Posted in Reviews on February 9th, 2017 by JJ Koczan
It is an album of bold choices. From its beginning moments, the Prophecy Productions-delivered debut from Rotterdam, Netherlands-based five-piece Dool (also stylized all-caps: DOOL), Here Now There Then strikes deftly and crisply in style and substance, and when there’s a decision to be made, Dool make their intentions clear in the quality of their songcraft, which is a cause every performance on every one of its eight component tracks serves. While a fresh take on some of the tropes of cult-gone-goth heavy rock — the blend of acoustic and electric guitars on cuts like “Golden Serpents” and “Words on Paper,” the unbashedly pop-metal sway of the penultimate “The Death of Love,” etc. — it is also an album obviously working from the benefit of band members’ prior experience.
Dool may be relatively a new group, but in their ranks they boast the veteran personnel of vocalist/guitarist Ryanne van Dorst (Elle Bandita, numerous other projects), guitarists Reinier Vermeulen (The New Media) and Nick Polak (Gold), and the rhythm section of bassist Job van de Zande and drummer Micha Haring, both formerly of The Devil’s Blood, whose landmark contributions to the Dutch underground and aesthetic vision makes for something of a sonic elephant in the room over the 50-minute span of Here Now There Then. That group is recognizable periodically in some moments of push — again, “Golden Serpents” — but the deeper one moves into Dool‘s first outing, over the 10-minute opener “Vantablack” and into mid-album pieces like “In Her Darkest Hour,” “Oweynagat” and “The Alpha,” the more one finds Dool establishing their own resonant and well-conceived stylistic persona from a wider range of influences, from classic goth rock to moodier progressive heavy metal.
But back to bold choices. The first of them is telegraphed in the opener. “Vantablack” is the longest inclusion on Here Now There Then — immediate points to the band for putting it in launch position, double points for doing so on their first offering — and where a lot of what follows on what might be considered side A in the first half of the tracklisting plays off poppier ideas, more forward hooks, and so on, it begins at a sprawl, unfolding with patient layers of guitar as thudding drums underscore a harmonized verse to punctuate the nodding rhythm that will further take hold as the chorus emerges. Rather than simply set the tone as so many album-openers do — “this is our sound, this is what we do,” etc. — “Vantablack” not only does this, but disrupts the process at the same time, engaging an immersive richness of atmosphere that defies what might’ve been the expectation had Dool opened with either of the subsequent “Golden Serpents” or “Words on Paper,” two shorter and purposefully more straightforwardly structured tracks. They made the bolder choice, and they were right.
Part of the reason starting off with “Vantablack” works to well is because, yes, it does have a chorus to ground the listener (into dust), but also because Dool demonstrate such immediate command of their purpose and their sound. From the languid flow of Polak and Vermeulen‘s guitars to the roll in Haring‘s drums, the density of van de Zande‘s low end beneath the solo section in the back half and the charismatic presence and melodic range of van Dorst as frontwoman, there’s never really a moment of doubt they’re going to pull it off. And as far as initial impressions go, one could hardly demand more than that from any band, first LP, second, third or whatever. Not only that, but the considerable turn that follows into “Golden Serpents,” “Words on Paper” and “In Her Darkest Hour” — the latter of which begins the aforementioned middle movement with “Oweynagat” and “The Alpha” behind it — isn’t even questioned because Dool have the situation so firmly under control.
“Words on Paper” is arguably the catchiest song on Here Now There Then, though right up to closer “She-Goat” there is no shortage of memorability surrounding, but as “Vantablack” assured at the outset and “In Her Darkest Hour” reaffirms, Dool aren’t simply looking to proffer a series of choruses and get out. The brooding push, linear build of chug and surge that arises signal another shift in approach, and as much of the song’s second half is given to a guitar solo, a charged bridge, another run through the chorus for good measure, and atmospheric bookending the toy-piano-esque intro that led off the track, there’s an exploration beginning that continues in the pointedly goth “Oweynagat,” which at 6:53 is the second longest piece behind “Vantablack” and given initial thrust via Haring‘s hi-hat.
After mounting significant tension, “Oweynagat” eases the throttle as it moves toward its middle, but builds toward a standout apex of well-plotted, swirling lead guitar — layered-in acoustics do well to flesh out the ambience — and horns/keys/effects/theremin or some other noisemaking device that lends further complexity to the rhythmic march. They end “Oweynagat” in grand fashion and drums start “The Alpha” with an echo that sends an immediate feeling of spaciousness soon to be filled by bass and guitar in a progression that feels distinctly drawn from prog metal. I hate — hate — to make this comparison, especially given the one-letter-off similarity of the bands’ monikers, but the likeness to Tool‘s “Forty-Six & 2” is unmistakable in that central progression, though again to their credit, Dool transpose that riff to suit the song’s needs, transitioning into a triumph of a chorus that likewise nods at The Devil’s Blood‘s churning depths. Another bold choice, another dark victory, and not by any means their last.
Its melody is at first the key factor in “The Death of Love,” but the underlying guitar figure at the outset holds to some of the proggy tension of “The Alpha” before it, even if van de Zande‘s bassline is more prominent. The effect this has is to tie the two prior three-song chunks of Here Now There Then together, to begin a process of summary that will continue on “She-Goat,” and to start to wind the album down much as “Vantablack” wound it up. That said, the open-spaced payoff in “The Death of Love”‘s second half is among the more emotionally effective and affecting moments on the record, and though it’s shorter than the three cuts before it, there’s no lack of impression made leading into “She-Goat,” a just-under-five-minute push that echoes the more straight-ahead feel of “Golden Serpents” without being a direct port of it. As an ending statement, it puts Dool and their listeners back to some semblance of reality without necessarily giving up the breadth of what came before. Completing a conceptual cycle, perhaps.
In any case, it is another means by which Here Now There Then works against the notion of being a debut full-length, as its complexity and character feel so thoroughly developed and the chemistry of the band so locked into place. One can only take this as a sign of potential and hope that Dool expand and refine the achievements here as they move forward, becoming all the more individual in that process, because going by these songs, they are well on their way to something truly powerful.
Posted in Features on January 23rd, 2017 by JJ Koczan
Looks like it’s going to be another busy 12 months ahead. It’s been a busy better-part-of-a-month already, so that stands to reason, but you should know that of the several years now that I’ve done these ‘Tomorrow’s Dream’ posts, this is the biggest one yet, with over 150 upcoming releases that — one hopes — will be out between today and the end of 2017.
Actually, at last count, the list tops 180. Do I really expect you to listen to all of them? Nope. Will I? Well, it would be nice. But what I’ve done is gone through and highlighted 35 picks and then built lists off that in order of likelihood of arrival. You’ll note the categories are ‘Gonna Happen and/or Likely Candidates,’ ‘Definitely Could Happen’ and ‘Would be Awfully Nice.’
Beyond that last one, anything else just seems like speculation — one might as well go “new Sabbath this year!” with zero info backing it up. The idea here is that no matter where a given band is placed, there has been some talk of a new release. In some cases, it’s been years, but I think they’re still worth keeping in mind.
Another caveat: You can expect additions to this list over the next week — probably album titles, band names people (fingers crossed) suggest in the comments, and so on — so it will grow. It always does. The idea is to build as complete a document as possible, not to get it all nailed down immediately, so please, if you have something to contribute and you’re able to do so in a non-prickish, “You didn’t include Band X and therefore don’t deserve to breathe the same air as me,” kind of way, please contribute.
Other than that, I think it’s pretty straightforward what’s going on here and I’ll explain the category parameters as we go, so by all means, let’s jump in.
— Tomorrow’s Dream 2017 —
1. Abrahma, TBA
Late last year, Paris heavy progressives Abrahma announced a new lineup and third full-length in progress. No reason to think it won’t come to fruition, and a follow-up to 2015’s Reflections in the Bowels of a Bird (review here) is an easy pick to look forward to. Even with the shift in personnel, it seems likely the band will continue their creative development, driven as they are by founding guitarist Seb Bismuth.
2. All Them Witches, Sleeping Through the War
If 2017 ended today, Sleeping Through the War would be my Album of the Year. Of course, there’s a lot of year to go, but for now, Nashville’s All Them Witches have set the standard with their second album for New West Records behind 2015’s Dying Surfer Meets His Maker (review here) and fourth overall outing. They’ve got videos up so far for “3-5-7” (posted here) and “Bruce Lee” (posted here). Both are most definitely worth your time. Out Feb. 24. Full review should be later this week.
3. Alunah, Solennial
Seems like UK forest riffers Alunah are on this list every year. Wishful thinking on my part. Nonetheless, their fourth LP and Svart Records debut, Solennial, is out March 17, and if the tease they gave already with the clip for “Fire of Thornborough Henge” (posted here) is anything to go from, its Chris Fielding-produced expanses might just be Alunah‘s most immersive yet.
4. Arbouretum, TBA
I asked the Baltimore folk fuzzers a while back on Thee Facebooks if they had a new record coming in 2017 and they said yes, so that’s what I’m going on here. The last Arbouretum album was 2013’s Coming out of the Fog (review here), and even with frontman Dave Heumann‘s 2015 solo outing, Here in the Deep (review here), factored in, you’d have to say they’re due. Keep an eye on Thrill Jockey for word and I’ll do the same.
5. Atavismo, Inerte
This is another one that already has a spot reserved for it on my Best-of-2017 year-end list. Spanish heavy psych rockers Atavismo up the progressive bliss level with their second full-length, Inerte, without losing the depth of style that made 2014’s Desintegración (review here) so utterly glorious. It probably won’t have the biggest marketing budget of 2017, but if you let Atavismo fly under your radar, you are 100 percent missing out on something special.
6. Bison Machine, TBA
In addition to the video for new track “Cloak and Bones” that premiered here, when Michigan raucousness-purveyors Bison Machine put out the dates for their fall 2016 tour, they included further hints of new material in progress. As much as I dug their earlier-2016 split with SLO and Wild Savages (review here) and 2015’s Hoarfrost (review here), that’s more than enough for me to include them on this list. Killer next-gen heavy rock.
7. Brothers of the Sonic Cloth, TBA
News of a follow-up to Brothers of the Sonic Cloth‘s 2015 Neurot Recordings self-titled debut (review here) came through in October, and it remains some of the best news I’ve heard about 2017 doings. Took them a while to get the first record out, so we’ll see what happens, but it kind of feels like looking forward to a comet about to smash into the planet and cause a mass extinction, and by that I mean awesome. Can’t get here soon enough.
8. Cloud Catcher, Trails of Kosmic Dust
Okay, so maybe I jumped the gun and did a super-early review of Denver trio Cloud Catcher‘s second long-player and Totem Cat Records debut, Trails of Kosmic Dust, but hell, no regrets. Some albums require an early-warning system. Their 2015 debut, Enlightened Beyond Existence (discussed here), was a gem as well, but this is a band in the process of upping their game on every level, and the songwriting and momentum they hone isn’t to be missed.
9. Colour Haze, TBA
I’ve gotten some details on the upcoming full-length from Colour Haze. They do not include a title, artwork, audio, song titles or general direction. Less details, I guess, than word that the CD version of this answer to 2015’s To the Highest Gods We Know (review here) is set to come out next month, as ever, on Elektrohasch. That puts it out in time for Colour Haze‘s upcoming tour with My Sleeping Karma (announced here). Fingers crossed it happens. Colour Haze are perpetual top-albums candidates in my book.
10. Corrosion of Conformity, TBA
Signed to Nuclear Blast after being rejoined by guitarist/vocalist Pepper Keenan, North Carolina’s C.O.C. have been in the studio since last year. The lineup of Keenan, bassist/vocalist Mike Dean and guitarist Woody Weatherman and Reed Mullin on drums is the stuff of legend and last worked together on 2000’s America’s Volume Dealer, so no question this reunion makes for one of 2017’s most anticipated heavy rock records. They nailed the nostalgia factor on tour. Can they now add to their legacy?
11. Elder, TBA
I was incredibly fortunate about a month ago to visit progressive heavy rockers Elder at Sonelab in Easthampton, MA, during the recording process for their upcoming fourth album. I heard a couple of the tracks, and of course it was all raw form, but the movement forward from 2015’s Lore (review here) was palpable. That LP (on Stickman) brought them to a wider audience, and I expect no less from this one as well, since the farther out Elder go sound-wise, the deeper the level of connection with their listeners they seem to engage.
12. Electric Wizard, TBA
Could happen, could not happen. That’s how it goes. Announced for last Halloween. That date came and went. Word of trouble building their own studio surfaced somewhere along the line. That was the last I heard. Frankly, I wouldn’t be surprised if it showed up tomorrow, if it showed up in 2018, or if the band broke up and never put it out. They’re Electric Wizard. Anything’s possible.
13. John Garcia, The Coyote Who Spoke in Tongues
Out Jan. 28 on Napalm, The Coyote Who Spoke in Tongues (review here) is the first-ever acoustic album from former Kyuss frontman John Garcia, also of Unida, the reunited Slo Burn, Hermano, Vista Chino, Zun, etc. — basically the voice of desert rock. He does a couple Kyuss classics for good measure, but shines as well on the new/original tracks, and while it’s a piece for fans more than newcomers — that is, it helps if you know the original version of “Green Machine” — his presence remains as powerful as ever despite this new context.
14. Goya, Harvester of Bongloads
Riffs, dude. Goya seem to have them to spare. The Arizona-based wizard doomers have set a pretty prolific clip for themselves at this point, with at least two short releases out in 2016, one a 7″ of Nirvana covers (review here), and the The Enemy EP (review here). Set for a March 3 release through their own Opoponax Records imprint, Harvester of Bongloads continues the march into the abyss that 2015’s Obelisk (review here) and 2013’s 777 set in motion, finding the band coming more into their own as well. Creative growth — and bongloads! The best of both worlds.
15. Ides of Gemini, TBA
Ides of Gemini are set to record their yet-untitled third album with Sanford Parker early this year, and it will also mark their debut on Rise Above Records upon its release. They’ve also got a new lineup around vocalist Sera Timms and guitarist J. Bennett, so as they look to move forward from 2014’s Old World New Wave (review here), one can’t help but wonder what to expect, but to be honest, not knowing is part of the appeal, especially from a band who so readily specialize in the ethereal.
16. Kind, TBA
Three-fourths of Kind feature elsewhere on this list. Bassist Tom Corino plays in Rozamov. Drummer Matt Couto is in Elder. Vocalist Craig Riggs is in Roadsaw. And for what it’s worth, guitarist Darryl Shepherd has a new band coming together called Test Meat. How likely does that make Kind to release a second LP in 2017? I don’t know, but their 2015 Ripple Music debut, Rocket Science (review here), deserves a follow-up, and I know they’ve demoed some new songs. If it happens, great. If it’s 2018, at least these dudes will be plenty busy besides.
17. Lo-Pan, In Tensions
Yes, Lo-Pan‘s In Tensions (review here) has already been released — CD/LP with an artbook on Aqualamb. It’s out. Limited numbers. You can get it now. Why include it on a list of most anticipated releases? Because that’s how strongly I feel about your need to hear it. The fruit of a shortlived lineup with guitarist Adrian Zambrano, it distinguishes itself from everything they’ve done before in style while still keeping to the core righteousness that one hopes the Ohio outfit will continue to carry forward. It’s more than a stopgap between albums. Listen to it.
18. The Midnight Ghost Train, TBA
It seems to have been a rough ride for hard-boogie specialists The Midnight Ghost Train since their 2015 Napalm debut and third album overall, Cold was the Ground (review here). They’ve never taken it easy on the road or in terms of physicality on stage, and between injuries and who knows what else, their intensity at this point veers toward the directly confrontational. Nonetheless, they’ve been writing for album number four, may or may not have started the recording process, and I expect that confrontationalism to suit them well in their new material.
19. Monster Magnet, TBA
I have it on decent authority that NJ heavy psych innovators Monster Magnet were in the studio this past autumn. I’ve seen no concrete word of a new album in progress from Dave Wyndorf and company, and I wouldn’t necessarily expect to until it was time to start hyping the release, but after their two redux releases, 2015’s Cobras and Fire (review here) and 2014’s Milking the Stars (review here), their range feels broader than ever and I can’t wait to hear what they come up with next.
20. Mothership, High Strangeness
A pivotal moment for Mothership arrives with High Strangeness, and the heavy-touring, heavy-riffing Texas power trio seem to know it. Their third record on Ripple Music pushes into new avenues of expression and keeps the energy of 2014’s Mothership II (review here) and 2012’s Mothership (review here), but thus far into their career, it’s been about their potential and what they might accomplish going forward. 2017 might be the year for Mothership to declare a definitive place in the sphere of American heavy rock.
21. The Obsessed, Sacred
On Halloween 2016, founding The Obsessed guitarist/vocalist and doom icon Scott “Wino” Weinrich announced a new lineup for the band, with his former The Hidden Hand bandmate Bruce Falkinburg on bass/vocals, Sara Seraphim on guitar and Brian Costantino continuing on drums. A genuine surprise. Their first album since 1994, Sacred (due on Relapse) was tracked as the trio of Weinrich, Costantino and bassist/vocalist Dave Sherman, but clearly they’ve moved into a new era already. Wouldn’t even guess what the future holds, but hopefully Sacred still comes out.
22. Orange Goblin, TBA
When it was announced that London’s Orange Goblin were picked up by Spinefarm as part of that label’s acquisition of Candlelight Records last Spring, the subheadline from the PR wire was “Working on Ninth Studio Album.” I haven’t heard much since then, but even as 2014’s Back from the Abyss (review here) pushed them deeper into metallic territory than ever before, their songs retained the character that’s made the band the institution they are. Always look forward to new Orange Goblin.
23. Pallbearer, Heartless
Doomers, this is your whole year right here. I haven’t heard Pallbearer‘s third album, Heartless (out March 24 on Profound Lore), but I have to think even those who haven’t yet been won over by the Arkansas four-piece’s emotive, deep-running style have to be curious about what they’ve come up with this time around. I know I am. These guys have been making a mark on the genre since their 2012 debut, Sorrow and Extinction (review here), and there’s little doubt Heartless will continue that thread upon its arrival.
24. Radio Moscow, TBA
Fact: Radio Moscow stand among the best classic heavy rock live acts in the US. They’re the kind of band you can watch upwards of 15 gigs in a row — I’ve done it — and find them putting on a better show night after night, in defiance of science, logic and sobriety. Word of their signing to Century Media came just this past week and brought with it confirmation of a follow-up to 2014’s stellar Magical Dirt (review here), and for me to say hell yes, I’m absolutely on board, seems like the no-brainer to end all no-brainers. Can’t wait.
25. Roadsaw, TBA
Nearly six full years later, it’s only fair to call Boston scene godfathers Roadsaw due for a follow-up to their 2011 self-titled (review here). Granted, members have been busy in Kind, White Dynomite, and other projects, but still. Their upcoming outing finds them on Ripple Music after years under the banner of Small Stone Records, and though I haven’t seen a solid release date yet, my understanding is they hit Mad Oak Studio in Allston, MA, this past fall to track it, so seems likely for sooner or later. Sooner, preferably.
26. Rozamov, This Mortal Road
Speaking of albums by Boston bands a while in the making, This Mortal Road (out March 3 on Battleground Records and Dullest Records) is the debut full-length from Boston atmospheric extremists Rozamov. Haven’t heard it yet, but I got a taste of some of the material when I visited the band at New Alliance Audio in Aug. 2015, and the bleak expanses of what I heard seem primed to turn heads. I’m a fan of these guys, but in addition, they’ve found a niche for themselves sound-wise and I’m curious to hear how they bring it to fruition.
27. Samsara Blues Experiment, TBA
It’s been a pleasure over the last couple months to watch a resurgence of Berlin heavy psych trio Samsara Blues Experiment take shape, first with the announcement of a fourth album in October, then with subsequent confirmations for Desertfest, Riff Ritual in Barcelona, and a South American tour. Reportedly due in Spring, which fits with the timing on shows, etc., the record will follow 2013’s righteous Waiting for the Flood (review here) and as much as I’m looking forward to hearing it, I’m kind of just glad to have these guys back.
28. Seedy Jeezus, TBA
Work finished earlier this month on Melbourne trio Seedy Jeezus‘ second full-length. As with their 2015 self-titled debut, the band brought Tony Reed of Mos Generator to Australia to produce, and after their blissed-out 2016 collaboration with Earthless guitarist Isaiah Mitchell, Tranquonauts (review here), it’s hard not to wonder what experimentalist tendencies might show in the trio’s style this time out, and likewise difficult not to anticipate what guitarist Lex “Mr. Frumpy” Wattereus comes up with for the cover art.
29. Shroud Eater, Strike the Sun
Not to spoil the surprise, but Feb. 1 I’ll host a track premiere from Florida’s Shroud Eater that finds them working in a different context from everything we’ve heard from them to this point in their rightly-celebrated tenure. They also recently had a split out with Dead Hand, and their second long-player, Strike the Sun, will be their debut through STB Records. It’s been since 2011’s ThunderNoise (review here) that we last got a Shroud Eater album, so you bet your ass I’m dying to know what the last six years have wrought.
30. Sleep, TBA
If Sleep were any other band, they’d probably be in the “Would be Awfully Nice” category. But they’re Sleep, so even the thought of a new record is enough to put them here. The lords of all things coated in THC are reissuing their 2014 single, The Clarity (review here), on Southern Lord next month, but rumors have been swirling about a proper album, which of course would be their first since the now-legendary Dopesmoker. If it happens, it’ll automatically be a heavy underground landmark for 2017, but it’s one I’m going to have in my ears before I really believe it.
31. Stoned Jesus, TBA
Even as they tour playing their second album, 2012’s Seven Thunders Roar (review here), to mark its fifth anniversary and continued impact, Ukrainian trio Stoned Jesus are forging ahead with a fourth record behind 2015’s The Harvest (review here). The capital-‘q’ Question is whether or not looking back at Seven Thunders Roar and engaging that big-riffing side of their sound will have an impact on the new material, and if so, how it will meld with the push of The Harvest. Won’t speculate, but look forward to finding out.
32. Stubb, TBA
Since reveling in the soul of 2015’s Cry of the Ocean (review here) on Ripple, London trio Stubb have swapped out bassists, and they were in Skyhammer Studio this month recording a single that may be an extended psychedelic jam. I’ll take that happily, but I’m even more intrigued at the prospect of a third LP and what guitarist/vocalist Jack Dickinson, bassist/vocalist Tom Hobson and drummer Tom Fyfe might have in store as the band moves forward on multiple levels. Might be 2017, might not.
33. Sun Blood Stories, It Runs Around the Room with Us
It Runs around the Room with Us seems to find peace in its resonant experimentalist drones, loops, open, subdued spaces, but there’s always some underlying sense of foreboding to its drift, as if Boise’s Sun Blood Stories could anticipate the moment before it happened. Toward the end of the follow-up to 2015’s Twilight Midnight Morning (review here), they execute the 90-second assault “Burn” and turn serenity to ash. Look for it in April and look for it again on my best of 2017 list in December.
34. Ufomammut, TBA
Any new offering from the Italian cosmic doom magnates is worth looking forward to, and while Ufomammut have left the 15-year mark behind, they’ve never stopped progressing in style and form. To wit, 2015’s Ecate (review here) was a stunner after 2012’s two-part LP, Oro (review here and review here), tightening the approach but assuring the vibe was no less expansive than ever. They started recording last summer, finished mixing in November, so I’m hoping for word of a release date soon.
35. Vokonis, The Sunken Djinn
Born out of Creedsmen Arise, whose 2015 demo, Temple (review here), offered formative thrills, Swedish trio Vokonis debuted with last year’s Olde One Ascending (review here) and proved there’s still life in post-Sleep riffing when it’s wielded properly. They signed to Ripple in November and confirmed the title of their sophomore effort as The Sunken Djinn, as well as a reissue for the first album, which will probably arrive first. I don’t know how that will affect the timing on this one, but keep an eye out anyway.
Gonna Happen and/or Likely Candidates
Obviously some of these are more likely than others. Some have solidified, announced release dates — Dopelord‘s out this month, Demon Head‘s out in April, etc. — and others come from social media posts of bands in studios and hints at upcoming releases and so on. A big tell is whether or not a band has an album title with their listing, but even some of those without have their new albums done, like Atala and Royal Thunder, so it’s not necessarily absolute.
Either way, while I’m spending your money, you might want to look into:
36. Against the Grain
39. Attalla, Glacial Rule
40. Ayahuasca Dark Trip, II
42. Beaten Back to Pure
45. Buried Feather, Mind of the Swarm
46. The Clamps
47. Cold Stares
48. Coltsblood, Ascending into the Shimmering Darkness
49. Come to Grief, The Worst of Times EP
51. Cruthu, The Angle of Eternity
52. The Dead-End Alley Band, Storms
53. Dead Witches, Dead Witches
55. Death Alley, Live at Roadburn
56. Demon Head, Thunder on the Fields
57. The Devil and the Almighty Blues, II
58. Devil Electric
59. Doctor Cyclops, Local Dogs
60. Dool, Here Now There Then
61. Dopelord, Children of the Haze
62. Doublestone, Devil’s Own/Djævlens Egn
63. Dread Sovereign, For Doom the Bell Tolls
64. Drive by Wire
65. Elbrus, Elbrus
66. Electric Age
67. Electric Moon, Stardust Rituals
68. Endless Floods, II
69. Five Horse Johnson
70. Forming the Void, Relic
71. Funeral Horse
73. Green Desert Water
75. Grifter / Suns of Thunder, Split
76. Hair of the Dog, This World Turns
77. Heavy Temple, Chassit
78. Here Lies Man, Here Lies Man
79. Hollow Leg, Murder EP
80. Holy Mount, The Drought
81. Hooded Menace
82. Horisont, About Time
83. Hymn, Perish
84. Lecherous Gaze
85. Magnet, Feel Your Fire
87. Merlin, The Wizard
89. Mindkult, Lucifer’s Dream
90. Mirror Queen
91. Moonbow, War Bear
92. Mos Generator
93. The Moth
95. Mouth, Vortex
96. My Sleeping Karma, Mela Ananda – Live
99. PH, Eternal Hayden
100. Psychedelic Witchcraft, Magick Rites and Spells
101. Royal Thunder
102. Saturn, Beyond Spectra
103. Season of Arrows, Give it to the Mountain
104. Siena Root
105. Six Organs of Admittance, Burning the Threshold
106. Six Sigma, Tuxedo Brown
108. The Sonic Dawn, Into the Long Night
110. Spidergawd, IV
112. Stinking Lizaveta, Journey to the Underworld
113. Sula Bassana, Organ Accumulator
115. Sun Voyager, Sun Voyager
116. Sweat Lodge, Tokens for Hell EP
117. Thera Roya, Stone and Skin
119. Troubled Horse, Revelation on Repeat
120. VA, Brown Acid The Third Trip
122. Youngblood Supercult, The Great American Death Rattle
Definitely Could Happen
Maybe a recording process is upcoming (Gozu, Cities of Mars, YOB), or a band is looking for a label (The Flying Eyes), or they’ve said new stuff is in the works but the circumstances of an actual release aren’t known (Arc of Ascent, Dead Meadow, High on Fire), or I’ve just seen rumors of their hitting the studio (Freedom Hawk, La Chinga, Ruby the Hatchet). We’ve entered the realm of the entirely possible but not 100 percent.
So, you know, life.
123. The Age of Truth
124. Ape Machine
125. Arc of Ascent
126. At Devil Dirt
131. La Chinga
132. Chubby Thunderous Bad Kush Masters
133. Cities of Mars
134. Crypt Sermon
135. Dead Meadow
136. Death Alley (Studio LP)
137. Dee Calhoun
138. Destroyer of Light
140. Devil Worshipper
144. Electric Moon
145. Elephant Tree
147. The Flying Eyes
148. Freedom Hawk
150. The Great Electric Quest
151. Green Meteor, Consumed by a Dying Sun
152. High on Fire
154. Insect Ark
155. In the Company of Serpents
156. Iron Monkey
157. Jeremy Irons and the Ratgang Malibus
158. The Judge
159. Killer Boogie
160. King Dead
161. The Kings of Frog Island
162. Lords of Beacon House, Recreational Sorcery
164. Mondo Drag
166. Mountain God
167. The Munsens
169. Never Got Caught
175. Purple Hill Witch
176. Ruby the Hatchet
178. Satan’s Satyrs
179. Serpents of Secrecy
181. Shooting Guns
182. Sleepy Sun
183. Slow Season
184. Snowy Dunes, Atlantis
185. Spectral Haze
186. The Sweet Heat
187. Switchblade Jesus
191. Zone Six
Would be Awfully Nice
This last category is basically as close as I’m willing to come to rampant speculation. Endless Boogie have hinted at new material, and Queens of the Stone Age have talked about hitting the studio for the last two years. There were rumors about Om, and though Kings Destroy just put out an EP, they have new songs as well, though I doubt we’ll hear them before the end of 2017. I’ll admit that Across Tundras, Fever Dog, Lord Fowl, Lowrider and Hour of 13 are just wishful thinking on my part. A boy can hope:
192. Across Tundras
194. Elephant Tree
195. Endless Boogie
196. Fever Dog
197. Fu Manchu
198. Halfway to Gone
199. Hour of 13
201. Kings Destroy
202. Lord Fowl
204. Masters of Reality
207. Queens of the Stone Age
If you’ve made it this far, thanks for reading. Whatever this year brings, I hope it’s been great so far for you and I hope it continues to be so as we proceed inexorably to 2018 and all the also-futuristic-sounding numbers thereafter. At least we know we’ll have plenty of good music to keep us company on that voyage.
As always, comments section is open if there’s anything I’ve left out. I’m happy to add, adjust, etc., as need be, so really, have at it, and thanks in advance.
Posted in Whathaveyou on December 14th, 2016 by JJ Koczan
I felt pretty gosh darn fortunate to have caught an early afternoon set from Rotterdam dark heavy rockers Dool this past April at Roadburn (review here), and have considered them ever since the best surprise I encountered at that fest this year. As one will after that kind of first impression is made, I’ve been trying to keep an eye out for new of their releasing a debut album, and wouldn’t you know, the date is set. On Feb. 17, 2017, Dool will issue Here Now, There Then through no less an imprint than Prophecy Productions, whose tastes for things bleakly atmospheric and/or mooody is largely unimpeachable. There’s even a new song streaming now called “She Goat,” if you’d like to have your day made.
Full announcement from the band follows here, complete with artwork and tour dates, because that’s how it should be.
Looking forward to this one:
DOOL – HERE NOW, THERE THEN
We are extremely proud to announce the coming of our debut album’ Here Now, There Then’ on February 17th, 2017.
Recorded, mixed and mastered by Pieter Kloos (The Void Studio, Eindhoven), and featuring beautiful cover photography by our friend Pim Top, ‘Here Now, There Then’ will be released on Prophecy Productions on both vinyl and CD.
The album is about dreaming, ambition, Will. About breaking boundaries and behavioural patterns, destroying stigmas. The phrase ‘Here Now, There Then’ is a mantra for whomever needs it. Whichever way one chooses to use it. It is the shadowlands between fantasy and reality. A lucid fairy tale set against a concrete background.
As of today, ‘Here Now, There Then’ is available for pre-order through the Prophecy website:
The arrival of ‘Here Now, There Then’ will be accompanied by a growing number of shows, which will go on pre-sale as of now:
JAN 06 – De Cacaofabriek – Helmond – NL JAN 12 – Eurosonic Noorderslag 2017 – Groningen – NL FEB 17 – EKKO – Utrecht – NL FEB 18 – Merleyn – Nijmegen – NL FEB 25 – Rotown Rotterdam – Rotterdam – NL MAR 2 – Vera Groningen – Groningen – NL MAR 3 – Helvete Pub – Club – Live Stage – Oberhausen – DE MAR 4 – HELL OVER Hammaburg Festival – Hamburg – DE MAR 8 – ILMC – London – UK MAR 9 – OT301 – Amsterdam – NL MAR 17 – Poppodium 013 – Tilburg – NL
On top of this, we’d like to present one of the album tracks to you. Listen to ‘She Goat’ right here.
All Those Who Wander Are DOOL.
DOOL is: Ryanne van Dorst – Vocals/Guitar Micha Haring – Drums Job van de Zande – Bass Reinier Vermeulen – Guitar Nick Polak – Guitar
We were done with the Weirdo Canyon Dispatch folding ritual early this afternoon. Third time’s the charm. The issue was finished and printed and put online (you can read it here) by a little bit before one o’clock, so I decided to head back to the hotel to have a drink of water, get my head around the day, dick around on my phone, etc.
En route, something caught my ear wafting out of the Cul de Sac. It was Rotterdam natives Dool soundchecking, and from outside, they sounded pretty damn good. Their name had come up in the office since they’re this year’s “Roadburn Introduces” pick, and I decided pretty quickly that I’d have to check them out even just going by what I heard on my way by, so I got back in time to get a spot up front and attended their arrival. They’ve got members of The Devil’s Blood in bassist Job van de Zande and drummer Micha Haring and Gold‘s Nick Polak on guitar along with Reinier Vermeulen, and guitarist/vocalist Ryanne van Dorst, and maybe since they’re not brand new players out of the gate it shouldn’t be a surprise they were in such command of their sound, but for a band who doesn’t have more than a single out, they were impressive in their presence on stage and in the cohesion of their aesthetic, copping elements of goth rock to darken up heavy grooves for an early crowd.
When they got to “Words on Paper,” van Dorst switched out her electric guitar for an acoustic one, and the effect of the added resonance to Polak‘s and Vermeulen‘s guitars was palpable. Every Roadburn brings a pleasant surprise. Dool were definitely mine this year. This morning, I knew nothing about them. Now I’ll be keeping an eye out for news about their debut album. They’d wrap up in time for Skepticism to start on the Main Stage. The Finnish funeral doomers hit the quarter-century mark in 2016, and they marked the occasion with a special fan-selected set that focused heavily on their 1995 debut LP, Stormcrowfleet, with “Sign of a Storm,” “By Silent Wings” and “The Everdarkgreen,” as well as their 2003 third outing, Farmakon, with “Farmakon Process,” “The Raven and the Backward Funeral” and “Shred of Light, Pinch of Endless.” They had “The March and the Stream” from 1998’s Lead and Aether in there as well, but whatever they were playing, it all crawled, gruelingly, further into a deep, black abyss of church-organ-laced doom, heavy on drama and impassable in tone.
Frontman Matti Tilaeus added to the drama, the bowtie of his formalwear undone — as apparently it will be — and the white roses he carried out with him when he came on stage laid on the tops of the monitors for extra funereal effect. They played mostly in the dark, and were a reminder of just how much what we think of today as death-doom owes its crux to what Finland conjured in the mid-’90s. It was a surprise to walk out of the Main Stage room when they were done and find the sun was still up. How could daylight still even exist after such a thing? I’d ponder the question during an initial loop through the merch area while waiting as I have been for months, years, to see Brothers of the Sonic Cloth, also playing the Main Stage. The Tad Doyle-fronted outfit released their also-awaited self-titled debut (review here) on Neurot Recordings, and though they toured to support it — with Neurosis, no less — I didn’t get to go to that show and my soul has had a dent in it ever since.
Well, Brothers of the Sonic Cloth‘s sheer tectonic heaviness took that dent, bumped it out and polished it up real nice. And by that I mean that, while the video screen behind them showed suitably-themed images like the earth as a ball of fire, volcanoes, arcane rituals and so on, they played so furiously loud and with such heft of low end that the floor of the big room actually shook. They had a second guitarist on stage right with bassist Peggy Doyle, and drummer Dave French was in the back, but as a whole unit, Brothers of the Sonic Cloth came together to hone pure aural destruction for the duration of their set, Tad‘s seething rasp and screams placing him at the center of the churn, not nearly as morose as Skepticism had been, but viscerally angry and geared for maximum impact. When the asteroid hits planet earth in whatever year that is — could be tomorrow for all I care; I’m at fucking Roadburn — it will sound like Brothers of the Sonic Cloth. I own two of their t-shirts. When they were done I felt like maybe that’s not enough.
Aside from the fact that Astrosoniq drummer/producer Marcel van de Vondervoort is deeply involved with recording and mixing the audio streams of each Roadburn that so often become groups’ live albums, and aside from the fact that after I first dug into their last studio LP, 2010’s Quadrant (review here), I decided I needed to hear every record they’d ever put out — 2006’s Speeder People (review here), 2005’s Made in Oss EP (review here), 2002’s Soundgrenade (review here) and 2000’s Son of A.P. Lady (review here) — I have been waiting years to see Astrosoniq play Roadburn, and their set was made all the more special by the fact that fest organizer Walter was doing live visuals as he did for The Heads last year. The band hasn’t had much if any live activity over the last few years. It’s now been seven since Quadrant was first issued in Europe. I knew it was going to be something special. I knew I was lucky to see them. I don’t think I knew just how much that would be the case.
On record, they hop genres with attention-deficit regularity, but in the Green Room, the band were much more fluid. They jammed out with the best of anything I’ve seen at Roadburn 2016, and I’ve seen a few jams. Guitarist Ron van Herpen had guested the other night with Death Alley, but really stood out during “As Soon as They Got Airborne,” an extended take that was only part of the larger highlight that was the set as a whole. “You Lose” from Son of A.P. Lady was another standout, that album having just received a limited vinyl reissue that’s caught my eye in the merch area downstairs at the Patronaat. May or may not get to pick its deluxeness up to take home, but Astrosoniq made an easy case with what I’ll hope is a return to activity that results — eventually; doesn’t have to be this week; next week is fine — in a new full-length. Their native Oss is about 35 minutes from Tilburg by car, just on the other side of den Bosch, and they got the hometown greeting from a strong Dutch contingent represented in the crowd. I knew they would be a hard act to follow.
I watched a bit of Tau Cross — with Away from Voivod on drums and Rob Miller from Amebix on vocals — on the Main Stage before heading over to Het Patronaat to catch the start of Beastmaker, as Lee Dorrian‘s curation was continuing over there. I miss-timed it and didn’t actually get to see them apart from their soundcheck, blowing my chance at Carousel in Extase at the same time, and routed back to the 013 proper to watch Converge do their special ‘Blood Moon’ set comprised of their slower and more experimental material. After their Jane Doe set the other night, which I caught the tail end of, the vibe was almost completely different. Yeah, Jacob Bannon still writhed and paced back and forth and whatnot, but there were more clean vocals — giving Stephen Brodsky (Cave In) another chance to shine, which he did — and they brought out Steve Von Till of Neurosis and Chelsea Wolfe to add their voices to the mix, and Ben Chisholm fleshed out textures on keys, resulting in a rich sound that pushed away from hard/metalcore in favor of something less stylistically hinged. Even for being selections from past records, ‘Blood Moon’ set its own context, and even in the parts that didn’t feature Von Till, one could hear a strong sense of influence from Neurosis in what they were doing.
At that point, I decided to do something I hadn’t done since I got to Tilburg: I stopped and had a meal. I left Massachusetts on Tuesday evening. Today was Saturday. Since then, I hadn’t had time to actually sit down to a dinner, lunch, breakfast, anything. I bumped into Weirdo Canyon Dispatch photog extraordinaire Paul Verhagen and we grabbed a bite, with Exile on Mainstream‘s Andreas Kohl joining later, before Amenra went on the Main Stage. I had mixed veggies — broccoli, brussels sprouts, string beans, some other green thing chopped up — a boneless chicken thigh, a spicy chicken wing and a considerable amount of green salad, dry. It might as well have been birthday cake.
Amenra are something of a fixture around Roadburn. The Belgian atmospheric sludgers played in 2007, they played when Neurosis curated in 2009, they played in 2013 and they’ll play again at the Afterburner. That’s nothing to complain about, I’m just noting it because perhaps it was part of what drove them to do something different this time around, performing mostly acoustic with seven players seated arranged in a circle on the stage to stark lighting and deeply melancholic reinterpretations of their songs. Of course, they also have a new LP out, Alive, on Consouling Sounds working in similar forms — it features a faithful cover of Tool‘s “Parabol,” which they also played — but even in this different incarnation, it was plain to hear the impact of Neurosis on their methods and of Scott Kelly and Steve Von Till‘s solo works on their dark-folk and minimalist (if you can call something with seven people on stage minimalist) brooding.
Vocalist Colin H. van Eeckhout said from the stage they were nervous and doing their best, possibly after someone shouted “Slayer!” in the crowd. If they were uncomfortable, it was hard to tell from the harmonies. When they were done, they left one at a time until only a single guitarist remained, his back to the crowd. Then he got up and walked away and the part he was playing kept going. It was a loop, obviously — that’s not exactly a magic trick at this point — but it made for a striking visual all the same and said something about the resonance of their material, being brought down on a slow fade as the crowd erupted again. There would be a 40-minute break before Neurosis came on, which, to be completely honest, felt like an eternity.
From Brothers of the Sonic Cloth onward, everything on the Main Stage at Roadburn 2016 today was building toward the Neurosis 30th anniversary set. From Tad Doyle‘s grunge roots to Tau Cross‘ own in crust and progressive thrash, to Converge and Amenra having both — in very different ways, granted — found inspiration in their work, Neurosis was at the core of what the whole day was about, and the push forward was leading inextricably to their set as the culmination. Not to say it was seven-plus hours of setup and nothing more, just that the clearly purposeful flow of the day was designed with its direction in mind. It was not an accident.
They opened with “Lost” from 1993’s Enemy of the Sun, and among the you-were-never-gonna-see-Neurosis-play-this highlights were “Pain of Mind” and “Self-Taught Infection” from 1988’s Pain of Mind debut, “To What End?” from 1990’s The Word as Law, a cover of Joy Division‘s “Day of the Lords,” and, gloriously, “Takeahnase” from 1992’s Souls at Zero, arguably the point at which they really started to branch beyond their beginnings in crust and hardcore punk and move into the various forms of aggression that they continue to develop now — the easy word for it is post-metal, but it’s post-metal because Neurosis made it that way. With more recent inclusions like “At the Well” from 2012’s Honor Found in Decay (review here) and “Water is Not Enough” from 2007’s Given to the Rising, along with “Times of Grace” from the 1999 album of the same name, “Left to Wander” from 2004’s The Eye of Every Storm, as well as the closing pair of “Through Silver in Blood,” from the 1996 LP of the same name, and “Stones from the Sky” from 2001’s A Sun that Never Sets.
Between all of that and “An Offering” from the Sovereign EP, there was not one record in their discography unrepresented. That made the event even more special — they’ll follow-up with a second installment for the Afterburner tomorrow — but the truth of the matter is that anytime Neurosis shows up, it’s special. I know they’ve done more touring in the last year than in the decade prior, but still, I don’t think there’s a band on the planet that captures the same measure of intensity, of raw passion, of volume-assault-as-spiritual-refuge that Neurosis does, and whether it’s Noah Landis using the entire universe for source material for samples and manipulated transitional drones for between songs, Steve Von Till and Scott Kelly complementing each other on guitar and vocals as one might expect for two guys who’ve been fronting a band together for 30 years, Dave Edwardson‘s continued ferocity on bass or Jason Roeder‘s cyclical drum patterning, everything they do is a lesson in the ethic of putting creativity first. They have a new record coming out at some point. I don’t know what it sounds like or what it’s called, but I feel comfortable in the knowledge that it will step forward from where they were with Honor Found in Decay, because they’re Neurosis, and that means no compromising.
I kind of lost my shit during that especially blistering rendition of “Takeahnase,” and I expect tomorrow and Monday I’ll be good and sore. Who cares? Not me. I’m back at it in the morning for the last issue of the Weirdo Canyon Dispatch and more bands for the Afterburner, which basically is just another day of Roadburn at this point. Fine by me. It’s gone quickly in 2016 — how do you pack a year’s worth of living into four days? — so I’ll take everything I can get.
Posted in Whathaveyou on February 18th, 2016 by JJ Koczan
Every year, without fail, there comes a point at which one is forced to wonder if Roadburn has lost its damn mind. So it is today as the news hits the inbox of Roadburn 2016 “rounding out its lineup” with more bands than most festivals manage to host in a weekend. Unbefuckinglievable.
Over 30 acts have joined the bill for Roadburn 2016, which I’m thrilled and proud to say I’ll be attending and covering while also editing the Weirdo Canyon Dispatch daily ‘zine once again, including Scott Kelly and Sanford Parker‘s Mirrors for Psychic Warfare, Buried at Sea (also featuring Parker), New Keepers of the Water Towers, Usnea, Death Alley, Admiral Sir Cloudesley Shovell, Beastmaker, Gomer Pyle, Carousel, Zone Six, The Progerians (who have a new video out that’s getting posted in just a bit, Menhir and of course many others.
Oh yeah, and Jucifer are playing the pre-show. Pure madness.
I can’t wait:
Final additions to the Roadburn bill, including full Cul de Sac line up
New additions to the bill include BURIED AT SEA, MIRRORS FOR PSYCHIC WARFARE, INVERLOCH, CULT OF OCCULT, CHVE, and USNEA. Full line up for Cul de Sac venue announced, including ‘Roadburn Introduces…’ JUCIFER announced for the Hard Rock Hide Out pre-Roadburn part
BURIED AT SEA
From the beginning surge of feedback through the last filth-caked rumble, BURIED AT SEA’s sound is a monument to the notion of tone as weight. Abrasive in the extreme and matched in aural largesse only by the sway of its rhythm, it surrounds completely and oppresses mercilessly. Here at Roadburn Festival HQ, we are beyond excited to announce BURIED AT SEA will bring their one-of-a-kind dirges to Roadburn 2016 on Sunday, April 17 at the 013 venue in Tilburg, The Netherlands.
MIRRORS FOR PSYCHIC WARFARE
We always knew they were unusually talented musicians, but in the last few years Scott Kelly and Sanford Parker have also become remarkably prolific, showing a wonderfully multi-faceted aspect to their artistic expression throughout a multitude of projects. They now appear as the sole members of this latest endeavour, MIRRORS FOR PSYCHIC WARFARE. A sort of reverse side of the coin to the unfettered, confrontational aggression of Corrections House, the five songs on their self-titled debut, are more insidious. MIRRORS FOR PSYCHIC WARFARE perform on Sunday, April 17 in the Green Room.
For more information about the above bands click here.
FURTHER ADDITIONS TO THE BILL
In addition to the above, the following bands have also been added to the Roadburn 2016 line up.
SIR ADMIRAL CLOUDSESLEY SHOVEL (part of Lee Dorrian’s curated event) BEASTMAKER (part of Lee Dorrian’s curated event) CAROUSEL click here for more info on these bands
CULT OF OCCULT DANIEL PAYNE HELL INVERLOCH USNEA click here for more info on these bands
CUL DE SAC LINE UP
Once again, Roadburn Festival is very happy to be hosting our fifth at the Cul de Sac in collaboration with Never Mind The Hype, an independent Dutch music platform (think: rock meets alternative, or stoner rock meets psych). At Cul de Sac, we will focus on showcasing promising Dutch and Belgian bands, plus some acts from further afield. Positioned just around the corner from the 013 venue, the intimate surroundings of the Cul de Sac mean you can get up close and personal with some of the best up and coming bands we could get our hands on.
Once again we have picked one band to showcase under the Roadburn Introduces… banner, and in association with Nevermind The Hype, we’re pleased to announce that the showcase band for 2016 is DOOL. Hailing from Rotterdam, DOOL will lure us into their spiraling netherworld, and connect with the international Roadburn community during an intimate show at the Cul de Sac on Saturday April 16 in Tilburg,The Netherlands. DOOL starts at 2 pm. Click here to read more about DOOL.
Thursday April 14 MOLOKEN NEW KEEPERS OF THE WATER TOWERS ZONE SIX DEAD NEANDERTHALS GOMER PYLE MANTRA MACHINE Click here for more info
Friday April 15 HERDER ALKERDEEL FEATURING GNAW THEIR TONGUES COCAINE PISS NOCTUM OBESE CONCATENATUS Click here for more info
Just as we did last year, Roadburn will focus on Belgium, and in collaboration with one of the country’s foremost bookings agencies, RuffStuff Music, we welcome some fantastic bands hailing from just next door in Belgium – bands that embodied the spirit of Roadburn. Together we will host some exciting, cutting edge bands, alongside Roadburn’s established acts, for the second year in a row.
Saturday April 16 HEMELBESTORMER (click here for more info) GRIMMSONS PARTISAN THE PROGERIANS WE’REWOLVES VVOVNDS Click here for more info
Sunday April 17 SYNDROME CHAOS ECHOES MENHIR WITCH TRAIL And finish your Roadburn experience with DEATH ALLEY Click here for more info
HARD ROCK HIDE OUT
In keeping with what has become Roadburn tradition, we’ll be welcoming keen Roadburners to Tilburg on Wednesday, April 13 with a party at Cul de Sac. Whilst newcomers get their bearings, return visitors will slip straight back into old habits. Welcoming Roadburners to Tilburg this year will be none other than our our favourite pair of highly-amplified nomads – JUCIFER. They will park up at the Cul de Sac for the evening and rip through their harsh, thrashy, sludgy, doomy, downright massive tunes.
Day tickets for Thursday and Friday remain on sale, but all other ticketing options are now SOLD OUT. For a full rundown of the line up and to view the line up posters, please click HERE.