Posted in Reviews on March 31st, 2017 by JJ Koczan
Arrival. Welcome to the final day of The Obelisk’s Spring 2017 Quarterly Review. After today, I clean off my desktop and start over with a mind toward the next round, which in my head I’ve already scheduled for late June. You know, at the end of the next quarter. I do try to make these things make sense on some level. Anyway, before we get to the last 10 albums, let me please reiterate my thanks to you for reading and say once again that I hope you’ve found something this week that really speaks to you, as I know I have and continue to today. We finish the Quarterly Review out strong to be sure, so even if you’re thinking you’re done and you’ve had enough, you might be surprised by the time you’re through the below.
Quarterly Review #41-50:
Grails, Chalice Hymnal
Even if one counts the 2013 collection culled from Grails’ Black Tar Prophecies ongoing series of short releases that showed up via Temporary Residence, it’s been a long while since their last proper outing. Deep Politics (review here) was issued in 2011, but it seems the intervening time and members’ participation in other projects – among them Om and Holy Sons in the case of Emil Amos – disappear for Grails on Chalice Hymnal, which speaks directly to its predecessor in sequel pieces like “Deeper Politics,” “Deep Snow II” and “Thorns II,” taking the prog-via-Tangerine–Dream cinematics of Deep Politics to vibrant and continually experimental places on the surprisingly vocalized “Empty Chamber,” the soundscaping “Rebecca” and the imaginative, evocative jazz homage “After the Funeral,” the album’s 10-minute closer. Hearing the John Carpenter keyboard line underpinning “Pelham,” I’m not sure I’d call Chalice Hymnal limitless in its aesthetic – Grails have definitive intentions here, as they always have – but they continue to reside in a space of their own making, and one that has yet to stop expanding its reach.
Yes. Yes. This. With extended two tracks – “First Movement” (22:17) and “Second Movement” (27:04) – unfolding one massive longform immersion that drones pastoral, delves into hypnotic bliss and fills the soul in that way that only raw exploration can, the America Here and Now Sessions from Kansas City (by way of the moon) outfit Expo Seventy is an utter joy to experience. Purposeful and patient in its execution, graceful in the instrumental chemistry – even with a second drummer sitting in amid the core trio led by guitarist Justin Wright – the album well fits the deep matte tones and nostalgic feel of its accompanying artwork, and is fluid in its movement from drone to push especially on “Second Movement,” which sandwiches a resonant cacophony around soundscapes that spread as far as the mind of the listener is willing to let them. Whether you want to sit and parse the execution over every its every subtle motion and waveform or put it on and go into full-brain-shutdown, America Here and Now Sessions delivers. Flat out. It delivers.
After surviving the acquisition of Candlelight Records by Spinefarm, UK doom extremists Coltsblood return with their second album, Ascending into Shimmering Darkness, and follow-up 2014’s Into the Unfathomable Abyss (review here) with 54 minutes of concrete-thick atmospheric bleakness spread across five tracks. The headfuckery isn’t quite as unremitting as it was on the debut – a blend of airy and thick guitar in the intro of the opening title-cut (also the longest inclusion; immediate points) reminds of Pallbearer – but the three-piece thrive in this more-cohesive-overall context, and their lumbering miseries remain dark and triumphant in kind. A closing duo of “Ever Decreasing Circles” and “The Final Winter” also both top 12 and 13 minutes, respectively, but the shorter second track “Mortal Wound” brings blackened tendencies to the fore and centerpiece “The Legend of Abhartach” effectively leads the way from one side to the other. Still, the most complete victory here for bassist/vocalist John McNulty, guitarist Jemma McNulty and drummer Jay Plested might be “The Final Winter,” which melds its grueling, excruciatingly slow crash to overarching keyboard drama and becomes a work of cinematic depth as well as skull-crushing wretchedness. Such ambient growth fascinates and shows marked progression from their first offering, and even if the primary impression remains one from which no light escapes, don’t be fooled: Coltsblood are growing and are all the more dangerous for that.
Once they get past the aptly-titled minute-long “Intro,” Rhino keep their foot heavy on the gas for the vast majority of The Law of Purity, their Argonauta Records debut album. The 10 included tracks veer into and out of pure desert rock loyalism – “Eat My Dust” comes across as particularly post-Kyuss, perhaps melded with some of the burl of C.O.C.’s “Shake Like You” – and the throttle of “Nuclear Space,” “Nine Months,” “A. & B. Brown” and “Cock of Dog” later on come to define the impression of straightforward push that puts the riffs forward even more than earlier inclusions like the post-“Intro” title-track or the more mid-paced “Bursting Out,” which hints at psychedelia without really ever fully diving into it. Capping with the roll of “I See the Monsters,” The Law of Purity reminds at times of earlier Astrosoniq – particularly in the vocals – but finds the Sicilian five-piece crafting solid heavy rock tunes that seem more concerned with having a couple beers and a good time than changing the world or remaking the genre. Nothing wrong with that.
As it happens, I wrote the bio and release announcement for Cruthu’s debut album, The Angle of Eternity (posted here), and I count guitarist “Postman Dan” McCormick as a personal friend, so if you’re looking for impartiality as regards the self-released six-tracker, look elsewhere. If you’re looking for primo trad doom and classic metal vibes, the Michigan-based four-piece offer touches of progressive flourish amid the shuffle of opener “Bog of Kildare,” a grueling post-“Crystal Ball” nod in “From the Sea” and a bit of ‘70s proto-metallurgy in the closing title-track, which finds vocalist Ryan Evans at his most commanding while McCormick, bassist Erik Hemingsen (Scott Lehman appears as well) and drummer Matt Fry hold together the fluid and patient groove of weighted downer metal. The sense of Cruthu as an outfit schooled in the style is palpable through the creep of “Lady in the Lake” and the post-Trouble chug of “Séance,” but they’re beginning to cast their own identity from their influences – even the penultimate interlude “Separated from the Herd” is part of it – and the dividends of that process are immediate in these tracks.
From the Kozik-style artwork of their cover to the blown-out vocals on opener “New Pubes” of guitarist Matt Owen, St. Louis three-piece Spacetrucker – how was there not already a band with this name? – make no bones about their intentions on their late-2016, 26-minute Launch Sequence seven-track EP. Owen, bassist Patrick Mulvaney and drummer Del Toro push into a realm of noise-infused stoner grunge loyal to the ‘90s execution of “Supa Scoopa and Mighty Scoop” in the stops of the instrumental “Giza” even as they thicken and dirty up their tonality beyond what Kyuss laid forth. The cowbell-inclusive “Science of Us” rests easily on Mulvaney’s tone and nods toward burl without going over the top, and cuts like “Old Flower,” the penultimate roller “Trenchfoot” and the closing post-Nirvana punker blast of “Ain’t Gonna be Me” reimagine a past in which the language of heavy rock was there to explain where grunge was coming from all along. Not looking to reinvent stylistic parameters in their image at this point, Spacetrucker is nonetheless the kind of band one might’ve run into at SXSW a decade and a half ago and been made a fan for life. As it stands, the charm is not at all lost.
Clocking in at half an hour, the self-titled debut release from viola-infused Arizona two-piece Black Habit could probably qualify as an EP or an LP. I’m inclined to consider it the latter considering the depths vocalist/guitarist/bassist Trey Edwin and violist/drummer Emily Jean plunge in the five included tracks, starting with the longest of the bunch (immediate points) in the slow-moving “Escape into Infinity” before shifting the tempo upward for “Suffer and Succumb” and digging into deep-toned sludge marked out by consistently harsh vocals. I wouldn’t be surprised if Black Habit became more melodic or at least moved into cleaner shots over time, as the doomly centerpiece “South Beach” and more fuzz-rocking “Travel Across the Ocean” seem to want to head in that direction, but it’s hard to argue with the echoing rasp that accompanies the rumble and hairy tones of finale “Lust in the Dust,” as Black Habit’s Black Habit rounds out with an especially righteous nod. An intriguing, disaffected, and raw but potential-loaded opening salvo from a two-piece discovering where their sound might take them.
Massive. Patterns in the Ashes is a malevolent, tectonic three-song EP following up on New Zealand trio Stone Angels’ 2011 debut, Within the Witch, as well as a few shorter live/demo offerings between, and it’s an absolute beast. Launching with the seven-minute instrumental “White Light, White Noise II” – indeed the sequel to a cut from the first album – it conjures a vicious nod and bleeds one song into the next to let “Signed in Blood” further unfold the grim atmospherics underscoring and enriching all that tonal heft. Sludge is the core style, but the Christchurch three-piece’s broader intentions come through with due volume on the grueling “Signed in Blood” and when “For the Glory of None” kicks in after its sample intro, the blasts and growls that it brings push the release to new levels of extremity entirely. As a bonus, the digital edition includes all three tracks put together as one longer, 21-minute piece, so the consuming flow between them can be experienced without any interruption, as it was seemingly meant to be.
If Switzerland-based resonance rockers Black Willows had only released the final two tracks, “Jewel in the Lotus” and “Morning Star,” of their late-2016 second full-length, Samsara, one would still have to call it a complete album – and not just because those songs run 15 and 25 minutes long, respectively. Throughout those extended pieces and the four shorter cuts that appear before them, a palpable meditative sensibility emerges, and Black Willows follow-up the promise of 2013’s Haze (review here) by casting an even more immersive, deeper-toned vibe in the post-Om nod of “Sin” (8:08) and the more percussive complement, “Rise” (9:28), keeping a ritualized feel prevailing but not defining. From the lead-in title-track and the spacious psych trip-out of “Mountain” that gives way to the aforementioned extended closing duo, Black Willows find their key purpose in encompassing tonality and languid grooving. Nothing is overdone, nothing loses its patience, and when they get to the linear trajectory of “Morning Star,” the sense is they’re pushing as far out as far out will go. It’s a joy to follow them on that path.
Anytime you’re at all ready to quit your job and explore the recesses of your mind via the ingestion of psychedelics, rituals and meditation, Sweden’s Lamagaia would seem to stand prepared to accompany. The Gothenburg four-piece offer two extended tracks of encouragement in that direction on their self-titled 12” (released through Cardinal Fuzz and Sunrise Ocean Bender), and both “Aurora” and “Paronama Vju” carry a heady spirit of kosmiche improvisation and classically progressive willfulness. They go, go, go. Far, far, far. Vocals echo out obscure but definitely there in post-The Heads fashion, but there’s Hawkwindian thrust in the fuzzed bass and drums driving the rhythm behind the howling guitar in “Aurora,” and that only sets up the peaceful stretch that the drones and expansive spaciousness of “Paronama Vju” finds across its 18:55 as all the more of an arrival. Immersive, hypnotic, all that stuff that means gloriously psychedelic, Lamagaia’s Lamagaia offers instrumental chemistry and range for anyone willing to follow along its resonant and ultra-flowing path. Count me in. I never liked working anyway.
Posted in Features on January 23rd, 2017 by JJ Koczan
Looks like it’s going to be another busy 12 months ahead. It’s been a busy better-part-of-a-month already, so that stands to reason, but you should know that of the several years now that I’ve done these ‘Tomorrow’s Dream’ posts, this is the biggest one yet, with over 150 upcoming releases that — one hopes — will be out between today and the end of 2017.
Actually, at last count, the list tops 180. Do I really expect you to listen to all of them? Nope. Will I? Well, it would be nice. But what I’ve done is gone through and highlighted 35 picks and then built lists off that in order of likelihood of arrival. You’ll note the categories are ‘Gonna Happen and/or Likely Candidates,’ ‘Definitely Could Happen’ and ‘Would be Awfully Nice.’
Beyond that last one, anything else just seems like speculation — one might as well go “new Sabbath this year!” with zero info backing it up. The idea here is that no matter where a given band is placed, there has been some talk of a new release. In some cases, it’s been years, but I think they’re still worth keeping in mind.
Another caveat: You can expect additions to this list over the next week — probably album titles, band names people (fingers crossed) suggest in the comments, and so on — so it will grow. It always does. The idea is to build as complete a document as possible, not to get it all nailed down immediately, so please, if you have something to contribute and you’re able to do so in a non-prickish, “You didn’t include Band X and therefore don’t deserve to breathe the same air as me,” kind of way, please contribute.
Other than that, I think it’s pretty straightforward what’s going on here and I’ll explain the category parameters as we go, so by all means, let’s jump in.
— Tomorrow’s Dream 2017 —
1. Abrahma, TBA
Late last year, Paris heavy progressives Abrahma announced a new lineup and third full-length in progress. No reason to think it won’t come to fruition, and a follow-up to 2015’s Reflections in the Bowels of a Bird (review here) is an easy pick to look forward to. Even with the shift in personnel, it seems likely the band will continue their creative development, driven as they are by founding guitarist Seb Bismuth.
2. All Them Witches, Sleeping Through the War
If 2017 ended today, Sleeping Through the War would be my Album of the Year. Of course, there’s a lot of year to go, but for now, Nashville’s All Them Witches have set the standard with their second album for New West Records behind 2015’s Dying Surfer Meets His Maker (review here) and fourth overall outing. They’ve got videos up so far for “3-5-7” (posted here) and “Bruce Lee” (posted here). Both are most definitely worth your time. Out Feb. 24. Full review should be later this week.
3. Alunah, Solennial
Seems like UK forest riffers Alunah are on this list every year. Wishful thinking on my part. Nonetheless, their fourth LP and Svart Records debut, Solennial, is out March 17, and if the tease they gave already with the clip for “Fire of Thornborough Henge” (posted here) is anything to go from, its Chris Fielding-produced expanses might just be Alunah‘s most immersive yet.
4. Arbouretum, TBA
I asked the Baltimore folk fuzzers a while back on Thee Facebooks if they had a new record coming in 2017 and they said yes, so that’s what I’m going on here. The last Arbouretum album was 2013’s Coming out of the Fog (review here), and even with frontman Dave Heumann‘s 2015 solo outing, Here in the Deep (review here), factored in, you’d have to say they’re due. Keep an eye on Thrill Jockey for word and I’ll do the same.
5. Atavismo, Inerte
This is another one that already has a spot reserved for it on my Best-of-2017 year-end list. Spanish heavy psych rockers Atavismo up the progressive bliss level with their second full-length, Inerte, without losing the depth of style that made 2014’s Desintegración (review here) so utterly glorious. It probably won’t have the biggest marketing budget of 2017, but if you let Atavismo fly under your radar, you are 100 percent missing out on something special.
6. Bison Machine, TBA
In addition to the video for new track “Cloak and Bones” that premiered here, when Michigan raucousness-purveyors Bison Machine put out the dates for their fall 2016 tour, they included further hints of new material in progress. As much as I dug their earlier-2016 split with SLO and Wild Savages (review here) and 2015’s Hoarfrost (review here), that’s more than enough for me to include them on this list. Killer next-gen heavy rock.
7. Brothers of the Sonic Cloth, TBA
News of a follow-up to Brothers of the Sonic Cloth‘s 2015 Neurot Recordings self-titled debut (review here) came through in October, and it remains some of the best news I’ve heard about 2017 doings. Took them a while to get the first record out, so we’ll see what happens, but it kind of feels like looking forward to a comet about to smash into the planet and cause a mass extinction, and by that I mean awesome. Can’t get here soon enough.
8. Cloud Catcher, Trails of Kosmic Dust
Okay, so maybe I jumped the gun and did a super-early review of Denver trio Cloud Catcher‘s second long-player and Totem Cat Records debut, Trails of Kosmic Dust, but hell, no regrets. Some albums require an early-warning system. Their 2015 debut, Enlightened Beyond Existence (discussed here), was a gem as well, but this is a band in the process of upping their game on every level, and the songwriting and momentum they hone isn’t to be missed.
9. Colour Haze, TBA
I’ve gotten some details on the upcoming full-length from Colour Haze. They do not include a title, artwork, audio, song titles or general direction. Less details, I guess, than word that the CD version of this answer to 2015’s To the Highest Gods We Know (review here) is set to come out next month, as ever, on Elektrohasch. That puts it out in time for Colour Haze‘s upcoming tour with My Sleeping Karma (announced here). Fingers crossed it happens. Colour Haze are perpetual top-albums candidates in my book.
10. Corrosion of Conformity, TBA
Signed to Nuclear Blast after being rejoined by guitarist/vocalist Pepper Keenan, North Carolina’s C.O.C. have been in the studio since last year. The lineup of Keenan, bassist/vocalist Mike Dean and guitarist Woody Weatherman and Reed Mullin on drums is the stuff of legend and last worked together on 2000’s America’s Volume Dealer, so no question this reunion makes for one of 2017’s most anticipated heavy rock records. They nailed the nostalgia factor on tour. Can they now add to their legacy?
11. Elder, TBA
I was incredibly fortunate about a month ago to visit progressive heavy rockers Elder at Sonelab in Easthampton, MA, during the recording process for their upcoming fourth album. I heard a couple of the tracks, and of course it was all raw form, but the movement forward from 2015’s Lore (review here) was palpable. That LP (on Stickman) brought them to a wider audience, and I expect no less from this one as well, since the farther out Elder go sound-wise, the deeper the level of connection with their listeners they seem to engage.
12. Electric Wizard, TBA
Could happen, could not happen. That’s how it goes. Announced for last Halloween. That date came and went. Word of trouble building their own studio surfaced somewhere along the line. That was the last I heard. Frankly, I wouldn’t be surprised if it showed up tomorrow, if it showed up in 2018, or if the band broke up and never put it out. They’re Electric Wizard. Anything’s possible.
13. John Garcia, The Coyote Who Spoke in Tongues
Out Jan. 28 on Napalm, The Coyote Who Spoke in Tongues (review here) is the first-ever acoustic album from former Kyuss frontman John Garcia, also of Unida, the reunited Slo Burn, Hermano, Vista Chino, Zun, etc. — basically the voice of desert rock. He does a couple Kyuss classics for good measure, but shines as well on the new/original tracks, and while it’s a piece for fans more than newcomers — that is, it helps if you know the original version of “Green Machine” — his presence remains as powerful as ever despite this new context.
14. Goya, Harvester of Bongloads
Riffs, dude. Goya seem to have them to spare. The Arizona-based wizard doomers have set a pretty prolific clip for themselves at this point, with at least two short releases out in 2016, one a 7″ of Nirvana covers (review here), and the The Enemy EP (review here). Set for a March 3 release through their own Opoponax Records imprint, Harvester of Bongloads continues the march into the abyss that 2015’s Obelisk (review here) and 2013’s 777 set in motion, finding the band coming more into their own as well. Creative growth — and bongloads! The best of both worlds.
15. Ides of Gemini, TBA
Ides of Gemini are set to record their yet-untitled third album with Sanford Parker early this year, and it will also mark their debut on Rise Above Records upon its release. They’ve also got a new lineup around vocalist Sera Timms and guitarist J. Bennett, so as they look to move forward from 2014’s Old World New Wave (review here), one can’t help but wonder what to expect, but to be honest, not knowing is part of the appeal, especially from a band who so readily specialize in the ethereal.
16. Kind, TBA
Three-fourths of Kind feature elsewhere on this list. Bassist Tom Corino plays in Rozamov. Drummer Matt Couto is in Elder. Vocalist Craig Riggs is in Roadsaw. And for what it’s worth, guitarist Darryl Shepherd has a new band coming together called Test Meat. How likely does that make Kind to release a second LP in 2017? I don’t know, but their 2015 Ripple Music debut, Rocket Science (review here), deserves a follow-up, and I know they’ve demoed some new songs. If it happens, great. If it’s 2018, at least these dudes will be plenty busy besides.
17. Lo-Pan, In Tensions
Yes, Lo-Pan‘s In Tensions (review here) has already been released — CD/LP with an artbook on Aqualamb. It’s out. Limited numbers. You can get it now. Why include it on a list of most anticipated releases? Because that’s how strongly I feel about your need to hear it. The fruit of a shortlived lineup with guitarist Adrian Zambrano, it distinguishes itself from everything they’ve done before in style while still keeping to the core righteousness that one hopes the Ohio outfit will continue to carry forward. It’s more than a stopgap between albums. Listen to it.
18. The Midnight Ghost Train, TBA
It seems to have been a rough ride for hard-boogie specialists The Midnight Ghost Train since their 2015 Napalm debut and third album overall, Cold was the Ground (review here). They’ve never taken it easy on the road or in terms of physicality on stage, and between injuries and who knows what else, their intensity at this point veers toward the directly confrontational. Nonetheless, they’ve been writing for album number four, may or may not have started the recording process, and I expect that confrontationalism to suit them well in their new material.
19. Monster Magnet, TBA
I have it on decent authority that NJ heavy psych innovators Monster Magnet were in the studio this past autumn. I’ve seen no concrete word of a new album in progress from Dave Wyndorf and company, and I wouldn’t necessarily expect to until it was time to start hyping the release, but after their two redux releases, 2015’s Cobras and Fire (review here) and 2014’s Milking the Stars (review here), their range feels broader than ever and I can’t wait to hear what they come up with next.
20. Mothership, High Strangeness
A pivotal moment for Mothership arrives with High Strangeness, and the heavy-touring, heavy-riffing Texas power trio seem to know it. Their third record on Ripple Music pushes into new avenues of expression and keeps the energy of 2014’s Mothership II (review here) and 2012’s Mothership (review here), but thus far into their career, it’s been about their potential and what they might accomplish going forward. 2017 might be the year for Mothership to declare a definitive place in the sphere of American heavy rock.
21. The Obsessed, Sacred
On Halloween 2016, founding The Obsessed guitarist/vocalist and doom icon Scott “Wino” Weinrich announced a new lineup for the band, with his former The Hidden Hand bandmate Bruce Falkinburg on bass/vocals, Sara Seraphim on guitar and Brian Costantino continuing on drums. A genuine surprise. Their first album since 1994, Sacred (due on Relapse) was tracked as the trio of Weinrich, Costantino and bassist/vocalist Dave Sherman, but clearly they’ve moved into a new era already. Wouldn’t even guess what the future holds, but hopefully Sacred still comes out.
22. Orange Goblin, TBA
When it was announced that London’s Orange Goblin were picked up by Spinefarm as part of that label’s acquisition of Candlelight Records last Spring, the subheadline from the PR wire was “Working on Ninth Studio Album.” I haven’t heard much since then, but even as 2014’s Back from the Abyss (review here) pushed them deeper into metallic territory than ever before, their songs retained the character that’s made the band the institution they are. Always look forward to new Orange Goblin.
23. Pallbearer, Heartless
Doomers, this is your whole year right here. I haven’t heard Pallbearer‘s third album, Heartless (out March 24 on Profound Lore), but I have to think even those who haven’t yet been won over by the Arkansas four-piece’s emotive, deep-running style have to be curious about what they’ve come up with this time around. I know I am. These guys have been making a mark on the genre since their 2012 debut, Sorrow and Extinction (review here), and there’s little doubt Heartless will continue that thread upon its arrival.
24. Radio Moscow, TBA
Fact: Radio Moscow stand among the best classic heavy rock live acts in the US. They’re the kind of band you can watch upwards of 15 gigs in a row — I’ve done it — and find them putting on a better show night after night, in defiance of science, logic and sobriety. Word of their signing to Century Media came just this past week and brought with it confirmation of a follow-up to 2014’s stellar Magical Dirt (review here), and for me to say hell yes, I’m absolutely on board, seems like the no-brainer to end all no-brainers. Can’t wait.
25. Roadsaw, TBA
Nearly six full years later, it’s only fair to call Boston scene godfathers Roadsaw due for a follow-up to their 2011 self-titled (review here). Granted, members have been busy in Kind, White Dynomite, and other projects, but still. Their upcoming outing finds them on Ripple Music after years under the banner of Small Stone Records, and though I haven’t seen a solid release date yet, my understanding is they hit Mad Oak Studio in Allston, MA, this past fall to track it, so seems likely for sooner or later. Sooner, preferably.
26. Rozamov, This Mortal Road
Speaking of albums by Boston bands a while in the making, This Mortal Road (out March 3 on Battleground Records and Dullest Records) is the debut full-length from Boston atmospheric extremists Rozamov. Haven’t heard it yet, but I got a taste of some of the material when I visited the band at New Alliance Audio in Aug. 2015, and the bleak expanses of what I heard seem primed to turn heads. I’m a fan of these guys, but in addition, they’ve found a niche for themselves sound-wise and I’m curious to hear how they bring it to fruition.
27. Samsara Blues Experiment, TBA
It’s been a pleasure over the last couple months to watch a resurgence of Berlin heavy psych trio Samsara Blues Experiment take shape, first with the announcement of a fourth album in October, then with subsequent confirmations for Desertfest, Riff Ritual in Barcelona, and a South American tour. Reportedly due in Spring, which fits with the timing on shows, etc., the record will follow 2013’s righteous Waiting for the Flood (review here) and as much as I’m looking forward to hearing it, I’m kind of just glad to have these guys back.
28. Seedy Jeezus, TBA
Work finished earlier this month on Melbourne trio Seedy Jeezus‘ second full-length. As with their 2015 self-titled debut, the band brought Tony Reed of Mos Generator to Australia to produce, and after their blissed-out 2016 collaboration with Earthless guitarist Isaiah Mitchell, Tranquonauts (review here), it’s hard not to wonder what experimentalist tendencies might show in the trio’s style this time out, and likewise difficult not to anticipate what guitarist Lex “Mr. Frumpy” Wattereus comes up with for the cover art.
29. Shroud Eater, Strike the Sun
Not to spoil the surprise, but Feb. 1 I’ll host a track premiere from Florida’s Shroud Eater that finds them working in a different context from everything we’ve heard from them to this point in their rightly-celebrated tenure. They also recently had a split out with Dead Hand, and their second long-player, Strike the Sun, will be their debut through STB Records. It’s been since 2011’s ThunderNoise (review here) that we last got a Shroud Eater album, so you bet your ass I’m dying to know what the last six years have wrought.
30. Sleep, TBA
If Sleep were any other band, they’d probably be in the “Would be Awfully Nice” category. But they’re Sleep, so even the thought of a new record is enough to put them here. The lords of all things coated in THC are reissuing their 2014 single, The Clarity (review here), on Southern Lord next month, but rumors have been swirling about a proper album, which of course would be their first since the now-legendary Dopesmoker. If it happens, it’ll automatically be a heavy underground landmark for 2017, but it’s one I’m going to have in my ears before I really believe it.
31. Stoned Jesus, TBA
Even as they tour playing their second album, 2012’s Seven Thunders Roar (review here), to mark its fifth anniversary and continued impact, Ukrainian trio Stoned Jesus are forging ahead with a fourth record behind 2015’s The Harvest (review here). The capital-‘q’ Question is whether or not looking back at Seven Thunders Roar and engaging that big-riffing side of their sound will have an impact on the new material, and if so, how it will meld with the push of The Harvest. Won’t speculate, but look forward to finding out.
32. Stubb, TBA
Since reveling in the soul of 2015’s Cry of the Ocean (review here) on Ripple, London trio Stubb have swapped out bassists, and they were in Skyhammer Studio this month recording a single that may be an extended psychedelic jam. I’ll take that happily, but I’m even more intrigued at the prospect of a third LP and what guitarist/vocalist Jack Dickinson, bassist/vocalist Tom Hobson and drummer Tom Fyfe might have in store as the band moves forward on multiple levels. Might be 2017, might not.
33. Sun Blood Stories, It Runs Around the Room with Us
It Runs around the Room with Us seems to find peace in its resonant experimentalist drones, loops, open, subdued spaces, but there’s always some underlying sense of foreboding to its drift, as if Boise’s Sun Blood Stories could anticipate the moment before it happened. Toward the end of the follow-up to 2015’s Twilight Midnight Morning (review here), they execute the 90-second assault “Burn” and turn serenity to ash. Look for it in April and look for it again on my best of 2017 list in December.
34. Ufomammut, TBA
Any new offering from the Italian cosmic doom magnates is worth looking forward to, and while Ufomammut have left the 15-year mark behind, they’ve never stopped progressing in style and form. To wit, 2015’s Ecate (review here) was a stunner after 2012’s two-part LP, Oro (review here and review here), tightening the approach but assuring the vibe was no less expansive than ever. They started recording last summer, finished mixing in November, so I’m hoping for word of a release date soon.
35. Vokonis, The Sunken Djinn
Born out of Creedsmen Arise, whose 2015 demo, Temple (review here), offered formative thrills, Swedish trio Vokonis debuted with last year’s Olde One Ascending (review here) and proved there’s still life in post-Sleep riffing when it’s wielded properly. They signed to Ripple in November and confirmed the title of their sophomore effort as The Sunken Djinn, as well as a reissue for the first album, which will probably arrive first. I don’t know how that will affect the timing on this one, but keep an eye out anyway.
Gonna Happen and/or Likely Candidates
Obviously some of these are more likely than others. Some have solidified, announced release dates — Dopelord‘s out this month, Demon Head‘s out in April, etc. — and others come from social media posts of bands in studios and hints at upcoming releases and so on. A big tell is whether or not a band has an album title with their listing, but even some of those without have their new albums done, like Atala and Royal Thunder, so it’s not necessarily absolute.
Either way, while I’m spending your money, you might want to look into:
36. Against the Grain
39. Attalla, Glacial Rule
40. Ayahuasca Dark Trip, II
42. Beaten Back to Pure
45. Buried Feather, Mind of the Swarm
46. The Clamps
47. Cold Stares
48. Coltsblood, Ascending into the Shimmering Darkness
49. Come to Grief, The Worst of Times EP
51. Cruthu, The Angle of Eternity
52. The Dead-End Alley Band, Storms
53. Dead Witches, Dead Witches
55. Death Alley, Live at Roadburn
56. Demon Head, Thunder on the Fields
57. The Devil and the Almighty Blues, II
58. Devil Electric
59. Doctor Cyclops, Local Dogs
60. Dool, Here Now There Then
61. Dopelord, Children of the Haze
62. Doublestone, Devil’s Own/Djævlens Egn
63. Dread Sovereign, For Doom the Bell Tolls
64. Drive by Wire
65. Elbrus, Elbrus
66. Electric Age
67. Electric Moon, Stardust Rituals
68. Endless Floods, II
69. Five Horse Johnson
70. Forming the Void, Relic
71. Funeral Horse
73. Green Desert Water
75. Grifter / Suns of Thunder, Split
76. Hair of the Dog, This World Turns
77. Heavy Temple, Chassit
78. Here Lies Man, Here Lies Man
79. Hollow Leg, Murder EP
80. Holy Mount, The Drought
81. Hooded Menace
82. Horisont, About Time
83. Hymn, Perish
84. Lecherous Gaze
85. Magnet, Feel Your Fire
87. Merlin, The Wizard
89. Mindkult, Lucifer’s Dream
90. Mirror Queen
91. Moonbow, War Bear
92. Mos Generator
93. The Moth
95. Mouth, Vortex
96. My Sleeping Karma, Mela Ananda – Live
99. PH, Eternal Hayden
100. Psychedelic Witchcraft, Magick Rites and Spells
101. Royal Thunder
102. Saturn, Beyond Spectra
103. Season of Arrows, Give it to the Mountain
104. Siena Root
105. Six Organs of Admittance, Burning the Threshold
106. Six Sigma, Tuxedo Brown
108. The Sonic Dawn, Into the Long Night
110. Spidergawd, IV
112. Stinking Lizaveta, Journey to the Underworld
113. Sula Bassana, Organ Accumulator
115. Sun Voyager, Sun Voyager
116. Sweat Lodge, Tokens for Hell EP
117. Thera Roya, Stone and Skin
119. Troubled Horse, Revelation on Repeat
120. VA, Brown Acid The Third Trip
122. Youngblood Supercult, The Great American Death Rattle
Definitely Could Happen
Maybe a recording process is upcoming (Gozu, Cities of Mars, YOB), or a band is looking for a label (The Flying Eyes), or they’ve said new stuff is in the works but the circumstances of an actual release aren’t known (Arc of Ascent, Dead Meadow, High on Fire), or I’ve just seen rumors of their hitting the studio (Freedom Hawk, La Chinga, Ruby the Hatchet). We’ve entered the realm of the entirely possible but not 100 percent.
So, you know, life.
123. The Age of Truth
124. Ape Machine
125. Arc of Ascent
126. At Devil Dirt
131. La Chinga
132. Chubby Thunderous Bad Kush Masters
133. Cities of Mars
134. Crypt Sermon
135. Dead Meadow
136. Death Alley (Studio LP)
137. Dee Calhoun
138. Destroyer of Light
140. Devil Worshipper
144. Electric Moon
145. Elephant Tree
147. The Flying Eyes
148. Freedom Hawk
150. The Great Electric Quest
151. Green Meteor, Consumed by a Dying Sun
152. High on Fire
154. Insect Ark
155. In the Company of Serpents
156. Iron Monkey
157. Jeremy Irons and the Ratgang Malibus
158. The Judge
159. Killer Boogie
160. King Dead
161. The Kings of Frog Island
162. Lords of Beacon House, Recreational Sorcery
164. Mondo Drag
166. Mountain God
167. The Munsens
169. Never Got Caught
175. Purple Hill Witch
176. Ruby the Hatchet
178. Satan’s Satyrs
179. Serpents of Secrecy
181. Shooting Guns
182. Sleepy Sun
183. Slow Season
184. Snowy Dunes, Atlantis
185. Spectral Haze
186. The Sweet Heat
187. Switchblade Jesus
191. Zone Six
Would be Awfully Nice
This last category is basically as close as I’m willing to come to rampant speculation. Endless Boogie have hinted at new material, and Queens of the Stone Age have talked about hitting the studio for the last two years. There were rumors about Om, and though Kings Destroy just put out an EP, they have new songs as well, though I doubt we’ll hear them before the end of 2017. I’ll admit that Across Tundras, Fever Dog, Lord Fowl, Lowrider and Hour of 13 are just wishful thinking on my part. A boy can hope:
192. Across Tundras
194. Elephant Tree
195. Endless Boogie
196. Fever Dog
197. Fu Manchu
198. Halfway to Gone
199. Hour of 13
201. Kings Destroy
202. Lord Fowl
204. Masters of Reality
207. Queens of the Stone Age
If you’ve made it this far, thanks for reading. Whatever this year brings, I hope it’s been great so far for you and I hope it continues to be so as we proceed inexorably to 2018 and all the also-futuristic-sounding numbers thereafter. At least we know we’ll have plenty of good music to keep us company on that voyage.
As always, comments section is open if there’s anything I’ve left out. I’m happy to add, adjust, etc., as need be, so really, have at it, and thanks in advance.
Posted in Whathaveyou on January 11th, 2017 by JJ Koczan
Hardly a better time to hear about an impending sophomore full-length from UK trio Coltsblood than these cold winter hours. The bleak doom extremists will issue their second long-player, Ascending into the Shimmering Darkness, sometime in the next couple months via Candlelight/Spinefarm as the follow-up to their similarly-titled 2014 debut, Into the Unfathomable Abyss (review here), and early next month, they head out with London’s Bast on an eight-day UK tour to herald its arrival. Bast offered up their Spectres album through Burning World/Black Bow Records in 2013 and also seem likely to have new material en route sooner than later.
Info from the PR wire:
Hailing from the North of England, COLTSBLOOD prepare to release their second full length ‘Ascending Into Shimmering Darkness’ this winter via Candlelight Records/Spinefarm Records. Following 2014’s highly acclaimed album ‘Into The Unfathomable Abyss’, COLTSBLOOD toured throughout the UK, Ireland and Europe, appearing at Roadburn Festival, North Of The Wall Festival and Doom Over London, gaining a reputation as crushing, devastating, other-worldly, bleak and horrific. COLTSBLOOD now return to many parts of the UK for the first time in over a year to celebrate the release of their new album and immerse the UK in darkness once again!
Formed in South London, 2008, BAST is a trio specialising in an unhealthy blend of Black Metal and Doom, with a flair for experimentation and emphasis on storytelling. Following the release of their debut full-length ‘Spectres’ in 2014 (Burning World/Black Bow Records), and numerous tours across the continent with the likes of Pallbearer and Conan, the band is currently crafting the second part of their journey, exploring the depths of humanity in the far reaches of a cosmic nightmare.
You know, I went back and looked. Last year, it wasn’t until May 21 that the first batch of audio streams from Roadburn 2014 surfaced. Here we are, it’s April 30. We’re not even a full month removed from Roadburn 2015, and already eight sets are out from the festival. Kudos to Marcel van de Vondervoort, who no doubt will spend the next few months going deeper into the heart of Roadburn — at least from a musical standpoint — than anyone else as he continues to mix the live recordings and make them ready for streaming. The expediency of the arrival of the first audio is just one more example of how special this fest is. Hell, reviews are still being posted.
I’ve been kind of jealous seeing those reviews, actually. Part of covering the fest in the way I do — writing the review of the show that same night and posting it before the next day starts — sort of robs me of being able to step back and really look at the bigger picture of Roadburn and particularly what it means to me and of being able to express that, whether for fatigue or just being so close to it at the time. It’s a tradeoff, and ultimately I think the point gets across anyway perhaps even with that process as a part of it. Maybe I just feel like it all needs to be said again afterwards.
Part of the Roadburn after-experience is listening to these streams and hearing what you missed. To that end, I’m very much looking forward to digging into Minsk, Eagle Twin and Sun Worship. Whatever you caught or didn’t, I hope you enjoy:
Agusa – Live at Roadburn 2015
Coltsblood – Live at Roadburn 2015
Domo – Live at Roadburn 2015
Eagle Twin – Live at Roadburn 2015
Lazer/Wulf – Live at Roadburn 2015
Minsk – Live at Roadburn 2015
Mortals – Live at Roadburn 2015
Sun Worship – Live at Roadburn 2015
Special thanks to Walter as always for letting me host the streams. To read all of this year’s Roadburn coverage, click here.
It was a misguided attempt at sleep that led me to bed after watching Coltsblood to round out my night. Didn’t work beyond the apparently standard three hours, which is what I’ve gotten give or take each night since Wednesday. When I lie down, my head hears parts of songs, David Eugene Edwards saying, “You don’t know me from Adam, down here in the lamp light,” or Sæþór Sæþórsson of Sólstafir‘s banjo in the back half of “Ótta,” among others. One day bleeds into the next. I dragged ass most of the afternoon and evening, to be perfectly honest, and given the tossing and turning I’ve just done and the fact that I’m up two hours before I set the alarm, I expect the trend to continue. Still, when you’re here, you have to keep going. There’s more to see and more to hear.
The weather, which had been gorgeous enough to boast some restorative effect of its own, has turned. I could just as easily call it “yesterday,” but for the purposes of review, I hope you’ll allow the editorial decision to keep current: “Today.” The weather turned today. As though it knew Undersmile, Urfaust, and Fields of the Nephilim were all on the bill and decided “enough of this sunny shit, let’s get down to business for real.” It cleared up later, but was still colder than it had been, and early in the afternoon, I looked outside at one point and saw waves of rain coming down. That was right after Coma Wall, which, you know, fair enough.
Playing as a five-piece with their usual two couples plus a cellist, the mostly-acoustic alter-ego of Undersmile started my day off at Stage01. I got there early, which you have to do, and I wasn’t the only one. Taz Corona-Brown, Olly Corona-Brown, Hel Sterne and Tom McKibbin, plus Tom Greenway on the cello spread out over the stage, McKibbin behind, pulling double-duty on drums and banjo. With Taz and Hel in dresses and quickly sliding into the sort of drawling dual vocals that are a trademark of both Coma Wall and Undersmile, there was a theatrical element to it, but the thickness of the atmosphere spoke for itself as they hit into “Summer” from their 2013 Wood & Wire split with, who else?, their other band. Off to the side of the stage, Olly sat on bass facing the others, kind of overseeing the whole thing with one leg crossed over the other. He looked managerial, but the low end filled the room well, and Coma Wall eased my way into the Roadburn Saturday better than I could’ve asked.
I’d still like to hear them take on “Rotten Apple” or “Don’t Follow” — something off Jar of Flies — which I think they’d nail in the vocals and really be able to darken the mood on, but wouldn’t you know they weren’t taking requests. Couldn’t argue, anyway. Over in the main hall, Claudio Simonetti’s Goblin were well into a live soundtrack to 1978’s Dawn of the Dead, which played on the big screen behind them, audio and all. I saw them here for a bit last year, and sure enough parts of the score were recognizable from that set as well as the movie. Like with Sólstafir‘s live soundtrack on Thursday, there were spaces without any music at all, but of course the difference is that Goblin also wrote the score originally, so to see them do it live to the film was something extra special.
Perhaps most impressive about it was the timing, which they nailed. Keeping pace to scene changes and the film’s quick cuts, they ran through various pieces and themes, the quick bursts for tension as everything goes to crap with all the zombies at the mall, the biker gang showing up and bringing Tom Savini, and so on. It’s been a while since I saw it, and I’d forgotten how many classic lines there are in the film, about Hell being full and the dead walking the earth, and “Operator dead, post abandoned.” There were some times where the balance of audio was lopsided one way or another — hard to match up a film and a live band on stage — but it smoothed out, and I can’t imagine it was many attendees’ first time seeing the movie. That said, I’ve never watched Suspiria, which Claudio Simonetti’s Goblin are scoring as part of the Afterburner, so who knows? When they were done, the four-piece came to the middle of the stage from their spread-out positions, two on one side, two on the other, the middle open to allow the eye to watch the movie, and took a bow. A few seconds before, the credits rolled past with their name listed as The Goblins. So be it.
Next up on the Main Stage was a second go for Enslaved. I tried before they went on to calculate in my head how many Enslaved-related sets there were this year in comparison to 2010, when they were the official artist-in-residence and did sets with offshoot projects like Trinacria and their collaboration with Shining. Between their set last night, the Skuggsjá collaboration with Wardruna that followed, guitarist Ivar Bjørnson ‘s BardSpec set and today, I think they might have 2010 beat. I’m not sure if Bjørnson curating with Wardruna‘s Einar “Kvitrafn” Selvik counts for double or anything — you’d have to get into percentages and it proved too much for my feeble brain to take. In any case, today’s Enslaved set focused much more on newer material. Fair after last night. The recently-issued In Times (review pending) featured heavily with “Thurisaz Dreaming,” “Building with Fire,” “In Times” and “Daylight,” but there was still room to dip back to 2001’s Monumension for “Convoys to Nothingness,” or 2003’s progressive turning point Below the Lights for “As Fire Swept Clean the Earth,” and a balance was struck between the older and newer.
Further distinguishing today from yesterday, though, were the guests. When they got to “Daylight,” bassist/vocalist Grutle Kjellson announced they’d be joined by Selvik, Aðalbjörn Tryggvason from Sólstafir and Per Wiberg, now in Candlemassbut known also for his work in Opeth and Spiritual Beggars. The three contributed on vocals at the beginning and end of the song, and Selvik came back out for a longer, soulful guest spot on “Convoys to Nothingness,” while Enslaved proper delivered again the kind of set that brought the crowd back from last night, “Isa” tossed in as a bonus and a cover of Led Zeppelin‘s “Immigrant Song” with more guest guitar included to add even more intrigue. It was not as intense as Friday had been, their newer material offering a more intricate but decidedly less raging style, but they handled it professionally, and seemed to be having as much fun as the audience while they ran through their second of the weekend’s two full sets. The Heads, who followed, are the official artists-in-residence this year, but Enslaved always seem to find welcome at Roadburn.
Particularly having missed The Heads when they played at Het Patronaat last night — Roadburn means hard choices — I knew I wanted to see them today. They were supposed to be here last year, and played in 2008, but with Walter doing live visuals and the four-piece of lead guitarist Paul Allen, guitarist/vocalist Simon Price, bassist Hugo Morgan and drummer Wayne Maskell (the latter three who played as Kandodo on Thursday and joined forces with Loop‘s Robert Hampson at Het Patronaat), it was unmissable. A righteous set boasted jam-laden takes on “Gnu,” “Legavaan Satellite,” “U33” and “Spliff Riff,” the effect positively molten as they enacted space rock supremacy and handed Roadburn its ass over the course of 75 minutes. For me, they were the day’s hypnotic highlight, and I don’t think I was the only one. The crowd cheered as they went into and out of jams, builds paying off and starting anew. As I stood in the back and watched, next two me, two dudes were arguing in German and a third turned around and told them, in accented English, “Please, no politics while The Heads are on.” All laughed. Peace on Earth and goodwill to all Roadburners.
As with Kandodo the other night, The Heads‘ set made me want to head over to the merch area and go, “Just give me everything,” though they have enough live albums over there that to try it and I’d be broke(r) in no time flat. I thought I had a pretty good idea of what to expect from them, knowing records like Everybody Knows We Got Nowhere, which was just recently reissued, At Last and their 1995 debut, Relaxing With…, but they were molten on stage, one song bleeding into the next in a consuming entirety that, even after they’d long since gone, kept the crowd howling. It was fucking awesome. I don’t know how many times I’ll get to see The Heads in my life, but I’m not likely to forget the first, in any case, and if I take nothing else away from Roadburn this year, I’ll take a new touchstone for heavy psych live performance. “It’s good, but is it The Heads good?” will prove a hard standard for most to meet.
Over in the Green Room, Black Anvil were finishing up a punishing set and I watched for a minute through the door as they pummeled away. Undersmile were on next in there, and I’ve been following them since their split with Caretaker in 2011 (review here), so I didn’t want to miss it. They have a new full-length out called Anhedonia, and while I’m a little heartbroken at not having heard it — I loved 2012’s lung-filling debut LP, Narwhal (review here), and thought I had a pretty good relationship with the band — it still seemed prudent to show up early for a dose of their grueling, claustrophobic-but-melodically-brilliant doom, especially as a crushing companion piece to Coma Wall earlier in the day, a sort of bookend with the same lineup minus Greenway‘s cello. They were heavy enough to feel the sound in your chest. I give McKibbin credit for being able to push the tones of Hel, Taz and Olly along, even at such a lumbering pace. By the sound alone, it seems like a task more suited to the crane outside working on the addition to the 013, but the drums do drive Undersmile‘s material forward, and they packed out the Green Room to the point where even the space to watch through the door was full. I felt equal parts lucky to see them, bummed I haven’t heard the new album, and glad I showed up early while they were setting up. It was quite an emotional rollercoaster. Maybe that’s why I had to come back to the hotel and go to sleep afterwards.
Or maybe I was just rendered unconscious by fucking Coltsblood who — holy shit — took Stage01, removed all its fillings and performed a root canal with a safety pin. It was fucking ridiculous. Hyperbole-worthy madness that even H.P. Lovecraft himself would stare at and be like, “Damn, that’s horrifying.” I watched the final few minutes of synth-heavy proggers Zoltan before the UK trio of bassist/vocalist John McNulty, guitarist Jemma McNulty and drummer Jay Plested (also of Black Magician, who played Het Patronaat at Roadburn 2013) went on, but god damn. Even before they started, as Jemma checked her guitar and John ran the line on his bass, you knew it was going to be filthy. Their 2014 full-length debut, Into the Unfathomable Abyss (review here), seemed all the more aptly named as they got underway, and even though John had some technical trouble early on, they shared a bottle of mead on stage and absolutely laid waste to the smaller of the rooms at the 013. I say in full knowledge of John‘s prior association with the band that they were the heaviest thing I’ve seen in that space since Conan made their Roadburn debut there in 2012. They were unbelievable.
And it became quite clear that they’ve earned some loyalty of fanbase as well. The front of Stage01 was crowded with UK types, one of whom took on the solemn duty of making sure that Coltsblood‘s incense (of which I was markedly downwind) stayed lit. Another dude next to me alerted John when the sound guy called for him to start checking his bass. This is a band that people are obviously taking very seriously. The deathly rumble of their extreme, dark, sludgy doom made earplugs a futile exercise, and especially in a one-two with Undersmile, they justified that reaction. With John shouting and growling into the mic while Plested slammed away behind and Jemma, entranced, riffed out a viscous, oil-thick morass, it made sense. I’d want to keep the incense lit too.
By the time I split out from Stage01, the air had more or less been driven out of the room. It was hot, sweaty, smelly — Roadburn means fart clouds — and suitably oppressive. Outside smelled like french fry grease from the food tent, but even that seemed like fresh air. I made my way back to the hotel and started to sort pictures out and get everything ready to review, but noticed after a few minutes that my head was down on the table and I couldn’t seem to pick it back up. I stared up at the laptop monitor for a little bit and decided to crawl into bed.
Wasn’t a crawl. More of a lurch. Either way, about three and a half hours later, I gave up the ghost and decided the middle of the night would be a perfect time to recount the day’s varying destructive encounters. Tomorrow — Sunday, which now that it’s after 06.00, I’m about ready to call the new “today” — is the Afterburner, also plenty busy with Lo-Pan and Abrahma and Argus and Bongripper, Anathema and The Golden Grass. Work on the final issue of the Weirdo Canyon Dispatch starts in about four hours and it will be here and gone before I know it. At least that’s how it usually seems to go.
Posted in Whathaveyou on October 2nd, 2014 by JJ Koczan
I saw Scott H. Biram years ago at the Mercury Lounge in Manhattan and have wondered since why more heavy rock heads weren’t into him. I can’t remember who I was at that gig to see, but it was a rockabilly lineup and a rockabilly crowd — dudes with pompadours and cigarette packs rolled in their shirtsleeves, ladies with copious tattoos and Bettie Page bangs — but it was the first I’d heard of Biram and he put on a hell of a show. One imagines he’ll come out of Roadburn 2015 with a few new friends. Also joining the lineup today is King Dude, who just came through with Earth, Colorado destroyers Primitive Man and UK abyssal doomers Coltsblood, who made a consuming and destructive debut earlier this year on Candlelight with Into the Unfathomable Abyss (review here). As ever, Roadburn seems to be covering multiple bases at once, but if there’s a quota of heavy, Coltsblood and Primitive Man will go a long way toward meeting it.
Here’s the update off the PR wire:
King Dude, Primitive Man, Coltsblood and Scott H. Biram To Play Roadburn Festival 2015
Conjuring the bleakest biblical sound and the desperately fervent devotion of the bygone days of revelation, King Dude, aka TJ Cowgill, has been on a sinister and demonic trip to the fabled crossroads, accompanied by the spirit of all those who went before him.
Using the power of the blues, albeit stained black and drenched in blood of his predecessors, King Dude finds hope and salvation in glorious yet spellbinding hymns, equal parts classic country, gothic Americana ballads, and harrowing British folk at its heart, but embellishments like the heavier sounds of Heavy Metal and warped, echo drenched rockabilly tend to sneak and slither their way into King Dude’s own brand of harrowing American music.
A darker, much more shadowy version of Johnny Cash, King Dude is a modern day man in black, ephemerally running the musical gamut between Wovenhand and Der Blutharsch. His death ballads from beyond will lift us up from our darkness of ignorance towards the ever guiding light at the 20th edition of Roadburn Festival on Saturday, April 11 at Het Patronaat in Tilburg, The Netherlands.
Behold! Denver, Colorado’s Primitive Man will unleash a filthy, malignant maelstrom of blood drenched, blackened doom and soul-annihilating, dissonant sluge on Thursday, April 9 at the 013 venue.
Thrillingly misanthropic in their approach, Primitive Man’s pure hatred, self loathing and psychotic rage will plunge you straight into the depths of hell. The band’s terrifying yet enthralling first full-length, Scorn (out on Relapse Records), is one of the heaviest debuts this side of Eyehategod’s In The Name of Suffering, and beats the listener senseless with abrasive chunks of unapologetic, claustrophobic terror.
Spawned in the benighted ichor-filled nether-pits below Liverpool, disgusting doomed triumvirate Coltsblood deliver the most depraved and repulsive take on death-inspired doom metal ever to punish your worthless ears.
A festering avalanche of bubonically-blighted bass, powerfully perverse percussion, tomb-scraping vocals and lysergically damaged guitar, Coltsblood will drown you in raw filth on Saturday, April 11 at the 013 venue.
Delivering a raucous blend of psychobilly, blues, country and metal filtered through plenty of moonshine, Scott H. Biram isn’t a one-man band. He is THE one-man band. A pre-eminent bluesman for the 21st century with a raw immediacy that is alternately hypnotic and harrowing.
Biram will unleash his unfettered depression era blues at the 20th edition of Roadburn on Thursday, April 9 at the 013 venue. Fair warning: don’t be fooled by the whiskey and chicken antics, Scott H. Biram will unleash an unholy onslaught that will deliver you to a fiery baptism.
In related news: Tickets for the 20th edition of Roadburn Festival, set for April 9 – 12 at the 013 venue in Tilburg, The Netherlands, will go on sale on Thursday, October 16, 2014. Set your alarm and get ready to score your tickets at 21:00 CET!
For everyone in the Netherlands and Belgium: we are aware that your local ticket outlets will not be open when pre-sales start, which is why we are throwing another pre-sales party at the 013 venue in Tilburg (NL). From 19:00 CET – 20:30 CET you will be able to purchase a maximum of four paper tickets for Roadburn Festival 2015. Guaranteed!
In addition to making it easy to get tickets, the pre-sales party is going to be a blast! This year, we have invited The Machine and Radar Men From The Moon to provide the soundtrack. More info HERE.
Curated by Ivar Bjørnson (Enslaved) and Wardruna‘s Einar “Kvitrafn” Selvik, Roadburn Festival 2015 (including Fields of the Nephilim, Skuggsjá, Enslaved, Wardruna, Claudio Simonetti’s Goblin performing Dawn of The Dead and Susperia in its entirety, Zombi, Sólstafir, White Hills, Bongipper, Floor and The Heads as Artist In Residence among others) will run for four days from Thursday, April 9 to Sunday, April 12 at the 013 venue in Tilburg, The Netherlands.
Northern England trio Coltsblood launched last summer with the Beyond the Lake of Madness demo tape (review here) and immediately demanded attention via their crushingly slow, excruciatingly heavy, thoroughly doomed approach. That two track release, as though eaten by a larger undersea monster, has been subsumed into the three-piece’s Candlelight Records debut full-length, Into the Unfathomable Abyss, which furthers the brutal largesse of the demo, stretching out to nearly an hour’s runtime and finding some variety — in sound if not overall mood — by incorporating a few faster parts here and there. The album, which was recorded at Skyhammer Studios with Chris Fielding (Electric Wizard, Conan, Primordial, etc.) and features nightmarishly detailed cover art by former Grief bassist/vocalist Eric Harrison, pits longer pieces like “Beneath Black Skies” (14:09) and “Abyss of Aching Insanity” (12:29) from the demo against shorter ones, those two together with the penultimate “Ulfeonar” (a paltry 11:31) forming an unholy trio of slow-cooking heft that provides atmosphere the way one thinks of water filling lungs. Shorter cuts are interspersed around them, though by the end of the record, the timing works out that even the “shorter cuts” have topped eight minutes, as the closer “Return to the Lake of Madness” (8:31) rounds out no less grueling than “Ulfeonar” before it. Still, earlier on, the noisy intro “Valhalla Awaits” (2:17) the faster “Blood” (2:20) and the building instrumental “Grievous Molestation” (6:52) are well placed to give a breath of air before the next dive back into the heart of the titular abyss, which at its grimmest could rival anything put forth by Ahab, but seems bent toward more sonic diversity. Comprised at the time of bassist/vocalist John McNulty (ex-Conan, ex-Black Magician), guitarist Jemma McNulty and drummer Steve Primeau — the latter since replaced by Jay Plested, also of Black Magician — Coltsblood affirm the potential of their demo while distinguishing themselves among the more extreme end of doom’s practitioners.
Play slow enough and things just start to sound like they’re falling apart. Nothing against that, but Coltsblood never quite get there, even as John‘s throaty shouts echo over the crawling earlier stretches of “Ulfeonar.” The intent is vicious, tectonic heaviness, but Into the Unfathomable Abyssstill has a groove to it. One can hear shades of Conan‘s tonal dominance in the quicker parts of that song or “Blood” earlier on, but as the blackened scream about halfway through “Beneath Black Skies” and the bulk of Coltsblood‘s lumbering rollout shows, they’re on a different trip, even if they do manage to sneak a shuffle riff in there every now and again. The McNultys make a devastating pair, tonally, and when Jemma‘s guitar takes an airy solo over the steady rumble, the effect is more mournful than psychedelic, a noisy chaos emerging in the last two minutes of “Beneath Black Skies” to set up the blastbeaten charge of “Blood,” which is in and out in nearly one-seventh of the time but no less wretched-sounding — and yes, I mean that as a compliment. Even here, Coltsblood aren’t void of melody, but even that seems to have been twisted into something dark, a drawn out, plotted lead reminding of some of Nile‘s grandiose soloing. As a centerpiece, “Abyss of Aching Insanity” provides the album’s least compromised lurch, feedback and crash working in tandem to seer the consciousness before the next measure cycles through, Primeau more or less taking the opposite approach from “Blood” and playing as slow and open as possible. About halfway through, everything drops out but the bass, and for a moment, the album leaves you alone in the desolation, presumably to ponder how on earth you ever went so deep to start with. Jemma takes a layered solo when the guitars and drums return, but there isn’t really meant to be any release of the tension, and there isn’t.
Here is the Music Player. You need to installl flash player to show this cool thing!
I like making these podcasts because I never really know where they’re going to end up once I get started. One song leads to the next leads to the next, and before you know it, you’re all spaced out on how cool some brand new acoustic At Devil Dirt sounds coming out of the brutal dead-sludge of Coltsblood, or deep into the ultra vibes of a second hour loaded with interstellar meanderings. Some of these go brutal. This one just went far out.
That At Devil Dirt EP was just released yesterday, so if you don’t recognize the title, that’s probably why. A lot of this stuff is pretty recent, and while some of the songs you might’ve seen around, whether it was the Conan song they did the video for or the Druglord track that was streamed here with the full album, still other cuts, like the Trilogy, Black Moon Circle and Mope are new to these parts. As ever, I think it winds up with a decent blend and I hope you agree.
Ogre, “Nine Princes in Amber” from The Last Neanderthal (2014)
Sun Shepherd, “Awaiting the Firepit” from Procession of Trampling Hoof (2014)
Trilogy, “Invade and Occupy” from Burned Alive (2013)
Young Hunter, “Welcome to Nothing” from Split with Ohioan (2014)
Sergio Ch., “La Familia y las Guerras” from 1974 (2013)
Hull, “Legend of the Swamp Goat” from Legend of the Swamp Goat 7” (2014)
Conan, “Foehammer” from Blood Eagle (2014)
Druglord, “Feast on the Eye” from Enter Venus (2014)
Coltsblood, “Beneath Black Skies” from Into the Unfathomable Abyss (2014)
At Devil Dirt, “Mirame” from Dinner is Ready (2014)
Black Moon Circle, “Enigmatic SuperBandit” from Black Moon Circle (2014)
Eidetic Seeing, “A Snake Whose Years are Long” from Against Nature (2014)
Goya, “Death’s Approaching Lullaby” from 777 (2013)
Mope, “La Caduta” from Mope (2014)
Mike Scheidt, “Rake” from Songs of Townes Van Zandt Vol. II (2014)