Posted in Whathaveyou on December 27th, 2016 by H.P. Taskmaster
Dallas octane rockers Speedealer played a few gigs in November that they highlighted as a ‘return’ for the band, but they seem to have been doing shows for a while before that as well. Their last studio release was 2003’s Bleed, so one way or another, it’s probably fair to call anything they do a return. One recalls (vaguely and through a Shiner Bock-filtered haze) seeing them at SXSW in the mid-’00s — was it the tiki bar joint on Red River with JJ Paradise Players Club? — and being fairly blown out of the room, though to be fair, that was kind of how it went in Austin at the time. I haven’t seen word of a new record or anything, but even if they’re doing 10 days out to test the waters, they gotta have a reason. These things don’t happen by mistake, you know.
The two bands joining them on the run, as it happens, are both heralding new albums. In the case of fellow Texas trio Mothership, it’s the forthcoming High Strangeness (info here), which is out March 17 on Ripple Music. Less is publicly known at this point about Against the Grain‘s next full-length, but the Detroit-based speed rockers have at least announced their intentions toward a 2017 release. There’s plenty of year ahead, so let’s get there first and then we’ll see what comes.
Run has been tagged as the “Southern Disruption Tour 2017.” Poster and dates follow here, as seen on the social medias:
Speedealer w/ Mothership & Against the Grain: Feb 9 – Atlanta, GA – The Masquerade. Feb 10 – New Orleans, LA – The Siberia. Feb 11 – Birmingham, AL – The Nick. Feb 12 – Nashville, TN – The End. Feb 13 – Memphis, TN – Hi Tone. Feb 14 – Little Rock, AR – White Water Tavern (no speedealer). Feb 15 – Oklahoma City, OK – The Blue Note (no Speedealer). Feb 16 – Austin, TX – The Sidewinder. Feb 17 – San Antonio, TX – Hi-Tones. Feb 18 – Dallas, TX – Three Links. Feb 19 – Houston, TX – FitZgeralds.
Posted in Features on December 20th, 2016 by H.P. Taskmaster
Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2016 to that, please do.
I say this every year: These are my picks. If you’re unfamiliar with this site, or you don’t come here that often, or if you do and just normally don’t give a crap — all of which is cool — you should know it’s all run by one person. One human being. Me. My name is JJ, and this is a list of what I think are the best albums that were released in 2016.
Since before 2016 began, I’ve kept a running list of releases. My criteria for what gets included in this list is largely unchanged — it’s a balance between what I feel are important records on the level of what they achieve, what I listened to most, what held some other personal appeal, and what I think did the best job of meeting the goals it set for itself. Pretty vague, right? That’s the idea.
The nature of worldwide heavy has become so broad that to encompass it all under some universal standard is laughable. Judging psychedelia, garage rock, heavy psych, doom, sludge and so on by the same measure makes no sense, and as genres continue to splinter and remake themselves as we’ve seen them doing all year and over the last several years, one must be malleable in one’s own taste. We’ve seen a new generation of heavy rock bands emerge in the last three-plus years. It’s been amazing, and there are a few pivotal second and third records that came out in 2016 to affirm that movement underway. Look for it to continue into 2017 and beyond.
This year more than any other seemed to want to bring the different sides together. A laudable goal. Thick riffing marked with flourish of psychedelia. Spacious doom bred against folk impulses. There’s been experimentation around melds that have led to considerable triumphs, and it just doesn’t seem to me that rigid standards can apply. It’s why I don’t grade reviews and never did.
Sound is evolving now as it always has been and as it will keep doing, but like any year, 2016 had a full share of landmarks to offer as a part of that process. As universal development hopefully remains ongoing, it’s only right that we celebrate the accomplishments helping to push it along its winding and sometimes divergent-seeming paths.
I have no doubt you know what I mean. Let’s get to the list:
Seems only fair to start with a record I couldn’t put down. Finnish trio Talmud Beach‘s second album and Svart debut, Chief, hit on just the right blend of laid back, semi-acoustic groove-blues, psychedelia and classic progressive folk rock, but with the exception of its sprawling dreamscape title-track (a welcome arrival at the finale), it also kept the songwriting simple, resulting in a natural, pastoral feel that only highlighted their melodic range in songs like “Mountain Man” and “Snow Snow Snow.” I think it flew under a lot of people’s radar, but I’ve kept going back to it over the course of the year and I see no reason to stop.
Space is still the place. I’ve already highlighted closer “Artificial Light” from Comet Control‘s sophomore LP, Center of the Maze as my favorite song of 2016, so I’ll spare you the longwinded treatise on its languid cosmic glories — this time — but consider this a reminder that that song was by no means the limit of what the eight-track release had to offer in terms of breadth. From the opening push of “Dig out Your Head” to the dream-drift of “Sick in Space,” it unfolded tonal presence and a melodic depth that engaged a gorgeous, multifaceted sonic wash as it moved onward toward that landmark conclusion.
There was not a level on which Madison, Wisconsin’s Droids Attack didn’t make it clear they were going all-out, all-in on Sci-Fi or Die. Even the title speaks to the stakes involved. And sure enough, the trio executed their fourth album with a sense of urgency and professionalism in songcraft, production, artwork (discussed here) and nuance of presentation that managed to make even a song called “Clawhammer Suicide” a classy affair. As guitarist/vocalist Brad Van said on the hidden title-track, “Death to false stoner thrash.” Droids Attack brought that ethic and more to life across the entire record.
A winding road brought Beelzefuzz around to following up their 2013 self-titled debut (review here), and as The Righteous Bloom brought guitarist/vocalist Dana Ortt and drummer Darin McCloskey together with bassist Bert Hall and lead guitarist Greg Diener, it found their songwriting more expansive, more progressive and dug further into their own particular oddball sense of grandeur. I’ve said on multiple occasions that no one out there is doing what Beelzefuzz are doing and that continues to be true. Even as a first offering from a new lineup of the band, The Righteous Bloom took bold and exciting forward steps.
Down to business. Immediately. Not a moment to spare. Taking part in what can only be considered a landmark year for Ripple Music, Baltimore’s Foghound issued The World Unseen as an answer to their 2013 debut, Quick, Dirty and High (review here), and upped their game across the board. From the intensity in the hooks of “Message in the Sky” and Rockin’ and Rollin'” to the quiet interlude of “Bridge of Stonebows” and the mid-paced heavy rock nod of “Never Return,” they made a strong case for themselves among their label’s foremost acts and found individualism in the growth of their songwriting. It was a kick in the ass you weren’t going to forget.
Put out by the band digitally in Dec. 2015 and issued on vinyl in 2016, Egypt‘s second LP, Endless Flight may be somewhat debatable in terms of when it actually landed (hence “25a.,” above), but the quality of the six-tracker more than warrants inclusion anyway. Rolling dense, massively-fuzzed groove, its nine-minute opening title-track set the course for the Fargo, North Dakota, three-piece, and they only grew the heavy revelry from there, as heard on the penultimate “Black Words,” which seemed to be chewing on rocks even as it played back and forth in tempo, build and push. The converted never had it so good.
There seems to be no stopping the Chiliomodi-based 1000mods, who with their third album have stepped to the forefront of Greece’s populous and vibrant heavy rock underground. Progressed well beyond where even 2014’s impressive Vultures (review here) found them, they seemed to hit a stride with Repeated Exposure To… thanks in part to road time and the ability to bring that energy directly into songs like the eight-minute roller “Loose” and the sizable crashes of “Groundhog Day.” Momentum working in their favor could be heard front-to-back from “Above 179” to “Into the Spell,” moving them toward something ever-more crucial and marking a considerable achievement along that path. 2017 might be a good time for them to test the waters with initial US shows.
Quick turnaround from Roman heavy psych magnate Gabriele Fiori (guitar/vocals) and company, but though it hit just about 13 months after their fourth full-length, Hawkdope (review here), Black Rainbows, Stellar Prophecy wholly succeeded in making an impact of its own, cuts like the oozing, organ-laced “Woman” and 11-minute jam-out triumph “Golden Widow” showcasing an approach in a continuous state of refinement that seems to get rawer as it goes, shifting like a rogue planetoid toward some maddening cosmic realization. How something can seem both so frenetic and so blissful is still a mystery, and perhaps that’s part of what makes Stellar Prophecy resonate as it does, but either way, Black Rainbows brought together some of the year’s most efficient psychedelic immersion.
Borracho don’t seem to release an album until they have something to say. That was to their credit on Atacama, their third LP and label debut for Kozmik Artifactz debut. Also their second collection issued as a trio behind 2013’s Oculus (review here), it distinguished itself from its predecessor in its sense of overarching flow, shifting between the ahead-thrust of “Gold from Sand” into the 10-minute sample-laden jam “Overload” to start out with such ease that the listener had little choice but to follow along. With an expanded scope on “Drifted away from the Sun” and the lightly-strummed memento mori “Flower,” Borracho found new avenues of expression to complement their well established dense, heavy riffing, and took obvious care in crafting their most realized LP yet.
Nothing Brooklyn’s The Golden Grass does feels like happenstance, and though their classic-styled boogie is imbued with a vibrant, friendly positive energy, there’s an underlying meticulousness in their arrangements and in their songwriting that came further into focus on Coming Back Again, their sophomore release 2014’s self-titled debut (review here). A more progressive take showed itself in “Reflections” and “Down the Line,” and taken in combination with the bookends “Get it Together” and “See it Through,” the three-piece stood on ground that was even more their own than on the first record, striking a careful balance between the willful exploration of new elements and the outright need for tracks to directly engage their listeners with catchy hooks and upbeat vibes. They did it. Expect continued growth.
For something so awash in fuzz, so nodding in its rhythms, so let’s-push-the-vocals-back-under-this-huge-awesome-fucking-riff, Curse the Son‘s Isolator was also remarkably clearheaded in its purposes. With the added vocal harmonies of “Callous Unemotional Traits,” the far-off spaces of “Hull Crush Depth” and the stoner metal despair of “Aislamiento,” the Connecticut three-piece of guitarist/vocalist Ron Vanacore, capital-‘d’ Drummer Michael Petrucci and newcomer bassist Brendan Keefe drew a direct, intentional line to sometimes-grueling (hello, “Sleepwalker Wakes”) weighted tonality and found justification for their largesse in its own being. Like 2012’s Psychache (review here), I expect to be returning to Isolator over a longer term than this single year of release.
I feel like I need to explain myself here. Make no mistake, Neurosis‘ Fires Within Fires is among the year’s most accomplished offerings. There’s just about no way it wouldn’t be. So why not top 10? Top five? It’s a question of timing. With the long-running post-metal progenitors, it’s always a longer digestion period. It was about two years before 2012’s Honor Found in Decay (review here) really sunk in, and I expect Fires Within Fires will work similarly over the greater term. Maybe a little guilt on my part for the disparity between its quality and its placement, but rest assured, Neurosis remain among the most imperative bands walking the earth, and as they took on the full brunt of 30 years of unmitigated progression through Fires Within Fires, they were no less brazen in pushing themselves creatively than they’ve ever been.
Though the narrative of Conan has remained largely unchanged since their inception — hack, slash, kill, riff — and they still bask in nigh-on-unmatched tonal slaughter, their third full-length brings a few key developments. Perhaps most notable from opener “Throne of Fire” onward is the vocal interplay between guitarist/founder Jon Davis and bassist/longtime-engineer Chris Fielding, who joined after 2014’s Blood Eagle (review here). Adding Fielding‘s deeper growls allowed Davis to subtly move into a cleaner shout, and the emergent dynamic between them made Revengeance a decidedly expanded affair compared to Conan‘s past work. Adding drummer Rich Lewis to the mix was no minor shift either, and as much as Conan had already established their sheer dominance, they also sounded refreshed and set themselves up to keep growing.
Some records just feel like gifts, and though many of its lyrical positions were cynical — “Reality,” “21st Century Slave,” “Mind Control Machine,” “Red the Sign Post,” etc. — Freedom marked the 15th anniversary of Danish garage-psych rockers Baby Woodrose with dripping lysergic aplomb, reminding some four years after their last LP, 2012’s Third Eye Surgery (review here), that bandleader Lorenzo Woodrose is unparalleled when it comes to manifesting his take on the psychedelic victories of 13th Floor Elevators and classic-era Hawkwind — firmly at home levitating on the edge of time. Its swirl and underlying foundation of songwriting, its Richie Havens cover title-track, and its sprawling interstellar “Termination” were like a welcome check-in from another dimension, and I only hope it’s not four years before Woodrose sends the next signal. Earth needs this band.
I’m not going to discount the shuffle of “Sunday Speed Demon” or sleeze of “Sunday Speed Demon,” but where Geezer‘s self-titled third full-length really showed how far the New York heavy blues-psych trio have come was in its extended midsection jams, “Sun Gods,” “Bi-Polar Vortex” and “Dust,” each of which showed a distinct approach while feeding into an engaging flow between them, offering a blend of trailmarker hooks as they drifted into realms of organic chemistry previously uncharted by the band. The slow-motion swing of “Hangnail Crisis,” raucous push of “Superjam Maximus” and concluding bounce of “Stoney Pony” brought them back down to earth to finish out with a symmetry to the album’s opening, but Geezer kept a collective hand on the controls the whole voyage and when they landed, it was an arrival indeed, and very much what their two previous records were building toward.
Beautifully experimental with its 27-minute finisher “As Sure as the Sun,” EYE‘s Vision and the Ageless Light seemed throughout its whole 46-minute run to be executing a cohesive vision in its synth-soaked progressive textures. Between the intro “Book of the Dead” and the subsequent “Kill the Slavemaster,” “Searching,” “Dweller of the Twilight Void” and the already-noted closer, each piece had something different to offer that added to the full impact of the whole, and with guitarist Jon Finely and bassist Michael Sliclen joining founding drummer/vocalist Brandon Smith and synth/Mellotron/Moog-ist Lisa Bella Donna (also vocals and acoustic guitar), EYE added to the scope of 2013’s Second Sight (review here) and found a place for themselves where prog complexity didn’t need to come at the expense of memorable songwriting and spaced-out vibes. An absolute joy, front to back.
Even Fatso Jetson themselves would probably have to admit that six years — even a six years that saw several splits, singles, etc. — was too long between albums. Fortunately, Idle Hands saw the desert rock forebears in top form as regards their quirk-fueled songwriting, angular approach to punk and inimitable groove. Following 2010’s Archaic Volumes (review here) was no easy task, but with additional depth to the material from the contributions of guitarist Dino von Lalli — son of founding guitarist/vocalist Mario Lalli and nephew of founding bassist Larry Lalli — guest spots from his sister Olive Lalli as well as Sean Wheeler (the latter moves second cut “Portuguese Dream” into high-echelon strangeness) and the ever-propulsive drumming of Tony Tornay, Fatso Jetson were both all over the place and right at the core of where they most ought to be sonically. At 56 minutes, it hardly seemed long enough.
Each song was like a different persona the band adopted momentarily, whether it was the Bowie-goes-proto-goth-prog of organ-ic opener “Transparent Eyeball” or the grim pastoralia of “Mirror Boy” and the condemnations/proclamations of “Drugged up on the Universe,” but wherever Hexvessel went on their third full-length and Century Media debut, When We are Death, that unifying theme went with them. Death. It was everywhere in the Finland-based genre-benders’ deeply varied approach, though its presence made their material in no way off-putting, and in the case of cuts like “Cosmic Truth” or the later “Mushroom Spirit Doors,” not even dark, and as it drew the tracks together despite working in different sounds and style, it became apparent that When We are Death worked because of a universal quality in songwriting and presentation allowing for such drastic shifts without any risk of losing the audience.
Yawning Man guitarist Gary Arce — a key figure in the development of desert rock and a player of unmatched tone, period — had quite a year, between Zun‘s Burial Sunrise, his main outfit and his collaboration with Fatso Jetson vs. HifiKlub, but it was the dreamscape drift of songs like “Come Through the Water” and “All that You Say I Am” as well as the subtle hooks of “Into the Wasteland” and “All for Nothing” that, for me, made this the highlight. Sure, bringing in vocalists Sera Timms (Ides of Gemini, Black Mare) and John Garcia (ex-Kyuss, Slo Burn, Vista Chino, etc.) and having them swap back and forth between the tracks didn’t hurt either, but the wash of ethereal presence in Arce‘s guitar was an excellent showcase for his patience and improvisational sensibilities, and the spaces Burial Sunrise covered seemed to have an infinite horizon all their own. Will hope for a follow-up, will hope Garcia and Timms return, and will hope for a duet.
One had reasonably high expectations for the debut full-length from London’s Elephant Tree after their 2014 EP Theia (review here) so deftly blended spacious, sitar-laced heavy psychedelic rock with more visceral sludge impulses — a difficult mix to pull off — but I think it would’ve been impossible to see the quality of this self-titled outing coming in any substantive way. Gone were the screams, in was a depth of tone and nigh-on-perfect tempo — see “Dawn” and “Aphotic Blues,” as well as the acoustic “Circles” between them — and where some first albums have a kind of tentative, feeling-it-out vibe, guitarist/vocalist Jack Townley (interview here), bassist/vocalist Peter Holland, drummer Sam Hart and sitarist/vocalist/engineer Riley MacIntyre took utter command of the proceedings. They won’t have the element of surprise working for them next time, but as Elephant Tree made perfectly clear in its biggest surprise of all, neither do they need it.
If you were to ask me to summarize in one word the last four-plus years of Mos Generator‘s tenure, since their reactivation with 2012’s Nomads (review here) and the subsequent lineup changes and hard-touring that followed 2014’s Electric Mountain Majesty (review here), I’d say “go.” I might say it three times: Go-go-go. One of three LP-ish offerings out this year, the studio album Abyssinia embodied this ethic as it started with immediate momentum on “Strangest Times” and “You’ve Got a Right” and seemed to push itself into new ground as it went. Guitarist/vocalist/founder Tony Reed brought heavy boogie to bear at a frenetic clip, but Abyssinia offset its early mania with later progressive stylization on “There’s No Return from Nowhere,” “Time and Other Thieves” and harmonized closer “Outlander,” so that in addition to representing their furious creativity, it also brought them to places they’ve never been before in sound.
In some ways, Future Echo Returns was simply picking up where Belfast’s Slomatics left off with 2014’s Estron (review here), as heard on the riff of lead-in track “Estronomicon,” but as the third in a purported trilogy following that record and 2012’s A Hocht, it also brought the tonecrushing three-piece to Skyhammer Studio to work with producer Chris Fielding (Conan) and presented a linear storyline that, while rife with standout moments in cuts like “Electric Breath,” the ambient “Ritual Beginnings” and ultra-catchy “Supernothing,” found a genuine sense of resolution in the finale “Into the Eternal” that spoke to the scope the entire work was meant to represent — not just itself, but an entirety spanning three albums. Not a minor feat, but what also made Future Echo Returns so resonant was how well the material stood on its own, so that even without the narrative context, it was immersive, hypnotic and unbridled in its heft.
After two landmarks issued by Small Stone in 2014’s The Conjuring (review here) and 2012’s The Black Code (reviews here and here), Texas forerunners of riff Wo Fat gave a concise rundown of their appeal in the six-track Ripple debut and sixth LP overall, Midnight Cometh. Their ongoing development as found them bringing together a two-sided personality of memorable songs and open, fluid jams, and cuts like “There’s Something Sinister in the Wind,” “Of Smoke and Fog,” “Three Minutes to Midnight” and “Nightcomer” emphasized the next stage of this process, while the shuffling “Riffborn” and swaggering blues rock of “La Dilleme de Detenu” gave listeners a chance to touch ground every now and again. Over the last two-plus years, Wo Fat have become a point of influence for other, particularly American, acts — see labelmates Geezer — and Midnight Cometh assured that will be the case going forward too; a status well-earned.
Offered up this summer as a limited self-release and picked up by no less than Stickman Records (Motorpsycho, Elder), Orion might be the most molten inclusion on this list. It’s also my pick for 2016 Debut of the Year, and to hear cuts like “She Sleeps on a Vine,” “Kerosene,” the sprawling closer “Drinking from the River Rising,” or even just to take the whole record front-to-back, which was clearly how the band intended it be experienced, there’s just about no competition in that regard that stands up. The Rochester, NY, three-piece showed marked promise on their 2013 demo (review here) and 2015 split with Lé Betre (review here), but the listenability of Orion — which earned every single one of its repeat visits — made it a triumph on a different level entirely, and distinguished King Buffalo as a formidable presence in the sphere of US heavy psychedelia, fostering a sound no less soulful for its outward cosmic reach and to-be-measured-in-lightyears scale of potential.
7. Wight, Love is Not Only What You Know
Released by Fat and Holy Records, Kozmik Artifactz, Import Export Music and SPV. Reviewed Sept. 7.
German outfit Wight answered significant anticipation on their third album, Love is Not Only What You Know, some four years after 2012’s Through the Woods into Deep Water (review here) and undertook a significant evolution in sound. A transition from a trio to a four-piece and adding a strong current of funk to their heavy psych groove and boogie resulted in cuts like “The Muse and the Mule,” the jammed-out “Kelele” and “The Love for Life Leads to Reincarnation,” which were as danceable as they were nod-ready, and when complemented by shorter classic rockers like “Helicopter Mama” and “I Wanna Know What You Feel” (still plenty funky) and the Eastern-tinged interlude “Three Quarters,” gave Love is Not Only What You Know scope to match its ass-shaking encouragement. It was a spirit unto itself among 2016 releases, but ultimately, the key to understanding the record was right there in the title: It was all about love, and wherever Wight went in a given track, they never lost sight of that.
A decade and a half after 2001’s Revolution Rock (discussed here), Sweden’s Greenleaf most embodied that ethic with Rise Above the Meadow, their sixth long-player and Napalm Records debut. 2014’s Trails and Passes (review here) represented the key step of founding guitarist Tommi Holappa (interview here) bringing vocalist Arvid Johnsson into the lineup, but Rise Above the Meadow built exponentially on what that album achieved, bolstered by work as a touring band and a revitalized songwriting process heard in “Howl,” “A Million Fireflies,” “You’re Gonna be My Ruin,” the stomping “Golden Throne” and “Tyrants Tongue,” among others. I refuse to discount the quality of Trails and Passes, 2012’s Nest of Vipers (review here) or 2007’s landmark Agents of Ahriman (review here), but as Greenleaf shifted toward a style more reminiscent of Holappa‘s later output with Dozer, they also seemed to stake their claim on the forefront of European heavy rock and roll, which was just waiting for them to do so.
Perhaps the most believable lyric of 2016 was the opening line of leadoff cut “The Gree Heen” from Brant Bjork‘s Tao of the Devil: “I got all that I need. I got the gree-heen.” From the prominent pot leaf on the cover to that single clause — which set the tone for that song’s mega-nod as much as everything that followed in the boogie of “Humble Pie” and “Stackt,” the so-laid-back-it’s-almost-unconscious title-track and the longer-form explorations of “Dave’s War” and the wah’ed-out “Evening Jam” — the inimitable Bjork seems to have embraced the role of stoner guru and the Godfather of Desert Rock. Tao of the Devil was his second release through Napalm behind 2014’s Black Power Flower (review here), which introduced the Low Desert Punk Band, and far from hanging its hat on the man’s historical accomplishments from his days in Kyuss, Fu Manchu, Che, Vista Chino, etc., the 50-minute eight-tracker came fueled by the soul most typified in Bjork‘s solo catalog, which it’s increasingly easy to argue is his greatest contribution to the desert aesthetic. Definitely in his wheelhouse, but what a wheelhouse.
What a relief it was to have Asteroid back, and what a relief it was to have III arrive some six years after II (review here) and find the Örebro, Sweden, trio’s certified-organic chemistry undulled by that long stretch. The songs — “Pale Moon,” “Last Days,” “Til Dawn,” “Wolf and Snake,” “Silver and Gold,” “Them Calling,” “Mr. Strange” — there wasn’t a miss in the bunch, and in addition to the reignited craftsmanship, III made clear a progression as players and the intent to move forward from guitarist/vocalist Robin Hirse, bassist/vocalist Johannes Nilsson and drummer Elvis Campbell (since replaced by Jimmi Kolscheen), so that the material didn’t just let listeners know Asteroid was a band again after having unceremoniously faded out for a half-decade, but gave a signal that perhaps they were just getting started. One can only hope that turns out to be the case, but either way, III felt like a reward dolled out to their fanbase after a long absent stretch, and one that, like II and their 2007 self-titled debut (discussed here) before it, will reverberate its echoes for years to come. Hands down 2016’s most welcome return.
Though it would carry the context of its scorching opener “Nature Boy” with it for the duration and, accordingly, hit with a more intense feel than its 2013 predecessor, The Fury of a Patient Man (review here), Gozu‘s fourth album overall and Ripple label debut was a kick in the ass on more than just that one level. It found the Boston foursome with the finally-solidified lineup of vocalist/guitarist Marc Gaffney, guitarist Doug Sherman, bassist Joe Grotto and drummer Mike Hubbard, and while one could argue they still wound up under the banner of a heavy rock band, that became happenstance to the songs themselves. That is, even more than The Fury of a Patient Man or 2010’s Locust Season (review here), Gozu came across as writing not to style, but to their own impulses, as demonstrated in “Big Casino,” the echoing soul of “Tin Chicken” and shuffle-thrust of “Oldie,” and as they moved beyond their initial swath of influence into this individualized sonic persona, they reaped the benefits of the locked-in lineup and a process of craft that never sounded so purposeful. Revival was indeed typified by its vitality, but it was also the sound of a band maturing as a unit, becoming who they were meant to be, and there is almost nothing more exciting than that for a single album to represent. Plus, it had a song called “By Mennen,” and, you know, references.
2. Mars Red Sky, Apex III (Praise for the Burning Soul)
It was unreasonable to expect the third full-length from Bordeaux, France, trio Mars Red Sky to surpass 2014’s Stranded in Arcadia (review here) and the progressive crux that album brought to the warm tones and sweet melodicism of their 2011 self-titled debut (review here), but Apex III (Praise for the Burning Soul) reinforced the elements that worked so well on previous outings while pushing inarguably onto what the band seemed to know was “Alien Ground” if the title of their intro was anything to go by. More over, it did so with a natural fluidity and poise that were as striking as they were encompassing in sound. Tying to earlier 2016’s Providence EP (review here) in concept and execution through that intro and the title-track following it, Apex III presented the to-date pinnacle of Mars Red Sky‘s growth in songs like “The Whinery,” “Mindreader,” the tear-inducing “Under the Hood,” the swing-happy “Friendly Fire,” the willful atmospheric crash of closer “Prodigal Sun” — each one a crucial advancing step from the trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Mathieu “Matgaz” Gazeau — and brilliantly fed them one into the other, so that in addition to the standout impressions of each, there developed a personality to the whole span of the album; a world of Mars Red Sky‘s own creation, where they dwelt for what seemed too short a time before returning to earth and on from here to who knows where next.
Most of all, For this We Fought the Battle of Ages was fearless. For their fourth album, Salt Lake City’s SubRosa adapted themes from 1924’s We by Yevgeny Zamyatin, which laid out a futuristic dystopia wherein all identity is subsumed to the state and even love is outlawed when not properly sanctioned. This framework, obscure if influential, gave guitarist/vocalist Rebecca Vernon, violinist/vocalist Sarah Pendleton, violinist/backing vocalist Kim Pack, bassist/vocalist Levi Hanna, drummer/engineer Andy Patterson (formerly of Iota, among others), and a range of other contributors, a space in which to explore gender and LGBT issues across the six included tracks, and from the opening build and crush of the chorus to “Despair is a Siren” through the depiction of privilege in “Wound of the Warden,” the 97-second Italian-language ballad “Il Cappio” (translated: “the noose”) and into the gut-wrenching finale of “Troubled Cells,” their musical accomplishment was no less stunning than lyrics like, “Isn’t it good to be acquainted with darkness?/To caress it gently/To slit its throat,” from “Black Majesty.” Tense in its quiet stretches, harmonized vocally, given orchestral presence through its use of strings, flute, French horn, and so on, For this We Fought the Battle of Ages worked fluidly in what for most acts would be a contradictory modus of careful, meticulous arrangements and raw, emotional realism. No matter how deep it dove — and by the time identity was being erased and the state was taking control of the body on “Killing Rapture,” it was diving pretty deep — SubRosa never lost their sense of poise, so that the defiance in the last movement of “Troubled Cells” in which Heaven itself is rejected with the clearest of justifications, “Paradise is a lie if you’re not by my side,” the band seemed to stand as straight and tall as their multi-tiered righteousness would warrant. But even if one took For this We Fought the Battle of Ages with politics aside, its achievement in marrying post-metallic structures, gothic texture and progressive atmospherics was on a plane of its own making, operating under its own rules and in its own definitive space. Albums like it do not happen every year, and forward motion for genre as a whole is rarely so visible as it was in this special offering, which seems only fair to regard as a landmark for the band and anyone whose ears and hearts it touched.
The Next 20
Like any good Top 30, mine goes to 50. Here is the next batch:
31. Blaak Heat, Shifting Mirrors
32. Truckfighters, V
33. West, Space & Love, Vol. II
34. Seedy Jeezus with Isaiah Mitchell, Tranquonauts
35. Yawning Man, Historical Graffiti
36. Causa Sui, Return to Sky
37. Vokonis, Olde One Ascending
38. Hotel Wrecking City Traders, Phantomonium
39. The Wounded Kings, Visions in Bone
40. It’s Not Night: It’s Space, Our Birth is but a Sleep and a Forgetting
41. Beastwars, The Death of all Things
42. Naxatras, II
43. Holy Grove, Holy Grove
44. Worshipper, Shadow Hymns
45. Wretch, Wretch
46. Colour Haze, Live Vol. I: Europa Tournee 2015
47. Zaum, Eidolon
48. Bellringer, Jettison
49. Young Hunter, Young Hunter
50. Mammoth Weed Wizard Bastard, Y Proffwyd Dwyll
From the kinetic desert artistry of Blaak Heat to Mammoth Weed Wizard Bastard’s ethereal synth-laden doom, there are more than a few essentials here. I’ve never before done a year-end list that had so many releases on it, but my motivation in doing so this time around couldn’t have been simpler: They were simply too good and had too much to offer to leave out. It would’ve been an oversight to do so.
Even a Top 50 fails to grasp the full scope of what 2016 brought about musically, so here are even more, alphabetically:
Ancient Warlocks, II
Black Moon Circle, Sea of Clouds
Sergio Ch., Aurora
Lamp of the Universe, Hidden Knowledge
Mondo Drag, The Occultation of Light
Øresund Space Collective, Visions Of…
-(16)-, Lifespan of a Moth
The Well, Pagan Science
Wovenhand, Star Treatment
And if that’s still not enough, here are 60-plus more names who shouldn’t be left out of the discussion, also alphabetically:
Akris, Atala, Atomikylä, Backwoods Payback, Beastmaker, BigPig, Black Cobra, Black Lung, Blood Ceremony, Blues Pills, Bright Curse, Bus, Dee Calhoun, Captain Crimson, Child, La Chinga, Church of Misery, Conclave, Cough, Devil to Pay, Domkraft, Dot Legacy, Electric Citizen, Estoner, Eternal Elysium, Fatso Jetson & Gary Arce vs. Hifiklub, Fox 45, Goatess, Goblin Cock, Graves at Sea, Heavy Temple (they’ll be back on next year’s list), High Fighter, Holy Serpent, Hotel Wrecking City Traders, Inter Arma, Joy, Kaleidobolt, Khemmis, King Dead, Lord, Lord Vicar, Merchant, Mirrors for Psychic Warfare, Helen Money, Monkey3, Moon Coven, Mother Mooch, Necro, New Keepers of the Water Towers, T.G. Olson, Oranssi Pazuzu, Pooty Owldom, Russian Circles, Salem’s Pot, Samavayo, Seremonia, Skuggsjá, Sourvein, Spirit Adrift, Stone Machine Electric, Suma, Surya Kris Peters, Swans, Throttlerod, Virus, Wasted Theory, Wretch, and Zaum.
In case none of the above has made it clear, I’ll just say flat out that 2016 has been an amazing year for music, and that every time I feel like maybe underground heavy has hit a wall and there’s nowhere left for it to go, sure enough about three minutes later another record shows up that slaps me in the face with a reminder of just how wrong that notion is.
If you’re still reading — how could you be? — thank you so much for your incredible support throughout 2016 and all the years The Obelisk has been in progress. I already know that 2017 is going to bring some incredible music as well, but that’s another list for another time, so I’ll just say again how much I appreciate your being a part of this ongoing project, how much it means to me to have you here. Thank you, thank you, and thank you.
And please, if there’s anything I forgot, got wrong, misspelled, or if you just think I used the word “breadth” too many times, please let me know about it in the comments.
Posted in Whathaveyou on December 14th, 2016 by H.P. Taskmaster
Dallas heavy rock forerunners Mothership have confirmed High Strangeness as the title of their new album, which will see a March 17 release in the US via Ripple Music with European issue through Heavy Psych Sounds. The name of the record marks a departure from the self-titled path the band previously walked with 2014’s Mothership II (review here) and 2012’s Mothership (review here), but if upping their game is to be the theme on which the trio is working this time around, I guess the swirl-laden Adam Burke art fits into that as well when compared at least to the cover of their debut. This remains one of my most anticipated records for 2017, and if it’s not on your list as well, that’s probably your loss.
Just off the PR wire:
MOTHERSHIP to Release New Album, ‘High Strangeness’, March 17
Dallas, Texas heavy rock band MOTHERSHIP will release its new album, High Strangeness, on March 17, 2017 via Ripple Music. Recorded and mixed by Ryan Lee (Crypt Trip) at Fire Station Studios in San Marcos, TX and mastered by Tony Reed (Mos Generator / Stone Axe), the album delivers eight strong songs of the band’s self-coined “supersonic intergalactic heavy rock”. High Strangeness is the highly anticipated follow-up to MOTHERSHIP’s 2014 LP, Mothership II. Artwork for the new album was created by artist Adam Burke (Ruby the Hatchet).
MOTHERSHIP’s stout sound delivers an amped-up take on ’70’s heavy rock fury, laced with electrifying psychedelics and space rock elements. The group formed in 2010 when brothers Kyle and Kelley Juett decided to start a new band with their father John Juett on drums. In 2011, Judge Smith would assume drum duties and the trio began to hone its heavy, blues-based sound by performing live at every opportunity. Non-stop road warriors, MOTHERSHIP has risen to headliner status in 2016 and is the go-to opener for D-Town’s national touring shows, having shared the stage with Slayer, Alice in Chains, Ghost, Baroness and more in the last twelve months alone. The band was named Dallas’ Best Metal Act at the 2016 Dallas Observer Music Awards, earning the honor amidst a strong group of contenders that included True Widow and Pinkish Black.
“Our third album is fueled by the very supersonic intergalactic heavy rock and roll music that brought us together,” comments bassist / vocalist Kyle Juett. “We are confident that this new batch of tunes will fire up those who are already on board with us and motivate others to take a “trip on the ship” as well. These songs perfectly capture what will be the next chapter in our ongoing saga across this great planet and beyond. We are now playing a few new songs in our live set, so come out and hear ’em before they are released!”
1.) High Strangeness 2.) Ride the Sun 3.) Midnight Express 4.) Crown of Lies 5.) Helter Skelter 6.) Eternal Trip 7.) Wise Man 8.) Speed Dealer
High Strangeness will see release in Europe via Heavy Psych Sounds Records.
On January 6, MOTHERSHIP will kick off a short run of U.S. tour dates leading up to its appearance as part of the 2017 ShipRocked Cruise. The just-announced dates are as follows:
MOTHERSHIP tour dates: January 6 Denton, TX Dan’s Silver Leaf January 7 Oklahoma City, OK Blue Note January 8 Fayetteville, AR The Smoke & Barrel Tavern January 9 Kansas City, MO The Riot Room January 10 St Louis, MO Fubar January 11 Nashville, TN Springwater Supper Club and Lounge January 12 Atlanta, GA The Basement (Orange Amplifiers Showcase) January 13 Orlando, FL Will’s Pub January 14 Savannah, GA The Jinx 912 January 16 ShipRocked Cruise January 17 ShipRocked Cruise January 18 ShipRocked Cruise January 19 ShipRocked Cruise January 20 Miami, FL Churchill’s Pub January 21 Tampa, FL Crowbar
Mothership is: Kelley Juett – Guitars/Vox Kyle Juett – Bass/Vox Judge Smith – Drums
Posted in Whathaveyou on December 6th, 2016 by H.P. Taskmaster
Pretty much every time something cool happens concerning Texas-based heavy rockers Mothership, my reaction is the same: Well, they earned that.
Seriously, it’s just getting repetitive at this point.
The news that the Dallas trio, in addition to issuing their new album through Ripple Music in North America — as has been their custom across their last two outings: 2014’s Mothership II (review here) and 2012’s Mothership (review here) — will have a European release through Italy’s oft-discussed Heavy Psych Sounds is something of a surprise, but it engenders much the same response. Yup, they earned it.
Not that it was really a question at this point, what with their multiple-times-over veteran status, but this pretty much makes a European tour in 2017 a lock expectation as well for Mothership as they start to support the album, the title of which still awaits confirmation, though it’s US shows first starting right after the New Year that will lead them toward the new release’s arrival date, which they’ve hinted will be March 17.
News from Heavy Psych Sounds, live dates and a teaser for the new record follow. Dig it:
Mothership – Heavy Psych Sounds
HEAVY PSYCH SOUNDS Records & Booking is incredibly proud to announce that Mothership signed with us for their next album for European territory!
“We are more than proud to welcome Dallas supersonic rockers MOTHERSHIP in the Heavy Psych Sounds roster, for the European release of their upcoming third album in the beginning of 2017!
With their unconditional and ever-growing love for rock’n’roll, the heavy-groovin’ trio is set deliver yet another stellar offering of theirs – which official release date and details will be revealed soon.
Keep a sharp eye on the radar…”
Mothership live: 1/6 – Denton, TX – Dan’s Silver Leaf 1/7 – Oklahoma City, OK – Blue Note 1/8 – Fayetteville, AR – The Smoke & Barrel Tavern 1/9 – Kansas City, MO – The Riot Room 1/10 – St Louis, MO – Fubar Saint Louis 1/11 – Nashville, TN – Springwater Supper Club and Lounge 1/12 – Atlanta, GA – The Basement (Orange Amplifiers Showcase) 1/13 – Orlando, FL – Will’s Pub 1/14 – Savannah, GA – The Jinx 912 1/16 – ShipRocked Cruise 2017 1/17 – ShipRocked Cruise 2017 1/18 – ShipRocked Cruise 2017 1/19 – ShipRocked Cruise 2017 1/20 – Miami, FL – Churchill’s Pub 1/21 – Tampa, FL – Crowbar
Mothership is: Kelley Juett – Guitars/Vox Kyle Juett – Bass/Vox Judge Smith – Drums
Posted in Whathaveyou on October 13th, 2016 by H.P. Taskmaster
In the wide world of heavy rock sloganeering, there are few urgencies as compelling as ‘Trip on the Ship.’ The invitation, courtesy of reliably brash Texas trio Mothership, is set to be renewed in the first part of 2017 with the coming of a third album. As yet untitled, one can only imagine it’ll be called Mothership III in the spirit of 2014’s Mothership II (review here) and 2012’s Mothership (review here), but that’s by no means confirmed, so don’t go quoting me on it or anything.
Whatever it’s ultimately named, the third Mothership record will be preceded by a new 7″ single, and as they did prior to the last outing, the trio of bassist/vocalist Kyle Juett, guitarist/vocalist Kelley Juett and drummer Judge Smith have started to play new material live. One can’t help but wonder how the significant amount of road time they’ve put in since Mothership II — touring alongside Corrosion of Conformity, labelmates Wo Fat and Brant Bjork, among others — will have factored into their songwriting. It certainly produced a leap forward their last time out, and for a band with the kind of vital delivery as theirs, it’s all the more a crucial part of the growth process.
Ripple put forth a quick line about the coming of the single and the album, and I hit up the band for some comment on the impending doings. You can see what they had to say below:
Mothership new 7″ and new full-length album coming early 2017!
Mothership on their next record:
“Our third offering is fueled by the same supersonic intergalactic heavy rock and roll music that has brought us together today. We are confident this new batch of tunes will solidify your being on board with us, and motivate you to invite others to take a trip and join us as well. These songs perfectly capture the next chapter in our saga across this great planet and beyond. We are currently playing a few of these songs in our set, so come out and hear ’em LIVE before they are released!”
Mothership is: Kelley Juett – Guitars/Vox Kyle Juett – Bass/Vox Judge Smith – Drums
Posted in Whathaveyou on August 4th, 2016 by H.P. Taskmaster
As just about anyone who’s ever experienced Wo Fat‘s live show or heard their recorded output — most recently represented in this year’s Midnight Cometh (review here), their first album for Ripple Music and sixth overall — handling low end for the Dallas trio is no minor task. It’s an integral part of what they do, in true power trio form — all elements necessary. With that in mind, I don’t imagine that finding someone to take the spot of Tim Wilson was an easy task for guitarist/vocalist Kent Stump or drummer/vocalist Michael Walter. That makes the announcement of Zack Busby (Burden Brothers, Descender) all the more intriguing in terms of what he might be able to bring to the group’s exploratory dynamic.
We’ll find out in time. Wo Fat play the Psycho Roadshow on Aug. 20 in Austin, TX, with The Cosmic Dead, Acid Witch, Mala Suerte and many others, so that’ll probably be a good place to start. Beyond that, one doubts it’ll be too long before they hit the road again, since I don’t think at this point they’d be inclined to bring in a new player who couldn’t tour. This may turn out to be an opportunity for them to up the amount of time they spend on that. Again, it’ll be a little bit before we know either way.
In any case, good luck to Busby and continued success to the band, whose reach only seems to be expanding these days toward the forefront of American heavy rock:
Wo Fat Announces New Bass Player
Wo Fat are without a doubt regarded as one of the leading forces in riff-heavy stoner rock. With a sound that pulls from straight up blues and swamp boogie, as much as the classic riffing of Black Sabbath, Wo Fat’s Ripple Music debut, “Midnight Cometh” ranks as their most critically praised album ever. Having separated with their long-term bass player, Wo Fat engaged the services of Ryan Lee, from Crypt Trip, who ruled on bass duties for the band’s recent European tour. But still, a full-time anchor on bass had to be found.
Now the wait is over.
Wo Fat are thrilled to announce the introduction of another master of the low end to the mighty Wo Fat family.
Kent Stump says, “We would like wish a warm, rock and roll welcome to Zack Busby – the new bass player of Wo Fat. Zack is a road-hardened, veteran Rock and Roller of the Dallas heavy music scene who has stepped in to fill some heavy shoes, and has kicked some ass in so doing. We’re thrilled to have Zack laying down the low end for us and you can check him out at our upcoming shows.”
Look for Wo Fat to hit the road for Psycho Roadshow and other special dates, as well as frequent shows in their hometown of Dallas, Texas. Meanwhile, Wo Fat and Ripple Music are working on a couple special Wo Fat projects, including a split 7″ with label-mates, Mothership, and a re-issue of the limited Wo Fat “Live At Freak Valley,” LP that the band self-released, this time complete with a bonus 10″ of more head-swirling live jams.
And more Wo Fat is to come. Stay tuned. The rock goes on!
Posted in audiObelisk on May 4th, 2016 by H.P. Taskmaster
Texas fuzz forerunners Wo Fat are inching closer to the May 20 release date of their sixth album, Midnight Cometh (review here), on Ripple Music. The Dallas trio are newly returned from a second round through Europe alongside heavy rock chaosbringers Mothership that included stops at Desertfest in Berlin and London, as well as a host of packed-out club shows that only seemed to put an exclamation point on how much Wo Fat have grown over the last several years, in prestige as much as sound. They find themselves now among the foremost in the American heavy underground, legitimate ambassadors of US heavy with a sound of their own they’ve meticulously developed over the course of records like 2014’s The Conjuring (review here), 2012’s The Black Code (reviews here and here) — the two comprising an inescapable duo of LPs issued through Small Stone — and so on back through their catalog, each grown out of the accomplishments of the album before it. Crucially, while dealing familiar elements to their audience — heavy riffs, sprawling jams, bluesy vibes, an undercurrent of Southern grit and what guitarist/vocalist Kent Stump once referred to as “bayou juju” — they’ve never failed to move forward with each new release.
Midnight Cometh is no exception to that. I’ve already reviewed it — hence the link in the first sentence above — so I won’t dive too deep here, but the progression that Wo Fat have undertaken over their records, from one to the next, is as evident in the listening experience as it is clear in its intent. With an increased drive toward improvisation matched with a penchant for straightforward, landmark hooks like those in “Of Smoke and Fog” and “There’s Something Sinister in the Wind” and “Nightcomer” on the new album, Stump and drummer/vocalist Michael Walter (who played with bassist Ryan Lee of Crypt Trip on the Euro tour) still sound most of all like themselves, but increase their grasp on their aesthetic in a way that speaks not only to pushing themselves in their writing process, but to the chemistry they’ve developed on stage. They stand at the top of a crowded Dallas scene and have rightly garnered an international reputation for quality output, and as they ease into a more statesman-style role, their refusal to rest on past laurels becomes even more admirable. They are, to be blunt, the very best kind of heavy rock band.
With the record release looming like a devil at the crossroads of blues and fuzz, I’m thrilled to be able to premiere “Nightcomer,” the 10-minute closing track from Midnight Cometh. Don’t want to spoil it, so I won’t say much about it other than it sums up a lot of what’s working best throughout the album preceding, and that if you know Wo Fat — and by now, you probably should — you’re going to be glad you took the time to dig in.
Please find the track on the player below, followed by some comment from Stump, and enjoy:
Kent Stump on “Nightcomer”
“’Nightcomer’ is a heavy voodoo blues doom jam. The name is a reference to the midnight rider at the crossroads of blues lore and it’s essentially about corporate greed, dealings with the devil and consequences.”
Posted in Reviews on April 21st, 2016 by H.P. Taskmaster
There are few if any US heavy rock acts going who can match the consistent quality of Wo Fat‘s output over the last half-decade. The Dallas fuzz riffers have grown into a distinct and distinguished outfit that is always identifiable from release to release, but never fails to grow. This is true as well of their sixth studio LP, Midnight Cometh — also their first for Ripple Music after issuing 2014’s The Conjuring (review here) and 2012’s The Black Code (reviews here and here) on Small Stone — in that its six songs/49 minutes bring the band’s sound another step forward, as shown in adding percussion elements to opener “There’s Something Sinister in the Wind,” in the vocal confidence of guitarist Kent Stump and in the overarching fluidity of the trio’s jams, of which there are many, and the poise with which they blend the catchy hooks of “There’s Something Sinister in the Wind,” “Riffborn,” “Of Smoke and Fog,” “Le Dilemme de Detenu,” “Three Minutes to Midnight” and “Nightcomer” — yes, all six tracks — with the more open and improvised-feeling stretches.
In some ways, Wo Fat aren’t doing much different than they did on earlier outings like 2011’s Noche del Chupacabra (review here) or 2008’s Psychedelonaut (review here), in that they blend a swamp boogie atmosphere with memorable songcraft, a jam-ready sensibility and strong chemistry between Stump, bassist Tim Wilson and drummer/backing vocalist Michael Walter, but they leave little room as to the question of whether or not that basic pattern has been refined, and while The Conjuring felt like a landmark in their ascent to the fore of the American heavy underground — it was the record that took them to Europe, for example — Midnight Cometh once again reaffirms that their position is well earned.
It does not fix what wasn’t broken in their sound, but neither is it stagnant. In much the same way Wo Fat‘s sound has become more identifiable over the last decade since their 2006 debut, The Gathering Dark, so too has it progressed. They begin at a tumult with “There’s Something Sinister in the Wind” but soon hammer out an upbeat groove over which Stump slides in a solo before a percussion-laden verse and are into the chorus before the two-minute mark, wasting no time in setting the table for much of what will follow and build on the Southern voodoo blues atmosphere represented in David Paul Seymour‘s cover art and which “Of Smoke and Fog,” “Three Minutes to Midnight” and “Nightcomer” would seem to address directly while second track “Riffborn” and side B opener “Le Dilemme de Detenu” take their focus elsewhere.
The split between the two halves of Midnight Cometh is of particular note, since it’s something of a departure from The Conjuring, which wrapped with its 17-minute jam-minded title-track. Here, Wo Fat give each portion of the record a grand finale, in “Of Smoke and Fog” and “Nightcomer,” respectively, and the effect is to make the listening experience focused less on any individual piece than on the affect and the flow of the album as a whole. I wouldn’t argue with either methodology, particularly since while there are commonalities between songs mostly in the structuring of choruses, the band takes care to shift here and there in vibe, whether it’s the more stripped down “Riffborn,” which is faster and jams its way through its second half and out having long since left its hook behind, or the mega-swinging “Le Dilemme de Detenu” (“the dilemma of the detained”), with swagger enough for a full-length on its own, never mind the ultra-fluid hypnosis they’ve just enacted across “Of Smoke and Fog.”
That track — “Of Smoke and Fog” — emphasizes a lot of what Wo Fat have come to accomplish at this stage in their progression. It moves easily through hooks and jams and even trips out psychedelic around eight minutes in, but never lets go of its sense of purpose, and while it’s also the longest cut on Midnight Cometh at 10:47, it puts that time to use summarizing the album’s course. At the end of side B, “Nightcomer” works in a similar vein, but with a darker feel and bigger chorus, with Stump and Walter offering some vocal harmonies before the final jam. Prior to that, the penultimate “Three Minutes to Midnight” showcases the comfort level the trio feel in pushing out a faster hook and more straightforward songcraft — yet another stuck-in-your-head hook — while also bringing back some of the percussive elements of the opener, and the fact that their structures are no less molten than their jams, able to be manipulated to suit the purposes of a given track, is among Midnight Cometh‘s most engaging aspects.
Whatever the pace or trajectory, Wo Fat play like a band six albums deep. They know what they want their sound to do, they know how to make it happen, and they know that to keep it interesting for themselves and their audience, they need to continue to challenge beyond what they’ve done before. Stump has emerged as a frontman and sounds in command of the material here, and together with Walter and Wilson, they’re more of a power trio able to bring their live dynamic to a studio recording without sacrificing fidelity to the cause of a superficially organic sound. Midnight Cometh comes across as full and natural, and continues Wo Fat‘s streak of highlight outings, making it all the more apparent just how much they need to be in the conversation of the best currently active fuzz purveyors, within Texas or without. They’ve long since come into their own, but they’re reshaping what “their own” is, and it’s a joy to watch for those lucky enough to be paying attention. One of the year’s best in heavy.