Posted in Whathaveyou on January 20th, 2016 by H.P. Taskmaster
In the fine tradition of, well, last year’s Psycho fest, 2016’s Psycho Las Vegas has announced an overwhelmingly impressive initial group of acts for its lineup, including some of the finest North America has to offer and choice imports. Notable in that category are Candlemass, The Crazy World of Arthur Brown, Colour Haze, Mars Red Sky, Belzebong, Øresund Space Collective and The Cosmic Dead, and they’re joined by returning figureheads Sleep and Pentagram, who headlined the 2015 Psycho California fest, along with YOB, Down, Mudhoney, Acid King, Fu Manchu and a whole host of others listed below.
The truly insane part about Psycho Las Vegas is that, like last year with Psycho California, the lineup is staggered, so this isn’t it. On Valentines Day, the festival will announce its full lineup of acts, which I’m just going to go out on a limb and assume includes everyone else on earth, and then after that, in March, they’ll follow up again with the headliners. So what we learn today is that 2015’s headliners will have someone playing over them. I don’t know who, or how that could be possible, but you can bet your ass I’m anxious to find out.
All the details so far unveiled about Psycho Las Vegas, as well as the link to purchase tickets, appear below:
PSYCHO LAS VEGAS 2016
Neon Knights arrive and ignite the the city of light in a sleepless celebration of heavy culture. High rollin’ low lifes will low roll the high life at the world famous Hard Rock Hotel and Casino in “Sin City”, Las Vegas. For three straight days, from August 26th through the 28th, born losers win as Psycho Las Vegas holds a rock steady hand of bands, performance artists, tattoo artists, art exhibits, a black light chamber, custom van and chopper show, pinball arcade, and much more.
Psycho Las Vegas sins and grins two blocks south of the strip at the expansive Hard Rock Hotel and Casino. The high-octane Rock ‘n’ Roll-themed casino resort hosts three stages; The Joint, which is a main stage, Vinyl, the rock club and out under the desert night sky is the second main stage, The Pool Stage. Experience live music, 24 hours a day.
In between bands and bets, ride outside to the venue’s open lot and witness the most bitchin’ rides this side of Death Valley at Psycho’s first ever custom van and chopper show!
Psycho Las Vegas features some of the most revered screen printed poster artwork with an exclusive exhibition from commissioned Psycho Las Vegas artist David D’Andrea. D’andrea, who returns to Psycho for a second year, created all the official festival artwork. Attendees will be able to eternally commemorate the event on their own walls with signed, limited edition works from D’Andrea.
Psycho Las Vegas acts and events were co-curated with music scene stalwart Sean “Pellet” Pelletier. (“Last Days Here” documentary) “Thief Present’s ‘Psycho’ festivals are visionary and have consecutively been the number one music event I’ve want to attend since they’ve started”, said Pellet. “I’ve been dreaming about putting on a cool culture and music festival for quite some time and I jumped at the chance to help us all go psycho in Las Vegas! The event is a celebration of subculture and a spiritual gateway for all of us into sonically connected sub-genres of heavy rock that hopefully, some of which, may be new to our senses. I’m booking bands that I’ve always personally wanted to see and have requested setlists that we’ve all wanted to hear.”
Among the first string of live acts announced will be hard rock legends, BLUE OYSTER CULT with a set heavy on their early songs that have inspired so many great bands over the years. Mark Arm and Steve Turner, also both of Green RIver-fame, will remind us why MUDHONEY are heralded as essential grandfathers of grunge. English psych rock pioneer, THE CRAZY WORLD OF ARTHUR BROWN returns to America with a performance sure to highlight where groundbreaking artists such as Kiss, Alice Cooper, and Ghost may have gotten some of their ideas. We’ve reunited proto-metal masters TRUTH AND JANEY who will appear for an exclusive live set to celebrate the 40th anniversary of their underground classic debut, “No Rest For The Wicked”! “A Band Called Death” documentary film stars DEATH, pulsate the pool stage and will show us why they are finally considered one of the first Detroit punk bands. Germany’s top psychedelic stoners COLOUR HAZE have chosen the festival for a rare US manifestation that’s sure rise us all high above the neon. Swedish doom metal ministers CANDLEMASS come crushing in yet another one of Psycho Las Vegas’s special performances. Stay tuned for the announcement of even more acts, over 60 in total, over the next few months.
Thief presents Friday, August 26, 2016 at 12:00 PM – Sunday, August 28, 2016 at 12:00 AM (PDT) Las Vegas, NV
SLEEP BLUE ÖYSTER CULT CANDLEMASS DOWN THE CRAZY WORLD OF ARTHUR BROWN MUDHONEY COLOUR HAZE PENTAGRAM FU MANCHU ACID KING DEATH (Detroit) YOB BELZEBONG ORESUND SPACE COLLECTIVE DANAVA TRUTH AND JANEY GOLDEN VOID JUCIFER BONGRIPPER MARS RED SKY A STORM OF LIGHT CAVE OF SWIMMERS THE COSMIC DEAD
ACCOMMODATIONS Join the bands and crew at the Hard Rock Hotel & use the code: Psych16 at checkout to recieve 30% off your rooms.
Posted in Features on December 22nd, 2015 by H.P. Taskmaster
Please note: This list is not culled in any way from the Readers Poll, which is ongoing. If you haven’t yet contributed your favorites of 2015 to that, please do.
It’s damn near impossible to start one of these posts without some derivation of, “Whew! What a year it’s been!” The truth is that, since 2014, I’ve been keeping a list of the best releases of 2015, and the list has just grown and grown and grown over the last 12 months. Could have been a top 40, easy. Could have been a top 50, 60, whatever. It was complete inundation.
If you’ve been checking in on any of the lists that have gone up so far, you might notice that some of these records have appeared elsewhere, and possibly in a different order. How does an album end up ahead of another on one list and not on another? Different criteria. Different basis of judgment. As always, the big year-end list (this one) is derived both from what I think are the most important offerings of the year plus what I listened to the most, because while I believe deeply in the critical value of a given work, I also believe there’s value in the kind of record you just can’t put down.
Basically, I believe records have value. Stay tuned for more daring adventures in understatement.
A few emergent factors for 2015 to note: The increasing expansion of subgenres. Psychedelia and what I’ve come to call the heavy ’10s sound finding further root as prominent styles of the day, as well as a budding of emotive doom in the post-Pallbearer vein. At the same time, a more straightforward heavy rock is also making a return, and look for that to continue as new listeners discover past landmarks and modern plays thereupon. Everything is cyclical, and I’m interested to see what the next two or three years bring, both as Millennials hit 30 (and beyond) and as younger kids come up and fuzz out.
But that’s a conversation for a different time, and before we get there, it’s time to take a look back at the best full-lengths of 2015. I hope if I’ve left something out, you’ll let me know about it in the comments, but until then, here we go:
Going by some of the results I’ve seen from the Readers Poll, I’m guessing there will be some disagreement on the placement of High on Fire‘s seventh full-length, third for eOne and second to be produced by Kurt Ballou behind 2012’s De Vermiis Mysteriis (review here), but for me it came down to what I went back to more. The brilliant “The Falconist” would be enough on its own for Luminiferous to be included on this list, and taken as a whole, the record affirmed the trio as pivotal heavy metal marauders, an act whose devastation is undulled by the wear they’ve put on it touring the world over and again.
Undaunted by a name change from Church to CHRCH, the Sacramento five-piece unleashed rare doom extremity on their debut album, but peppered that with a stylistic nuance that many in the pummel-pummel-pummel game cast off, whether it was psychedelic flourish in the guitar or some eerie atmospheric. Among the post potential-filled debut offerings of the year, that’s not a guarantee they’ll find future success on the same level, but it does mean that if you didn’t hear the 19-minute “Dawning,” you missed out.
Coherent bliss. The second full-length from the four-piece Golden Void was a logical step forward from the band’s 2012 self-titled debut (review here), but that was precisely what it needed to be. With an emerging dynamic of dual vocals between guitarist Isaiah Mitchell (also Earthless) and keyboardist Camilla Saufley-Mitchell on cuts like “Astral Plane” and “Silent Season,” Berkana was less adherent to space rock overall than its predecessor, but gave a more individualized take and was all the richer for it.
Probably should have a higher number. Part of the enduring appeal for The Harvest for me is not only how Ukrainian three-piece Stoned Jesus so absolutely pushed back from the album before it, 2012’s sophomore outing, Seven Thunders Roar (review here), but how much reasoning they put behind the moves they made on the six included tracks. Each song had its purpose and place in the overarching flow, and The Harvest continues to deliver something new on thoroughly-earned repeat listens. Perhaps most encouraging of all, I have no idea what they’ll do next.
Swedish retro forerunners are hands-down one of the most influential European heavy rock acts of their generation. The ’70s revivalism they helped spearhead on their first, second and third LPs has given them rich ground to develop, and they still managed to bring something new to their sound with the soulfulness of Innocence and Decadence, as well as increasing command and diversity in the vocals. Drummer Axel Sjöberg turned in a career performance, and although there are heaps upon heaps of bands out there indulging in post-Graveyard boogie, they showed once again that they’re able to stand both out from the crowd and well above it. Plus, any swing-rocking album that dares to break out soul-singer backing vocals and blastbeats, and pull both off without blinking deserves respect, no matter what else it might have going on.
It felt so good to put on Death Hawks‘ Sun Future Moon for the first time and be completely blindsided by its serene psychedelic ritualizing. The Finnish four-piece reveled in classic progressive methods, and where it would’ve been so easy for songs like “Hey Ya Sun Ra” or “Dream Life, Waking Life” to come across as pretentious, the naturalism in the recording gave the band’s third album such a liquefied flow that it was impossible not to be swept up by it until, at last, “Friend of Joy” launched into and beyond a peaceful stratosphere in spaced-out ambience. My first exposure to the group and their first outing for Svart, it’s a record so textural and so graceful that it seems to unfurl itself more each time through.
A quick and strong turnaround from this Norwegian sax-inclusive foursome, who might seem to come out of nowhere were it not for the pedigree of Kenneth Kapstad and Bent Sæther in long-running progressives Motorpsycho. Together with Per Borten and Rolf Martin Snustad, Spidergawd spoke to more primal rock instincts — their two LPs to-date and soon to be three are testaments to the ability of music to move, to shove, and to shake; or as they put it, “Get Physical” — but as there is breadth as well, as the psychedelic “Caereulean Caribou” demonstrated. Anchored by the hook of “Fixing to Die Blues,” Spidergawd‘s second wandered far and wide, but welcomed listeners along for each step of the journey.
As the title promised, The Midnight Ghost Train‘s third offering and Napalm Records debut delivered harsh truths. They came at breakneck speed and delivered with stage-hewn chemistry by the Midwestern power trio, whose years of road-dogging were brought to bear in the gruff, gravel-throated voice of guitarist Steve Moss, who led drummer Brandon Burghart and newcomer bassist Mike Boyne across nigh-unparalled riff torrents, with all the boogie of any number of ’70s-style sidewinders, but also with a tonal thickness that seemed a miracle it could move at all. Not without its adventurous side in the quieter “The Little Sparrow,” Cold was the Ground brimmed with intensity that brought the band to new levels in every conceivable fashion.
Blessed art the weirdos, whose records might be few and far between, who might not tour, but whose bold fits and starts span genres easily and whose work truly stands alone. Leeches of Lore‘s Toshi Kasai-produced Motel of Infinity was a godsend in the enduring battle against normality. It was a grinding, grooving anti-punk stampede, at times frenetic and at other times whatever the opposite of frenetic is, and to-date, it’s the Albuquirky outit’s masterpiece, from the low-end buzzsaw, gang-shout and falsetto of “Don’t Open Till Doomsday” through the bass and organ bounce of “Noah’s Soul (is Burning).” They have been and still are a band unto themselves, and the we-do-this-every-day confidence of their execution across Motel of Infinity‘s run only emphasizes how utterly necessary they are.
With the Dead vocalist Lee Dorrian (also head of Rise Above Records, also ex-Cathedral) basically laid it all out there in the interview here when he said, “We wanted to make the most skull-crushing record we possibly could.” That’s precisely what With the Dead‘s self-titled debut is. It’s as heavy as possible, as filthy as possible, all the way through. In some ways very much the sum of its elements with Dorrian on vocals, Tim Bagshaw on guitar/bass and Mark Greening on drums (both ex-Ramesses), it was also of course more than just that, and while so much of their story has yet to be told as they move into their initial live appearances in 2016, their opening salvo was nothing if not as destructive as its intent.
How could anyone possibly have even remotely reasonable expectations for a Clutch record after 2013’s Earth Rocker (review here). I won’t say the Maryland stalwarts didn’t deliver with Psychic Warfare, and I doubt any fan of the band who’s dug into “X-Ray Visions,” “A Quick Death in Texas” or “Noble Savage” would, but their returning to producer Machine for the second time in a row made it almost too easy to compare Clutch‘s 10th and 11th long-players. Four years between albums was shortened to just two, and that may have had something to do with it as well, but while the songs were there and I’ve no doubt that Psychic Warfare will endure over the long term — ask me sometime how long it took me to get into Pure Rock Fury — in the moment of its release, Psychic Warfare seemed to stand in the shadow of its predecessor rather than in its own light.
An awaited return for Midwestern-turned-West-Coast psychedelic rockers Mondo Drag, their self-titled sophomore outing had three years between its recording and release, and was made in 2012 with a shortlived incarnation of the band with bassist Zack Anderson and drummer Cory Berry, both formerly of Radio Moscow and then-soon to be of Blues Pills. Unsurprisingly, the grooves were tight, but even better, Mondo Drag blew past the peaceful headtrippery of their 2010 debut, New Rituals (review here), toward more expansive and proggy fare. They’ll look to continue that thread on their third outing, The Occultation of Light, in 2016, but the self-titled captured a special moment worthy of celebration, still rife with the classic-minded ethereal spirit of the first outing, but clearly bent on defining its own sonic dogma in hooks and synthy vibes.
18. Lamp of the Universe, The Inner Light of Revelation
At the risk of sounding biased, just about any new release from New Zealand tantric psych outfit Lamp of the Universe is going to be welcome by me. Comprised solely of Craig Williamson (also Arc of Ascent), the long-running project nonetheless casts out gorgeously textured meditative psychedelia, at times delving into drone or Eastern folk, but always marking out its own sonic space, whether in the more rock-minded groove of “God of One” or the drumless acoustic swirl of “Ancient Path.” Lamp of the Universe is a rare band — as much as it is a band — that covers a swath of ground stylistically and manages to sound like nothing but itself as it does so, and Williamson‘s commitment to his cosmic mantras remains firm and creatively fertile as the seeds he planted early on continue to bear fruit in complex arrangements that never distract from the central, spiritual purpose of the music.
Even with its title-track broken into two 20-plus-minute side-consuming halves, it was abundantly plain to hear that Sparkling Waters was the most realized Mammatus outing yet. The four-song, 75-minute offering brimmed with a clarity that even their late-2013 third album, Heady Mental (review here), could only partially claim, leaving behind the fuzz and fog of their earlier work almost entirely while remaining open to employing sonic heft when suitable to their more complex motives. Most effective about Mammatus at this stage was the way they eased into and through varied parts while tying together a coherent whole piece, the builds and cascades of “Sparkling Waters Part One” setting up an expectation of fluidity that held firm even through the more jagged buzz in the early going of closer “Ornia,” the grand finale of which resonates as a cacophony without letting itself actually lose control.
16. Uncle Acid and the Deadbeats, The Night Creeper
UK ladykillers Uncle Acid and the Deadbeats have emerged as one of the most essential bands of the ’10s. The Night Creeper is their fourth album and it takes the defining eeriness of their melodies and roughs it up with a mostly-live recording job — something which, now that they’re a touring act, they can do — for their grittiest, dirtiest-sounding offering yet. Songs like “Melody Lane,” “Pusher Man” and opener “Waiting for Blood” speak to what’s let their methodology spread so widely in the first place, the VHS grain of their guitars and vocals resting over classic swing and proliferating maddening hooks with lethal intent. Between the nine-minute gruel of “Slow Death” and the hidden acoustic track “Black Motorcade,” The Night Creeper wasn’t without its element of sonic progress, but with Uncle Acid, it’s still the combination of threat, swing and memorable songwriting that brings listeners back to their dark alleyways for another taste.
Easily one of 2015’s most encouraging debuts. Making its opening salvo with the propulsion of Motörhead-derived heavy rock in songs like “Over Under” and “Black Magick Boogieland,” the first outing from Amsterdam-based foursome Death Alley touched on classic ideals without going retro on “Bewildered Eyes,” nodded toward psychedelic melodicism and more patient intentions in “Golden Fields of Love,” and portrayed its punker roots in “Dead Man’s Bones” — all before the 12:40 space rock extravaganza that took hold with closer “Supernatural Predator.” It was a lot of territory to cover, but Death Alley not only made it sound cohesive, they made it rock and they made it a good time. In just about 41 minutes, Black Magick Boogieland was not only a voyage well worth taking, it was a potential-filled, headbang-worthy ripper of an album from an outfit who deserves every bit of attention they seem to be shouting for. Hope they don’t wait long for a follow-up.
Five records in, Dutch trio The Machine have found a niche for themselves between heavy psych rock, desert fuzz and exploratory jamming. Offblast!, with a title that seemed more reminiscent of Europunker speed rock, was as spacious as it was driving, and whether it was the more structured material like “Dry End” or “Coda Sun” or the two extended cuts, 16-minute opener ““Chrysalis (J.A.M.)” and 12-minute closer “Come to Light,” their dynamic remained natural and held firm to a spontaneous sensibility, like at any turn, any part might take off for an eight-minute ride to who knows where. That that didn’t always happen only made Offblast! a richer listening experience, its varied ideas coming through consistent tonality to affect a more than satisfying front-to-back flow that toyed with momentum even as it built more and more of it. Was a while in the making, coming three years after 2012’s Calmer than You Are (review here), but easily worth the wait.
13. Brothers of the Sonic Cloth, Brothers of the Sonic Cloth
There were moments where the self-titled debut from Brothers of the Sonic Cloth was almost too much to take in one sitting. By the time the Tad Doyle-led trio got around to the 11-minute “La Mano Poderosa,” sometimes I felt like I needed a second to catch my breath before diving further, always further, into the smoldering abyss their tones, growls and lurch seemed to create. Six years after their demo (review here) served notice like a tectonic rumble in the distance, the album arrived with comet-into-planet heft, and its oppression was as much about atmosphere as it was sheer aural assault. Imagine an arm reaching down your throat, grabbing your lungs, and forcibly deflating them one at a time. Is that hyperbole? Absolutely, and well earned. Every bit the debut of the year.
No, Boston supergroup Kind aren’t so high on this list just because they called a song “Pastrami Blaster.” Granted, that didn’t hurt, but ultimately it was the blend of cavernous psychedelics and heavy rumble that made Rocket Science so infectious. Comprised of vocalist Craig Riggs (Roadsaw), guitarist Darryl Shepard (Milligram, The Scimitar, etc.), bassist Tom Corino (Rozamov) and drummer Matt Couto (Elder), Kind earned immediate interest for their pedigree, but it was more the breadth of jams like “Hordeolum” and “The Angry Undertaker” that defined their first outing, various impulses toward structure and open-endedness not so much pushing against each other as working in tandem to craft something that drew from the best of both mindsets. Obviously these are busy guys, but hopefully Kind doesn’t all by the wayside for other ongoing projects. Rocket Science was unmistakable in its demonstration that they have much to offer.
Iowa five-piece Bloodcow hadn’t put out a record since 2007’s Bloodcow III: Hail Xenu, but that didn’t stop Crystals and Lasers from being their best work yet. As much punk as metal as heavy rock, it wasn’t for everybody, but it was most definitely for me. With a constant thread of satire in songs like “Ultra Super Sexual,” “Sock,” “Dick for Days” and the oh-shit-I’m-middle-aged-how-the-fuck-did-this-happen (not saying I relate or anything, but holy shit I can relate) “After Party,” it was nonetheless a stylistically varied and universally professional-sounding 13-track collection, offering weirdo quirk in “Blood and Guts,” “Exploding Head” and “Little Chromosome” and finding room for a bit of scathing social commentary in its title-track and “HIVampyre.” If they’re working at an eight-year pace, I don’t know that we’ll get another Bloodcow record, but they very clearly put everything they had into Crystals and Lasers and the result was a defining statement.
After two wallops in the form of 2013’s Abra Kadavar (review here) and 2012’s self-titled debut (discussed here), German trio Kadavar continued to prove the effectiveness of their songwriting on Berlin, a return that front-to-back brimmed with vitality and bounce rare enough for heavy rock generally more content to be downtrodden or attempting to feign bluesy substance. Unabashedly poppy at times, Berlin was the party that brought everyone along who was up for taking the ride, and whether it was the hook of “Lord of the Sky” showing how just a tiny melodic turn could make a track infectious or cuts like “Thousand Miles Away from Home,” “Filthy Illusion,” “Stolen Dreams,” “Spanish Wild Rose,” “See the World with Your Own Eyes” — all of them, really — working their way into the consciousness, Berlin felt like it was primed to be the soundtrack of many summers to come. They moved away from the retro style of their first two outings, but in so doing took fuller command of their sound and put it to remarkable use.
Picking up right where Flower of Disease closer “The River” left off with “Another River to Cross,” Goatsnake‘s third full-length arrived a full 15 years after its predecessor, and as one might expect that brought some considerable changes in the band’s sound. Oh, they still rolled the hell out of a riff, guitarist Greg Anderson (he of SunnO))) and Southern Lord Recordings) very much at the fore tonally, but a bluesy inflection from vocalist Pete Stahl (also earthlings?) and some well-placed backing vocals added personality in a daring and unexpected fashion. Songs like “Jimi’s Gone,” “Elevated Man” and “Grandpa Jones” sat comfortably in the band’s influential pantheon of heft, but it was how Black Age Blues pushed beyond what Goatsnake did in their initial run that made it so satisfying. For a record that arrived five years after they got back together, it could have easily been disaster, but Black Age Blues built on what Goatsnake was without detracting from the legacy that has influenced a generation of heavy rock.
I’m proud to call the members of Kings Destroy friends and I won’t attempt to feign impartiality when it comes to considering their work as a band, but I felt in listening to their self-titled third LP that they had finally gotten to the point where they were bringing the onstage confrontationalism of their live show to the studio. Yeah, “Mr. O” was upbeat and catchy and gave side A some thrust, but even in chugging opener “Smokey Robinson” or the moody “Mytho” and “Embers,” Kings Destroy not only came further into their own in terms of style, building on the anti-genre defiant stance of 2013’s A Time of Hunting (review here), but did so with a clearheaded progressivism, a better sense of who they are musically and what they want the band to be. I wouldn’t trade seeing them play “Embers” or “W2” as many times as I have for anything, but even unto the gang-shout half-speed hardcore of “Time for War,” Kings Destroy‘s Kings Destroy made no bones about how it wound up with the eponymous title. It’s them through and through.
It may never be possible to listen to the self-titled debut from Cigale outside the context of the death of guitarist/vocalist Rutger Smeets (ex-Sungrazer). That loss casts a dark shadow over a collection that otherwise radiates colorful sweetness and serenity, the peaceful depth beginning with “Grey Owl” and only broadening as it turns and weaves through “Steeplechase,” “Feel the Heat,” “Harvest Begun” and so on, but the record remains a gorgeous, engrossing wash of resonant melody and underlying presence. Not without its moments of melancholy, the more overarching impression was of beauty not tied to any notion of playing to genre or style, and while I don’t know what the future will hold for the band, if they’ll keep moving forward or not or if they’re even in a place yet to consider such things, they helped broaden the context of European heavy psychedelia with their first album, and that is no minor achievement.
Another one that just kind of smacked me in the face. Idahoan heavy psych explorers Sun Blood Stories‘ second album, Twilight Midnight Morning was soaked in vibe and moved fluidly between experimentalist noisemaking and patient, memorable songwriting. Tracks like “West the Sun,” “Witch Wind” and “Found Reasons Found Out” never raged, exactly, but had enough weight to their rhythm to let you know they were there and interested in groove, while later pieces “Time Like Smoke,” “Moon Song: Waxing” and “Misery is Nebulous” drew exponentially from earlier freakout impulses and shifted into a dronier and more ambient approach. The combination of the two — semi-structure up front, open expansion in the back — made the three-part Twilight Midnight Morning engaging and hypnotic in kind, and though I hope they get weirder and experiment and develop the atmospheric side of their sound, I’ve also got my fingers crossed they hold firm to their more grounded aspects, since its the range between the two that gives their sophomore outing its defining fluidity.
I’ll cite precedent in last year’s list for including a “5a.” The intent in doing so is to convey the idea that Colour Haze‘s latest outing, To the Highest Gods We Know, is worthy of top five consideration, but its release date was split between 2014 (CD) and 2015 (LP), so it was a little unclear where to put it. As the album is basically a year old at this point, it seems fair to say it’s held up, drawing back from the grandiose vision of 2012’s She Said (review here) without losing sight of the progressive elements that have taken root in the German trio’s sound. Their work has been and remains essential to the development of heavy psychedelic rock in Europe and beyond, and even though To the Highest Gods We Know felt like something of a reset — a stripping down of arrangements in places and getting back to a trio-in-a-room feel — it still stepped forward in its title-track and in songs like “Überall” and “Call” and showed that even when it seems Colour Haze have pushed their approach as far as it can go, there’s always new ground to explore, and their pull to do so is undiminished.
Doesn’t exactly seem like giving away state secrets to note that a record with songs like “Sexecutioner” and “Fuck Face” is aggressive, but it’s particularly interesting in light of the past work of New Jersey trio The Atomic Bitchwax, who I don’t think sounded as barn-burning as they do on Gravitron even in their earliest going. The trio of bassist/vocalist Chris Kosnik, guitarist/vocalist Finn Ryan and drummer Bob Pantella kept their signature winding riff style intact — demonstrated most expansively over 2011’s single-song full-length instrumental The Local Fuzz (review here) — but while their turns were as blinding as ever, their tones were more pointed and Pantella‘s snare more upfront on the beat, which gave Gravitron a newfound sense of urgency. It worked. Even poppier songs like “Roseland” or the closing “Ice Age Hey Baby” benefited from the additional thrust, and the album overall felt lean, mean and ready to be taken on the road, which of course is exactly what they did with it. Six albums in, The Atomic Bitchwax were at their most vital yet.
Nashville four-piece All Them Witches probably could’ve gone into the studio, churned out a record of crunchy riffs with a quiet part or two for flavor and positioned themselves at the forefront of American heavy rock with their New West Records debut and third full-length overall, Dying Surfer Meets His Maker. Instead, they defied expectation boldly and brought their growing audience into the room with them and producer Mikey Allred as they captured the album, which finds its most affecting moments not in tonal weight, but emotional resonance, the melody at the midpoint of “Talisman” or the string arrangement gracefully tucked into “Open Passageways.” There’s still the push of “Dirt Preachers,” and entrancing closer “Blood and Sand – Milk and Endless Waters” has its heft as well, but All Them Witches‘ success ultimately came from being the album they wanted to make, built from the dynamic that’s developed on stage between bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, Allan Van Cleave on Fender Rhodes/strings, and drummer Robby Staebler, and alive in its feeling of exploration. I won’t predict what they might do from here, but I’m willing to say outright it’ll be worth hearing one way or another.
My expectations for Snail‘s third post-reunion full-length and Small Stone label debut, Feral, were pretty high. Not unreasonably so, though. Their 2012 outing, Terminus (review here), built on the blend of heavy psych riffs, laid back roll and melodicism that 2009’s Blood (review here) established as the band’s working modus, but Feral was going to be a different beast from the start because it was the West Coast outfit’s first full-length as a trio since they made their self-titled debut (reissue review here) in 1993 before splitting up the next year. Whatever my expectations were, however, Snail shattered them almost immediately. In the progression of their songwriting as shown across the strong opening salvo of “Building a Haunted House,” “Smoke the Deathless” and “A Mustard Seed” through one of the year’s best songs in the expansive and crushing “Thou Art That,” the three-piece showcased a breadth unlike anything they’d conjured before, and it only continued through “Born in Captivity,” the catchy “Derail,” “Psilocybe” and the soul-infused wah leads that peppered the pleading closer “Come Home.” Where Terminus offered intensity, Feral offered patience in its execution, and the atmosphere it created suited the band’s sound as well as the Seldon Hunt cover art seemed to summarize the alternate reality in which the music took place. Everything about how it came together worked just right, and even as a fan of the band’s work since they got together again, I was taken aback by the unflinching quality of Feral front to back.
2. Acid King, Middle of Nowhere, Center of Everywhere
Ten years is a long, long time. Especially in music. The prospect of a fourth Acid King record has been tossed around for at least the last six of those 10 years, but to finally have it realized was something else entirely. Middle of Nowhere, Center of Everywhere was without a doubt my most-listened-to album of the year, and its combination of tonal haze, low-end heft and spacious atmosphere was perfect. There’s just no other way to say it. It was perfect. From “Silent Pictures” and “Coming down from Outer Space” through “Red River,” “Infinite Skies” and the sprawling “Center of Everywhere” itself, guitarist/vocalist Lori S., bassist Mark Lamb and drummer Joey Osbourne crafted an absolutely perfect heavy psych record. How many bands walking the earth could even get away with calling a track “Laser Headlights,” let alone make it kick ass? Yeah, Goatsnake came back this year, and that was great, but for me, the return of Acid King to their throne of nod was even more the story of the year. Together with producer Billy Anderson, they offered a depth of tone that was simply unmatched, and without an ounce of pretense, they unveiled a roll that continues to resound. I’m a big fan of getting lost in a record, and Middle of Nowhere, Center of Everywhere eased the listener in with its “Intro,” pulled reality apart from with “Silent Pictures” and set about doing the universe a favor by remaking the cosmos as the kind of place where one might find a wizard riding a tiger past the craters of the moon, until, at last, it deposited you back where you started. Best trip of 2015, no question.
Make no mistake, 2015 was Elder‘s year. We were all just living in it. Truth be told, I’ve been back and forth between Elder and Acid King in the top spot for the last couple months (you might recall in July they were reversed), but when it finally came to it, there was no way I could feasibly call anything other than Lore the album of the year. From the gorgeous Adrian Dexter artwork (discussed here), through the progressive clarion of “Compendium”‘s noodling guitar line and into the massive scope of the title-track (discussed here), Lore was the moment in which Elder — guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto — tore down the walls of genre, whether it was heavy rock, psychedelia or anything else, and emerged with their own approach and complex, varied modus of songwriting. They’ve been turning heads since their self-titled debut arrived in 2008, but with 2011’s Dead Roots Stirring (review here), they began to demonstrate the potential for really adding something to the patchwork of underground heavy. In moving forward by making clarity a hallmark both of their sound and of their purpose, Elder came into their own with these five tracks, and do not at all be surprised a couple years from now when bands start showing up aping DiSalvo‘s style of riffing, since such a bold and successful foray of individualism can only be influential in the longer run. At nearly an hour long, Lore was not a minor undertaking, but each song seemed to set up its own atmosphere, feeding not only its own singular focus, but that of the album overall. Its turns blinding, its impact forceful and its affect drawing from the best of the sonic personalities of all three players, Elder‘s Lore reaped wide acclaim and earned it every step of the way. Its progressive vision has only begun to be digested.
Killer Boogie, Detroit – Impressive debut from the retro-minded offshoot of Black Rainbows brought ’70s boogie to Italy. I wouldn’t be surprised if they had a quick turnaround, but either way, their first outing knew its audience and spoke directly to it.
My Sleeping Karma, Moksha – This one was on various incarnations of the list. Very interested to see where the German heavy prog outfit wind up in terms of expanding their arrangements, but Moksha was a satisfying step forward in that process.
Egypt, Endless Flight – Should probably have a number, but the fact is it’s only been out for like two weeks, so it hasn’t really been given the test of time at this point. Still, Egypt always deliver and this was no exception.
Valkyrie, Shadows – An awaited third full-length from Virginia’s Valkyrie and also their Relapse Records debut offered enough blazing guitar work to meet any quota, and was a welcome return after a long absence.
Magic Circle, Journey’s End – The second LP from this Massachusetts outfit pushed beyond doomly confines into more traditional metallurgy but held its eerie atmospherics intact, and the combination suited them remarkably well.
Monolord, Vænir – This was my go-to for 2015 when nothing else seemed quite crushing enough. The Swedish trio have very quickly stomped their way into the hearts and minds of the international underground, and rightfully so.
Freedom Hawk, Into Your Mind – After making a transition from a four-piece to a trio, this Virginian outfit proceeded to take a few stylistic risks on their second Small Stone long-player, and they paid off.
Tombstones, Vargariis – Fourth full-length from this Norwegian trio pushed them outside of doom’s confines into a darker and more extreme version of heaviness that pulled from death and black metals in addition to its sludgy underpinnings. The meld was punishing and lost nothing of its groove, wherever it went at any given moment.
Faces of Bayon, Ash and Dust Have no Dominion – I guess my only hesitation with including Faces of Bayon‘s second outing in any kind of year-end fare is I’m not sure if the album has actually been released yet. Even if not, they’re easily worth a mention.
Ice Dragon, A Beacon on the Barrow – Kind of a down year from Ice Dragon in terms of overall productivity, but if the quantity was down compared to some, A Beacon on the Barrow was quality enough to carry them through. In a way, I think the album actually benefited from the band giving listeners time to take it in.
Arenna, Given to Emptiness – Ah, so good. The Spanish heavy psych troupe dug in deep on Given to Emptiness and conjured sonic and emotional resonance on their second full-length. It’s one that still gets repeat listens.
Monster Magnet, Cobras and Fire – The long-running New Jersey outfit’s reworking of their 2010 album Mastermind was excellent, don’t get me wrong, but it didn’t seem fair to list it when they’re working mostly from already-released source material. But still, if you haven’t heard it, go find it.
Various Artists, Electric Ladyland [Redux] – Even if the results hadn’t been so spectacular, Electric Ladyland [Redux] would deserve a mention for the sheer scope and logistical nightmare that the project must have been. Kudos to Magnetic Eye Records all around.
There are so many others: Abrahma, Goya, Sun and Sail Club, Deville, Sacri Monti, Dirty Streets, Ufomammut, Wo Fat‘s live album, Mirror Queen, Pentagram, Torche, Sumac, Garden of Worm, Black Rainbows, Holy Serpent, Minsk, Baron, Weedpecker, Electric Moon, Fuzz, Bell Witch, Windhand, Niche, We Lost the Sea, Seremonia, Sunder, Domovoyd, The Heavy Eyes, Demon Head, Fogg, Stars that Move, Enslaved, Ruby the Hatchet, on and on and on. That’s not even to mention the stuff I didn’t hear — Baroness will be on many people’s lists, no doubt, as well as Mutoid Man, Ghost and Kylesa — so yeah, I could pretty much keep going ad infinitum.
I, however, cannot. It’s been an absolute pleasure trying to keep up with 2015’s barrage the last 12 months, and I expect 2016 will only bring more. I hope you’ve enjoyed reading or that you’re able to get some use out of this post, whatever that might mean, and I thank you deeply, from the bottom of my heart, for your time and for reading. It means more to me than I can say that you might check out even any portion of this site or be involved, whether it’s sharing a link, leaving a comment to let me know who I forgot to mention or correct my spelling, signing up for the forum, listening to the radio, whatever it might be.
Thank you for an amazing 2015. And please stay tuned, because of course, there’s much more to come.
Here is the Music Player. You need to installl flash player to show this cool thing!
Before we get to all the tracks and this and that, I have to say, this double-size year-end podcast was an absolute pleasure to put together. Fun. Actual fun. I don’t know if it was the preponderance of excellent songs to work from that came out in 2015 or what, but I had a really good time making my way through the near-four-hour run, and I hope you feel that way too as you listen.
It should go without mentioning, but I’ll give the disclaimer anyway that this is in no way, shape or form a complete rundown of everything awesome produced this year. My own Top 10 has bands on it who aren’t represented here, so if you don’t see something you think belongs in the mix below — looking at you, Baroness fans — please keep in mind that it’s not my intent to offer anything more than a partial summary. Otherwise, I’d have to make it a year long.
Thanks for listening if you get the chance to do so, and if there’s something here you haven’t yet checked out, I hope you dig it. The flow is pretty easy front to back, but we get into some more extreme stuff in the third hour for a bit before going grand with Elder and the “Digestive Raga” from Øresund Space Collective, which seemed an appropriate way to end off giving everyone a chance to process what’s just been heard. Please enjoy.
Track details follow:
0:00:00 Acid King, “Red River” from Middle of Nowhere, Center of Everywhere
0:08:24 Clutch, “Firebirds” from Psychic Warfare
0:11:23 Bloodcow, “Crystals and Lasers” from Crystals and Lasers
0:14:28 Stoned Jesus, “Rituals of the Sun” from The Harvest
0:21:25 Ufomammut, “Plouton” from Ecate
0:24:33 Geezer, “So Tired” from The Second Coming of Heavy: Chapter One Split w/ Borracho
0:32:36 Wizard Eye, “Thunderbird Divine” from Wizard Eye
0:37:40 Mondo Drag, “Crystal Visions Open Eye” from Mondo Drag
0:42:08 Fogg, “Seasons” from High Testament
0:48:26 Goatsnake, “Grandpa Jones” from Black Age Blues
0:53:02 Snail, “Thou Art That” from Feral
1:03:17 Sergio Ch., “Las Piedras” from 1974
1:06:40 All Them Witches, “Blood and Sand – Milk and Endless Waters” from Dying Surfer Meets His Maker
1:13:54 Death Hawks, “Ripe Fruits” from Sun Future Moon
1:18:45 Colour Haze, “Call” from To the Highest Gods We Know
1:26:46 Kadavar, “Last Living Dinosaur” from Berlin
1:30:50 Spidergawd, “Fixing to Die Blues” from Spidergawd II
1:35:02 The Machine, “Dry End” from Offblast!
1:38:01 The Midnight Ghost Train, “Straight to the North” from Cold was the Ground
1:42:00 Kind, “Pastrami Blaster” from Rocket Science
1:48:29 Valley, “Dream Shooter, Golden!” from Sunburst
1:54:22 Graveyard, “From a Hole in the Wall” from Innocence and Decadence
1:58:09 Demon Head, “Book of Changes” from Ride the Wilderness
2:02:50 Egypt, “Endless Flight” from Endless Flight
2:12:29 Brothers of the Sonic Cloth, “Empires of Dust” from Brothers of the Sonic Cloth
2:20:09 With the Dead, “I am Your Virus” from With the Dead
2:25:45 Ahab, “Red Foam (The Great Storm)” from The Boats of the Glen Carrig
2:32:08 Kings Destroy, “Mr. O” from Kings Destroy
2:36:37 Sun and Sail Club, “Dresden Firebird Freakout” from The Great White Dope
2:38:33 Sunder, “Wings of the Sun” from Sunder
2:42:41 Weedpecker, “Into the Woods” from Weedpecker II
2:50:50 Uncle Acid and the Deadbeats, “Pusher Man” from The Night Creeper
2:56:26 Eggnogg, “Slugworth” from Sludgy Erna Bastard split w/ Borracho
3:02:48 Golden Void, “Astral Plane” from Berkana
3:09:34 Elder, “Lore” from Lore
3:25:24 Øresund Space Collective, “Digestive Raga” from Different Creatures
Mostly around here I concentrate on albums. Best albums of the year. Best albums of the decade. Still, kind of on a whim this morning I was thinking about the shape of heavy of the last half-decade — or rather, the shapes of it.
Different scenes moving in various directions, the emergence of the Pacific Northwest as a hotbed, the growth of West Coast psych and how in-conversation that seems to be both with California’s skater past and the current European market, itself branched out between heavy psych and ’70s traditionalism, which has also begun to take root throughout the US while, at the same time, a new generation has come up to embrace full-on stoner riffing and/or desert rock ideals.
While I have my album lists going back six years to refer to, this time around, I was wondering specifically about individual songs from the same era. What are the best songs from the last five years?
It’s not always the best album that has the best single piece of work on it, so it seemed worth asking the question separately.
Me, I go in for epics: YOB‘s “Marrow” (2014), Ancestors‘ “First Light” (2012), Colour Haze‘s “Grace” (2012), Hypnos 69‘s “The Great Work” (2011), Witch Mountain‘s “Can’t Settle” (2014), Elder‘s “Lore” (2015) definitely is worth having in the conversation, Solace‘s “From Below” (2010), Grayceon‘s “We Can” (2011), and so on.
But then you have Uncle Acid and the Deadbeats‘ “I’ll Cut You Down,” which has had a massive influence since it came out in 2011. And what about a cut like Clutch‘s “D.C. Sound Attack,” or Goatsnake‘s “Grandpa Jones,” or Graveyard‘s “Ain’t Fit to Live Here,” or Mars Red Sky‘s “Strong Reflection?” Does a track have to be long to make an impact? What if there’s a perfectly-executed two-minute verse/chorus trade? Shouldn’t that also be considered?
I guess that’s the question.
We haven’t done one of these in a while, so I’m hoping you’ll take the time to add your answers and picks for the best songs of the last five years 2010-2015 in the comments to this post. I know we’re not through 2015 yet, but we’re just trying to have some fun anyway.
Thanks to all who take the time to leave a note in the comments below.
Posted in Features on July 6th, 2015 by H.P. Taskmaster
If 2015 ended tomorrow, I think you’d still have to say it was a pretty good year for heavy rock. Doom veered into a swath extremes — its own subgenres emerging almost one by one in a growing splinter that nonetheless continues to draw water from its roots — while the neo-stoner ignition of the West Coast continued its boom of new acts proffering classic groove. The East reveled in a progressive vision just waiting to be picked up by others, and in Europe, the ’70s traditionalist movement spread ever wider, essentially defining a modern sound in organic sounding, sometimes-vintage elements. Whether you’re going for crushing, oppressive barbarism or cosmos-bound blissouts, it is, in short, a good time to be alive.
Of course, 2015 doesn’t end tomorrow, and there’s still a whole lot of year to come. About half, as it happens. So, as has been the tradition around here for the last half-decade — and seems to be the tradition in a growing number of outlets; not taking credit or claiming to have invented anything, just noting a proliferation — it’s time to count down the best records of the year so far. There have been more than a handful of gems, and since in December I’m planning on doing a top 30, we’ll mark half the year with a top 15. Seems only fair.
Please note that this isn’t purely a critical evaluation, but a personal list, and that what I’ve put on most is as crucial a factor in my ranking as how important I think a given record is. You know the drill by now. Let’s go:
Kiev three-piece Stoned Jesus have a varied stylistic history, and their third outing, The Harvest was ultimately a success in large part because of its complete refusal to be defined. Atop a foundation of quality songcraft, the trio proffered a sound that was not necessarily experimental in terms of anti-structure noise or effects onslaughts, but bold in each of its forays outward from its heavy rock underpinnings.
It has consistently taken me a while to get a hold on what Freedom Hawk are up to. The steady elements in their sound are held to so firmly that on the first couple listens, it seems to just be more of the same. But the more one digs in, the more there is to be found, and with Into Your Mind, the Virginia Beach trio overcome losing a member to create their most progressive outing to date, flourishes of psychedelia melding easily with their signature style of sunshiny riffing.
Five albums deep, Germany’s My Sleeping Karma are an act unto themselves. Their progress has been natural, fueled by a clear, varied sense of exploratory will, and the results on this year’s Moksha were nothing short of stunning. Branching out their arrangements might not be new to them, but the inclusion of horns, drones, percussion, etc., amid the central guitar, bass, keys and drums lent an almost orchestral feel to the flow between the tracks, and one can only hope they continue on their current path, because it is unquestionably the right one.
So much potential, so much vitality at the heart of this debut from Death Alley. The Amsterdam-based four-piece (interview here) stormed out of the gate with a ripper of a debut, and just when you seemed to have it all figured out, they hit the ignition on a 12-minute full-impulse space rock thrust, a guest vocal appearance from Farida Lemouchi (a former bandmate of Death Alley guitarist Oeds Beydals in The Devil’s Blood) adding both mystique and emotional resonance to what was already a stunning track. With all the riotousness preceding, Black Magick Boogieland readily lived up to its righteous title.
Midwestern-turned-West-Coast heavy psych rockers Mondo Drag may have taken their time in releasing their self-titled sophomore outing, which followed their 2010 debut, New Rituals (review here), and was recorded in 2012, but it’s easy to imagine that’s because they wanted the circumstances to be as special as the album itself, recorded with a fleeting five-piece lineup that included the one-time rhythm section of Radio Moscow who wound up leaving to further their then-nascent project, Blues Pills. Even without that lineup shift as a factor, the late ’60s vibe Mondo Drag brought out across the release proved eminently listenable and has held up on repeat visits.
A gorgeous, shimmering and melodically resonant debut from the Dutch four-piece Cigale, their self-titled gracefully maintained tonal presence and warmth while also enacting a psychedelic sprawl and grooving serenity that acted like the landscape in which the songs took place. It was a rich, bright vibe, and an utter joy to behold, tracks like “Harvest Begun,” “Feel the Heat” and “Eyes Wide Shut” proving as memorable as they were inviting. Having two former members of the much-missed fuzz rock outfit Sungrazer may have initially turned some heads in their direction, but Cigale‘s first album proved they’re an outfit with their own personality, their own development to undertake, and already much to offer.
The awaited return of The Machine brought the band’s fifth album and a further-refined sense of maturity in their processes, as well as intrigue as to where they might be headed, two dual modes of open-ended jamming and more structured songwriting playing off each other in the extended “Chrysalis (J.A.M.)” and “Come to Light” and the more verse/chorus stylizations of “Dry End” and “Off Course.” To be perfectly honest, I doubt The Machine will ultimately pick one side over another, since if Offblast! proved anything it’s that they can easily handle either or both, but as they continue to grow, it’s encouraging to have their style establish itself as so multi-faceted.
First time I pressed play on Gravitron was a real “oh shit!” moment. The last release from NJ stalwarts The Atomic Bitchwax was 2011’s The Local Fuzz (review here), a single-song full-length instrumental riff onslaught that had its charm but was inherently divorced from the appeal of the band’s songwriting. Not only does Gravitron re-factor that in with songs like “Roseland,” “It’s Alright,” “Coming in Hot” and “Ice Age Hey Baby,” among others, but it hits with kick-in-the-ass production force and an all-out heaviness that 2008’s TAB4 showed the three-piece steering directly away from. Just a killer record. Utterly void of pretense. No bullshit. No need to rely on anything more than chemistry, and with the Bitchwax, that’s plenty.
7. Brothers of the Sonic Cloth, Brothers of the Sonic Cloth
Right now, Brothers of the Sonic Cloth are my band to beat for Debut of the Year, and I’m quite frankly not sure how anyone is going to be able to do it, so if list time comes in Dec. and you see Tad Doyle‘s trio marked out as such, know that it’s been that way in my head for some time. The three-piece of Doyle, bassist Peggy “Pegadeth” Tully and drummer Dave French arrived with a roar, and even when their self-titled let up sonically, the atmosphere remained viscerally heavy. Six years having passed since the release of their first demo (review here), I wasn’t sure there was ever going to be an album, but then to have Brothers of the Sonic Cloth show up and enact such thorough demolition only made it more impressive.
It can’t possibly be a surprise to have Luminiferous show up somewhere on this list. The seventh long-player by High on Fire had all the rage and bombast in “Slave the Hive” and “The Black Plot” that have become the band’s hallmarks over their 17 years together, but branched out progressively as well in songs like “The Cave” and “The Falconist,” the latter of which was brazenly catchy and about as emotionally direct as the band has ever gotten, their general modus being — and in that song too, just to a lesser extent — a metaphor-laced lyrical approach. That song was a triumph and so was the album as a whole; the second collaboration with producer Kurt Ballou building on the rampaging victories of 2012’s De Vermis Mysteriis (review here) while also showing growth on the part of one of modern metal’s most pivotal bands.
Hitting more or less concurrent with a vinyl release of their prior album, 2013’s A Time of Hunting (review here), Kings Destroy‘s Kings Destroy is not at all coincidentally titled. Over the course of now three full-lengths, the New York five-piece — about whom I feign no impartiality, let it be noted — have distinguished themselves with a sound neither noise, nor doom, nor heavy rock, but drawing on elements of all three when it suits their purposes with chemistry built from years of being in bands together of various stripes and in various genres. What stands the self-titled out from their past work, in part, is that it is the closest they’ve yet come to capturing their live sound in the studio, and accordingly, it’s a volatile kind of heavy that bends aesthetic to its will rather than capitulating to expectations of any sort. I don’t think they’re done growing by any stretch, but Kings Destroy feels like an arrival front-to-back.
This one was almost a sneak-attack. German heavy psych forerunners Colour Haze released To the Highest Gods We Know, their 11th full-length, in Dec. 2014 on CD (the vinyl was in 2015, which is what we’re counting in this instance), with very, very little fanfare of any sort. There was a track premiere here that came shortly after the album was announced, but I think it was officially out less than a month after its existence was made public, which for a band of Colour Haze‘s stature and influence was surprising. Less devoted to grandeur than 2012’s 2CD She Said (review here), it nonetheless pushed the band’s sound forward and found them experimenting in their studio, particularly on the string-quartet-inclusive finale title-track, which offset jams like “Überall” and the laid back highlight “Call” with a rhythmic oddness that was somehow still Colour Haze‘s own. I couldn’t help but wonder where it was leading, but that doesn’t mean it wasn’t masterful in its own right.
Goatsnake didn’t have it easy going into their third album. It had been 15 years since their sophomore outing, Flower of Disease, 11 since their last EP, and five since they first started playing shows again. Expectations? Through the roof. Among heavy rock heads, a new Goatsnake was like seeing the mountaintop. I mean, a big fucking deal and then some. Then the record hits, and there’s just about no way it can live up to the anticipation, but god damn if Goatsnake not only finally put out a third album, but one that was better than I think anyone could’ve hoped for. Hearing Pete Stahl with however many backup singers he had on “Another River to Cross” et. al. was like finding an animal in its native habitat, and between his soul, Greg Anderson‘s riffs, bassist Scott Renner‘s low end rumble and drummer Greg Rogers‘ roll, Black Age Blues won almost immediately and then spent the rest of its 47 minutes throwing itself a victory party. “Elevated Man,” “House of the Moon,” “Jimi’s Gone,” “Grandpa Jones,” almost on a per-track basis, Goatsnake added to the reasons they’ve been so heralded despite a decade-plus’ absence from the studio.
On the level of achievement alone, Elder‘s Lore will be the album of the year for many, and there are times (such as right now) when I listen to it and question whether or not it isn’t also my pick for that honor, but wherever it falls on whatever list, far more important is what the Massachusetts/Rhode Island/New York trio manage to accomplish across their third LP’s formidable five-track/59-minute span, songs like “Compendium” and “Deadweight” bridging a rarely approached gap between heavy and progressive rocks while maintaining a flow consistent with the psychedelic vibing of 2011’s Dead Roots Stirring (review here) but grown outward in another aesthetic direction and no sooner setting foot on the ground than seeming to master it in a flurry of blinding turns, sprawling soundscapes and clarity of mind that found perhaps its greatest expression in the centerpiece title-track, the 15-minute “Lore” itself, which I’ve no doubt will stand among if not atop the best songs of 2015 when the year is over and encapsulates the ambition and the corresponding breadth of Elder‘s songwriting, the trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan, and drummer Matt Couto rising as one of the East Coast’s most pivotal acts, with a sound completely their own.
1. Acid King, Middle of Nowhere, Center of Everywhere
I use the word “molten” pretty regularly to describe an album or song that seems to just ooze its way out of the speakers or shift seamlessly between its songs, but Acid King set an entirely new standard for the term with Middle of Nowhere, Center of Everywhere. Their first outing for Svart and their first release in a decade, its 55 minutes were a riff-rolling nirvana of lurching fuzz and tonal excellence, the guitar of Lori S. at the fore accompanied by Mark Lamb‘s bass and Joey Osbourne‘s drums, the swing of which propelled a highlight track like “Coming down from Outer Space” right back into it, while elsewhere on the record, “Silent Pictures,” “Red River” and “Infinite Skies” torched stoner conventions into a new space-biker rock, culminating in the heavy psych of “Center of Everywhere,” which seemed to emanate from the place it was describing, at once empty and full. More than just a welcome return after a long dearth of releases, Middle of Nowhere, Center of Everywhere found Acid King progressed even beyond where they were with 2005’s III, though more than anything else, what makes it my top pick for the year so far is the fact that I can’t seem to walk away from it for too long before going back, and ultimately, that’s what it all comes down to with his kind of thing. I’ve yet to find a standard to which these songs don’t live up.
A few others worth noting. The Sun Blood Stories album (streamed here) continues to resonate. Also Monolord, Valkyrie, Lamp of the Universe, Garden of Worm, Wo Fat‘s live record, The Midnight Ghost Train‘s Cold was the Ground and Ufomammut‘s Ecate. The Black Rainbows was a joy, as was Spidergawd‘s second LP, and while I still feel like I haven’t given it its due, the Sumac won many over and should get a mention. Steve Von Till‘s solo outing and the latest from Enslaved are worth seeking out as well for anyone who hasn’t heard them yet.
More to Come:
The year’s only half over, which is kind of a scary thought but true nonetheless. Watch out in the coming months for new stuff from Bloodcow, All Them Witches, Clutch, Graveyard, Zun, Sacri Monti (if that one’s not already out), Snail, Uncle Acid, and Kind. The new Kadavar is a sure-fire top tenner, and between that, the potential for a new Neurosis album and stuff like Magnetic Eye Records‘ Electric Ladyland [Redux], there’s no way the book is written on the best of 2015.
So stay tuned.
And if I’ve still got your attention, thanks for reading.
The word seems to have fallen out of use as quickly as it came into it, but I remain something of a completist, and Colour Haze‘s 1998 second full-length, Seven, has haunted the back of my mind for years. Perhaps even more since March 2012, when I shelled out for a copy of the German outfit’s moody 1995 debut, Chopping Machine (discussed here), since that made Seven the last of their full-lengths I didn’t own. The only one. To date, Colour Haze have 11 records, and just the one I didn’t have. If you listened hard enough, you could hear the teeth gnawing at me. Squint, and you could see the hole on my CD rack.
Early in 2014, I put up a review of their 2001 fifth outing, Ewige Blumenkraft, which boasts the track “House of Rushammon.” That song originally appeared on Seven, and I referred to the album in a parenthetical aside as, “the Great White Whale of my CD collection; someday I’ll own a copy and gaze upon it with pride for the remainder of my days.” Extreme, maybe, but not untrue. You might think I’m kidding around when I title these posts “Buried Treasure,” but I’m not. I place real value on owning albums, CD, LP or tape, whatever format it might be, and being the last of Colour Haze‘s work I hadn’t heard — having refused to chase down an illicit download or listen on YouTube — Seven was a genuine prize in my head.
I knew from hearing Chopping Machine and the fact that the band hadn’t reissued it that it probably wouldn’t be a landmark in terms of the actual material itself, but still. Still several years off from guitarist/vocalist Stefan Koglek starting his Elektrohasch Schallplaten imprint, Seven was released on CDR with inkjet-printed labels on the jokingly dubbed Self Burn Records. I don’t even know if they made 100 copies, let alone any more than that. It’s never been re-pressed, was never widely distributed, and in the wake of the brilliant offerings they’ve had since, has been largely forgotten, much, I think, by design.
A package arrived a short while ago from Munich. After that Ewige Blumenkraft review, Koglek teased that he’d have to see if he could find a “great white whale” for me, but honestly, I wasn’t holding onto much hope. Then there it was. Having just been through a move, Koglek not only found a copy of Seven, in its original jewel case with the printed liners and all, but took the time to send it over with a few other choice keepsakes to be detailed at another time, knowing that, indeed, I’d spend the rest of my days gazing on it with pride. The included note read, “Hi JJ, As it happens… it took a while but I stumbled over the ‘white whale’ for you during the preparation for our move. Hope you enjoy all the goodies a lot. :) All the best, Stefan.”
This, my friends, is the stuff of life.
I’m almost hesitant to talk too much about the album itself, since the band obviously doesn’t really want it out there or else it would be; they have their own label and haven’t been shy in the past about putting stuff out again when they feel the time and circumstances warrant. Like Chopping Machine, the audio of seven is a long way from what Colour Haze would become in years subsequent — for one thing, they’re a four-piece, with standalone vocalist Felix Neuenhoff singing and Koglek handling backing vocals and guitar while Philip Rasthofer plays bass and Manfred Merwald (listed in the liner as “Mani,” as I’ve heard others refer to him) plays drums — the trio as they are today otherwise intact.
And while one can hear where Koglek, who was at the time engaged in the work of finding his own voice, may have later taken some influence from Neuenhoff, Seven is a different vibe throughout that I think would surprise a lot of people who follow Colour Haze today, from the post-grunge grit of “Planet” to the Christian lyrical themes in “Under Water,” “Superstar” and “House of Rushammon” — those would remain intact on the re-recorded version, but the context is different — to the early-Tool-style rhythmic push of “Second Man” or “Pulse,” which also appears as an instrumental as the finale of Seven‘s 71-minute run.
Yet, particularly in light of the work they’ve done in the 17 years since, from the exploratory first steps toward their groundbreaking heavy psychedelia in the next year’s Periscope to 2015’s To the Highest Gods We Know (review here), one can hear flashes of what’s to come, in the deft turns Merwald makes sound so fluid, or in the rumble of Rasthofer‘s bass and the standalone moments of Koglek‘s guitar. They’d make that shift quickly, losing Neuenhoff within a year’s time and beginning to form the classic power trio dynamic they continue to refine, but one can hear listening to Seven the shift taking place between what they were on Chopping Machine and what they’d be on Periscope, and I consider myself unbelievably lucky to have had the chance to hear that for myself on an actual copy of the record.
Copious and heartfelt thanks to Koglek for that opportunity. Rest assured, I’ll be storing Seven somewhere with an easy line of sight.
Colour Haze, “House of Rushammon” from Seven (1998)
Posted in Whathaveyou on January 26th, 2015 by H.P. Taskmaster
Colour Haze and Radio Moscow on the bill. Given enough time, I’m quite sure I could come up 100,000 things I’d want to see less than that. Start with “anything” and work your way back from there. It might take a few minutes, but given how high that show would be in this hypothetical hierarchy of stuff-I’d-like-to-see, there’s plenty of room for monuments, mountaintops, oceans, and so on. We’d hit the 100,000 mark no problem. I’m sure of it.
The two acts will begin headlining the Up in Smoke Volume 5 tour — actually they call it a “psychedelic roadfestival,” which I like — on Feb. 27, joined for a stretch by Cherry Choke, whose new album, Raising the Waters, is due out next month on Elektrohasch, and meeting up along the way with The Sun and the Wolf, Mars Red Sky, The Midnight Ghost Train and others. Watching Colour Haze play a hometown show in Munich with Radio Moscow and Mars Red Sky? Yeah, I’d catch that if the opportunity were to present itself.
PR wire info comes courtesy of Sound of Liberation, who put the whole thing together:
COLOUR HAZE – Up In Smoke Tour (with RADIO MOSCOW and guests) kicks off in 1 month – Check Videotrailer, Dates and News
2011 seems like yesterday when we decided to pack up 3 to 4 awesome bands in a bus to tour Europe and rock your ears! 4 editions have gone by, 2 packed indoor festivals have witnessed your love for the music and the concept, so ladies and gentelmen, get ready!
In a month, we will write a new volume in the UP IN SMOKE history, and it will be a blast!! The fifth edition of your favorite roadfestival will feature 3 awesome bands for your pleasure:
Europes most well known psychedelic institution COLOUR HAZE which have their brand new album “To the Highest Gods we Know” in their suitcase!
America’s most heavy blues machine RADIO MOSCOW whose last album “Magical Dirt” (released in June 2014) sent all of us on another trip into heavy psychedelic headphone heaven.
UK’s fuzz driven psych rockers CHERRY CHOKE (from March 1st to 7th only) whose new album “Raising The Waters” will be released in the next weeks! Stay tuned for updates, you don’t wanna miss it!
On the other shows, Colour Haze and Radio Moscow will go with other outstanding special guests. Watch the amazing TRAILER made by Stonnerrock.eu, and check-out the listing below for details and tickets’ links. We invite you to join the trip! Come on and blow up your mind at the UP IN SMOKE ROADFESTIVAL!
Colour Haze & Radio Moscow
Plus Special Guests 27.02 (D) Stuttgart, Universum (w/ The Sun & The Wolf) 28.02 (D) Cologne, Live Music Hall (w/ The Sun & The Wolf) 01.03 (UK) London, The Garage (w/ Cherry Choke) 02.03 (FR) Paris, Le Divan du Monde (w/ Cherry Choke) 03.03 (BEL) Brussels, Magasin 4 (w/ Cherry Choke) 04.03 (D) Hamburg, Markthalle (w/ Cherry Choke) 05.03 (D) Berlin, SO36 (w/ Cherry Choke) 06.03 (A) Vienna, Arena (w/ Cherry Choke) 07.03 (A) Salzburg, Rockhouse (w/ Cherry Choke) 08.03 (D) Leipzig, Taubchenthal (w/ Kalamahara) 09.03 (D) Munich, Feierwerk (w/ Mars Red Sky) 10.03 (IT) Milano, Lofi (support band tba) 11.03 (D) Frankfurt, Das Bett (w/ The Midnight Ghost Train) 12.03 (NL) Tilburg, 013 (support band tba) 13.03 (D) Würzburg, Posthalle (w/ The Grounding) 14.03 (D) Hannover, Faust (support band tba)
Posted in Features on January 21st, 2015 by H.P. Taskmaster
This is the longest list of anything I’ve ever done, and it might be the longest I ever do. The truth is, when I started keeping track of things coming out in 2015, back around October/November, I had no idea what I was getting into. More and more names just kept getting added to the list, and between solid release dates, bands entering the studio, writing sessions underway and the usual round of vague “they’re due”-type speculation, it kept growing. Even now, I’m quite sure that by the time I’m finished with this, I’ll add something else, and 90 will become 91, and then someone will point out something glaring I forgot and 91 will become 92, and so on.
I don’t think I could reasonably expect anyone to read 90 complete entries, so I’ve broken it down somewhat. There are 52 weeks in a year, so my thinking is that if you buy one record per week, I’ve got recommendations to carry through till December (with the acknowledgement that we’re already a couple weeks into 2015) and then more beyond that. Even asking you to skim 52 entries is a lot, but hell, we’ve got 12 months until 2016, so there’s plenty of time. We’ll do 52 entries and then list the others, both alphabetically.
Thank you in advance for reading.
1. Acid King, Middle of Nowhere, Center of Everywhere
If this was my year-end list instead of my year-start list, Acid King‘s Middle of Nowhere, Center of Everywhere would be my album of the year. Best album of 2015 about 20 days into it? Maybe. The Oakland trio’s first outing in nearly a decade is a joy of languid riffing and heavy spaceout, songs like “Coming down from Outer Space” and “Center of Everywhere” reminding of just what it is we’ve been missing about Acid King all these years. They’ve continued to play live all that time, of course, and Middle of Nowhere, Center of Everywhere, which is due April 14 on Svart, plainly demonstrates that they’ve lost none of the potency for years absent from studio work. More to come. Acid King on Thee Facebooks, Svart Records.
2. All Them Witches, TBA
The Nashville four-piece blew up following the 2013 digital release of their second album, Lightning at the Door, which saw a physical pressing last year (review here), and with a growing public at their heels and a salivating underground press anxious to hear what they come up with next, All Them Witches hit the studio this month to put together their third full-length. They’re on tour in Feb., and it seems reasonable to expect they’ll be trying out new material on the road, but as free-flowing as Lightning at the Door was, it’s hard not to consider the follow-up one of 2015’s most anticipated records, whenever it arrives and whatever shape(s) it takes. All Them Witches on Thee Facebooks, official website.
3. Anthroprophh, U.F.O.
Guitarist/vocalist PaulAllen, formerlyof TheHeads,teamed up with Jesse Webb and Gareth Turner of the duo Big Naturals as his rhythm section for 2014’s Outside the Circle (review here), and for his new release under the Anthroprophh moniker for Cardinal Fuzz, Allen centers around different U.F.O. abduction reports from the UK between 1954 and 1978, each of the eight tracks taking its name from the date and location of a reported incident. Sound fucking awesome? Yeah, I agree. Expect raw psychedelic experimentation, heavy swing and interpretive instrumentalism galore on the two-sided release when it gets declassified on Feb. 2, pressed in an edition of 500 copies. Anthroprophh on Thee Facebooks, Cardinal Fuzz.
4. Arenna, TBA
Spanish heavy psych outfit Arenna will release the follow-up to their 2011 Nasoni Records debut, Beats of Olarizu (review here), and they just this week posted the 10-minute opener “Butes” from their sophomore outing (listen here). The first album earned them a hearty following, and it’s been four years since it came out, but somehow I doubt Arenna will have much trouble picking up where they left off in their wide-open, jam-heavy sound. They mark a decade together in 2015, and they seem to just be getting started, so I’m particularly interested to learn how the European heavy underground takes to their second LP, which is due to be mastered next month and released sometime thereafter. Arenna on Thee Facebooks, on Bandcamp.
5. The Atomic Bitchwax, Gravitron
New Bitchwax? Sold. The stalwart New Jersey three-piece — now featuring two members of Monster Magnet — will release Gravitron on April 21 via Tee Pee Records, just in time to make a stop a few days later at Desertfest London 2015. They toured Europe last summer as well, and I think the fact that they’ll be over that way when they put Gravitron out speaks volumes to their priorities at this point, but who can blame them? Perpetually underappreciated in the US, they’ll follow-up 2011’s The Local Fuzz (review here) in grand form at Desertfest (they play Berlin as well), finally getting their due even if they have to get on a plane to get it. The Atomic Bitchwax on Thee Facebooks, Tee Pee Records.
6. Black Cobra, TBA
Hints were dropped back in November that raging two-piece Black Cobra were working on material for a new album. Whenever it arrives, this year or next, it will be their sixth and first since 2011’s Invernal (review here), which I don’t think I’m alone in counting as their finest moment to-date. They’ll also be at Desertfest for a return appearance, and wherever they go, devastation follows. They posted this week that their tour van has passed the 300,000-mile mark, which is emblematic of the workout they’ve given it over the last decade-plus, and I’d expect no slowdown, tempo or itinerary-wise, from them in 2015, regular oil changes notwithstanding. Black Cobra on Thee Facebooks, Southern Lord Recordings.
7. Black Rainbows, Hawkdope
There are 90-someodd bands included in this feature, all told. Might be over 100. I’m not sure anybody beats Italian trio Black Rainbows in the album-title department, however. Hawkdope, man. Hard to mess with that. Guitarist/vocalist Gabriele Fiori continues to keep his finger on the pulse of European heavy rock with his Heavy Psych Sounds imprint, and while I haven’t heard Hawkdope yet, it seems likely they’ll continue the push toward heavy psychedelia that 2013’s Holy Moon EP (discussed here) and their inclusions in last year’s four-way split (review here) spoke of, but of course, they can always throw down some top notch fuzz riffing as well. Black Rainbows on Thee Facebooks, on Bandcamp.
8. Brothers of the Sonic Cloth, Brothers of the Sonic Cloth
Six years after the arrival of their demo (review here), Brothers of the Sonic Cloth will make their self-titled debut through Neurot Recordings on Feb. 17. Immediately notable for being the brainchild of guitarist/vocalist Tad Doyle (ex-TAD), bassist Peggy “Pegadeth” Doyle and drummer Dave French, Brothers of the Sonic Cloth pushes plodding heavy into seething aggression with a lumber only made more potent by Billy Anderson‘s production. It’s been a while in the making, true, but the album’s execution leaves no room for argument in its lung-deflating tonal density. Justifies the wait and then some. Brothers of the Sonic Cloth on Thee Facebooks, Neurot Recordings.
9. Chiefs, Tomorrow’s Over
With vinyl to follow in May on Battleground Records, Arizona/SoCal heavy rockers Chiefs will release their debut LP, Tomorrow’s Over, via Roosevelt Row on Feb. 24. Its striking cover art by David Paul Seymour offers immediate intrigue, as did Chiefs‘ inclusion on their 2014 split 7″ with Fuzz Evil (streamed here). The song from that, “Stone Bull,” won’t be featured on the album, but all four cuts from Chiefs‘ 2013 Buffalo Roam demo will, which should give you some indication as to how much the trio got it right the first time around. The title-track of the demo opens, and the album takes its name from one of the demo tracks as well, so it all ties together. Chiefs on Thee Facebooks, Battleground Records, Roosevelt Row Records.
10. Clutch, TBA
Clutch‘s Earth Rocker (review here) was the undisputed high point of 2013, and the long-running Maryland four-piece have returned to the Machine Shop studio (now located in Texas) to record the follow-up to it. They’ve been playing new material live for a while now, as they’ll do, and while they always manage to change things up from album to album, the fact that they’ve going back to work with Machine again makes in plain that they’re where they want to be at this point sound-wise. As if there was ever any doubt. Their forever-tour will continue, but it’s good to know they’re taking a little break from the road to put together another slab for their always-expanding, always-frothing fanbase. Clutch on Thee Facebooks, Weathermaker Music.
11. Conan, TBA
I’m not sure if it will be out before the end of 2015, but whenever it arrives, the next Conan should be a much different affair than we’ve yet heard from the UK thunderplodders, whose 2014 Napalm Records debut, Blood Eagle (review here), further established their dominance among the heaviest bands in doom. Since that album hit, guitarist/vocalist Jon Davis has traded out two-thirds of the trio, bringing in producer Chris Fielding on bass/vocals and new drummer Rich Lewis. Davis‘ riffs have always been at the core of what makes Conan the beast they are, so I wouldn’t expect much fixing of what isn’t broken, but don’t be surprised if some different personalities emerge in Fielding and Lewis as well. Conan on Thee Facebooks, Conan’s webstore.
12. Colour Haze, To the Highest Gods We Know
Yeah, I’m sneaking this one in here. Sorry, but frankly, I think Colour Haze deserve more than a toss-it-out-there mid-December album release date, so instead of the CD release, which was last month, I’m choosing to think of the impending Feb./March vinyl issue as the official one for To the Highest Gods We Know (review here), which is both a fascinating and fitting answer to Colour Haze‘s 2012 outing, She Said (review here). Feels strange so early in the year to start calling out end-of-year highlights, but between this and Acid King, I feel like two of my top five are already set in stone, and that’s a pretty good start to any year. Colour Haze are one of the most important heavy rock bands of their generation, and they continue to expand their form and the genre as a whole. Colour Haze’s website, Elektrohasch Schallplatten.
13. Corrections House, TBA
Their totalitarian fetishizing well intact, the it’s-a-supergroup-but-don’t-call-it-a-supergroup Corrections House announced back in November that they’d have a sophomore effort out this year to follow their 2013 debut, Last City Zero. The returning lineup of guitarist Scott Kelly (Neurosis), vocalist Mike Williams (Eyehategod), saxophonist Bruce Lamont (Yakuza) and keyboardist/programmer Sanford Parker (Buried at Sea, etc.) is enough to warrant attention in itself, and while their industrial tinged output isn’t really my thing sound-wise, they’re not an assemblage easily ignored. Hopefully a recently canceled round of tour dates doesn’t derail the new release plams. Corrections House on Thee Facebooks, at Neurot Recordings.
14. Corsair, One Eyed Horse
Virginian dual-guitar classic heavy rock/metallers Corsair are now three years removed from their Shadow Kingdom Records self-titled debut (review here), and their new album, One Eyed Horse, arrives with a striking-almost-disturbing cover and a refined progressive edge. Their melodic sensibility has never been in question, and guitarists Marie Landragin and Paul Sebring, bassist Jordan Brunk (who, like the guitarists, contributes vocals) and drummer Michael Taylor will look to expand their reach even further with the eight new vinyl-ready tracks. One looks forward to the album and hopes for a tour in equal measure. Corsair’s website, Shadow Kingdom Records.
15. Crypt Sermon, Out of the Garden
Classic doom bleeds through the cover of Philly five-piece Crypt Sermon‘s debut full-length, Out of the Garden. Set to release Feb. 24 on Dark Descent Records, I’d expect Out of the Garden to be an early highlight for the year in doom despite being Crypt Sermon‘s first outing. Their Demo MMXIII (review here) found them well schooled in the tenets of the downtrodden, and while the record may end up a sleeper, it’s one that no doubt will find its way to the right ears; namely those of the old school doomers tired of psychedelic idolatry, who want something dark, beaten and grueling without concern for genre-melding or novelty. So, doom on. Crypt Sermon on Thee Facebooks, Dark Descent Records.
16. Ecstatic Vision, TBA
Also based in Philadelphia, heavy psych troupe Ecstatic Vision signed to Relapse on the strength of a demo and an apparent willingness to hit the road — they’ll do so this spring alongside YOB and Enslaved — and as just about any band who’s ever sent that label a rough recording will likely tell you, that’s no small feat. I was fortunate enough to catch them in Brooklyn last month (opening for YOB, as it happened), and the appeal was easy to see in their space rock jamming, lighting effects and propensity for deceptively quick rhythmic turns. A debut offering is reportedly due this year, and as it will come after they spend a month on the road, I expect it will be something to behold. Ecstatic Vision on Thee Facebooks, Relapse Records.
17. Elder, Lore
What to say about Elder? They’re a bright spot in the hope for the next generation of heavy rock, but they were that already. What really distinguishes their third album, Lore, is the fiercely progressive bent of the tracks, songs like “Compendium” (streamed here) taking the hypnotic rhythms of 2012’s Dead Roots Stirring (review here) and refining what Elder — the trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto — do with a newfound clarity of purpose and precision execution. They make well-thought-out songs sound exciting front to back, and if you’ve ever dug anything they’ve done, you’re going to shit a brick when you hear the title-track of Lore. Elder on Thee Facebooks, Armageddon Shop, Stickman Records.
18. Enslaved, In Times
I make no bones or apologies about being an Enslaved fan. The Norwegian progressive black metallers strip down their presentation with In Times, the follow-up to 2012’s Riitiir (review here), solidifying some aspects of their approach while nodding at the brutality of yore in a still-somehow-forward-thinking manner. They never fail to deliver, and they’ve long since hit a stride where they can deliver album after album and come up with ways to advance their sound each time out. Recording themselves has only made them bolder over their last couple records, and In Times benefits from this in its brought-to-fruition experiments as well. It would take a lot for these guys to do wrong in my eyes. Enslaved on Thee Facebooks, Nuclear Blast Records.
19. Eye, TBA
They’re the Midwest’s inadvertent answer to the West Coast’s Moog-prog vibing, and Ohio’s Eye want for nothing in comparison to any of their coastal contemporaries. The photo above was taken recently in the studio — I’ll just assume the room is actually that color when they record and that that is not, in fact, an Instagram filter — tracking their third record and follow-up to 2013’s brilliant-yes-brilliant Second Sight (review here), which rightfully garnered attention far and wide. No release date yet for the new one from what I’ve seen, but the album is reportedly done, so hopefully it won’t be too long before it sees release, most likely on vinyl since that seems to be where the band’s heart lies. Eye on Thee Facebooks, on Bandcamp.
20. Freedom Hawk, TBA
After an appearance last year at Roadburn and confirmation of a return trip to Europe this spring for Freak Valley in Germany, Virginia’s Freedom Hawk would seem to have considerably expanded their reach. Last year saw them lose guitarist Matt Cave and transition from a four-piece to a trio, and they were in the studio in the fall to record their second album for Small Stone behind their 2011 label debut, Holding On (review here), and while I’m not sure if it’s finished or if it will be out in time for the band’s sojourn abroad, one assumes it will be out sooner or later. Their late-2013 Live at the Jewish Mother download makes a decent stopgap if you’ve got a hankering, but they’re due for a new one for sure. Freedom Hawk on Thee Facebooks, Small Stone Records.
21. Glowsun, Glowsun
In a recent discussion about finally picking up Glowsun‘s 2012 outing, Eternal Season, I said I wasn’t going to miss their next record, so I guess you could call this me holding myself to that task. The French heavy psych outfit have a new one, apparently self-titled — though of course I could be wrong; I’m just going by the album art — due out for release this Spring. I haven’t seen an official date from Napalm for when it’s due, but it’s not one I’m going to let slip by one way or another as I did for far too long with Eternal Season. Some mistakes don’t bear repeating, and Glowsun‘s output is of a quality that demands immediacy. At least now I know it. Ha. Glowsun on Thee Facebooks, Napalm Records.
22. Goatsnake, TBA
Rumors abound about a new Goatsnake. They’re in the studio, this is done, that isn’t done, they’re over here, over there. They’re headlining Freak Valley and playing Psycho California, and they headlined Southwest Terror Fest III last fall, but the last official word I saw about a new album — it would be their first since their 2004 Trampled Under Hoof EP — was last Sept., when word came down that it was happening at all and that Southern Lord would put it out. A timetable on when would be convenient, but maybe that’s asking too much and I should be grateful it’s even being discussed. They remain on my bucket list of bands to see before I die. One of these days I’ll get there. Southern Lord Recordings, Southern Lord on Thee Facebooks.
23. Gozu, TBA
Probably the biggest change for Boston’s Gozu since the 2013 release of their second album for Small Stone, The Fury of a Patient Man (review here), is the solidification of their lineup. As they enter into the process for their third Small Stone outing, they’ll do so with bassist Joe Grotto and drummer Mike Hubbard. Grotto played on part of Fury, but Hubbard (ex-Warhorse) is a new presence entirely in the band. They’ve also experimented with a third guitarist, so they might not be so solidified, but they’ve got a monster of a core four-piece to work with in Grotto, Hubbard, guitarist/vocalist Marc Gaffney and guitarist Doug Sherman, and they seem poised to get the most out of the chemistry they’ve busted their collective ass to develop. Gozu on Thee Facebooks, Small Stone Records.
24. High on Fire, TBA
I feel like a new High on Fire record isn’t even just an event for heavy rock at this point but for metal as a whole. The Matt Pike-fronted three-piece hit the studio this month (this week?) after a quick tour up the East Coast, returning to Massachusetts to work with Converge‘s Kurt Ballou at his Godcity Studios, where they also busted out 2012’s De Vermis Mysteriis (review here). For anyone who heard that record, it should be plain why they’d want to work with Ballou again — even enough to go to Massachusetts in January — and whenever their next one shows up, no doubt it will do so as one of 2015’s most anticipated offerings. I’m not sure what to expect other than “heavy,” but that’s enough to go on for now. High on Fire on Thee Facebooks, eOne Metal.
25. Hollow Leg, TBA
My interest was piqued early last year when Floridian sludgers Hollow Leg issued their God-Eater single and spoke of it as the beginning of a change in direction. The change? More melody, a less outright aggressive style, more of an emphasis on thickness rather than rawness. As a starting point, the song “God-Eater” seemed to bode well, and I’m hoping in 2015 that Hollow Leg follow through at least partially on its promise. Not that the viciousness of 2013’s second LP, Abysmal (review here), left me particularly wanting, just that they seemed to be following a fulfilling new-ish path, and I thought the sound was one worth pursuing. They’ve said their third will be out this year, so I’ll take it. Hollow Leg on Thee Facebooks, on Bandcamp.
26. Horsehunter, Caged in Flesh
Australian four-piece Horsehunter made an impression a few weeks back with the 16-minute “Stoned to Death,” the opening track from their Magnetic Eye Records debut LP, Caged in Flesh, and it stands to reason why. Crushing tones, brutal vibes and hints of psychedelic wash abounded on what was a gripping sample of the album, which the band had recorded, scapped because it wasn’t heavy enough and then recorded again. There are four songs on Caged in Flesh, so “Stoned to Death” is literally just the beginning for Horsehunter, whose foreboding atmospherics come across no less punishing than their most weighted of tones. Horsehunter on Thee Facebooks, Magnetic Eye Records.
27. Kind, TBA
I’ve been lucky enough to see Boston four-piece Kind play twice, the lineup of vocalist Craig Riggs (also Roadsaw), guitarist Darryl Shepard (also Black Pyramid, Blackwolfgoat, etc.), bassist Tom Corino (also Rozamov) and drummer Matt Couto (also Elder) taking shape visibly from one show to the next. Their debut full-length is in progress now at the Riggs-owned Mad Oak Studios in Allston, and while I don’t think I can say yet what label it’s coming out on (it’s not Small Stone), the latest word I’ve gotten is that a summer release is booked. Definitely interested to hear how the jams I’ve seen live translate to a studio recording, and how Corino‘s tone comes through Mad Oak‘s board. Kind on Thee Facebooks, on Soundcloud.
28. Kings Destroy, Kings Destroy
So, you’d think the pic of Kings Destroy bassist Aaron Bumpus above is from some recent studio shot while they’re tracking their third album, right? Nope. The self-titled’s been in the can for months. It’s out in April on War Crime Recordings. What Kings Destroy are doing now is working on album number four, and I bet before it comes out, they’ll be on number five. Fiercely creative. I’ve had the KD record for I don’t know how long at this point, and it’s the best thing they’ve done yet. I can’t even pretend to feign impartiality after being asked to tour with them twice last year — a fucking blessing both times — but it’s the closest they’ve come to their live sound so far and that progress suits them remarkably well. Kings Destroy on Thee Facebooks, War Crime Recordings.
29. Lamprey, TBA
The two-bass Portland trio Lamprey‘s recent stop-motion video for “Iron Awake” served due notice of their impending album, as yet untitled, and while it’s the shortest track on there by a considerable margin, it nonetheless represents the big-crash, big-impact severity of the outing as a whole. Not sure through what label it will surface if one at all or on what media it will be pressed — the word burning above, which I hope is the album cover, may or may not be — but the full-length seems poised to establish them as a force after 2012’s The Burden of Beasts EP (review here) brought their sometimes-plodding, sometimes-sprinting heavy rock into focus. Also, one of the songs is called “Lament of the Deathworm,” and that just rules. Lamprey on Thee Facebooks, on Bandcamp.
30. Lord Dying, Poisoned Altars
The hard-touring Portlanders teamed up with Dark Castle drummer Rob Shaffer for their sophomore outing for Relapse Records, Poisoned Altars (review here), and though he’s since out of the band, his presence bolsters the songs in Lord Dying‘s blend of High on Fire-style thrash and Crowbar-loyal sludge. A pervasive sense of simplicity helps the material achieve maximum force, but the hard-won nature of Lord Dying‘s cohesion isn’t to be understated or underappreciated — they did about 18 months of touring in support of their first effort, Summon the Faithless. At least they know their time wasn’t misspent. Seems likely they’ll continue to pound the pavement throughout 2015, so keep an eye open. Lord Dying on Thee Facebooks, Relapse Records.
31. Magic Circle, TBA
Rest assured, I’ve seen zero confirmation that a new Magic Circle album is under way. There’s been no word from the by-now-notoriously secretive Massachusetts-based band or their label, Armageddon Shop, on the subject of a follow-up to their 2013 self-titled debut (review here). This is rampant speculation. Their first 7″ was recently re-pressed, though, so there’s activity in their camp one way or another. They also made their way out to Seattle in October to open for Satan, which only emphasizes the fact that you never really know when they’re going to show up until they do. Ditto that their next album, I suppose. Hopefully this year it happens. Armageddom Shop website, on Thee Facebooks.
32. The Midnight Ghost Train, Cold was the Ground
Riotous Southern heavy rockers The Midnight Ghost Train have outdone themselves with their Napalm Records debut, Cold was the Ground, taking the rager blues of 2012’s Buffalo (review here) to new heights of manic push. After several years of steady touring, the Kansas-based trio of guitarist/vocalist Steve Moss, drummer Brandon Burghart and bassist Mike Boyne are an explosive live act, and as the recent video premiere for “Gladstone” showcased, their third album reaps the rewards of their labors. It’s due to release March 10 in North America, but I really don’t need to note the date, because you’ll hear it coming a mile away like the freight train that it is. The Midnight Ghost Train on Thee Facebooks, Napalm Records.
33. Minsk, TBA
A new Minsk full-length is an utterly fascinating thought. Sorry if that sounds cold or overly clinical, but it’s true. Consider that it’s been six years since the Chicago post-metallers last released an album. That record, 2009’s With Echoes in the Movement of Stone (review here), hit at what was arguably the pinnacle of post-metal’s stylistic movement, the waters having since receded in no small part because Minsk wasn’t around to push forward creatively. Now, with slots booked at Roadburn and Desertfest, they’ll make a return to the studio as well, and I have absolutely zero idea of what to expect from them. A partially-revamped, Sanford Parker-less lineup only adds further intrigue. Minsk on Thee Facebooks, on Bandcamp.
34. Mondo Drag, Mondo Drag
This is one of I think two or three releases on this list that’s already out. The self-titled Mondo Drag (review here) nonetheless warrants inclusion for its heavy psych boogie concoctions and natural-toned spirit, not full-on retro but still well-indebted to the heavy ’70s in its use of organ and guitar and the swing of its rhythm section. That rhythm section? Zack Anderson and Cory Berry, who, fresh out of Radio Moscow, stepped in to record with fellow Iowans Mondo Drag in 2012 before founding Blues Pills. A shortlived moment in Mondo Drag‘s history, perhaps, but they got a killer record out of it, and while the recordings are already three years old, they’re well worth the time to appreciate. Mondo Drag on Thee Facebooks, Bilocation Records.
35. Monolord, Vaenir
Swedish trio Monolord won over hearts and minds bigtime with their 2014 RidingEasy Records debut, Empress Rising, earning a spot on the 2014 Readers Poll right between Eyehategod and Mastodon. That’s rather significant company to keep — and all the more so for a band’s first record — and with Vaenir, we’ll get to hear how the intervening year has seen them progress. They’ve already proven a favorite among the converted, and they’ll tour in Feb./March with Salem’s Pot ahead of an appearance at Roadburn prior to Vaenir‘s April 28 arrival date, so it looks like they’ll keep their momentum moving forward through the release and most likely beyond. Monolord on Thee Facebooks, RidingEasy Records.
36. Neurosis, TBA
Okay. I don’t know that Neurosis‘ next album will be out in 2015. It’s just not a thing I know. What I know is that the ultra-seminal five-piece are getting together to write in Feb., and that they’re a no-bullshit band when it comes to writing and recording, so the timing works that, if they make new songs happen this winter, their record would probably be ready for release sometime in the summer or early fall. That’s what I’m going on. It might be that they write half the album now and half in 2016, but from what I hear they’re planning on doing some more significant touring this year, so it would stand to reason they’d want to do it with a follow-up to 2012’s Honor Found in Decay (review here) under their collective belt. We’ll see what we get. Neurosis on Thee Facebooks, Neurot Recordings.
37. Pentagram, TBA
I saw Pentagram play 20 shows last year. Believe me when I say the pairing of frontman Bobby Liebling and guitarist Victor Griffin has never seemed stronger musically, and with bassist Greg Turley and drummer Sean Saley, Pentagram head into the making of their next album firing on all proverbial cylinders. Metal Blade, who also issued their 2011 comeback album, Last Rites (review here), seems the likely outlet for the yet-untitled offering, which the band will herald with a headlining performance at Psycho California alongside Sleep and Cult of Luna on May 15-17, and which will no doubt dig deep into Pentagram‘s long history of doom for a trove of classic-style riffs. Pentagram on Thee Facebooks, Metal Blade Records.
38. Ruby the Hatchet, Valley of the Snake
A not-so-subtle Uncle Acid and the Deadbeats influence permeates Ruby the Hatchet‘s Tee Pee Records debut, Valley of the Snake, which is something the Philly-based band seems to acknowledge willfully on “Vast Acid,” frontwoman Jillian Taylor crooning “I’ll cut you down” toward the end of the song in a call-out of one of the UK outfit’s most resonant hooks. Otherwise, the organ-laced five-piece get down on more psychedelic vibes, though the heavy ’70s swing in the drums could be taken as another common factor, if you really wanted to stretch it. Either way, a laid back, less murderous atmosphere persists, and that suits me just fine. Out Feb. 24. Bonus points for the gorgeous Adam Burke cover art. Ruby the Hatchet on Thee Facebooks, Tee Pee Records.
39. Saturnalia Temple, To the Other
The entire meaning of being a “cult” band has changed since Sweden’s Saturnalia Temple released their UR demo in 2007, but after their 2011 debut, Aion of Drakon, hit with such a low-end wash of psychedelic obscurity, I’m intrigued to hear what they’ve come up with on To the Other, the cover’s foreboding darkness, consuming swirl and bizarre patterning seeming a fit for their sonic methodology. To the Other is out April 7 on The Ajna Offensive, and features Tim Call of The Howling Wind and Aldebaran on drums alongside Saturnalia Temple guitarist/vocalist Tommie Ericksson and bassist Peter. Saturnalia Temple on Thee Facebooks, The Ajna Offensive.
40. Six Organs of Admittance, Hexadic
I’ll make no claims toward understanding the theoretical basis driving the latest outing from the Ben Chasny-helmed project Six Organs of Admittance, which in its 17-year history has gone from bedroom folk and avant electronics to the far-ranging heavy psych jamming of 2012’s Ascent (review here). Chasny, joined by members of Assemble Head in Sunburst Sound and Deerhoof on the album — which is due out Feb. 17 on Drag City — seems to have developed a compositional method based around a system involving playing cards and varying tonal intensities. No idea what the hell any of it means, but it sounds like a freakout to me, so I’m in. Six Organs of Admittance website, Drag City Records.
41. Snail, Feral
Come on, Snail. Even if Feral‘s not coming out until later in the year, you can send it to me. I won’t tell anybody if you don’t want me to. I can keep it to myself. Hell, I won’t even review it until I get word that it’s cool to do so, I just want to hear the damn thing. Alright, Snail, have it your way. I’ll just sit here and remember how awesome Terminus (review here) was when that came out in 2012, and Blood (review here) before that in 2009 back when I did snarky headlines for reviews. That’s cool. I’ve waited this long for your Small Stone debut to make its way into my ears, I guess I’ll just keep waiting until it shows up. Which it would be awfully nice if it did as soon as possible. Today works. Now works. Snail on Thee Facebooks, Small Stone Records.
42. Sourvein, Aquatic Fanatic
At the risk of being sincere, I’ll say it warms my cold, doomed heart to know that Sourvein‘s next album is going to be released by Metal Blade Records. After trudging the Southern sludge underground for, what, 20 years?, the Cape Fear-based outfit led by T-Roy Medlin (whose lineage goes back to Buzzov*en, lest we forget their role in establishing the sound) are finally poised to get their due, and I think it’s fucking awesome. Mike Dean‘s producing the thing, and you know Sourvein are going to tour the hell out of it because that’s what they do whether they’ve got a new record or not. I’m calling it the feelgood story of the year, which is perfect since the music will most likely be utterly scathing. Sourvein on Thee Facebooks, Metal Blade Records.
43. Spidergawd, II
Just stop reading and go fucking listen to Spidergawd. Here, I did a track premiere a little bit ago for the song “Tourniquet.” It rules. Go listen to that. For the life of me I have no idea why this band’s name isn’t on the lips of every boogie-loving heavy rocker in the universe. Stickman has the new album, Spidergawd II, sold out in the special edition preorders, but there’s a regular version still available and apparently en route from the plant, and for the love of all things riffed, it’s glorious. So get on it. I implore you. And no, I don’t have any idea what’s going on with the album cover, so don’t ask. No time for questions anyway. Get listening. Spidergawd on Thee Facebooks, Stickman Records.
44. Stoned Jesus, The Harvest
Ukrainian heavy rockers Stoned Jesus posted the opening track from their third album, The Harvest, a while back on their Bandcamp page, and my goodness it does swing. They’ll make their way to the US for the first time in support of The Harvest, appearing at the Psycho California fest and hopefully elsewhere, and they do so having built up a steady following with their first two long-players, 2010’s First Communion (noted here) and 2012’s Seven Thunders Roar (review here), their most stonerly of names spread far and wide ahead of the latest offering’s early March arrival following 2013’s jams collection, The Seeds, Vol. 1. Stoned Jesus on Thee Facebooks, on Bandcamp.
45. Torche, Restarter
I haven’t heard it yet, but Torche‘s awaited Relapse Records debut, Restarter, is due out Feb. 24 and the band are kicking into gear once again to mark its coming. They’ve already announced US and European tours to carry them through June, and I don’t imagine there are many markets they’ll leave un-hit by the time they’re through. Their last album, 2012’s Harmonicraft (review here), was a solid showing of what’s come to be expected of them in terms of hooks, upbeat heaviness and melodies, but especially with the ambitious title, the new label and the energized-seeming schedule, I’m hoping that Restarter gives the band the same kind of boot to the ass they’ve been to delivering the heavy underground for the last decade. Torche on Thee Facebooks, Relapse Records.
46. Ufomammut, Ecate
Very, very much looking forward to hearing Ecate, the newest outing from Ufomammut and their “second” album for Neurot Recordings behind the 2012 two-parter Oro (reviews here and here). Why is kind of a silly question — new Ufomammut is its own excuse for anticipation — but truth be told, they’ve always managed to get bigger-sounding and more expansive with each LP, and after having to break their last album in half and release the two pieces months apart from each other, I’m dying to know where they go with Ecate, what shifts in their sound the last couple years — including last year, which was their 15th anniversary — have brought and where in the cosmos they might be headed now. Ufomammut on Thee Facebooks, Neurot Recordings.
47. Valkyrie, TBA
During what I guess we’ll call Valkyrie‘s original run, the Virginia two-guitar four-piece released a pair of albums, 2006’s Valkyrie and 2008’s Man of Two Visions — both of which were reissued through MeteorCity in 2010 — before guitarist Peter Adams, who founded the band with his brother, guitarist/vocalist Jake Adams, got signed to Relapse with his other group, Baroness. Now back with Earthling‘s Alan Fary on bass and drummer Warren Hawkins, they’ve got their new LP recorded with Sanford Parker and reportedly in the can for an early 2015 release, also through Relapse. They’ll no doubt be greeted as heroes when they play the Maryland Doom Fest in June, and understandably so. Valkyrie on Thee Facebooks, Relapse Records.
48. VA, Electric Ladyland Redux & The Best of James Marshall Hendrix
Magnetic Eye Records launched a Kickstarter campaign last fall with the ambitious aim of paying homage to Jimi Hendrix by having current heavy rock artists (Elder, Earthless, Wo Fat, Gozu and more; full list here) re-record Electric Ladyland in its entirety. The project, on track to be released this year to coincide with what would’ve been Hendrix‘s 73rd birthday in November, expanded to include a tribute best-of collection as well, and has grown in repute ahead of its actually being issued to stand as a gathering of some of the finest the underground has to offer playing some of the best rock and roll ever crafted. From the idea to the impending reality of it, there’s really no arguing with this one. Magnetic Eye Records on Thee Facebooks, Magnetic Eye webstore.
49. Wino & Conny Ochs, Freedom Conspiracy
When Scott “Wino” Weinrich entered rehab late last fall, he mentioned in a public statement several projects in the works. Spirit Caravan‘s reunion is ongoing. Saint Vitus are due for a next album, but he also noted the second release for his collaboration with German singer-songwriter Conny Ochs, Freedom Conspiracy, as being in early 2015. Particularly after the ultra-intimate, solo feel of Wino‘s 2010 acoustic debut, Adrift (review here), the first collaboration with Ochs, 2012’s Heavy Kingdom (review here), was an unexpected expansion of the form that paid sonic dividends in both the songwriting and performance of both players. A second installment should benefit from the chemistry they built on the road for the debut. Conny Ochs on Thee Facebooks, Exile on Mainstream.
50. Wizard Eye, TBA
Heard it. Slays. Actually, I’m not sure if the version of Wizard Eye‘s sophomore full-length I got was final, but the songs were killer either way, and the Philly stoner-toner three-piece will have the album out on vinyl later this year through a newcomer label that I don’t think I’m supposed to mention yet so I won’t. Either way, they’re included here because the more heads they reach the better, their blend of rolling grooves, sludged out vocals and the occasional bout of theremin is just right for the riff-loving purist in all of us. Their recent live outing, Riff Occult Live (review here) says it better than I could, so make a note to yourself to dig into that at your next convenience. It’s name-your-price on Bandcamp. Wizard Eye on Thee Facebooks, on Bandcamp.
51. Wretch, TBA
Listed as the “bastard spawn” of The Gates of Slumber, Wretch finds that band’s guitarist/vocalist Karl Simon teamed with bassist Bryce Clark and drummer Chris Gordon, the prior outfit having been laid to rest in 2013 after what seemed like an excellent return to form in 2011’s The Wretch (review here) and subsequent Scion-sponsored EP. I haven’t heard the new band yet, but some demos have made their way out thus far, and you’d have to figure it won’t be too long before Simon, Clark and Gordon make their proper debut as Wretch and start a new chapter in one of modern traditional doom’s most pivotal legacies. Wretch on Thee Facebooks, Tone Deaf Touring.
52. Zun, TBA
Early in 2013, a song called “Come through the Water” (review here) appeared as the first audio from a new project helmed by guitarist Gary Arce of Yawning Man called Zun. It was to be used as Zun‘s portion of a split with Fatso Jetson and while I’m not sure that ever materialized, it drew immediate attention for the collaboration between Arce and vocalist Sera Timms of Ides of Gemini and Black Mare, also formerly of Black Math Horseman. A significant duo for sure. With Bill Stinson (also Yawning Man) on drums, they’re set to debut later this year on Small Stone with their first album, and if Timms and Arce aren’t enough to draw your attention so late in the feature — the hazards of alphabetics — the one and only John Garcia is set for a guest appearance on the record. Dig that, desert rockers. Yawning Man on Thee Facebooks, Small Stone Records.
Going Into Overload…
So, okay. At this point, you could literally buy a different record each week of this year and hear something that, unless there’s some disaster between the idea of the album and the actual thing itself, is most likely worth your time. That’s not too bad. But we’re not at 88 yet, so with those 52 already set, I’ve got 36 more that you might want to keep on your radar.
Some of these are solidly lined up, some are slated to be recorded, etc., so the same rule of “things don’t always work out the way they’re supposed to” applies. With that caveat:
53. Abrahma, TBA — Their second album for Small Stone is due sometime this year.
54. Bedroom Rehab Corporation, Fortunate Some — From what I hear, the Connecticut twosome have their second record in the can.
55. Black Black Black, TBA — Brooklyn outfit featuring former members of Disengage should have a sophomore album out in 2015.
56. Black Pyramid, New 7″ — The trio will release a new single to coincide with their Euro tour that includes a stop at Desertfest.
57. Bright Curse, New 10″ EP — It was mentioned the new lineup would record an EP before taking on their next album.
58. Camel of Doom, TBA — Was announced in December there’d be a new Camel of Doom along with a vinyl of their last album.
59. Cherry Choke, Raising the Waters — Should be out this month on Elektrohasch.
60. La Chinga, TBA — Vancouver group’s Small Stone debut is reportedly being mixed.
61. Curse the Son, TBA — I’m hoping this one gets out by the end of the year. It will be the CT trio’s first with their new bassist.
62. Egypt, Endless Flight — North Dakota’s favored sons will return with a new full-length this summer. Album trailer posted with a clip of the new song “Tres Madres.”
63. Enos, TBA — Not sure where they’re at with it, but worth keeping an eye out.
64. Foghound, TBA — The Maryland rockers have finished tracking their new album with Mike Dean of Corrosion of Conformity at the helm.
65. Funeral Horse, TBA — They’ve been full of surprises on their first two releases and they work quick, so I wouldn’t be surprised if something new showed up.
66. Fuzz Evil, TBA — Interested to see where they go on an LP after their split with Chiefs.
67. The Glasspack, Moon Patrol — A snippet clip has been posted that bodes well. Supposed to be done recording in the spring. They’re currently sorting out label whatnots.
68. Graves at Sea, TBA — Yeah, it’s been more than a decade since their demo, but a split and an EP into their reunion, they just signed to Relapse, so now might be the time a debut album shows up.
69. House of Broken Promises, TBA — Should be a change from the first album after swapping out bassist/vocalists. They killed live last I saw.
70. Ice Dragon, TBA — No solid word of a new release from the Boston garage doom forerunners, but they’re always up to something.
71. Killer Boogie, Detroit — The debut from this Black Rainbows offshoot is out this month on Heavy Psych Sounds.
72. Krautzone, TBA — German synth-heavy prog-jammers have hit a groove and hopefully they continue to ride it as well as they have thus far.
73. Leeches of Lore, TBA — Wishful thinking on my part? Maybe. Got my fingers crossed, though.
74. Legion of Andromeda, Iron Scorn — They’re about as extreme as extreme doom gets. Album out next month.
75. Lord Fowl, TBA — I think they’re writing. Might be 2016 before it gets here, but I’ll take it whenever it comes. They’re worth a mention either way.
76. The Machine, TBA — Been a minute since we last heard from the Dutch heavy psych jammers. They were on this list last year as well.
77. Mirror Queen, Scaffolds of the Sky — Should be out in April on Tee Pee, and that suits me just fine. Choice grooves for springtime.
78. Mountain God, Forest of the Lost — A single-song EP from the Brooklyn post-sludgers is out in Feb. with a release show booked.
79. Om, TBA — I’ve yet to see solid evidence that a new Om is in the pipeline, but no one knew that Sleep single was coming last year either.
80. Planes of Satori, Planes of Satori — Dug their single, hope the full-length follows suit.
81. Pombagira, Flesh Throne Press— Their sixth album and Svart debut is due on March 23 as per this week’s announcement.
82. Righteous Bloom, TBA — My understanding was the Beelzefuzz offshoot are writing. Would be good if they can pick up where the prior act left off.
83. Royal Thunder, Crooked Doors— The Atlanta outfit’s second album for Relapse is due out April 7.
84. Sandrider/Kinski, Split — Don’t know much about Kinski, but new Sandrider is enough to sell me on it. Out Feb. 17 on Good to Die.
85. SardoniS, TBA — Expect big lumbering riffs from this Belgian duo, always. A new album is en route, last I heard.
86. Sun Voyager, TBA — Didn’t get to hear their last tape, but a five-song EP is due out sometime soon.
87. Sweat Lodge, Talismana — Not much word since they signed to Ripple, but they said this year, so until I hear otherwise…
88. Throttlerod, TBA — A teaser clip of new riffage came out over this past weekend. New Throttlerod is never something to complain about.
89. Venomous Maximus, Firewalker — When they signed to Shadow Kingdom in November, they gave it the ol’ “sometime in 2015.”
90. Weedeater, TBA — After a whole series of reissues, their Season of Mist debut is due.
91. Wight, Love is Not Only What You Know — Alphabetically last but not at all last in my heart, Germany’s Wight have their third record in progress. More in the comments.
92. Wo Fat, Live Juju at Freak Valley— Wo Fat‘s live set from the 2014 Freak Valley fest in Germany is due to release on vinyl March 17 in an edition of 500 copies.
Others to Keep an Eye On…
Guitarist Ian Gerber of Indianapolis’ The Heavy Co. has a couple side-projects going, but new stuff from his main band doesn’t seem unlikely either. New York’s Geezer might also have something new before December in addition to Ripple‘s CD version of their Gage release, and labelmates King Buffalo are continuing their relationship with STB Records via a new spit next month, so hopefully a debut LP follows that. Let it Breathe should make their debut on the label too in 2015.
Recently streamed trio Wake up Lucid release their EP on March 31. Last I heard The Body had a new one coming too in collaboration with Thou. Sixty Watt Shaman have plans to record tracks for a split due out later this year, and they’ll reissue their first album, 1998’s Ultra Electric, as well. Look out for Godhunter‘s split/collaboration with Amigo the Devil, and the second offering from Black Moon Circle is on the way. Balam‘s full-length should also be out sometime this year, and I anxiously await news of a solid release date for the third Clamfight record.
Murmurings abound also for new ones from Graveyard, Greenleaf, The Sword, Vhöl and others.
Plus, Sleep still exist and that simple fact probably makes them worth more of a mention than this quick aside. Their 2014 single The Clarity was an offering of pure Iommic idolatry. A sign of things to come? Who the hell knows.
If you don’t have enough to go by yet, labels like Sulatron, Tee Pee, El Paraiso, Ripple, Small Stone, STB, Napalm and so on are always worth a keen watch what’s next. There’s always something.
Which I guess is the point of this whole thing. I’m sure, even as huge as this list is, someone is going to drop a comment immediately that will make me slap my forehead and wonder how I ever forgot whatever it is. It’s always something. It looks like it’s going to be a tremendous year, so if you’ll pardon me, I’ll cut out quick and get started making my way through it.
No doubt I’ll add to this post over the next couple days, so if the numbers change, don’t be surprised. In any case, if you made it this far, thanks again for reading. May your 2015 be filled with excellent music and even better times.