Live Review: Kings Destroy, Gozu, Forming the Void and Clamfight in Brooklyn, 03.02.19

Posted in Reviews on March 5th, 2019 by JJ Koczan

Kings Destroy (Photo by JJ Koczan)

Half a decade ago, I tagged along with Kings Destroy on a West Coast tour that took us, among other places, through a snowstorm in Wyoming. It was late at night, and cars were sliding off the road and pulled over with their flashers on, plows nowhere to be seen. A general wreck. I took over driving that night — hi, I’m sober — and we just went to where we were staying very, very slowly. One does not want to flip the Sprinter van with all the gear in it when one is not even in the band.

I thought about that snowstorm at seven in the morning on Saturday to go south from Massachusetts to see Kings Destroy‘s record release show at the Saint Vitus Bar in the Lost City of Brooklyn after seeing them the night before in Boston, with Gozu and Forming the Void, who’d also be playing again, while Philly’s Clamfight stepped into the opening spot. It’s not every band on the planet I’d leave the house for, let alone take six hours to make a four-hour trip. It all worked out, though, and nobody flipped any vehicles. A win, even before the night started.

It was an early show, which is fine by me forever. There was an NYC Beer Week event with metal breweries at the Vitus Bar before the show kicked off, and Alewife Brewing had a special beer for Gozu — a Gozu Gose — and so it was a double release gig, with Kings Destroy marking the arrival this week of their fourth album, Fantasma Nera, and Gozu having a few cans of their own special brew on hand. There was no way it wasn’t going to be a party.

The beer thing was basically irrelevant to me other than the Gozu cans were cool looking, but it made sure the crowd had gotten plenty of “tasting” done by the time Clamfight went on. Here’s how it all went from there:

Clamfight

Clamfight (Photo by JJ Koczan)

Hugs all around. I’ve known Clamfight for well over a decade at this point, and they played three songs at the Saint Vitus Bar, but honestly, apart from being happy to see them and the fact that in the time since I last did — in the same place, no less — they released last year’s III (review here), which was by any measure a huge leap forward in sound and approach, I spent the bulk of their set feeling cripplingly nervous. I had put out on social media a post with their track “Echoes in Stone” that said how I daydreamed about singing the song on stage with them, and they invited me to do it. When I was in a band a decade ago, we used to do shows together a lot and it was how we got to be friends. They invited me to do the song, and, after much hemming and hawing, I actually did it. I sang backups to drummer Andy Martin and was up on the Vitus Bar stage with him, bassist Louis Koble and guitarists Joel “Papa” Harris and guitarist Sean McKee and I did the song. The last time I was on a stage was eight years before, and I thought I’d never do it again, but in the end, the situation felt right and when it was done, I was glad I did it. Sore, and glad. And sore. But also glad. And sweaty. Before I got up, they also killed and the metal-breweries crowd left over from the beer event earlier were right on board with their more aggressive side. It had been too long since I saw them, and I’m glad to know I’ll catch them again at New England Stoner & Doom Fest this Spring.

Forming the Void

Forming the Void (Photo by JJ Koczan)

It was really, really easy to watch Forming the Void play two nights in a row. They seemed comfortable on a bigger stage, and were able to spread out a bit more in their setup, but the huge tones and progressive melodies came through no less effectively for the larger space they occupied in Brooklyn than they had in Boston. And it’s interesting to see that people are clearly onto them. They brought out a good, growing-band crowd both nights, and what they brought to the bill was to be the one on the lineup that people hadn’t seen yet on the tour. The seeing-them-for-the-first-time band, because of course neither Gozu nor Kings Destroy — nor Clamfight, for that matter — were strangers to the venue, but you could see in the crowd people being engaged by the Louisiana natives, and that initial curiosity turning into fandom in real-time. Touring suits them. They’re building a stage presence and as they become more confident in their approach, that will become all the more a factor, but they’re already able to take a room and bring the people in it onto their side, and that is a massive step. Good band. Good band. Go see Forming the Void. Their next album or two — they work quickly — will tell the tale, but already, good band. They’ll be at Maryland Doom Fest in June, I’m hoping with new material in tow.

Gozu

Gozu (Photo by JJ Koczan)

Appropriately enough, Gozu and Kings Destroy switched up the order from the night before in Boston, giving the New York band the play-last spot in their hometown, but Gozu still tore through Saint Vitus Bar like headliners. This was their last night of the three on the road with Kings Destroy and Forming the Void — Portland, Boston, Brooklyn — and they railed into their set in absolute blowout fashion. If I didn’t know they were playing with a new drummer in Alex Fewell, I wouldn’t have thought twice about it, and it was clear they were getting it together as they were going. No flubs that I heard, and frankly, I was paying pretty close attention. If he’s permanent, Fewell (also of thrashers Black Mass) would be the third drummer in Gozu, and though he’s playing established material with parts originally written by someone else — either Mike Hubbard or Barry Spillberg — he brings his own sensibility to it. I was glad to see him a second night with the band, because that came through all the more. He’s not a pure tech drummer, but he’s able to carry the sharp-edged “Nature Boy” without trouble and still swing when called upon to do so. By the time guitarist/vocalist Marc Gaffney was shaking his hips later into the set in the middle of the stage with guitarist Doug Sherman and bassist Joe Grotto headbanging on either side, Gozu seemed fully locked in and sustainable as they are now. I don’t know how fluid their situation is, but their intent to keep moving forward was plain to see, and it’s worth being thankful for that.

Kings Destroy

Kings Destroy (Photo by JJ Koczan)

I was at the record release show at Saint Vitus Bar in 2015 for Kings Destroy‘s self-titled third LP (review here). I got to do a track premiere for that one. This time, I wasn’t cool enough, but as they move toward the release of their fourth album, Fantasma Nera, this week as their offering under the banner of Svart Records, I couldn’t help but think back to that show and the massive difference in sound between that material and the newer stuff. They liken it to grunge, which is fair in a sense, but New York — and really, East Coast — grunge was always a bit meaner, and that holds true for Kings Destroy as well. What they’ve ended up with is a kind of heavy rock that in some ways communes with their hardcore past, but is much more melodically present and more than ever sure of its songwriting approach. I said of the Boston show they were still feeling out how to present the new songs live — once again, they played all Fantasma Nera material except for “Mr. O” from the last album — but being on their home turf definitely helped. This was their 25th show at the Saint Vitus Bar. I haven’t been at every one of those shows, but I’m happy to have seen as many as I have, and I know full well this won’t be the last one I catch. They are the masters of that domain, new songs or old, and owned the show the way you own your living room. I stood in the middle of the crowd — something I rarely do — and however many times I’ve seen them later, still felt lucky to be there.

Sometimes it’s easy to lose sight of yourself and your place. Some people come to underground music with an endgame in mind. They have a goal and are working toward that goal. That’s not always the wrong call, but if you’re looking for the pot of gold at the end of the rainbow of underground heavy, you’re doing it wrong. It’s not about the gold, it’s about the rainbow. It’s not what you get from the work, it’s the work itself. The work is the reward. People can support each other and help out and whatever else, but at the end of the night when you’re driving home from the show, if you’re not happy with the work, there’s no point to any of it. Because that gold? It’s bullshit. You’re never going to get it. But rainbows really do exist and they’re fucking awesome. Live for the work or live wrong. Nights like this, they help you align your perspective and inspire you to keep it right.

Thanks for reading. More pics after the jump.

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The Obelisk Show on Gimme Radio Recap: Episode 11

Posted in Radio on March 4th, 2019 by JJ Koczan

gimme radio logo

Oh, it was a cold and snowy Sunday night, but the rawk was hawt, and so on. Okay, so maybe I’m not much for the introductions, but I dug this episode. I want to screw with what I’ve kind of made the “format” of this show, and starting out with Kings Destroy, Clamfight and Forming the Void in honor of the show I saw on Saturday at the Saint Vitus Bar was fun. So it’s a little more than just be being like, “Duh, I like this record so here’s this song by this band,” though of course that pretty much applies here as well. I don’t know. Just something a little different. Branch out a bit. Try not to set rules for myself.

Speaking of a lack of rules, this one gets a little weird. Look out for Return to Worm Mountain and Hhoogg in the second hour, and then Volcano leading into longer tracks from Sons of Morpheus and Bees Made Honey in the Vein Tree. That last song from the latter is 17 minutes long, and hell yeah I was going to include it. So good. That record is an unexpected turn from them, but absolutely awesome, so if you know it, all the better, and if not, maybe you’ll dig. Dig dig dig.

New tunes besides from Hexvessel, Snowy Dunes, High Reeper, Yatra and the sadly-defunct Cloud Catcher, and a classic riff-roll from Spirit Caravan round out what I thought was a pretty killer mixtape, so yeah, if you checked it out last night or get to listen to it tomorrow morning, thank you.

Here’s the full playlist:

The Obelisk Show – 03.03.19

Kings Destroy Fantasma Nera Fantasma Nera*
Clamfight Echoes in Stone III
Forming the Void On We Sail Rift
BREAK
Yatra Smoke is Rising Death Ritual*
Hexvessel Wilderness Spirit All Tree*
Snowy Dunes Let’s Save Dreams Let’s Save Dreams*
High Reeper Bring the Dead Higher Reeper*
Cloud Catcher Beneath the Steel The Whip*
BREAK
Spirit Caravan Cosmic Artifact Jug Fulla Sun
Hhoogg Journey to the Dying Place Earthling, Go Home!*
Return to Worm Mountain Song for the Pig Children Return to Worm Mountain*
Smokey Mirror Sword and Scepter Split w/ Love Gang*
Volcano No Evil Know Demon The Island*
BREAK
Sons of Morpheus Slave (Never Ending Version) The Wooden House Session*
Bees Made Honey in the Vein Tree Cinitus Grandmother*

The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Tuesday at 9AM. Next show is March 17. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

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New England Stoner and Doom Fest II: More Lineup Announcements; Pre-Party Added

Posted in Whathaveyou on February 5th, 2019 by JJ Koczan

new england stoner doom festival 2019 art

It’s time to talk about the real potential of the New England Stoner and Doom Fest. No, I don’t mean the lineup. That’s awesome. You know it and I know it. I’m talking about the acronym. That’s always huge for a festival. How is it abbreviated? Think MDDF or SHoD or any of the DFs spread around the universe. These things matter.

I’ve seen NESDF tossed around for New England Stoner and Doom Fest, and that’s cool, but it’s missing the opportunity. You could have a festival abbreviated NES! Who the hell wouldn’t buy that t-shirt? I hereby cast my vote in the imaginary referendum on festival abbreviations for New England Stoner and Doom Fest to henceforth and forthwith and withhence be known as NES fest. Second the motion?

There’s reportedly one more band to be added and reportedly several in the running for that slot, so this might not be the final update before May 3-5 gets here and NES fest kicks off (see me using the acronym already?), and the lineup for a pre-party at 33 Golden St. in New London has been announced as well, which will be headlined by Fox 45, so, you know, more of a good thing and all that.

The full lineup as has been revealed follows. Note the Wretch reunion. NES fest!

New England Stoner & Doom Fest II

The New England Stoner and Doom Festival will make its return in 2019 on May 3,4, and 5 at Altones in Jewett City, CT.

Earthride
Brimstone Coven
Wretch
Kings Destroy
+1 TBA
Foghound
Pale Divine
Vessel of Light
Spiral Grave
Solace
Black Road
Curse the Son
Shadow Witch
Hell Camino
Clamfight
Eternal Black
Thunderbird Divine
Stonecutters
When the Deadbolt Breaks
Mourn the Light
Entierro
Bone Church
Buzzard Canyon
The Age of Truth
Void King
Horseburner
Scuzzy Yeti
Witchkiss
Cortez
Benthic Realm
Faith in Jane
Conclave
Set Fire
3 Parts Dead
Insano Vision
Old Earth Analog
Pinto Graham
The Stone Eye
Sentinel Hell

Pre-party @ 33 Golden St.:
Fox 45
VRSA
Dark Ritual
Owl Maker
Feed the Beast

www.newenglandstoneranddoomfest.com
https://www.facebook.com/events/1613285008788252/
https://www.facebook.com/NewEnglandStonerAndDoomFest/
https://www.saltoftheearthrecords.com/

Wretch, Bastards Born (2017)

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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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Review & Full Album Premiere: Clamfight, III

Posted in audiObelisk, Reviews on January 17th, 2018 by JJ Koczan

clamfight iii

[Click play above to stream Clamfight’s III in its entirety. Album is out Jan. 19 on Argonauta Records.]

I’d like to say a few words about Clamfight. As bands go, the South Jersey/Philadelphia four-piece are probably the group of musicians I’ve been closest to personally and known the longest in my life. They are, to a man, beyond quality individuals and I think of myself lucky to call them friends. When I was in a band, we played shows together. Their last album, early 2013’s I vs. the Glacier (discussed here), was released via what was then this site’s in-house label, The Maple Forum, and their prior outing, 2010’s Volume I (review here), remains a sentimental joy for me to hear to a degree that’s probably ridiculous considering I had nothing to do with the actual writing of the songs. In terms of album reviews, impartiality is a myth generally, but perhaps never less so than when I’m talking about Clamfight. I don’t think I could not love them if I tried, and to be quite honest, I have no interest in trying.

Between live sets, demos, studio updates from Gradwell House where they recorded with producer/engineer Steve Poponi, rough mixes, unmastered tracks and so on, I’ve likely heard Clamfight III in every stage of its making. That’s not me bragging like I’m Mr. Super-Insider or anything. I’m just trying to give context to the fact that when I put on the finished product of Clamfight‘s Argonauta Records debut and listen to its five-track/44-minute entirety — the thing: done — I remain blown away each time by its level of accomplishment. It’s not that I thought drummer/vocalist Andy Martin, guitarists Sean McKee and Joel Harris and bassist Louis Koble didn’t have it in them to do what they do in these tracks; it’s that it would have been unfair to expect a work so progressive to come from a band whose primary drive has always been their intensity.

Although, and of this one can rest duly assured, that intensity remains well intact — as one can certainly hear in the post-Leviathan crashes and shouts of “Selkie” and sundry moments of heads-down chugging and/or righteous bellows such as the beginning of centerpiece “Echoes in Stone” throughout — it’s simply being used as part of an approach that’s grown in new, exciting and dynamic ways. Anchored by its extended opener “Whale Road” (11:14) and closer “History of the Earls of Orkney,” Clamfight III finds its conceptual or at very least lyrically-thematic framing in ongoing archaeological work in Scotland by a team that includes Martin and benefits greatly from this purposefulness of its expression, as it brings solid footing beneath the expansive and progressive structures in the songwriting, which is very much driven by McKee‘s lead guitar.

That element is given more space to flesh out than it’s ever had in Clamfight before, and McKee‘s performance lives up to its spotlight, but groove very much remains central to the band, and while the thudding tom runs under speak immediately to something bound in the earth, it’s the airy intro guitar lines of “Whale Road” that signal Clamfight III‘s defining ambitiousness, not to mention the patience with which they build toward the first verse over the opener’s initial two-plus minutes. Roaring and bombast ensue, to be sure, but as Harris and Koble lock in the core rhythm, it leaves Martin free to explore a range of vocal styles only previously hinted at in their recorded output and McKee to follow suit in showcasing greater reach in the style and substance of his craft. It is telling that of the five tracks, only “History of the Earls of Orkney” and the penultimate “Eynhallow” don’t end with a guitar solo — and “Eynhallow” is a five-minute, mostly-guitar instrumental lead-in for the finale. More often than not, McKee gets the last word.

clamfight photo useless rebel

Nonetheless, it would be inappropriate to think of Clamfight III simply as a showcase for McKee or any other single member. Rather, it is a whole album, and a whole group work. This is underscored as “History of the Earls of Orkney” answers the intro of “Whale Road” with its own leadoff airy meandering as much as in the stomp that emerges in “Selkie” earlier. And not only are Clamfight reaching within to find and manifest aspects of their sound in ways they never have before, they’re also reaching outside themselves, as shown by the guest appearances from Kings Destroy guitarist Chris Skowronski on “Whale Road,” ex-Wizard Eye/current-Thunderbird Divine guitarist/vocalist Erik Caplan, who lends theremin to that opener and “Echoes in Stone,” and vocals from Shroud Eater bassist Janette Valentine and guitarist Jean Saiz on the same song. The latter performances are of course standouts, bringing both melody and further shouting harshness in tow, and after a due throttling from the finish of “Selkie” beforehand and the rolling, growling start of the “Echoes in Stone” itself, their arrival serves to add variety and an unexpected twist to what becomes a crucial moment on the record.

In a way, it’s a shame she couldn’t return even for a few lines on “History of the Earls of Orkney,” as it would allow the closer to truly summarize the breadth of the album’s entirety, but after the subdued contemplation in “Eynhallow,” it’s clear the gears have shifted, and even without that flourish of added symmetry, Clamfight III‘s finishing move serves as a singular moment of triumph for the band. In its sprawl, they not only reaffirm the progressive achievements of the songs before, but continue to build on them. The push forward at the midpoint seems to speak to the ethic of the track as a whole, and the tumult that ensues is underpinned by a control that only makes it more enthralling — the four members of Clamfight all charging in the same direction, straight ahead through two solo sections toward an adrenaline-drenched ending that’s snap-tight and a brutally-earned, cut-cold payoff, as sharp as it is bludgeoning.

Look. I love this band, and I don’t mind telling you that. If that means you need to take this review with the proverbial grain of salt, cool. I don’t really care. The fact remains that when I listen to Clamfight III, I’m proud as hell and deeply appreciative that I even know these guys at all, and whether you ever heard I vs. the Glacier or Volume I or not, it doesn’t matter, because what they’ve done here has thoroughly put them on a new level of execution. It is a special moment of arrival for them as a unit, when a maturity of craft has so clearly taken hold — one that means at very least they’ve outgrown their moniker if they hadn’t before — amid the pummel that’s always been their fuel, and when a resulting effort can strike as much with its scope as its brute force. Even putting aside as much as I possibly can the high esteem in which I hold them as people, I consider myself lucky every time I put this album on, and I plan to put it on for a long time to come. If you don’t, it’s your loss.

Clamfight on Thee Facebooks

Clamfight on Twitter

Clamfight on Instagram

Clamfight on Bandcamp

Argonauta Records website

Argonauta Records on Thee Facebooks

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Lineup Announced for Rev. Jim Forrester Benefit Dec. 29

Posted in Whathaveyou on December 21st, 2017 by JJ Koczan

As the details have surfaced over the last 24 hours regarding the tragic death of Rev. Jim Forrester outside the Fells Point, Baltimore, tattoo/piercing shop where he worked, the portrait they’ve drawn has only seemed more senseless. The former bassist for Sixty Watt Shaman, currently of Foghound and Serpents of Secrecy, on the mend from ongoing health issues, finding sobriety, married, getting through, and then shot in the chest outside his place of employment? You’d have a long, long way to go before you ever managed to convince me that makes any fucking sense whatsoever.

One thing Maryland heavy has always done, however, is rally together when the situation calls for it, and yeah, I’d say this situation calls for it. Two stages in Frederick, Maryland, will run benefits next Friday, Dec. 29, with proceeds going to Jim‘s funeral costs and honestly whatever else who the hell cares what they do with the money take all the money just take it please take it and take lasagna too. I’ve heard rumblings about more benefit shows to come and something brewing for Maryland Doom Fest 2018 as well next June, so stay tuned for more and I’ll update as much as I can because Jesus tapdancing Christ, some asshole shot Jim Forrester.

Fucking devastating.

Lineups for the shows at Cafe 611 and Guido’s Speakeasy follow here. If you can’t make it, there’s also a GoFundMe set up linked below that you should donate to. Hell, even if you can go you should donate, because again, just take all the money please take all the money.

Here:

rev jim benefit show

Rev Jim Benefit Concert – Dec. 29

Cafe 611 & Guido’s Speakeasy
N Market St, Frederick, Maryland

This event will feature 13 killer bands on 2 separate stages. Both Cafe 611 & Guido’s next door will be hosting this remembrance of Rev Jim’s life and fundraiser. Bands will be revealed soon. All proceeds go to his family. We will celebrate your existence forever Jim.

This wonderful, gental, kind man was tragically taken from us by a senseless act. All proceeds are to help alleviate the financial strain on his family: https://www.gofundme.com/funds-for-forrester

Show time is 6pm-12:30 pm Friday Dec 29th.

Lineup:

Cafe 611:
King Giant
Earthride
The Age of Truth
Thousand Vision Mist
Thonian Horde
Faith in Jane
Dee Calhoun & Louis Strachan

Guido’s Speakeasy:
Bailjack
The Druids
Et Mors
Seasick Gladiator
Clamfight
Thee Iron Hand
Lifetime Shitlist

https://www.facebook.com/events/180510659201090/
https://www.gofundme.com/funds-for-forrester

Foghound, The World Unseen (2016)

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The Obelisk Presents: Benthic Realm, Clamfight & More, Dec. 2 in Worcester, MA

Posted in The Obelisk Presents on October 23rd, 2017 by JJ Koczan

I’ve been fortunate enough to be asked to present some killer shows of late — seriously, check it out — but when it’s friends playing a gig, that’s all the more special to me. This one? Yeah, it’s a no-brainer. Good show. You should go. But the truth is that in addition to appreciating what Benthic Realm and Clamfight do as artists, I know these people. They’re good people. Isn’t life that much better when you can be sure the people you’re supporting aren’t assholes?

The gig has been dubbed the “Mid Atlantic Invasion” — because regionalism — and pits two Massachusetts acts of significant pedigree in Benthic Realm (members of Second Grave and Conclave) and Z/28 (members of Mourne and Grief against Clamfight from Philly and Pennsylvania’s Brain Candle. With Clamfight signed to Argonauta as of this Summer and the release of their new album, III, impending for early 2018, and Benthic Realm having brought in Conclave drummer Dan Blomquist since putting out their self-titled demo (review here) this Spring, it should be a significant battle indeed, and by that I mean way less a battle than bands from different areas getting together and putting on a really good show for those fortunate enough to witness it.

To that end, let me add that Ralph’s Rock Diner in Worcester is, in the now-four-years that I’ve lived in Massachusetts, hands down the best place I’ve found to see a show, and that along with MT Booking, I’m happy to have this site associated with goings on in that space once again. Great sound, cool vibe, good lighting, comfortable space, and burgers downstairs. They’ll even make you coffee if you ask nicely, though they won’t necessarily be happy about it.

Below, Clamfight drummer Andy Martin offers a bit of comment on the gig, and the preliminaries follow. It’s eight bucks. What the hell more could you possibly ask?

benthic-realm-clamfight-show

Andy Martin on the “Mid Atlantic Invasion”:

Allow me to peel back the curtain on how I book most Clamfight shows: Can we make it to work on Monday and is there someone there I want to hug? Whether we think it’ll be a good show is like a distant fourth.

Luckily, Woostah fulfills all of those criterion.

It’s close, and we’ve (finally) got a record to flog, so that takes care of criteria one, and two, it’s home base for a lot of our favorite people.

From our brothers in Conclave, to Faces of Bayon, and our Boston homies who often make the trip out, Massachusetts and particularly Worcester have been really good to us so we are stoked to return, laden with riffs and hugs. Personally, I’m really looking forward to jamming with Benthic Realm for the first time too, and all the more now that they’ve snagged one of my favorite people on Earth, Dan Blomquist as their drummer.

As an added bonus we’ve got Philly shredders Braincandle with us in Worcester and the night before in Brooklyn, so it’s going to be a solid weekend of riffs and shenanigans, and well worth the pain we’ll all be in come Monday.

The Obelisk and MT Booking Present::
A night of Mid Atlantic meets Massachusetts Metal!

Ralph’s Rock Diner
148 Grove St., Worcester, MA
Saturday December 2, 2017
Doors @ 9PM
$8 At the door
21+ With valid I.D.

Benthic Realm (ex-Second Grave/Conclave)
https://benthicrealm.bandcamp.com/

Clamfight (Traveling from NJ/PA)
https://clamfight.bandcamp.com/

Brain Candle (Traveling from PA)
https://braincandlemusic.bandcamp.com/

Z/28 (ex-Grief/Mourne)
https://nobodyridesforfree.bandcamp.com/

Thee Facebooks event page

Benthic Realm on Thee Facebooks

Clamfight on Thee Facebooks

Brain Candle on Thee Facebooks

Z/28 on Thee Facebooks

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Clamfight Set Jan. 19 Release Date for III; Preorders Available

Posted in Whathaveyou on October 20th, 2017 by JJ Koczan

clamfight

Impartiality be damned, I frickin’ love these dudes. I’ve known Clamfight for well over a decade now, and unlike seafood, they only get better with age. Yeah, I’ve heard III. I heard it while they were still recording. It rules. And if you miss it, it’s your own damn fault. I’ve been posting about how much ass Clamfight kick pretty much since this site started, and if you haven’t caught on by now, I don’t think I can really be held responsible at this point. Shit, I helped put out their last album, so what the hell do you want from me? A written invitation? Should I send you a telegram reminding you Clamfight are badass? Well, consider this post that personal notice. Yeah, I’m talking to you. Directly. It’s the internet, I can do that. I got your info from Equifax.

I’m hearing murmurings of a Clamfight release show in NY in January that I’m very much thinking I might need to travel to be at, but I’ll keep you posted on that once I get any details. In the meantime, Argonauta Records, which signed the four-piece this past summer, has preorders for III available now and has posted the album’s art and tracklisting, as well as a teaser video that shows off some of the harsh and melodic aspects alike of what they’re doing at this point. It’s a minute long and the band only needs about half that time to completely kick your ass.

In all seriousness, these guys are truly special to me and I consider myself fortunate to have watched as closely as I have as they’ve become a truly special band as well. Get yourself informed:

clamfight iii

U.S. Sludgers Clamfight reveal cover artwork and track-list of their highly anticipated new album “III”.

Influenced in equal parts by their dads’ vinyl, that sketchy older kid from woodshop class’ thrash and hardcore tapes as well as touchstone heavy bands like Sleep, Clutch, Neurosis, eyehategod and Mastodon, the band has plied its unique brand of suburban working slob metal up and down the East Coast of the United States since 2005.

CLAMFIGHT “III” will be released in CD/DD by Argonauta Records and available from January 19th, 2018. Preorders run here: http://hyperurl.co/ClamfightIII

A first teaser from the album is available here: https://youtu.be/ZCPkaIZ9T2Y.

TRACK-LISTING:
1. Whale Road
2. Selkie
3. Echoes in Stone
4. Eynhallow
5. History of the Earls of Orkney

www.facebook.com/Clamfight
https://twitter.com/clamfight
https://www.instagram.com/clamfight/
https://clamfight.bandcamp.com/
www.argonautarecords.com
https://www.facebook.com/argonautarecords
http://hyperurl.co/ClamfightIII

Clamfight, III album teaser

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