The Obelisk Presents: THE TOP 30 ALBUMS OF 2017

Posted in Features on December 28th, 2017 by JJ Koczan

top-30-of-2017

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 2017 to that, please do.

We’re almost at the finish line for 2017, and if I’m honest, it’s not a minute too soon. I think if one more record comes out this year my head is going to explode.

A perpetual onslaught of cool music is, of course, nothing to complain about. It just seemed like every time I thought I had a handle on where the year was going, some other announcement came through and knocked me on my ass. What’s that? The Obsessed are putting out their first album in more than two decades? Oh and Monolord have a new one coming? Radio Moscow just signed to Century Media? Arc of Ascent are back? Samsara Blues Experiment are back? Causa Sui are putting out a live album and a studio album? Sasquatch are going to Europe and sneaking a record along with them? All of a sudden I’m out of breath feeling like I just ran a lap.

It’s been madness this year. Between an emergent neo-psych movement in the wake of King Gizzard and the Lizard Wizard and others, and the ongoing and constant reshaping of doom and heavy rock from practitioners new and old, I don’t know how anyone could ever claim to keep up with any of it.

You know I do the best I can, so when you look through this list, please keep in mind that these are my picks and the result of applying my own standard, which if you’ve ever seen a list on this site before you probably already know is a combination of things like what I view as being important on a critical level and things like what kept me coming back as a listener. What were the year’s biggest releases and what couldn’t I get enough of? Sometimes those two things come together around one record and it’s beautiful. That’s usually your album of the year, or close to, anyhow.

No sense in delaying further. I hope if you haven’t heard some of this stuff you’ll give it a shot, and if you have something you felt strongly about it, you’ll let me know in the comments. Thanks in advance for keeping it civil, and of course for reading.

Here goes:

30. Geezer, Psychoriffadelia
geezer psychoriffadelia

Released by Kozmik Artifactz and STB Records. Reviewed May 16.

Coming off of what was their strongest album to-date in their 2016 self-titled (review here), New York heavy psych blues trio Geezer decided it was time to take the groove for a walk. And so they did. Psychoriffadelia is the result — a looser collection of jams and willfully unrefined heavy blues, reveling in the politically incorrect on “Dirty Penny” only after basking in the post-Monster Magnet hypnosis of “Red Hook” and the earlier roll of the more straightforward “Hair of the Dog” and “Stressknots.” Everything Geezer has done to this point has pushed their sound to new places. Psychoriffadelia is no exception.

29. Orango, The Mules of Nana

orango the mules of nana

Released by Stickman Records. Reviewed March 27.

More than a touch of twang on opener “Heartland” sets a tone of Americana-infusion for Orango‘s sixth LP, The Mules of Nana, but the 10-tracker is ultimately much more about harmony-laced classic heavy smoothness than playing to prairie-minded sensibilities, though roots spread wide through a natural, dirty blues just the same. However they get there, “Hazy Chain of Mountains,” the softshoe-ready funk of “Head on Down” and the peacefully progressive finish of “Ghost Rider” bring ’70s-style thrills in songwriting and their precise, gorgeous execution. Underrated record from an underappreciated band.

28. Radio Moscow, New Beginnings

radio moscow new beginnings

Released by Century Media. Reviewed Oct. 6.

Cali boogie kingpins and all-around marvelous frenetic bastards Radio Moscow were in top form on their Century Media debut, and if it was a new beginning they were searching for, they met it head on with a sound as classic and organic as ever. Arguably the most powerful power trio in their game, they tore through cuts like “No One Knows Where They’ve Been” and “Deceiver” while offering flourish in the trip-out “Woodrose Morning” and subdued blues-psych on the penultimate “Pick up the Pieces.” Very much to form, but cast of a form that still manages to outclass all challengers.

27. Spaceslug, Time Travel Dilemma

spaceslug time travel dilemma

Released by Southcave Records, BSFD Records and Oak Island Records. Reviewed Feb. 10.

And so here we have the first of what will no doubt be several records about which I’m going to say they should be higher on the list. Poland’s Spaceslug have emerged from the moist ground created by their own tonality and on their sophomore full-length, they proffered warm depth of fuzz and a corresponding melodic and psychedelic reach that was resonant even before they brought in ex-Sungrazer bassist Sander Haagmans for a guest spot on the title-track. It’s been out for 10 months and still delivers every time I put it on, which is often.

26. Mothership, High Strangeness

mothership high strangeness
Released by Ripple Music and Heavy Psych Sounds. Reviewed March 7.

Three albums into a tenure marked by hard-driving riffs, scorching solos and relentless road work, there’s little Texas trio Mothership need to do at this point to prove themselves to their audience. At the same time, High Strangeness brought considerable expansion to their range overall, whether it was the exploratory “Eternal Trip” or the semi-metallic insistence behind “Midnight Express,” while staying tied together with lyrical and instrumental hooks. High Strangeness set a new standard for Mothership, plain and simple, and easily surpassed the considerable accomplishments of their 2012 self-titled debut (review here) and 2014’s Mothership II (review here).

25. Eternal Black, Bleed the Days

eternal black bleed the days

Released by Obsidian Sky Records. Reviewed Aug. 1.

There was a lot about Eternal Black‘s Bleed the Days that chugged its way into the post-Wino oeuvre of US-style trad doom, but the gruff, lumbering and impeccably riffed outing was nonetheless one of 2017’s best debut full-lengths, and it was the songwriting that got it there. Already sounding sure in the vibe captured, cuts like the plodding brooder “Sea of Graves” and “Stained Eyes on a Setting Sun” showed potential in mood and atmosphere as much as sheer sonic heft — though of course there was plenty of that to go around as well. Doomers missed it at their peril.

24. Kadavar, Rough Times

kadavar rough times

Released by Nuclear Blast. Reviewed Sept. 6.

It kind of feels like a slight to have Berlin trio Kadavar appear anywhere outside of at least a top 10 on any kind of list whatsoever, ever, but that’s not my intention at all. Rather, their fourth album and third for Nuclear Blast found them at an important stage in their progression — past the novelty of the vintage feel in their early work, after having proven their songwriting could translate to a modern context, and embarking on a process of expanding their sound. Rough Times, which was as current as current could be, met that goal and beat it easily with a barrage of memorable choruses and a dark streak one could only consider suitable for our age.

23. Shroud Eater, Strike the Sun

shroud eater strike the sun

Released by STB Records. Reviewed June 28.

The biggest surprise about Shroud Eater‘s long-awaited sophomore long-player was also its most encouraging aspect — namely how it found the Miami trio bringing together various impulses shown on a number of shorter releases over the course of the six years since their debut, ThunderNoise (review here), came out in 2011, and still managed to utterly crush when it so chose. With a swath from sludge to drone and back again, this was no minor feat, and that the songs they brought to bear were so memorable at their heart as well makes me hope all the more it’s not 2023 before their third album arrives.

22. Enslaved, E

enslaved e

Released by Nuclear Blast. Reviewed Oct. 4.

What’s left to say about Norwegian progressive black metal innovators Enslaved 14 records into their career? Plenty as it turns out. The introduction of new keyboardist/vocalist Håkon Vinje in place of Herbrand Larsen brought a new twist on a signature element of Enslaved‘s approach. Vinje utterly owned his role, and his performance alongside guitarist Ivar Bjørnson, bassist/vocalist Grutle Kjellson, guitarist Arve “Ice Dale” Isdal and drummer Cato Bekkevold resulted in a fresh urgency that made the band’s sound even more potent and set their ongoing creative evolution on a new branch of its self-directed path.

21. Arc of Ascent, Realms of the Metaphysical

arc-of-ascent-realms-of-the-metaphysical

Released by Astral Projection and Clostridium Records. Reviewed April 6.

Some five years on from 2012’s The Higher Key (review here) and seven out from their debut, Circle of the Sun (review here), and with bassist/vocalist Craig Williamson firmly entrenched in his always excellent Lamp of the Universe psych-drone-folk solo-project, I wasn’t sure there would be another offering from New Zealand heavy psych-rock trio Arc of Ascent, but Realms of the Metaphysical took shape from an ether of riffs and echoes atop resilient underlying structures and revitalized the group with new drummer Mark McGeady in the lineup with Williamson and guitarist Matt Cole-Baker. Remains to be seen if this marks a priority shift for Williamson or it’s a one-off, but its arrival was welcome either way.

20. Causa Sui, Vibraciones Doradas

causa sui vibraciones doradas

Released by El Paraiso Records. Reviewed Oct. 20.

With the various glories already offered in 2017 on the Live in Copenhagen (review here) 3LP, one didn’t necessarily expect a new studio outing from Danish instrumental psych masters Causa Sui, but Vibraciones Doradas found them as vibrant as ever, bringing forth a surprising amount of tonal weight on songs like “El Fuego,” warm fuzz for the basking on opener “The Drop” and spaciousness on the closing title-track. Somewhat more straight-ahead in its rocking groove than 2016’s Return to Sky (review here), the five-track/38-minute long-player showed yet again why Causa Sui are always welcome and that any news of a new release from them, live, studio, whatever, is good news. This was the kind of record that could make your day if you let it.

19. Telekinetic Yeti, Abominable

telekinetic yeti abominable

Released by Sump Pump Records. Reviewed April 10.

The Iowa-based duo of guitarist/vocalist Alex Baumann and drummer Anthony Dreyer, operating as Telekinetic Yeti, released what I considered to be the debut of the year, both for the fullness of its tonality and the accomplishment in songcraft it already showed. Powered by cuts like its lumbering title-track and the gloriously fuzzed runner “Stoned and Feathered,” it could’ve been another band’s second or third record for the level of cohesion on display and the obvious awareness on the part of the band of what they wanted to do with their sound and the just-as-obvious result of their bringing it to life.

18. Cloud Catcher, Trails of Kozmic Dust

cloud catcher trails of kozmic dust

Released by Totem Cat Records. Reviewed Dec. 9, 2016.

While I admit I’m still not 100 percent certain on whether to spell “kozmic” in the title with a ‘k’ or with a ‘c’ on the end, that question did nothing ultimately to diminish enjoyment of Denver emergents Cloud Catcher‘s sophomore outing. Topped off by one of the best album covers of the year, the follow-up to their 2015 debut, Enlightened Beyond Existence (discussed here), took the progressive casting of that record to a place entirely more raw and rock-driven, willfully roughing up the edges even as it showed marked creative growth on a relatively quick turnaround. The must-hear bass tone of “Beyond the Electric Sun” and “Super Acid Magick” was icing on a cake of choice riffing and Hendrixian lead swirl, and the shuffle they elicited was enough to make even the most stubborn of asses (i.e. mine) think about moving.

17. Ruby the Hatchet, Planetary Space Child

ruby the hatchet planetary space child

Released by Tee Pee Records. Reviewed Aug. 29.

After the neo-garage manifestations of their 2015 sophomore outing, Valley of the Snake (review here), it was clear Philly psych rockers Ruby the Hatchet were a force when it came to songwriting. What was less obvious was what they’d do with that going forward. On Planetary Space Child, at least, the answer is they’ll take it to Freaktown. The melody-happy, organ-laced swirlmasters conjured presence kosmiche enough to justify the album’s title, and around the cast-in-moon-rock structures of the swinging “Pagan Ritual” and the playfully doomed “Symphony of the Night,” Ruby the Hatchet built a multifaceted weirdoist triumph the likes of which simply doesn’t come along every year, establishing themselves as more reliable and less predictable than ever: an absolute win.

16. Alunah, Solennial

alunah solennial

Released by Svart Records. Reviewed March 1.

It’s been the case more or less all along with UK forest rockers Alunah that their nature-minded material and heavy rolling grooves have had their haunting aspects, but with the production of Conan‘s Chris Fielding behind it, Solennial — their fourth LP and first on Svart — brought this to new levels entirely. The songs, memorable like footprints in the woods, are somewhat bittersweet in context now, since founding guitarist/vocalist Sophie Day announced in September she was leaving the band, but as the group will move forward led by guitarist Dave Day and recently acquired new singer Siân Greenaway, intrigue remains high at what the future might bring and the impact of Solennial is undiminished.

15. Mindkult, Lucifer’s Dream

mindkult-lucifers-dream

Released by Transcending Obscurity Records and Caligari Records.

Virginia-based doomgazing garage cult solo-project Mindkult has thus far managed to keep some of the mystique around its sole inhabitant, Fowst, which is admirable in a way. As the multi-instrmentalist, vocalist and producer this year answered the promise of last year’s Witch’s Oath (review here) debut, he did so around a swath of purposeful miseries, loose devil worship and other dark thematics, casting an atmospheric darkness matched head-on by the tonal murk of his riffs. Through this, however, the songwriting was no less memorable than on the first offering, and as the project moves forward, one can only hope that Fowst will continue to use that as the core aspect buried six feet under his other, formidable stylistic achievements. That certainly was how it worked out on Lucifer’s Dream.

14. Argus, From Fields of Fire

argus from fields of fire
Released by Cruz del Sur Music. Reviewed Sept. 1.

Behold ye perhaps the most underrated band in heavy metal. Regardless of subgenre, style, strata, whatever, it’s hard to listen to From Fields of Fire and think of Pittsburgh’s Argus as anything else. The five-piece’s fourth album continued to owe part of its sound to doom, but was much more encompassing than simply that, touching on aspects of classic metal with a command that left one wondering how they hadn’t yet been tapped to open for Judas Priest on that band’s next tour. Victory abounds on a per-song basis throughout the nine-tracker, and whether it was the emotional crux of “Hour of Longing” or the catchy fistpump righteousness of “Devils of Your Time” or the 11-minute progressive reach of “Infinite Lives/Infinite Doors,” Argus once again crafted a work nigh-unmatched in poise and class.

13. Uffe Lorenzen, Galmandsværk

Uffe-Lorenzen-Galmandsvaerk

Released by Bad Afro Records. Reviewed Nov. 6.

For the first outing ever to be issued under his real name, Denmark’s Uffe Lorenzen — aka Lorenzo Woodrose of garage-psych pioneers Baby Woodrose — danced between acid folk singer-songwriterisms like “Flippertøs” and more expansive jamming on “På Kanten Af Verden,” all the while retaining his distinct structural and arrangement sensibilities and creating a flowing vibe that was nothing less than a pure joy of classic-form psychedelia. The most serene and pastoral freakout one was likely to witness in 2017, easily, Galmandsværk resounded in the Mellotron-laced “Høj Som Et Højhus” and was no less at home in the acoustic spaciousness of the earlier “Remits Tyranni,” able to wander where it pleased and find steady ground in molten surroundings.

12. The Flying Eyes, Burning of the Season

the flying eyes burning of the season

Released by Ripple Music. Reviewed Oct. 11.

A welcome return from a viciously underappreciated band, The Flying EyesBurning of the Season marked the Baltimore four-piece’s first offering for Ripple Music and first since 2013’s Lowlands (review here), a four-year stretch during which the band kept busy touring Europe and South America, the latter also being where they recorded these songs with Gabriel Zander at Estudio Superfuzz in Brazil. The tonal depth resulting from that process was enough to make the collection a highlight, but it was the songs themselves that most stood out, benefiting from the band’s expanded reach and legitimate, hard-won maturity. Especially for a group who’ve done so much work on the road over their years — to be fair, the US has been pretty low priority in that regard — they remain a secret kept too well.

11. Bell Witch, Mirror Reaper

bell witch mirror reaper

Released by Profound Lore. Reviewed Dec. 27.

Doomed extremity simply unmatched in its scope. The song of the year for 2017. An accomplishment the likes of which is prone to happen maybe once or twice in a generation. None of this seems to really speak to the entirety of the achievement that is Bell Witch‘s Mirror Reaper — the single-song, 83-minute full-length issued by the Seattle duo like a challenge in the face of mortality itself. Beautiful, devastating and weighted like the grave, its sprawl utterly consumed the listener, and I firmly believe it will be years before its depths are fully processed. Some offerings are bigger than the year in which they’re released. Mirror Reaper would seem to function on a scale of its own, and though it could easily be read as a litmus test for audience punishment, the truth of the listening experience is both more emotionally complex and more fulfilling than simple hyperbole can capture.

10. Monolord, Rust

monolord rust

Released by RidingEasy Records. Reviewed Oct. 26.

The story all along with Gothenburg’s Monolord has been tone. Tone tone tone. Crush crush crush. Riffs riffs riffs. Nothing wrong with any of that, but their third album, Rust, proves once and for all that there’s more to the trio than “cool riffs bro” and post-Electric Wizard nod. Catchy cuts like “Dear Lucifer” and rolling opener “Where Death Meets the Sea” brought a sense of space leading to the later sprawl of “Forgotten Lands” and “At Niceae,” and the band settled into an individualized, lumbering psychedelia that moved forward from 2015’s Vænir (review here), not leaving behind the heft that earned them their reputation, but not at all being limited by it either in scope or overall approach. Three records in, Rust brought forth Monolord‘s greatest sonic expansion yet and gave rise to the feeling that their true potential was just starting to come to fruition. Also, crush crush crush. Cool riffs, bro.

9. Vokonis, The Sunken Djinn

vokonis-the-sunken-djinn

Released by Ripple Music. Reviewed June 5.

The Sunken Djinn is Vokonis‘ second full-length in as many years, and in addition to serving as their Ripple debut where 2016’s Olde One Ascending (review here) landed via Ozium Records, it was a feast for hungry riff hounds. In defiance of its quick turnaround, it showed a firm evolution taking place within the upstart Swedish trio of guitarist/vocalist Simon Ohlsson, bassist/backing vocalist Jonte Johansson and drummer Emil Larsson, whose range overall was greater in tracks like “Rapturous” and the torrential “Blood Vortex” while nonetheless controlled in its delivery. Their Sleep-y origins still a factor sound-wise, Vokonis were able just the same to push themselves ahead into new sonic ground in fittingly lumbering fashion, and the character they brought to “The Sunken Djinn,” “Calling from the Core” and the noise-caked “Maelstroem” seemed to speak to a burgeoning sense of atmospheric focus taking hold as well. Still so much potential here.

8. Electric Moon, Stardust Rituals

electric moon stardust rituals

Released by Sulatron Records. Reviewed April 7.

Do I even need to remotely justify having Electric Moon‘s first studio album in six years on this list? Was it not just like a love-letter issued by the cosmos itself? What more explanation could possibly be necessary? Not that the German trio haven’t dropped copious, glorious live outings all the while, but to have Dave “Sula Bassana” Schmidt, “Komet Lulu” Neudeck and Marcus Schnitzler follow-up 2011’s The Doomsday Machine (review here) with four cuts culminating in the 22-minute sprawl of “(You Will) Live Forever Now” was high on the list of the year’s most satisfying psychedelic journeys. Constantly exploring, their methods always seem geared toward finding the molten essence of space rock itself, and though the songs on Stardust Rituals were a little more crafted than some of their straight-up improv jams, they nonetheless showed there are many avenues one might take to get to the heart of the sun.

7. Sun Blood Stories, It Runs Around the Room with Us

sun-blood-stories-it-runs-around-the-room-with-us

Self-released. Reviewed May 1.

This one is personal, and by that I mean I love this fucking band. Similar to my experience with their 2015 sophomore outing, Twilight Midnight Morning (review here), the third record by Boise-based trio of Ben Kirby (vocals, guitar, synth, percussion), Amber Pollard (vocals, guitar, theremin, percussion) and Jon Fust (drums, keys, percussion, noise) was one that I simply could not put down. Even now, seeing the name of the record is all I need to have songs like “The Great Destroyer” and the immersive midsection in “Come Like Rain” and “Time Like Smoke” stuck in my head, let alone the ultra-brazen, searingly-pissed “Burn” noise assault that finished the album and in the span of 90 seconds turned all the psychedelic warmth and serenity on its face with a visceral anger completely unforeseen and jarring, turning it from a depth-laden execution of adventurous neo-psych and indie into a project of conceptual artistry with all the efficiency of the chemical reaction it sought to portray. If you missed it, your loss.

6. The Atomic Bitchwax, Force Field

the-atomic-bitchwax-force-field

Released by Tee Pee Records. Reviewed Dec. 7.

Songs like “Alaskan Thunder Fuck,” “Humble Brag” and “Earth Shaker (Which Doobie U Be?)” assured that the defining character of Force Field, the sixth album from New Jersey’s The Atomic Bitchwax, was pure scorch. That made the 12-cut outing a more than worthy follow-up for 2015’s  Gravitron (review here), which introduced this more speed-rock-minded, aggressive delivery from the tight-as-nails trio, and while they proved they could still lock in a slower groove on the organ-topped finisher “Liv a Little,” head-spinners like the instrumental “Fried, Dyed and Layin’ to the Side” and “Houndstooth” came across like the fruit of the band pushing themselves to the limits of their physical ability in terms of tempo, and their ride along the edge of that line brought thrills at every turn. And make no mistake, there were a lot of turns. Fortunately, bassist/vocalist Chris Kosnik, guitarist/vocalist Finn Ryan and drummer Bob Pantella seemingly had a corresponding hook in their pocket for each one of them. This band is a national treasure.

5. Atavismo, Inerte

atavismo inerte

Released by Temple of Torturous. Reviewed Feb. 21.

Warm, fuzzy tones, rhythmic shifts right out of classic progressive rock, melodic intricacy and periodic excursions into glorious psychedelic drift: I’m not sure what wasn’t to like about Inerte, Atavismo‘s second full-length behind 2014’s Desintegración (review here). Comprising five tracks of unmistakable flow and jam-laden fluidity, it was immersive with landmarks along the way to keep the listener from getting too lost, and whether or not one spoke Spanish, the three-piece of Jose “Poti” Moreno (ex-Viaje a 800Mind!), bassist/vocalist Mateo and drummer/vocalist Sandri Pow (also ex-Mind!) made it easy to follow along their purposefully meandering path, offering guidance no less skillful on the 11-minute fuzz-freaker “El Sueño” than the dream-toned linear build of “Belleza Cuatro.” There were very, very few albums I listened to more this year than this one, which is precisely why it is where it is on this list.

4. Samsara Blues Experiment, One with the Universe

samsara-blues-experiment-one-with-the-universe

Released by Electric Magic Records and Abraxas Records. Reviewed May 4.

Four years between records isn’t at all an unheard of stretch. It’s not the longest on this list by any means. But with Berlin heavy psych rockers Samsara Blues Experiment, it really seemed like the band was done, so to have them come back with such force on One with the Universe was, as I know I said at several points throughout the last 12 months, one of the year’s total highlights. Tracked by former bassist Richard Behrens, the group’s fourth album answered the extended-track spread of 2013’s Waiting for the Flood (review here) with a deeper sense of sonic variety, and while the 15-minute title-cut and opener “Vispassana” still had plenty of room for jamming out and even six-minute centerpiece “Glorious Daze” found room for some flourish of organ and sitar, guitarist/vocalist Christian Peters, drummer Thomas Vedder and bassist Hans Eiselt rightly featured the chemistry they’ve built as a trio live and brought to the songs a renewed sense of vigor, sounding — and hopefully being — truly inspired. Waiting for the Flood capped a period of marked productivity across several years. Fingers crossed One with the Universe begins that cycle anew.

3. Elder, Reflections of a Floating World

Elder-Reflections-of-a-Floating-World

Released by Armageddon Shop and Stickman Records. Reviewed May 23.

You just can’t consider Elder‘s Reflections of a Floating World outside the context of the progressive achievement that was their prior outing, 2015’s Lore (review here). Where the trio — based now between Massachusetts and Berlin, Germany — took their first two outings, 2008’s self-titled debut (discussed here) and 2011’s Dead Roots Stirring (review here), to find their sound, which they began to showcase on the 2012 Spires Burn/Release EP (review here), it was Lore that brought to fruition the potential that had always been waiting to be unleashed by the trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto, and Reflections of a Floating World had the daunting task of being the next further step from that landmark moment. To say the band rose to the occasion is perhaps to undersell the cohesion at work in consuming-but-cohesive pieces like opener “Sanctuary” or “Blind” or “Staving off the Truth,” which brought together clear-headed psychedelia around a wash that seemed to stem as much from rhythm as melody. As they’ve matured stylistically and become a major touring presence, Elder have made themselves perhaps the most pivotal American heavy rock act going, and Reflections of a Floating World brings them to the discovery of yet another apex while at the same time giving zero indication it will be the last one they find.

2. Colour Haze, In Her Garden

colour haze in her garden

Released by Elektrohasch Schallplatten. Reviewed March 9.

Of course, the bonus of writing about Colour Haze in just about any context is that you get to put Colour Haze on while you’re doing it, and in the case of the 12th LP from these Munich heavy psych forebears, that’s an even more appealing prospect. After stripping down some of the arrangement flourish with 2014’s To the Highest Gods We Know (review here), the 13-track/73-minute 2LP In Her Garden brought a revitalized sonic expansion, but as ever, it wasn’t just the horns or the strings or the blend of keys and acoustics that made In Her Garden the unbridled joy that it was and continues to be — it was the underlying performance from guitarist/vocalist Stefan Koglek, bassist Philipp Rasthofer and drummer Manfred Merwald that gave the album the stem on which its garden grew. That’s not to say Jan Faszbender‘s work on modular synth, Rhodes, and Hammond or the arrangements of strings, tuba, bass-clarinet and trombone throughout hurt anything, just that as Colour Haze have grown into incorporating these elements into their groundbreaking aesthetic, they haven’t left behind the organic chemistry and necessary live feel that has helped them influence a generation of followers over their more than 20-year career. One came through as much as the other on In Her Garden, and that balance gave the overarching warmth of their self-recorded tonality yet another level on which to engage their audience. I’ll be a sucker for Colour Haze for as long as I live, and I have absolutely no problem admitting to and owning that.

1. All Them Witches, Sleeping Through the War

all them witches sleeping through the war

Released by New West Records. Reviewed Jan. 27.

It was clear early on that Nashville four-piece All Them Witches were contending hard for Album of the Year with Sleeping Through the War, their fourth long-player and second for New West following the mellow vibes of 2015’s Dying Surfer Meets His Maker (review here). What finally sealed it? The songs. Working with producer Dave Cobb, the each-member-essential lineup of bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, key-specialist Allan van Cleave (Rhodes, Mellotron, piano, organ, etc.) and drummer/graphic artist Robby Staebler solidified their approach in exciting new ways on early cuts like the grunge-crunching “Don’t Bring Me Coffee” and the shuffling “Bruce Lee,” which hit in succession following the fluid lead-in of opener “Bulls,” an introduction of the organic psychedelia and heavy blues that the loose-swinging of “3-5-7″‘s nigh-on-gospel chorus and subsequent, almost maddeningly catchy “Am I Going Up?” would continue to push outward, thereby setting a linear course into a consciousness-capturing side B with “Alabaster” and the jammier “Cowboy Kirk” and “Internet” playing between melodic nuance and mindful, go-with-it drift. The unflinching strength of the material was matched perhaps only by the understatement of its delivery, which was the more staggering considering how easily the arrangements of background vocals on “Am I Going Up?” or  “3-5-7” could have come through as overblown or self-indulgent, and by the time they got down to the light weirdo-bluesy stomp of “Internet” — the key lyric and hook being, “Guess I’ll go live on the internet” — there was no doubting the genuine nature of the realization Sleeping Through the War represented for All Them Witches. Coupling that feeling of achievement with the sheer repeatability of the listening experience itself left no doubt that 2017 belonged to these tracks and the marvelous way the band wove between them, and that whatever other sounds All Them Witches may go on to explore and whatever else they may accomplish as a result, Sleeping Through the War was a truly special moment in their evolution that, as with the best of offerings in any year, will continue to resonate long after the calendar page has turned.

The Next 20

You know, I used to feel like once you got past a top 20, the numbers were arbitrary. Then I felt that way about the top 30. This year, I think I agonized more about what to include in numbers 31-50 than I did between 30 and the album of the year. Put that in your “go figure” file while you chew on these picks:

31. Cities of Mars, Temporal Rifts
32. The Midnight Ghost Train, Cypress Ave.
33. Snowy Dunes, Atlantis
34. Rozamov, This Mortal Road
35. PH, Eternal Hayden
36. Sasquatch, Maneuvers
37. Young Hunter, Dayhiker
38. The Devil and the Almighty Blues, II
39. Ufomammut, 8
40. John Garcia, The Coyote Who Spoke in Tongues
41. Paradise Lost, Medusa
42. Beastmaker, Inside the Skull
43. Arduini / Balich, Dawn of Ages
44. Primitive Man, Caustic
45. Motorpsycho, The Tower
46. Arbouretum, Song of the Rose
47. Hymn, Perish
48. Youngblood Supercult, The Great American Death Rattle
49. Pallbearer, Heartless
50. Dool, Here Now There Then

There’s so, so much good stuff here. So much. The Cities of Mars debut was a treasure and the only reason it wasn’t on my top debuts list was because I haven’t had the chance to go back in and put it on. The Young Hunter record? Some of their best work yet. Hell, that Arduini / Balich album alone! Then you’ve got huge releases by Pallbearer, Ufomammut, Paradise Lost, Primitive Man, on and on. Like I said at the outset, one more album and my head was gonna explode this year. Way too much to ever hope to keep up with. One thing though I felt like I really wanted to emphasize including was Dool. They’re in the last spot, but make no mistake, in atmosphere and songwriting that album was something really special and loaded with potential. It’s not there because it came in last. It’s there to highlight the point of how much it should be on this list.

What’s that? More records? Okay…

Honorable Mentions

In case you also weren’t completely overwhelmed this year, maybe another batch of records will do the trick. Here’s some presented alphabetically:

Anathema, The Optimist
Blackfinger, When Colors Fade Away
Child, Blueside
Cortez, The Depths Below
Demon Eye, Prophecies and Lies
Elbrus, Elbrus
Electric Wizard, Wizard Bloody Wizard
Ecstatic Vision, Raw Rock Fury
Five Horse Johnson, Jake Leg Boogie
Mirror Queen, Verdigris
The Obsessed, Sacred
T.G. Olson, Foothills Before the Mountain
Outsideinside, Sniff a Hot Rock
Queens of the Stone Age, Villains
Siena Root, A Dream of Lasting Peace
Six Organs of Admittance, Burning the Threshold
Steak, No God to Save
Summoner, Beyond the Realm of Light
Valborg, Endstrand
With the Dead, Love from With the Dead

Plus: Abronia, Lewis and the Strange Magics, Iron Monkey, Band of Spice, Puta Volcano, Galley Beggar, Heavy Traffic, Coltsblood, REZN, Green Meteor, Demon Head, Lord, Grigax, The Raynbow, Carpet, Norska, Les Lekin, Slow, Ixion, and I’m sure more that I’ll add as the names continue to pop into my head.

I did this back in June as well, but I also want to draw attention to a swath of quality live albums that came out this year. The top pick should be no surprise if you’ve been hanging around the site of late:

Live Albums:
1. SubRosa, Subdued Live at Roadburn
2. Causa Sui, Live in Copenhagen
3. Slomatics, Futurians Live at Roadburn
4. My Sleeping Karma, Mela Ananda – Live
5. Wight, Fusion Rock Invasion
5. Death Alley, Live at Roadburn

Thank You

It’s been a hell of a year, obviously. Musically and otherwise. As always, I cannot possibly come close to thanking you enough for your incredible and ongoing support of The Obelisk, of what this site is, what it’s become over its nearly nine-year run, what it will continue to become going forward from here. It is astounding to me and deeply humbling that you would possibly take time out of your busy day and your busy life to check out what’s going on here, and words fail me continually when it comes to feeling like I can properly convey my appreciation for that. Thank you for reading. Thank you for reading. Thank you for reading. Tattoo it on my forehead.

Thank you to The Patient Mrs. for understanding how much I need to be doing this, to Slevin for keeping the site running on the technical end, to Behrang Alavi for taking over hosting earlier this year, to my family for their ongoing support, to The Pecan for sleeping late some mornings and giving me time to write, and to everyone who ever shared a link on social media or made a comment on a post or anything like that. To long-time readers and to newcomers alike — thank you so much. This year has seen a fair share of ups and downs, but the support this site gets sustains me in ways I never expected it could, and that would be impossible without you. Please know how crucial that is to me.

Well, that should do it. I know there are probably disagreements about where things landed on the list, what was included, what was left out, etc., as there always are. All comments are of course welcome — only thing I’d ask is you please keep it civil and respectful of the opinions of others. Otherwise, have at it. Please.

And one more time, thank you for reading.

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Demon Eye Announce Fall Shows

Posted in Whathaveyou on August 29th, 2017 by JJ Koczan

You can hear it now in its entirety, but Demon Eye‘s Prophecies and Lies (review here) is still more than a week off from its actual US release date of Sept. 8. Does that mean you’re getting away with something hearing it early? Yeah, probably not, but whatever. The North Carolinian heavy/garage/proto/doom/and-so-on specialists always deliver in terms of songwriting and the new record’s no exception. I’m glad to see they’ll be getting out a bit and supporting the record in the coming months. It’s not a five-week, nonstop, in-the-van-on-the-road tour or anything like that, but some choice shows throughout the South and Midwest coming up between now and December, and every little bit counts.

I feel like you don’t need me to tell you things like “go see good bands,” but yeah, go see good bands. The following brief update from the PR wire tells you where this one will be available for just that purpose:

demon eye

DEMON EYE: North Carolina Occult Metal Collective Announces Fall Live Dates; Soulseller-Bound Prophecies And Lies Full-Length To See North American Release Next Month

Occult metal collective DEMON EYE will embark on a bout of live performances through Virginia, Pennsylvania, Michigan, Indiana, and their home state of North Carolina this fall. The band’s latest run of dates come in conjunction with the release of their newest full-length, Prophecies And Lies.

Out now in Europe, Prophecies And Lies was captured by Corrosion Of Conformity’s Mike Dean and finds DEMON EYE’s fiery fusion of heavy classic rock, proto metal, and traditional doom at its most intense to date. A monolithic display of mighty riffs, haunting melodies, and fist-raising anthems, DEMON EYE conjures vintage, heavy darkness for modern day evils.

Prophecies And Lies will be released in North America on September 8th. For US CD preorders go to THIS LOCATION. For US LP preorders go to THIS LOCATION. For orders outside of the US, go HERE.

DEMON EYE:
9/29/2017 Strange Matter – Richmond, VA
9/30/2017 The Taphouse – Norfolk, VA w/ The Norfolk Nightmares
10/04/2017 Neptune’s – Raleigh, NC w/ Man Forever
11/15/2017 The Garage – Winston Salem, NC w/ Lords Of Mace
11/16/2017 Howlers – Pittsburgh, PA w/ Horehound
11/17/2017 Small’s – Detroit, MI
11/18/2017 Taps Live – Indianapolis, IN w/ Karma To Burn
12/01/2017 Snug Harbor – Charlotte, NC

http://www.facebook.com/demoneyenc
http://www.demoneye.bandcamp.com
http://www.demoneyeofficial.com
http://www.soulsellerrecords.com

Demon Eye, Prophecies and Lies (2017)

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Six Dumb Questions with Demon Eye

Posted in Six Dumb Questions on August 8th, 2017 by JJ Koczan

demon-eye-photo-ken-trousdell

Over the course of three albums, North Carolinian four-piece Demon Eye have evolved a notably crisp, efficient and standout method of constructing memorable songs, and as it should, their latest offering marks the pinnacle of their achievement in this to-date. Out Aug. 11 via Soulseller Records, the 11-track Prophecies and Lies (review here) is the proverbial lean and mean execution of classic-influenced heavy rock given a modern aesthetic update. Marked out by the stylized dynamic between vocalist/guitarist Erik Sugg, lead guitarist Larry Burlison and the driving forward rhythm section of bassist/vocalist Paul Walz and drummer/vocalist Bill Eagen, Demon Eye‘s work stems from a core master plan dedicated to building an individualized sound around familiar structures, which is something neither easy to do nor often done as naturally as the Raleigh natives make it seem they’re doing it.

Veterans twice over of the Maryland Doom Fest and having earned a reputation for a particularly energetic delivery there and on just about every other stage they’ve taken, Demon Eye hit the studio this time around with founding Corrosion of Conformity bassist/vocalist Mike Dean at the helm. Dean‘s recordings often carry a distinct tonal sharpness, an edge that pervades the sound, and this suits the finished product of Prophecies and Lies in style and substance alike. Tempo shifts in cuts like “In the Spider’s Eye” and the engaging swing of “The Redeemer” are brought forth with underlying structural purpose as well as atmospheric breadth stemming not from self-indulgent meandering but from the tones, melodies and hooks that have become so much the staples of Demon Eye‘s approach.

Ahead of the release later this week, Sugg was kind enough to take some time out to discuss the band’s writing modus, their time in the studio with Dean, how Demon Eye feel about what they’ve accomplished three records into their ongoing tenure and more. Their release show for Prophecies and Lies takes place in Raleigh, NC, on Aug. 18 with Captain Beyond. More info on that can be found on the Thee Facebooks event page.

Please enjoy the following Six Dumb Questions:

demon eye prophecies and lies

When did the writing process start for Prophecies and Lies? Tell me about how the songs came together. Was there anything in particular you were looking to accomplish coming off of Leave the Light?

Generally most of our riffing is done individually. The classic, “dudes playing guitar alone in their bedrooms”-deal. But for the process with this album, one standout memory was when we were driving up to New England for a fest performance. Along the way we stayed in a Super 8 somewhere in Maryland and wrote a lot of ideas right there in the hotel room. Most of what was written that night ended up being what you hear on the record. Somewhere I still have the complimentary Super 8 notepad with all of the ideas written out. They have hilarious working titles, like “Erik’s Spidery Riff in D,” “Uncle Larry’s Acid in E,” “Voivod in G,” etc.

In terms of trying new things from the previous records, we wanted to try different dynamics with the music, like changing things rhythmically and structurally, while also making sure it still sounded like a Demon Eye record. We didn’t want people to listen to the new album and go, “Oh, this is their prog record.” For the first album there were a lot of occult/witchcraft themes. As the main songwriter for the band, that’s something I wanted to steer from. I enjoy that sort of thing and probably always will, but I didn’t want to pigeonhole us as being just another band who does that sort of thing.

Songwriting is always the element of Demon Eye’s work that strikes me the most. Do you have a specific approach to putting pieces together to make songs, or a general guiding philosophy for structure? Demon Eye sound like a modern band, but would you agree your songwriting might be the most classic element of what you do?

I would agree, yes. With our songs we basically just try to keep it simple and let things flow naturally. Most of our songs end up being the traditional verse/chorus/verse format. I tend to follow the philosophy of, “Why fix it if it ain’t broke?” Most of my favorite rock bands and heavy metal bands growing up did it like that. Songs like “Paranoid” and “The Prisoner” were more or less pop songs, simply by sticking to that format. Heavy pop songs, sure, but they had great hooks, powerful riffs, and well-crafted music that stayed with you and made you want to listen to them over and over again.

On the flipside of that philosophy I also love bands who write 10-20 minute epics. YOB, Sleep, and Electric Wizard are three of my favorite bands. I love their music dearly, but writing music in that style is not something I could do well. If Demon Eye ever tried to release a song like “Marrow” or “Holy Mountain” it would probably come off sounding forced and inauthentic. Maybe not, but it’s definitely not my particular comfort zone. I think it’s important to know your strengths. I believe our strengths are in the riffs, the melodies, and the basic song structures.

How was your time in the studio with Mike Dean? What is he like to work with as a producer, and what was behind your decision to have him work on the record? How long were you in the studio and what was the recording process like? What was the vibe as the album came together?

It was a total blast recording with Mike. He’s a hilarious guy with lots of energy and he works like a mad scientist. He’ll run around feeling completely inspired by one thing, then stop and shout, “Wait! Don’t do that! Forget that! Let’s try something else!” Mike’s a good friend so the vibe was very laid back. Just friends having a good time making music together. I think the overall timeline for the record, including mixing and mastering, was September of 2016 through January of 2017. Because Mike is very busy, and everyone in Demon Eye has so many different “life” obligations, we took our time and scheduled sessions pretty sporadically.

Prophecies and Lies is the third Demon Eye album. How do you feel about everything the band has been able to accomplish up to this point in your career? How do you feel about the audience you’ve been able to build and the response you’ve gotten live and to the three records?

Not to sound like a Pollyanna, but I am immensely grateful for all that we have. Our fanbase, the positive reviews, the opportunities we’ve been granted, the incredible people and bands we’ve had the chance to meet, etc. All of it. The thing with Demon Eye is that, in the beginning, we had zero intentions of doing anything outside of writing a few tunes and playing locally on occasion in front of like 20 of our friends. That was all we envisioned.

When our initial demo was recorded and put online, and then all the Internet activity and positive response came about (not to mention the record deal offer), we barely had time to process all of it. We were like, “Huh? This is really happening?!” It was very humbling. Sure, there’s more we’d like to do (like playing overseas and playing bigger fests), but we’re not the kind of guys who get bummed over what’s not happening. We are happy and grateful for what we do have, and it’s actually quite a lot. I look forward to doing more of what we’re doing now. More records, more performances, and meeting more amazing people.

Let’s talk lyrics. As a lyricist, do you see yourself more as telling a story or describing a theme? How much of Demon Eye’s lyrics are metaphors for real-world issues? You’ve delved into some pretty dark territory over the course of the albums. What has this allowed you to express, and how important do you feel the lyrics are to Demon Eye’s overall aesthetic?

It’s funny, because when I listen to my favorite bands the lyrics are typically the last thing I pay attention to. But with Demon Eye, I do take the lyrics seriously and feel they are important. For the last few records I have found myself focusing more on real-world issues.

If you play in a band that prefers darker song content, there is no shortage of material in the world today. Some days I’ll simply read the news and see what sort of madness is happening politically in this country. Sometimes I’ll find myself opening my perspective and seeing the evils that innocent people across the globe are forced to endure.

I used to work with children, and it was pretty sobering meeting a young mother who recently fled Syria with her two young daughters, only to arrive in America in time for a proposed ban on immigration. Those types of situations really make me think about the darker side of human nature and how it affects people who don’t deserve it.

Also, I don’t really talk about it much in interviews, but I’ve also dealt with a lot of mental illness and substance abuse issues in my life. After putting a lot of care into my health throughout the past decade (sobriety, lifestyle changes, etc.), it’s granted me the opportunity to explore things with a fresher perspective, and naturally, songwriting provides you with the chance to express yourself.

One thing I always try to do, though, is to make Demon Eye’s song content as universal as I possibly can. I try to think, “Now what would someone want to raise their fist and shout along to?” It may not always come out as intended, but it is something I strive for.

Demon Eye toured the West Coast in 2016 and has played Maryand Doom Fest two years in a row now Any plans, shows coming up or other closing words you want to mention?

Our record release show for Prophecies and Lies will be on Aug. 18 at the Pour House Music Hall in Raleigh, NC, with Captain Beyond. We are honored to celebrate the release of this album with such a legendary band. During the latter part of the year we are planning on heading throughout the Midwest again, and we also want to hit the Northeast and make our way south throughout Texas. We sincerely appreciate everyone’s support and hope that we have the chance to meet all of you in person!

Demon Eye, Prophecies and Lies (2017)

Demon Eye on Thee Facebooks

Demon Eye on Bandcamp

Demon Eye website

Soulseller Records website

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Review & Track Premiere: Demon Eye, Prophecies and Lies

Posted in audiObelisk, Reviews on July 11th, 2017 by JJ Koczan

demon eye prophecies and lies

[Click play above to stream ‘The Redeemer’ from Demon Eye’s new album, Prophecies and Lies, out Aug. 11 on Soulseller Records.]

North Carolinian double-guitar doom-rocking four-piece Demon Eye have been up front all along. Really. Since the band made their debut on Soulseller Records with 2014’s Leave the Light (review here), they’ve made no effort to mask where they’re coming from in terms of blending the ways of modern garage doom and classic ’70s heavy rock, bridging a gap between Uncle Acid and Pentagram, with KISS hooks and early Rush shuffle and Judas Priest metallurgy thrown in for good measure. Prophecies and Lies is their third outing for Soulseller behind 2015’s Tempora Infernalia (review here) and it pairs the band with founding Corrosion of Conformity bassist/vocalist Mike Dean as producer, resulting in the tightest incarnation of their sound to-date.

Songwriting has always been a feature of their work, but to hear them groove their way through “Dying for It” or the swaggering “The Redeemer,” their path of development seems to have taken another forward step in efficiency even from where it was two years ago, and as the returning lineup of guitarist/vocalist Erik Sugg, lead guitarist Larry Burlison, bassist/vocalist Paul Walz and drummer/vocalist Bill Eagen dig into the cowbell and dual leads of “Vagabond,” the motor-riffing of “In the Spider’s Eye” or the crisp ’70s proto-metallic starts and stops in the verses of “The Redeemer,” it’s their penchant for memorable choruses that unites Prophecies and Lies across its 11 tracks/42 minutes, so that the record flows consistently despite its primary impression being as a showcase for its individual pieces.

It is in that that Demon Eye are perhaps at their most loyal to classic notions of what an album is, and again, they’ve yet to bring it to such realized fruition as they do here, having their cake and eating it too as they tie the standout hooks of the Wino-style-riffed “Politic Divine” together with “The Waters and the Wild” through a consistency of approach and tone. The latter cut opens Prophecies and Lies with a forceful introductory wash of cymbals and thuds behind its first riff — a subtle introduction to the course of what’s to follow — and soon enough is galloping through its first verse. Already — less than a minute in — Demon Eye have given crucial signals to their audience of their intentions and the methods they’ll use to convey them throughout the album that follows. “The Waters and the Wild” trades between its gallop and a more rolling chorus, stepping aside for a nodding bridge in its second half leading to a solo section and final run through the hook. Clean, crisp, refreshing. Nothing spare to it. And that’s how they’ll continue to operate as “In the Spider’s Eye,” “The Redeemer,” “Kismet,” “Infinite Regress” and “Dying for It” complete a Side A evenly split in 21-minute increments with the second half still to come.

demon eye

Some groups just have an innate sense of structure. Demon Eye would seem to be such a band, but as listening back to Leave the Light or Tempora Infernalia shows, they also work at it, and that work is paying off here, whether it’s in their ability to pull off the sudden doomly slowdown in “In the Spider’s Eye” or in the way “Kismet,” with no major change in its overall sound or feel, seems to become anthemic simply by matching Sugg‘s and Burlison‘s guitars in quick lead sections. Every flourish, every nuance on Prophecies and Lies, from the turn into a calming presence for “Infinite Regress” to the all-out double-time hi-hat from Eagen on “Dying for It,” serves a purpose, and that willfulness of execution underscores both the clear effort Demon Eye have made to advance themselves stylistically and the organic place from which their impulse toward structure comes.

One guitar, Walz‘s bass, the other guitar and the drums as the final component lead the way into “Politic Divine” at the start of side B, a lyrical reference to a thunder god soon to follow as Sugg‘s layered vocals tie terrestrial concerns to spooked-out themes in classic metal fashion. I don’t know how thematic Prophecies and Lies is meant to be as a whole, but this too is an example of how Demon Eye have grown over the last couple years, since as “Politic Divine” finishes and “Power of One” immediately picks up on the next beat — the two obviously meant to be taken as a pair — the examining of social themes, even couched in metaphor, comes across as a newer or at least more-focused-on idea for the band. That is to say, while they may have been offering similar commentary in the past, the way they’re doing so in these tracks is clearer about what it wants to say and the judgment it’s making. A clue to the album’s title, which also blends the ethereal and the worldly? Maybe.

In either case, Demon Eye remain as clear-headed as ever throughout those two, the Maiden-esque “Vagabond,” the spoken-word-over-quieter-fare title-track — consider it a mirror in purpose to side A’s penultimate cut in “Infinite Regress,” but more fleshed out — and seven-minute closer and longest inclusion “Morning’s Son,” which uses its extra space to compel the band into a well-earned grandiose finish, marked by keyboard flourish and a cymbal wash to bookend that which started “The Waters and the Wild.”

The more one digs into the details of Prophecies and Lies, the more there is to find that reinforces the idea of how sure their foundation and delivery has become, and the final crashes from Eagen are a last-minute reminder from Demon Eye that while they may be writing individual songs that work very much on that level — that is, you could pull just about any of them from its surroundings, even “Infinite Regress” and “Prophecies and Lies,” and make it a single — there is a larger purpose at work in making them function together as a single, fluid entity. This level of construction might be the greatest achievement on Prophecies and Lies, but make no mistake, whatever else is accomplished, the album rocks and at no point fails to fully engage its audience on whatever level they might want to meet it.

Demon Eye on Thee Facebooks

Demon Eye on Bandcamp

Demon Eye website

Soulseller Records website

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Demon Eye to Release Prophecies and Lies Aug. 11; New Song Streaming

Posted in Whathaveyou on June 19th, 2017 by JJ Koczan

demon eye

Ahead of their appearance this coming weekend at Maryland Doom Fest 2017, North Carolina proto-style heavy rockers Demon Eye announce an Aug. 11 release date for their new album, Prophecies and Lies. Recorded by Mike Dean of Corrosion of Conformity and set for issue through Soulseller Records like the band’s preceding 2015 outing, Tempora Infernalia (review here), and their 2014 debut, Leave the Light (review here), the latest offering gets its first public preview in the opening track “The Waters and the Wild,” which you can stream at the bottom of this post.

I’m glad to say that the band’s knack for memorable songwriting seems to be intact in the new cut, and I mention same only because I’ve listened to it just once and it’s already stuck in my head. That’s kind of how Demon Eye roll.

Album details and audio came down the PR wire. Behold:

demon-eye-prophecies-and-lies

DEMON EYE – New album ‘Prophecies and Lies’ – Details and first track available

DEMON EYE are back with their third offering and another dose of their own blend of Heavy Classic Rock, Proto Metal and Traditional Doom!

“Prophecies and Lies” will be released on 11th August 2017 via Soulseller Records on CD, vinyl and in digital versions.

The new album was recorded by Mike Dean of CORROSION OF CONFORMITY in the band’s hometown of Raleigh, North Carolina, and displays a strong musical progression with mighty riffs, haunting melodies and fist-raising anthems. DEMON EYE are bringing vintage heavy darkness for modern times and current day evils.

Check out the album’s opening track, “The Waters and the Wild”, at this location: https://demoneye.bandcamp.com/track/the-waters-and-the-wild

Tracklist:
1. The Waters and the Wild
2. In the Spider’s Eye
3. The Redeemer
4. Kismet
5. Infinite Regress
6. Dying For It
7. Politic Devine
8. Power of One
9. Vagabond
10. Prophecies and Lies
11. Morning’s Son

Demon Eye live:
Jun 23 Cafe 611 Frederick, MD at Maryland Doom Fest 2017

https://www.facebook.com/demoneyenc
https://demoneye.bandcamp.com
http://www.demoneyeofficial.com/
http://www.soulsellerrecords.com

Demon Eye, “The Waters and the Wild”

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