwise is immersive enough that one might get lost in the vibe after just the first six minutes. That’s obviously the idea, and it’s worth keeping in mind just how conscious these decisions are for a band who otherwise so successfully sound like fuckall incarnate. The placement of the samples. The shifts from one part to the next. The push to and through solo parts. All of these things come together to form the resin-caked nod that is Light the Dankness, and as on-message as Belzebong are, they never lose sight of actual song construction as they go.

And man, they go.

“Pot Fiend” rounds out side A with nine and a half minutes of filthy swing, pitting slow-motion shuffle and massive riffing against each other and seeing who wins en route to its final crash and fading feedback, and another sample begins “Doperganger” on side B. The second half of Light the Dankness is longer than the first, with “Doperganger” at 7:50 and “Roached Earth” at 12 minutes flat, but the method is largely the same: Riff unto oblivion. “Doperganger” picks up the tempo somewhat from “Pot Fiend” in a kind of winding central progression born of a dirtied-up Sleep influence, but they tool around with it effectively throughout and seem to explore the reaches where the song might go, a solo arriving after five minutes in just as the song seems to start tearing itself apart. A longer sample emerges as they pull it back together and trash their way into a stretch of silence preceding “Roached Earth.”

The sample at the start of the closer comes from 1957’s Curse of the Demon, if you’re wondering how steadily obscure Belzebong‘s horror-aficionado status runs, and following its narrator warning of supernatural creatures and demons and whathaveyou, the track unfolds into a particularly bleak, almost mournful gruel, a solo as it approaches its midsection weaving in and out of the mix on long-held notes that border on melodic but seem overwhelmed as much by the surrounding mountainous riffage as by the depressiveness drove their creation. Resolution, such as it is, comes in the crashing final section as “Roached Earth” rings out its final distorted gurgle, feedback once again serving as the last remaining element to go.

I would not speculate on what tales of terror may yet be forthcoming from Belzebong as they push ever deeper into the plunge that is their hydroponic-grown methodology, but their craft has only grown more virulent with time and for all of Light the Dankness‘ weedery, the album is actually a pretty efficient execution. It’s clear Belzebong‘s decade hasn’t been misspent in developing their style, and while they may be playing to the tenets of crusty stoner sludge, it’s easy enough to argue they’re adding to them as well.

Belzebong, Light the Dankness (2018)

Belzebong on Thee Facebooks

Belzebong on Instagram

Belzebong on Bandcamp

Emetic Records website

Abraxas Records website

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Psycho Smokeout Set for April 20 in Los Angeles; Elder, Monolord, Amenra, Belzebong and More to Play

Posted in Whathaveyou on October 24th, 2018 by JJ Koczan

psycho smokeout 2019

With the advent of the Psycho Smokeout in Los Angeles next April 20, Psycho Entertainment partners with RidingEasy Records and enters the fray of a busy Spring festival season, pushing Elder and Monolord into headliner positions that both deserve and importing other Psycho veterans like Amenra and Belzebong alongside RidingEasy groups Here Lies Man, Electric Citizen, BlackWater HolyLight, R.I.P. and Zig Zags. If you don’t see the significance of this, think of all the fests happening in Europe at the time, whether it’s Roadburn just one week before or Desertfest the first weekend of May. Lineup-wise, the first-ever Psycho Smokeout would seem to be more in line with the latter than the former, but still, it’s a packed Spring for those up for a bit of intercontinental travel.

However, a killer lineup is a killer lineup, and the Psycho Smokeout has one. Looks like it’ll just be the one day — fortunate that April 20 is a Saturday in 2019 — and I’ll assume it’s two stages, though I don’t have confirmation of that or really anything other than the groups playing, which, frankly, is enough for the moment. April’s a ways away, so there may be changes and whatnot, but especially if this takes off, it’s an important happening in the market and bound to turn heads.

RidingEasy‘s announcement and the lineup info follow:

psycho smokeout 2019 poster

The rumors are true! We’ve teamed up with Psycho Las Vegas For the first annual psycho smoke out on 4/20 in LOS ANGELES. We’ll be vending and loads of our bands are playing including but not limited to Monolord R.I.P. Electric Citizen Blackwater Holylight Here Lies Man Zig Zags and more!!!!

Tickets on sale https://psychosmokeout.eventbrite.com/.

RidingEasy Records & Psycho Entertainment present:
First Annual “Psycho Smokeout”
Saturday, April 20th, 2019
Catch One Riff Compound, Los Angeles

|| FULL LINEUP ||

MONOLORD . ELDER . AMENRA . BELZEBONG . DREADNOUGHT . UADA . GOYA . ELECTRIC CITIZEN . CHRCH . CLOAK . HERE LIES MAN . TOKE . RIP . ZIG ZAGS . HAUNT . CLOVEN . HOWLING GIANT . BLACKWATER HOLYLIGHT

https://www.facebook.com/events/179272422957103/

https://www.vivapsycho.com/
http://www.ridingeasyrecs.com/

Monolord, Live at Psycho Las Vegas 2018

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Elav Stoner Open Air 2018: Mars Red Sky, Samavayo, Belzebong, Papir and More Set to Play

Posted in Whathaveyou on August 14th, 2018 by JJ Koczan

Holy shit this looks like a good time. Don’t get me wrong, I post about a lot of festivals all over the place and often say the same, but if you’ve got two minutes and 45 seconds — and if you make it to the end of this run-on-ass sentence, let’s face it, you do — go ahead and check out the recap video at the bottom of this post of last year’s Elav Stoner Open Air in Bergamo, Italy. I know it’s edited together to look cool and I know rocking out in slow motion is universally awesome and blah blah blah, but even so, look at that space. Look at the vibe. Look how relaxed everything seems, everybody just having a good time, downing some beers and watching killer bands play. What the hell is life about if not that very thing?

That was the first edition of the festival, and it’s grown significantly since. Elav Stoner Open Air 2018 features Bergamo’s own beer aficionados Humulus in a returning role, and alongside them are the likes of Mars Red Sky, Samavayo, Sonic Wolves, Papir playing a special jam set and a regular set, Belzebong, Weedpecker, Da Captain Trips and more. Just absolutely killer. I don’t want to say “job well done” before it happens and jinx anything, but seriously, this looks like an incredible time. It’s free to get in if you can get there, and it’s three nights of killer shows back to back to back. I’m sorry I won’t get to see it, but I’ll look forward to the video after the fact.

Lineup info and links follow here, as seen on the social medias:

ELAV STONER OPEN AIR FESTIVAL 2018

13-14-15 September 2018

@ Birrificio Indipendente Elav (Comun nuovo – Bergamo, Italy)

\\\\ FREE ENTRY ////

LINE UP:

Gio 13 ::: Da Captain Trips + Sonic Wolves + Samavayo
Ven 14 ::: RAIKINAS + Papir (jam set) + Humulus + Mars Red Sky
Sab 15 ::: The Black Lodge + Dead Man’s Blues Fuckers + Weedpecker + Papir + BelzebonG

https://www.facebook.com/Elav-Stoner-Open-Air-1558381127592263/
https://www.facebook.com/events/390670014767206/
https://www.elavbrewery.com/it/birre-elav

Elav Stoner Open Air 2017 recap

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Heavy Psych Sounds 2018: Brant Bjork, Black Rainbows, Belzebong & The Necromancers Set to Play

Posted in Whathaveyou on June 20th, 2018 by JJ Koczan

Four bands announced so far for Heavy Psych Sounds Fest 2018: Brant Bjork, Belzebong, Black Rainbows and The Necromancers. Brant Bjork recently announced the details for his upcoming album, Mankind Woman, which will be out via Heavy Psych Sounds on Sept. 14 (info here) and a stop at the festival was noted as part of his corresponding European tour. Belzebong and The Necromancers will be on the road together, so it makes sense they’d both be stopping through the fest, and, well, it wouldn’t be Heavy Psych Sounds without Italian ambassadors Black Rainbows taking the stage.

So yeah, all this makes sense. What I find most curious about this year’s Heavy Psych Sounds Fest, though, is that it’s not happening in Italy. This is the 15th one, and it’s presented by the label and Poison for Souls, which is also based in Italy, so I’m not sure how they wound up in Innsbruck, Austria. But whatever works. I’m sure by the time they’re done announcing bands it’ll be a lineup worth following anywhere, which, now that I look at it, it pretty much already is. Go figure.

Details follow as per the PR wire:

heavy psych sounds fest 2018 poster

HEAVY PSYCH SOUNDS FEST confirms Brant Bjork, Belzebong, Black Rainbows, The Necromancers in Innsbruck ; pre-sale tickets available now!

Heavy Psych Sounds together with Poison For Souls are proud to announce the 15th edition of HEAVY PSYCH SOUNDS FEST, to take place in the Tyrol capital of Innsbruck in the Austrian mountains on November 15-16th.

This is a first for the Italy-based stoner & fuzz festival, which will settle in the colorful old city of Innsbruck in Austria. HPS FEST will take residence at PMK and Hafen venues for two days of the finest stoner, doom, psych rock, occult riffage! First acts announced are:

BRANT BJORK (USA)

BELZEBONG (PL)

BLACK RAINBOWS (IT)

THE NECROMANCERS (FR)

More to be announced soon…

Pre-sale tickets are available now for 36,60€ at this location.

https://www.facebook.com/HEAVYPSYCHSOUNDS
http://www.heavypsychsounds.com
https://heavypsychsoundsrecords.bandcamp.com

Brant Bjork, “Luvin'” official video

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Belzebong & The Necromancers Announce Fall Tour Dates

Posted in Whathaveyou on June 15th, 2018 by JJ Koczan

Poland’s Belzebong and France’s The Necromancers will head out on a tour together this November. In the announcement that follows, Sound of Liberation notes a new album coming from the latter that has yet to be detailed, so that’s an immediate bit of intrigue right there, and Belzebong released their latest outing, Greenferno, in early 2016, so it may well be that even if they don’t have a new record out by the time the tour starts on Nov. 12, they’re road-testing new material with an eye toward a 2019 release. And while we’re speculating, let’s just say if it’s gonna happen next year, it’d probably happen on April 20. Just a guess. Just spitballing.

But the tour is definitely on and will make stops at Heavy Psych Sounds Fest in Innsbruck and at the VVitch Festival in Milan, so although it starts after the glut of European Fall festivals (some of which are also Sound of Liberation productions), the truth is there really is no “festival season” when it comes to the heavy underground over there. It just keeps going pretty much all the time at this point.

The following was hoisted directly from the social medias:

belzebong the necromancers tour

Tour Announcement – BelzebonG + The Necromancers

Folks, today we are proud to unveil the “Purveyors of Dankness” European Tour 2018, with Polish heavy-doomfuzz-metal outfit BelzebonG and French Heavy-Occult rockers The Necromancers, as follows!

12.11.18 | HUN | Budapest | Dürer Kert
13.11.18 | CRO | Zagreb | Vintage Industrial Bar
14.11.18 | SI | Ljubljana | Koncertna Dvorana Rog
15.11.18 | A | Innsbruck | Heavy Psych Sounds Fest (p.m.k)
16.11.18 TBC
17.11.18 | FR | Strasbourg | La Laiterie Artefact
18.11.18 | FR | Paris | La Maroquinerie
19.11.18 | FR | Rennes | Mondo Bizarro
20.11.18 | FR | Bordeaux | Make It Sabbathy 50th (VOID // BDX)
21.11.18 | SP | Barcelona | Rocksound BCN
22.11.18 TBC
23.11.18 TBC
24.11.18 | IT | Bolzano | Bunker Jugendtreff
25.11.18 | IT | Milano | VVitch Festival (Circolo Magnolia)
26.11.18 | D | Munich | Feierwerk
27.11.18 | NL | Utrecht | dB’s
28.11.18 | B | Brussels | Magasin 4
29.11.18 | D | Cologne | Helios37
30.11.18 | D | Berlin | Zukunft am Ostkreuz

The Necromancers will be presenting their new album whose first details will be unveiled very soon!

https://www.facebook.com/belzebong420/
www.soundofliberation.com/belzebong

https://www.facebook.com/thenecromancersband/
www.soundofliberation.com/the-necromancers

Belzebong, Greenferno (2016)

The Necromancers, Servants of the Salem Girl (2017)

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