Posted in Whathaveyou on February 14th, 2017 by JJ Koczan
Lineup additions have continued to come out over the last week-plus since Pittsburgh-based fest Descendants of Crom made its first announcements with the formidable likes of Earthride, EYE, Foghound and Stinking Lizaveta taking part. West Virginian instrumental trailblazers Karma to Burn, New Jersey rock destroyers Solace, Kansas boogie-thrusters The Midnight Ghost Train — as the names have appeared, the geographic reach of Descendants of Crom 2017, which is set for Sept. 30 on the Cattivo Nightclub‘s two stages, has only expanded, but perhaps the biggest addition yet brings the festival much closer to home.
Penance released their Alpha and Omega album in 2001 via the Martyr Music Group, and with it debuted a five-piece incarnation that will play for the first time in 15 years at Descendants of Crom, in a great add to the bill that fulfills the stated mission of the fest in honoring Pittsburgh’s own underground contributions as well as looking outside its borders. Badass all around.
In addition to the already-noted, Cant, Ol’ Time Moonshine and Archarus, have also been added, so the more right on. Here’s the latest from the fest, including some comment from organizer Shy Kennedy on Penance signing on:
DESCENDANTS OF CROM – Penance to Headline with ‘Alpha & Omega’ Lineup
All-day fest set for Sept. 30, 2017, with two stages fueled by riffs created by the riddle of steel.
This all day music festival is the first of its kind in Pittsburgh, Pennsylvania. The underground scene of stoner and doom here is healthy and thriving and the location at Cattivo Nightclub is perfect with two large floors, a stage on each, and good sound with friendly staff.
Descendants of Crom Festival lineup: CANT MONOLITH WIELDER OL’ TIME MOONSHINE ARCHARUS HORSEBURNER WASTED THEORY FOGHOUND EYE BRIMSTONE COVEN SOLACE THE MIDNIGHT GHOST TRAIN KARMA TO BURN VALKYRIE EARTHRIDE STINKING LIZAVETA PENANCE (Alpha & Omega lineup)
Shy Kennedy on Penance headlining:
It all starts out with an idea of, ‘Hey, wouldn’t it be great if there were a gig in Pittsburgh that had a bunch of riff-fueled bands of all rock and metal genres?’ It’s the perfect place for it, really. The scene here is supportive and it’s an accessible city to many. It doesn’t come out of nowhere –- you have to make it happen.
Next, who headlines this underground, doom-rooted event? The answer would be Penance but they’ve been dormant for some time. The Alpha & Omega lineup are all right here and nearly all active in the scene someway or another. Turns out that you just have to ask. Penance are as excited to be a part of the Descendants of Crom as I am. A lot of the seasoned fans are going to appreciate this and for those who aren’t familiar with Penance are going to get a little lesson in Pittsburgh Doom History.
DESCENDANTS OF CROM will bring great regional talent to a hungry crowd, utilizing national fan favorites to lure them to learn about these other amazing artists. This first year is anticipated to be a contender among other established annual fests and will not be an event to miss.
Posted in Whathaveyou on February 3rd, 2017 by JJ Koczan
Cheers to a new festival coming to Pittsburgh this fall. Sept. 30 will see the debut installment of the all-day Descendants of Crom held at the two-stage Cattivo Nightclub, and the first lineup announcement has been made with a considerable blend of Chesapeake and Midwestern talent on hand. With a strong focus that seems to put Maryland at the epicenter, prime Dave Sherman-fronted riff-rollers Earthride will play as part of an apparent 2017 resurgence, along with Ripple Music heavy rockers Foghound, whose 2016 outing, The World Unseen (review here), was among the year’s most unabashedly kickass.
One particularly encouraging sign from this first round of confirmations — there’s apparently another to come by the end of the month — is the stylistic variety. To have the lush melo-prog of Ohio’s EYE and the jazzy intricacy of just-reviewed Philly trio Stinking Lizaveta on the same bill is righteous enough, let alone to have them alongside the boozy forward drive of an act like Wasted Theory, the dual-guitar acrobatics of Valkyrie, Brimstone Coven‘s harmonies and the progressive sludge of Horseburner.
Wait. Did I just convince myself to drive to Pittsburgh?
While I ponder that question of questions, dig into Descendants of Crom‘s initial communiqué below, which comes courtesy of the fest itself:
DESCENDANTS OF CROM – SEPT. 30, 2017
This all day music festival is the first of its kind in Pittsburgh, Pennsylvania. The underground scene of stoner and doom here is healthy and thriving and the location at Cattivo Nightclub is perfect with two large floors, a stage on each, and good sound with friendly staff.
DESCENDANTS OF CROM will bring great regional talent to a hungry crowd, utilizing national fan favorites to lure them to learn about these other amazing artists. This first year is anticipated to be a contender among other established annual fests and will not be an event to miss.
Posted in Features on December 20th, 2016 by JJ Koczan
Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2016 to that, please do.
I say this every year: These are my picks. If you’re unfamiliar with this site, or you don’t come here that often, or if you do and just normally don’t give a crap — all of which is cool — you should know it’s all run by one person. One human being. Me. My name is JJ, and this is a list of what I think are the best albums that were released in 2016.
Since before 2016 began, I’ve kept a running list of releases. My criteria for what gets included in this list is largely unchanged — it’s a balance between what I feel are important records on the level of what they achieve, what I listened to most, what held some other personal appeal, and what I think did the best job of meeting the goals it set for itself. Pretty vague, right? That’s the idea.
The nature of worldwide heavy has become so broad that to encompass it all under some universal standard is laughable. Judging psychedelia, garage rock, heavy psych, doom, sludge and so on by the same measure makes no sense, and as genres continue to splinter and remake themselves as we’ve seen them doing all year and over the last several years, one must be malleable in one’s own taste. We’ve seen a new generation of heavy rock bands emerge in the last three-plus years. It’s been amazing, and there are a few pivotal second and third records that came out in 2016 to affirm that movement underway. Look for it to continue into 2017 and beyond.
This year more than any other seemed to want to bring the different sides together. A laudable goal. Thick riffing marked with flourish of psychedelia. Spacious doom bred against folk impulses. There’s been experimentation around melds that have led to considerable triumphs, and it just doesn’t seem to me that rigid standards can apply. It’s why I don’t grade reviews and never did.
Sound is evolving now as it always has been and as it will keep doing, but like any year, 2016 had a full share of landmarks to offer as a part of that process. As universal development hopefully remains ongoing, it’s only right that we celebrate the accomplishments helping to push it along its winding and sometimes divergent-seeming paths.
I have no doubt you know what I mean. Let’s get to the list:
Seems only fair to start with a record I couldn’t put down. Finnish trio Talmud Beach‘s second album and Svart debut, Chief, hit on just the right blend of laid back, semi-acoustic groove-blues, psychedelia and classic progressive folk rock, but with the exception of its sprawling dreamscape title-track (a welcome arrival at the finale), it also kept the songwriting simple, resulting in a natural, pastoral feel that only highlighted their melodic range in songs like “Mountain Man” and “Snow Snow Snow.” I think it flew under a lot of people’s radar, but I’ve kept going back to it over the course of the year and I see no reason to stop.
Space is still the place. I’ve already highlighted closer “Artificial Light” from Comet Control‘s sophomore LP, Center of the Maze as my favorite song of 2016, so I’ll spare you the longwinded treatise on its languid cosmic glories — this time — but consider this a reminder that that song was by no means the limit of what the eight-track release had to offer in terms of breadth. From the opening push of “Dig out Your Head” to the dream-drift of “Sick in Space,” it unfolded tonal presence and a melodic depth that engaged a gorgeous, multifaceted sonic wash as it moved onward toward that landmark conclusion.
There was not a level on which Madison, Wisconsin’s Droids Attack didn’t make it clear they were going all-out, all-in on Sci-Fi or Die. Even the title speaks to the stakes involved. And sure enough, the trio executed their fourth album with a sense of urgency and professionalism in songcraft, production, artwork (discussed here) and nuance of presentation that managed to make even a song called “Clawhammer Suicide” a classy affair. As guitarist/vocalist Brad Van said on the hidden title-track, “Death to false stoner thrash.” Droids Attack brought that ethic and more to life across the entire record.
A winding road brought Beelzefuzz around to following up their 2013 self-titled debut (review here), and as The Righteous Bloom brought guitarist/vocalist Dana Ortt and drummer Darin McCloskey together with bassist Bert Hall and lead guitarist Greg Diener, it found their songwriting more expansive, more progressive and dug further into their own particular oddball sense of grandeur. I’ve said on multiple occasions that no one out there is doing what Beelzefuzz are doing and that continues to be true. Even as a first offering from a new lineup of the band, The Righteous Bloom took bold and exciting forward steps.
Down to business. Immediately. Not a moment to spare. Taking part in what can only be considered a landmark year for Ripple Music, Baltimore’s Foghound issued The World Unseen as an answer to their 2013 debut, Quick, Dirty and High (review here), and upped their game across the board. From the intensity in the hooks of “Message in the Sky” and Rockin’ and Rollin'” to the quiet interlude of “Bridge of Stonebows” and the mid-paced heavy rock nod of “Never Return,” they made a strong case for themselves among their label’s foremost acts and found individualism in the growth of their songwriting. It was a kick in the ass you weren’t going to forget.
Put out by the band digitally in Dec. 2015 and issued on vinyl in 2016, Egypt‘s second LP, Endless Flight may be somewhat debatable in terms of when it actually landed (hence “25a.,” above), but the quality of the six-tracker more than warrants inclusion anyway. Rolling dense, massively-fuzzed groove, its nine-minute opening title-track set the course for the Fargo, North Dakota, three-piece, and they only grew the heavy revelry from there, as heard on the penultimate “Black Words,” which seemed to be chewing on rocks even as it played back and forth in tempo, build and push. The converted never had it so good.
There seems to be no stopping the Chiliomodi-based 1000mods, who with their third album have stepped to the forefront of Greece’s populous and vibrant heavy rock underground. Progressed well beyond where even 2014’s impressive Vultures (review here) found them, they seemed to hit a stride with Repeated Exposure To… thanks in part to road time and the ability to bring that energy directly into songs like the eight-minute roller “Loose” and the sizable crashes of “Groundhog Day.” Momentum working in their favor could be heard front-to-back from “Above 179” to “Into the Spell,” moving them toward something ever-more crucial and marking a considerable achievement along that path. 2017 might be a good time for them to test the waters with initial US shows.
Quick turnaround from Roman heavy psych magnate Gabriele Fiori (guitar/vocals) and company, but though it hit just about 13 months after their fourth full-length, Hawkdope (review here), Black Rainbows, Stellar Prophecy wholly succeeded in making an impact of its own, cuts like the oozing, organ-laced “Woman” and 11-minute jam-out triumph “Golden Widow” showcasing an approach in a continuous state of refinement that seems to get rawer as it goes, shifting like a rogue planetoid toward some maddening cosmic realization. How something can seem both so frenetic and so blissful is still a mystery, and perhaps that’s part of what makes Stellar Prophecy resonate as it does, but either way, Black Rainbows brought together some of the year’s most efficient psychedelic immersion.
Borracho don’t seem to release an album until they have something to say. That was to their credit on Atacama, their third LP and label debut for Kozmik Artifactz debut. Also their second collection issued as a trio behind 2013’s Oculus (review here), it distinguished itself from its predecessor in its sense of overarching flow, shifting between the ahead-thrust of “Gold from Sand” into the 10-minute sample-laden jam “Overload” to start out with such ease that the listener had little choice but to follow along. With an expanded scope on “Drifted away from the Sun” and the lightly-strummed memento mori “Flower,” Borracho found new avenues of expression to complement their well established dense, heavy riffing, and took obvious care in crafting their most realized LP yet.
Nothing Brooklyn’s The Golden Grass does feels like happenstance, and though their classic-styled boogie is imbued with a vibrant, friendly positive energy, there’s an underlying meticulousness in their arrangements and in their songwriting that came further into focus on Coming Back Again, their sophomore release 2014’s self-titled debut (review here). A more progressive take showed itself in “Reflections” and “Down the Line,” and taken in combination with the bookends “Get it Together” and “See it Through,” the three-piece stood on ground that was even more their own than on the first record, striking a careful balance between the willful exploration of new elements and the outright need for tracks to directly engage their listeners with catchy hooks and upbeat vibes. They did it. Expect continued growth.
For something so awash in fuzz, so nodding in its rhythms, so let’s-push-the-vocals-back-under-this-huge-awesome-fucking-riff, Curse the Son‘s Isolator was also remarkably clearheaded in its purposes. With the added vocal harmonies of “Callous Unemotional Traits,” the far-off spaces of “Hull Crush Depth” and the stoner metal despair of “Aislamiento,” the Connecticut three-piece of guitarist/vocalist Ron Vanacore, capital-‘d’ Drummer Michael Petrucci and newcomer bassist Brendan Keefe drew a direct, intentional line to sometimes-grueling (hello, “Sleepwalker Wakes”) weighted tonality and found justification for their largesse in its own being. Like 2012’s Psychache (review here), I expect to be returning to Isolator over a longer term than this single year of release.
I feel like I need to explain myself here. Make no mistake, Neurosis‘ Fires Within Fires is among the year’s most accomplished offerings. There’s just about no way it wouldn’t be. So why not top 10? Top five? It’s a question of timing. With the long-running post-metal progenitors, it’s always a longer digestion period. It was about two years before 2012’s Honor Found in Decay (review here) really sunk in, and I expect Fires Within Fires will work similarly over the greater term. Maybe a little guilt on my part for the disparity between its quality and its placement, but rest assured, Neurosis remain among the most imperative bands walking the earth, and as they took on the full brunt of 30 years of unmitigated progression through Fires Within Fires, they were no less brazen in pushing themselves creatively than they’ve ever been.
Though the narrative of Conan has remained largely unchanged since their inception — hack, slash, kill, riff — and they still bask in nigh-on-unmatched tonal slaughter, their third full-length brings a few key developments. Perhaps most notable from opener “Throne of Fire” onward is the vocal interplay between guitarist/founder Jon Davis and bassist/longtime-engineer Chris Fielding, who joined after 2014’s Blood Eagle (review here). Adding Fielding‘s deeper growls allowed Davis to subtly move into a cleaner shout, and the emergent dynamic between them made Revengeance a decidedly expanded affair compared to Conan‘s past work. Adding drummer Rich Lewis to the mix was no minor shift either, and as much as Conan had already established their sheer dominance, they also sounded refreshed and set themselves up to keep growing.
Some records just feel like gifts, and though many of its lyrical positions were cynical — “Reality,” “21st Century Slave,” “Mind Control Machine,” “Red the Sign Post,” etc. — Freedom marked the 15th anniversary of Danish garage-psych rockers Baby Woodrose with dripping lysergic aplomb, reminding some four years after their last LP, 2012’s Third Eye Surgery (review here), that bandleader Lorenzo Woodrose is unparalleled when it comes to manifesting his take on the psychedelic victories of 13th Floor Elevators and classic-era Hawkwind — firmly at home levitating on the edge of time. Its swirl and underlying foundation of songwriting, its Richie Havens cover title-track, and its sprawling interstellar “Termination” were like a welcome check-in from another dimension, and I only hope it’s not four years before Woodrose sends the next signal. Earth needs this band.
I’m not going to discount the shuffle of “Sunday Speed Demon” or sleeze of “Sunday Speed Demon,” but where Geezer‘s self-titled third full-length really showed how far the New York heavy blues-psych trio have come was in its extended midsection jams, “Sun Gods,” “Bi-Polar Vortex” and “Dust,” each of which showed a distinct approach while feeding into an engaging flow between them, offering a blend of trailmarker hooks as they drifted into realms of organic chemistry previously uncharted by the band. The slow-motion swing of “Hangnail Crisis,” raucous push of “Superjam Maximus” and concluding bounce of “Stoney Pony” brought them back down to earth to finish out with a symmetry to the album’s opening, but Geezer kept a collective hand on the controls the whole voyage and when they landed, it was an arrival indeed, and very much what their two previous records were building toward.
Beautifully experimental with its 27-minute finisher “As Sure as the Sun,” EYE‘s Vision and the Ageless Light seemed throughout its whole 46-minute run to be executing a cohesive vision in its synth-soaked progressive textures. Between the intro “Book of the Dead” and the subsequent “Kill the Slavemaster,” “Searching,” “Dweller of the Twilight Void” and the already-noted closer, each piece had something different to offer that added to the full impact of the whole, and with guitarist Jon Finely and bassist Michael Sliclen joining founding drummer/vocalist Brandon Smith and synth/Mellotron/Moog-ist Lisa Bella Donna (also vocals and acoustic guitar), EYE added to the scope of 2013’s Second Sight (review here) and found a place for themselves where prog complexity didn’t need to come at the expense of memorable songwriting and spaced-out vibes. An absolute joy, front to back.
Even Fatso Jetson themselves would probably have to admit that six years — even a six years that saw several splits, singles, etc. — was too long between albums. Fortunately, Idle Hands saw the desert rock forebears in top form as regards their quirk-fueled songwriting, angular approach to punk and inimitable groove. Following 2010’s Archaic Volumes (review here) was no easy task, but with additional depth to the material from the contributions of guitarist Dino von Lalli — son of founding guitarist/vocalist Mario Lalli and nephew of founding bassist Larry Lalli — guest spots from his sister Olive Lalli as well as Sean Wheeler (the latter moves second cut “Portuguese Dream” into high-echelon strangeness) and the ever-propulsive drumming of Tony Tornay, Fatso Jetson were both all over the place and right at the core of where they most ought to be sonically. At 56 minutes, it hardly seemed long enough.
Each song was like a different persona the band adopted momentarily, whether it was the Bowie-goes-proto-goth-prog of organ-ic opener “Transparent Eyeball” or the grim pastoralia of “Mirror Boy” and the condemnations/proclamations of “Drugged up on the Universe,” but wherever Hexvessel went on their third full-length and Century Media debut, When We are Death, that unifying theme went with them. Death. It was everywhere in the Finland-based genre-benders’ deeply varied approach, though its presence made their material in no way off-putting, and in the case of cuts like “Cosmic Truth” or the later “Mushroom Spirit Doors,” not even dark, and as it drew the tracks together despite working in different sounds and style, it became apparent that When We are Death worked because of a universal quality in songwriting and presentation allowing for such drastic shifts without any risk of losing the audience.
Yawning Man guitarist Gary Arce — a key figure in the development of desert rock and a player of unmatched tone, period — had quite a year, between Zun‘s Burial Sunrise, his main outfit and his collaboration with Fatso Jetson vs. HifiKlub, but it was the dreamscape drift of songs like “Come Through the Water” and “All that You Say I Am” as well as the subtle hooks of “Into the Wasteland” and “All for Nothing” that, for me, made this the highlight. Sure, bringing in vocalists Sera Timms (Ides of Gemini, Black Mare) and John Garcia (ex-Kyuss, Slo Burn, Vista Chino, etc.) and having them swap back and forth between the tracks didn’t hurt either, but the wash of ethereal presence in Arce‘s guitar was an excellent showcase for his patience and improvisational sensibilities, and the spaces Burial Sunrise covered seemed to have an infinite horizon all their own. Will hope for a follow-up, will hope Garcia and Timms return, and will hope for a duet.
One had reasonably high expectations for the debut full-length from London’s Elephant Tree after their 2014 EP Theia (review here) so deftly blended spacious, sitar-laced heavy psychedelic rock with more visceral sludge impulses — a difficult mix to pull off — but I think it would’ve been impossible to see the quality of this self-titled outing coming in any substantive way. Gone were the screams, in was a depth of tone and nigh-on-perfect tempo — see “Dawn” and “Aphotic Blues,” as well as the acoustic “Circles” between them — and where some first albums have a kind of tentative, feeling-it-out vibe, guitarist/vocalist Jack Townley (interview here), bassist/vocalist Peter Holland, drummer Sam Hart and sitarist/vocalist/engineer Riley MacIntyre took utter command of the proceedings. They won’t have the element of surprise working for them next time, but as Elephant Tree made perfectly clear in its biggest surprise of all, neither do they need it.
If you were to ask me to summarize in one word the last four-plus years of Mos Generator‘s tenure, since their reactivation with 2012’s Nomads (review here) and the subsequent lineup changes and hard-touring that followed 2014’s Electric Mountain Majesty (review here), I’d say “go.” I might say it three times: Go-go-go. One of three LP-ish offerings out this year, the studio album Abyssinia embodied this ethic as it started with immediate momentum on “Strangest Times” and “You’ve Got a Right” and seemed to push itself into new ground as it went. Guitarist/vocalist/founder Tony Reed brought heavy boogie to bear at a frenetic clip, but Abyssinia offset its early mania with later progressive stylization on “There’s No Return from Nowhere,” “Time and Other Thieves” and harmonized closer “Outlander,” so that in addition to representing their furious creativity, it also brought them to places they’ve never been before in sound.
In some ways, Future Echo Returns was simply picking up where Belfast’s Slomatics left off with 2014’s Estron (review here), as heard on the riff of lead-in track “Estronomicon,” but as the third in a purported trilogy following that record and 2012’s A Hocht, it also brought the tonecrushing three-piece to Skyhammer Studio to work with producer Chris Fielding (Conan) and presented a linear storyline that, while rife with standout moments in cuts like “Electric Breath,” the ambient “Ritual Beginnings” and ultra-catchy “Supernothing,” found a genuine sense of resolution in the finale “Into the Eternal” that spoke to the scope the entire work was meant to represent — not just itself, but an entirety spanning three albums. Not a minor feat, but what also made Future Echo Returns so resonant was how well the material stood on its own, so that even without the narrative context, it was immersive, hypnotic and unbridled in its heft.
After two landmarks issued by Small Stone in 2014’s The Conjuring (review here) and 2012’s The Black Code (reviews here and here), Texas forerunners of riff Wo Fat gave a concise rundown of their appeal in the six-track Ripple debut and sixth LP overall, Midnight Cometh. Their ongoing development as found them bringing together a two-sided personality of memorable songs and open, fluid jams, and cuts like “There’s Something Sinister in the Wind,” “Of Smoke and Fog,” “Three Minutes to Midnight” and “Nightcomer” emphasized the next stage of this process, while the shuffling “Riffborn” and swaggering blues rock of “La Dilleme de Detenu” gave listeners a chance to touch ground every now and again. Over the last two-plus years, Wo Fat have become a point of influence for other, particularly American, acts — see labelmates Geezer — and Midnight Cometh assured that will be the case going forward too; a status well-earned.
Offered up this summer as a limited self-release and picked up by no less than Stickman Records (Motorpsycho, Elder), Orion might be the most molten inclusion on this list. It’s also my pick for 2016 Debut of the Year, and to hear cuts like “She Sleeps on a Vine,” “Kerosene,” the sprawling closer “Drinking from the River Rising,” or even just to take the whole record front-to-back, which was clearly how the band intended it be experienced, there’s just about no competition in that regard that stands up. The Rochester, NY, three-piece showed marked promise on their 2013 demo (review here) and 2015 split with Lé Betre (review here), but the listenability of Orion — which earned every single one of its repeat visits — made it a triumph on a different level entirely, and distinguished King Buffalo as a formidable presence in the sphere of US heavy psychedelia, fostering a sound no less soulful for its outward cosmic reach and to-be-measured-in-lightyears scale of potential.
7. Wight, Love is Not Only What You Know
Released by Fat and Holy Records, Kozmik Artifactz, Import Export Music and SPV. Reviewed Sept. 7.
German outfit Wight answered significant anticipation on their third album, Love is Not Only What You Know, some four years after 2012’s Through the Woods into Deep Water (review here) and undertook a significant evolution in sound. A transition from a trio to a four-piece and adding a strong current of funk to their heavy psych groove and boogie resulted in cuts like “The Muse and the Mule,” the jammed-out “Kelele” and “The Love for Life Leads to Reincarnation,” which were as danceable as they were nod-ready, and when complemented by shorter classic rockers like “Helicopter Mama” and “I Wanna Know What You Feel” (still plenty funky) and the Eastern-tinged interlude “Three Quarters,” gave Love is Not Only What You Know scope to match its ass-shaking encouragement. It was a spirit unto itself among 2016 releases, but ultimately, the key to understanding the record was right there in the title: It was all about love, and wherever Wight went in a given track, they never lost sight of that.
A decade and a half after 2001’s Revolution Rock (discussed here), Sweden’s Greenleaf most embodied that ethic with Rise Above the Meadow, their sixth long-player and Napalm Records debut. 2014’s Trails and Passes (review here) represented the key step of founding guitarist Tommi Holappa (interview here) bringing vocalist Arvid Johnsson into the lineup, but Rise Above the Meadow built exponentially on what that album achieved, bolstered by work as a touring band and a revitalized songwriting process heard in “Howl,” “A Million Fireflies,” “You’re Gonna be My Ruin,” the stomping “Golden Throne” and “Tyrants Tongue,” among others. I refuse to discount the quality of Trails and Passes, 2012’s Nest of Vipers (review here) or 2007’s landmark Agents of Ahriman (review here), but as Greenleaf shifted toward a style more reminiscent of Holappa‘s later output with Dozer, they also seemed to stake their claim on the forefront of European heavy rock and roll, which was just waiting for them to do so.
Perhaps the most believable lyric of 2016 was the opening line of leadoff cut “The Gree Heen” from Brant Bjork‘s Tao of the Devil: “I got all that I need. I got the gree-heen.” From the prominent pot leaf on the cover to that single clause — which set the tone for that song’s mega-nod as much as everything that followed in the boogie of “Humble Pie” and “Stackt,” the so-laid-back-it’s-almost-unconscious title-track and the longer-form explorations of “Dave’s War” and the wah’ed-out “Evening Jam” — the inimitable Bjork seems to have embraced the role of stoner guru and the Godfather of Desert Rock. Tao of the Devil was his second release through Napalm behind 2014’s Black Power Flower (review here), which introduced the Low Desert Punk Band, and far from hanging its hat on the man’s historical accomplishments from his days in Kyuss, Fu Manchu, Che, Vista Chino, etc., the 50-minute eight-tracker came fueled by the soul most typified in Bjork‘s solo catalog, which it’s increasingly easy to argue is his greatest contribution to the desert aesthetic. Definitely in his wheelhouse, but what a wheelhouse.
What a relief it was to have Asteroid back, and what a relief it was to have III arrive some six years after II (review here) and find the Örebro, Sweden, trio’s certified-organic chemistry undulled by that long stretch. The songs — “Pale Moon,” “Last Days,” “Til Dawn,” “Wolf and Snake,” “Silver and Gold,” “Them Calling,” “Mr. Strange” — there wasn’t a miss in the bunch, and in addition to the reignited craftsmanship, III made clear a progression as players and the intent to move forward from guitarist/vocalist Robin Hirse, bassist/vocalist Johannes Nilsson and drummer Elvis Campbell (since replaced by Jimmi Kolscheen), so that the material didn’t just let listeners know Asteroid was a band again after having unceremoniously faded out for a half-decade, but gave a signal that perhaps they were just getting started. One can only hope that turns out to be the case, but either way, III felt like a reward dolled out to their fanbase after a long absent stretch, and one that, like II and their 2007 self-titled debut (discussed here) before it, will reverberate its echoes for years to come. Hands down 2016’s most welcome return.
Though it would carry the context of its scorching opener “Nature Boy” with it for the duration and, accordingly, hit with a more intense feel than its 2013 predecessor, The Fury of a Patient Man (review here), Gozu‘s fourth album overall and Ripple label debut was a kick in the ass on more than just that one level. It found the Boston foursome with the finally-solidified lineup of vocalist/guitarist Marc Gaffney, guitarist Doug Sherman, bassist Joe Grotto and drummer Mike Hubbard, and while one could argue they still wound up under the banner of a heavy rock band, that became happenstance to the songs themselves. That is, even more than The Fury of a Patient Man or 2010’s Locust Season (review here), Gozu came across as writing not to style, but to their own impulses, as demonstrated in “Big Casino,” the echoing soul of “Tin Chicken” and shuffle-thrust of “Oldie,” and as they moved beyond their initial swath of influence into this individualized sonic persona, they reaped the benefits of the locked-in lineup and a process of craft that never sounded so purposeful. Revival was indeed typified by its vitality, but it was also the sound of a band maturing as a unit, becoming who they were meant to be, and there is almost nothing more exciting than that for a single album to represent. Plus, it had a song called “By Mennen,” and, you know, references.
2. Mars Red Sky, Apex III (Praise for the Burning Soul)
It was unreasonable to expect the third full-length from Bordeaux, France, trio Mars Red Sky to surpass 2014’s Stranded in Arcadia (review here) and the progressive crux that album brought to the warm tones and sweet melodicism of their 2011 self-titled debut (review here), but Apex III (Praise for the Burning Soul) reinforced the elements that worked so well on previous outings while pushing inarguably onto what the band seemed to know was “Alien Ground” if the title of their intro was anything to go by. More over, it did so with a natural fluidity and poise that were as striking as they were encompassing in sound. Tying to earlier 2016’s Providence EP (review here) in concept and execution through that intro and the title-track following it, Apex III presented the to-date pinnacle of Mars Red Sky‘s growth in songs like “The Whinery,” “Mindreader,” the tear-inducing “Under the Hood,” the swing-happy “Friendly Fire,” the willful atmospheric crash of closer “Prodigal Sun” — each one a crucial advancing step from the trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Mathieu “Matgaz” Gazeau — and brilliantly fed them one into the other, so that in addition to the standout impressions of each, there developed a personality to the whole span of the album; a world of Mars Red Sky‘s own creation, where they dwelt for what seemed too short a time before returning to earth and on from here to who knows where next.
Most of all, For this We Fought the Battle of Ages was fearless. For their fourth album, Salt Lake City’s SubRosa adapted themes from 1924’s We by Yevgeny Zamyatin, which laid out a futuristic dystopia wherein all identity is subsumed to the state and even love is outlawed when not properly sanctioned. This framework, obscure if influential, gave guitarist/vocalist Rebecca Vernon, violinist/vocalist Sarah Pendleton, violinist/backing vocalist Kim Pack, bassist/vocalist Levi Hanna, drummer/engineer Andy Patterson (formerly of Iota, among others), and a range of other contributors, a space in which to explore gender and LGBT issues across the six included tracks, and from the opening build and crush of the chorus to “Despair is a Siren” through the depiction of privilege in “Wound of the Warden,” the 97-second Italian-language ballad “Il Cappio” (translated: “the noose”) and into the gut-wrenching finale of “Troubled Cells,” their musical accomplishment was no less stunning than lyrics like, “Isn’t it good to be acquainted with darkness?/To caress it gently/To slit its throat,” from “Black Majesty.” Tense in its quiet stretches, harmonized vocally, given orchestral presence through its use of strings, flute, French horn, and so on, For this We Fought the Battle of Ages worked fluidly in what for most acts would be a contradictory modus of careful, meticulous arrangements and raw, emotional realism. No matter how deep it dove — and by the time identity was being erased and the state was taking control of the body on “Killing Rapture,” it was diving pretty deep — SubRosa never lost their sense of poise, so that the defiance in the last movement of “Troubled Cells” in which Heaven itself is rejected with the clearest of justifications, “Paradise is a lie if you’re not by my side,” the band seemed to stand as straight and tall as their multi-tiered righteousness would warrant. But even if one took For this We Fought the Battle of Ages with politics aside, its achievement in marrying post-metallic structures, gothic texture and progressive atmospherics was on a plane of its own making, operating under its own rules and in its own definitive space. Albums like it do not happen every year, and forward motion for genre as a whole is rarely so visible as it was in this special offering, which seems only fair to regard as a landmark for the band and anyone whose ears and hearts it touched.
The Next 20
Like any good Top 30, mine goes to 50. Here is the next batch:
31. Blaak Heat, Shifting Mirrors
32. Truckfighters, V
33. West, Space & Love, Vol. II
34. Seedy Jeezus with Isaiah Mitchell, Tranquonauts
35. Yawning Man, Historical Graffiti
36. Causa Sui, Return to Sky
37. Vokonis, Olde One Ascending
38. Hotel Wrecking City Traders, Phantomonium
39. The Wounded Kings, Visions in Bone
40. It’s Not Night: It’s Space, Our Birth is but a Sleep and a Forgetting
41. Beastwars, The Death of all Things
42. Naxatras, II
43. Holy Grove, Holy Grove
44. Worshipper, Shadow Hymns
45. Wretch, Wretch
46. Colour Haze, Live Vol. I: Europa Tournee 2015
47. Zaum, Eidolon
48. Bellringer, Jettison
49. Young Hunter, Young Hunter
50. Mammoth Weed Wizard Bastard, Y Proffwyd Dwyll
From the kinetic desert artistry of Blaak Heat to Mammoth Weed Wizard Bastard’s ethereal synth-laden doom, there are more than a few essentials here. I’ve never before done a year-end list that had so many releases on it, but my motivation in doing so this time around couldn’t have been simpler: They were simply too good and had too much to offer to leave out. It would’ve been an oversight to do so.
Even a Top 50 fails to grasp the full scope of what 2016 brought about musically, so here are even more, alphabetically:
Ancient Warlocks, II
Black Moon Circle, Sea of Clouds
Sergio Ch., Aurora
Lamp of the Universe, Hidden Knowledge
Mondo Drag, The Occultation of Light
Øresund Space Collective, Visions Of…
-(16)-, Lifespan of a Moth
The Well, Pagan Science
Wovenhand, Star Treatment
And if that’s still not enough, here are 60-plus more names who shouldn’t be left out of the discussion, also alphabetically:
Akris, Atala, Atomikylä, Backwoods Payback, Beastmaker, BigPig, Black Cobra, Black Lung, Blood Ceremony, Blues Pills, Bright Curse, Bus, Dee Calhoun, Captain Crimson, Child, La Chinga, Church of Misery, Conclave, Cough, Devil to Pay, Domkraft, Dot Legacy, Electric Citizen, Estoner, Eternal Elysium, Fatso Jetson & Gary Arce vs. Hifiklub, Fox 45, Goatess, Goblin Cock, Graves at Sea, Heavy Temple (they’ll be back on next year’s list), High Fighter, Holy Serpent, Hotel Wrecking City Traders, Inter Arma, Joy, Kaleidobolt, Khemmis, King Dead, Lord, Lord Vicar, Merchant, Mirrors for Psychic Warfare, Helen Money, Monkey3, Moon Coven, Mother Mooch, Necro, New Keepers of the Water Towers, T.G. Olson, Oranssi Pazuzu, Pooty Owldom, Russian Circles, Salem’s Pot, Samavayo, Seremonia, Skuggsjá, Sourvein, Spirit Adrift, Stone Machine Electric, Suma, Surya Kris Peters, Swans, Throttlerod, Virus, Wasted Theory, Wretch, and Zaum.
In case none of the above has made it clear, I’ll just say flat out that 2016 has been an amazing year for music, and that every time I feel like maybe underground heavy has hit a wall and there’s nowhere left for it to go, sure enough about three minutes later another record shows up that slaps me in the face with a reminder of just how wrong that notion is.
If you’re still reading — how could you be? — thank you so much for your incredible support throughout 2016 and all the years The Obelisk has been in progress. I already know that 2017 is going to bring some incredible music as well, but that’s another list for another time, so I’ll just say again how much I appreciate your being a part of this ongoing project, how much it means to me to have you here. Thank you, thank you, and thank you.
And please, if there’s anything I forgot, got wrong, misspelled, or if you just think I used the word “breadth” too many times, please let me know about it in the comments.
No question 2016 has had some highs and some lows, but for me, the first-ever The Obelisk All-Dayer, held Aug. 20 at Saint Vitus Bar in Brooklyn, was something truly special. Hardly stress-free, with the broken-down car and assorted this and that throughout the day and evening, but at the end of the show, my head down on the bar while DJ Adzo spun classic heavy rock after Mars Red Sky finished, barely able to stand, it was entirely worth every second of effort and freakout. What a blast.
As I dig into the wrap-up portion of the year, I’ve been thinking a lot about what was the real peak moment. I put a book out this year, which is something I’ve daydreamed of doing since I had the cerebral complexity to daydream. There’s always Roadburn. This past weekend sitting around playing video games with The Patient Mrs. was pretty sweet, if I do say so. But I keep coming back to The Obelisk All-Dayer, and I think that might be it.
That whole weekend was so special to me, not even just the show. It was an incredible time and I was humbled to see people enjoying themselves throughout the day, digging on the free tacos (thank you, Steve Murphy), gratified to hang out with good friends and to see excellent performances. It was an honor to play a part in hosting those who came out, including Brooklyn’s premiere videographer Frank Huang, whose work I’m thrilled to feature today.
If you’ve ever YouTubed anything from the Saint Vitus Bar or seen anything from the venue posted here, you know Frank Huang‘s work. Someday they’ll make a documentary about him, but until then I’ll just note that the guy is unparalleled in his dedication to capturing live music, and the quality of what he does has become an essential component of an entire generation of NYC showgoers’ live experience. Even for shows I attend, when I see Frank there, I look up the video afterwards, because inevitably his camera got something I missed. He is an invaluable resource and a gentleman to boot.
Below you can see snippets of varying length from each of the eight bands who played the All-Dayer, which Frank has newly posted with my deepest appreciation.
Whether you were there or not, I hope you’ll dig in and please, please enjoy:
Heavy Temple, Live at The Obelisk All-Dayer 2016
King Buffalo Live at The Obelisk All-Dayer 2016
Funeral Horse, Live at The Obelisk All-Dayer 2016
EYE, Live at The Obelisk All-Dayer 2016
Kings Destroy, Live at The Obelisk All-Dayer 2016
Snail, Live at The Obelisk All-Dayer 2016
Death Alley, Live at The Obelisk All-Dayer 2016
Mars Red Sky, Live at The Obelisk All-Dayer 2016
Once again, thanks to Frank Huang for being on hand to tape these sets, and to the Saint Vitus Bar for letting me put this show on. Stay tuned in the New Year for more info on The Obelisk All-Dayer 2018.
Posted in Reviews on November 17th, 2016 by JJ Koczan
There’s a line to follow, something like a trail EYE leave for their listeners to lead them into their third album, Vision and the Ageless Light. It would be cruel on their part to offer no guidance whatsoever for their debut offering through The Laser’s Edge, which basks in space ritualizing in an increasingly immersive pattern from three-minute opener “Book of the Dead” through the 27-minute, multi-tiered finale “As Sure as the Sun.” All flows as one piece, at least where they want it to, and all comes across in a gorgeous wash of synth, guitar, and vocal harmonies, building on what EYE accomplished with their last outing, 2013’s Second Sight (review here) and their 2011 debut, Center of the Sun (review here and here), while finding new avenues of texture, atmosphere, and dynamic throughout.
The band has been through some key changes in the last three years, bringing in guitarist Jon Finely and bassist Michael Sliclen alongside founders Brandon Smith (drums and vocals) and synth/Mellotron/Moog expert Lisa Bella Donna (also vocals and acoustic guitar), but the core of their sound in heavy progressive rock remains well intact and undiminished, and if anything, the patience they show early on in the record, the boldness of their craft on “As Sure as the Sun” and the overarching flow across Vision and the Ageless Light in its entirety make it plain that not only have EYE not lost a step since Second Sight, they’ve only continued to grow and move forward in their creative breadth — which should be the ultimate endgame of anything bearing a “prog” label of any kind.
I’m not sure it needs to be said, but EYE earn theirs outright, and Vision and the Ageless Light is a cosmic adventure that moves inward and outward in kind and for all its indulgence — nature of the beast for a release of this kind — it never leaves those making the journey with it alone on the path it lays out. Nor, like its full-length predecessors or other offerings like the Wooden Nickels single (review here) or the Live at Relay tape (review here) in 2013, does it shy away from beauty. To wit, the synth/acoustic mindmeld of the penultimate “Dweller of the Twilight Void,” which one invariably has to hear as the closer for side A of Vision and the Ageless Light given the breadth that unfolds thereafter.
With the introductory “Book of the Dead,” the spacial Hawkwindian shuffle of “Kill the Slavemaster,” and the sleeker thrust of “Searching” before it, “Dweller of the Twilight Void” offers a surprising turn toward serenity, offering highlight vocal harmonies and a patience that “Book of the Dead” hints at in its relatively brief 3:35 unfolding and agenda-setting blend of Mellotron and synth, but gives way to the initial roll of “Kill the Slavemaster” before it can fully develop as an entity of its own. The smoothness of that transition is not to be understated, however. Side A of Vision and the Ageless Light functions no less as a single work than does “As Sure as the Sun” as it pushes the limits of side B (if it doesn’t actually surpass them — can a 27:11 track fit on a vinyl side?), despite the shifts in vibe and purpose throughout. “Kill the Slavemaster” plays organ and guitar leads off each other to exciting effect in its midsection after establishing its hook early, then moves into bass and key-led jazz as the foundation for its turn back to where it started, some backwards guitar tossed in for good measure along the way.
It hits into a quick finish at 6:05 with not one of its component seconds wasted and the momentum continues into “Searching”‘s more low-end-minded vibing. There’s just about no way it’s not plotted, but after “Searching” departs its verses and instrumental all-push chorus, it does seem to take a jammier approach than “Kill the Slavemaster” before it, as the drums crash out cymbals to clear the way for a guitar-driven boogie at about 3:20 and the four-piece spend the remaining two minutes living up to the title — i.e. searching — until a sudden appearance of synth swirl signals the arrival of “Dweller of the Twilight Void.”
From there, EYE only continue to go further and further out. The opening lines, “Pay no mind to what you see/You were not born for the grave,” ooze with headphone-worthy melody over acoustic strum and various kosmiche psychedelics, and though I can’t help but be reminded of lost Belgian troupe Hypnos 69, in reality it’s probably more a common latent Pink Floyd/King Crimson influence than anything so direct.
Wherever it comes from, EYE make it their own here with no need to repent in the process because there’s no doubt of the traditions to which they’re playing. After three minutes in, Bella Donna‘s keys come to the fore in a mini-freakout, and while the guitar line holds underneath, and it’s strum and underlying Mellotron that actually finish the song, it’s clear they’re not coming back from that voyage. So ends side A, and on side B, “As Sure as the Sun” begins with its title lyric, again, gorgeously harmonized, near-Beatlesian, before a Mellotron progression is established and the full scope of layers begins — but only begins — to show itself. Acoustic guitar, electric guitar, more devices than I can name come into play before EYE are two minutes deep into “As Sure as the Sun,” and the song has barely started.
Drums don’t even show up until after the next movement, more cinematic, dramatic, a drone emerging that leads to a faded-in winding guitar figure that Smith joins at 5:20, not crashing in in grandiose style, but showing up right when he’s needed all the same with hit and rolling toms and immediately backing a shredding guitar solo that gives way to Mellotron wash before a snare roll turns back to that winding figure — different now, with more keys — and a more peaceful section that marks a reintroduction of more commanding vocals, more declarative in the classically progressive sense of intonation, and over the next few minutes, EYE rock out, fall into a singularity of synth and rock out again, finding shuffle in all that mystery circa 14 minutes in as swirling vocals underscore the idea that all this — all of it — is a ritual at work.
They build toward a solo with crashes and turns, then return to the serenity of the quiet verse, now more tense with the shifted context and a build in Smith‘s ride cymbal and Bella Donna‘s Mellotron/synth and the vocals. Rather than explode, at 20 minutes, the tempo cuts and EYE go even more pastoral, setting the stage for what will be Vision and the Ageless Light‘s last movement and, more immediately, another guitar solo. Thicker tones arrive before the 22-minute mark, and they continue to build melody around them while maintaining a measured tempo for the time being, and though they build with black-queen-chants-the-funeral-march fluidity circa 25 minutes in, they never let themselves fully go into chaos even in the closing minutes of “As Sure as the Sun.”
It’s an active finish — they’re not still by any means — but the sense of control that EYE have displayed all throughout the record and that steady, guiding hand never seem to lose their place. That would seem to be the clearest signal of all throughout Vision and the Ageless Light of EYE‘s utter mastery of their form, but that’s not necessarily meant to take away from the impact the songwriting across their third long-player has either. In a still-manageable five tracks/46 minutes, their craft brings them to places they’ve never been before and finds them not only covering this new sonic ground but establishing their claim on it, and once more, inviting those listening to be a part of that happening. It is not an invitation that should be in any way refused.
That warmth you feel on the horizon is the Nov. 18 release date of EYE‘s Vision and the Ageless Light drawing closer. Don’t worry, it’ll get here soon enough. The Ohio space-prog masters make their debut on The Laser’s Edge with their third full-length, which proffers tumult and serenity in kind and brings to bear a richly textured and expansive vibe that only seems to keep moving outward until, finally, it decides it doesn’t want to bother coming back. And why should it? It’s been a long three years since EYE offered up their sophomore record, Second Sight (review here), and I’d say we’re all due a voyage through the three-dimensional soundscapes that seem to flow so naturally from them.
Oh yeah, and hey, they’re playing with Hawkwind twice this week. No big deal, though frankly they probably should be playing asHawkwind and not just in a supporting role. Somehow I doubt EYE are inclined to complain. I’m going to have a review of the album up sometime between now and when it’s out, so I don’t really want to dive too deep into its structure or whatnot, but as they’ve got a new, kind of atmospherically-minded video for the track “Dweller of the Twilight Void,” it seemed only reasonable for me to post that in the interim, both because it gives me an excuse to talk about Vision and the Ageless Light more, which is fun, and because it serves as a preview to the album for anyone who had the misfortune of not seeing them dig into new material earlier this summer at the first-ever The Obelisk All-Dayer in Brooklyn, where they absolutely shined in the most heartening manner possible.
Not that I’m an impartial observer or anything, but yeah. Food for the soul.
Check out “Dweller of the Twilight Void” below, followed by more info from the PR wire.
EYE, “Dweller of the Twilight Void” official video
Written and performed by EYE Recorded & Mixed by Lisa Bella Donna Film & Video production: Bubba Ayoub
With their Vision And The Ageless Light LP approaching release through Laser’s Edge later this month, Ohio-based psychedelic/prog quartet EYE has just debuted a video for “Dweller Of The Twilight Void.”
The serene but intense kaleidoscope of sound EYE produces on Vision And The Ageless Light is expressed perfectly within the track, “Dweller Of The Twilight Void,” as displayed in the new video for the track, which was created by Bubba Ayoub.
The band offers, “‘Dweller Of The Twilight Void’ was the final song to be written and recorded for Vision And Ageless Light…We met at our dimly lit studio one evening and performed over the already tracked acoustic guitar and constantly drifting Mellotron. Brandon and I sang together as I played the Moog straight through to the end. Jon rolling through it with us on second acoustic, and Michael putting it all together on upright bass. It was fun and fulfilling to capture that moment which we feel is the epicenter of the record in such a gliding session. Some songs don’t come so easily. There were definitely lots of laughter, smiles, and smoke rings swirling with the frequency and spirit of this song that night…”
EYE’s Vision And Ageless Light was recorded in parts at Relay Recording with Jon Fintel, and at the band’s Lisa Bella Donna’s own Backroads Recording Studio, after which it was mastered by Phil Demetro from Lacquer Channel Mastering in Toronto, and completed with artwork by Anthony Yankovic, as with the band’s three prior albums.
Laser’s Edge will issue Vision And The Ageless Light on CD, LP, and digital formats on November 18th, 2016; preorders for the CD are live HERE and the LP HERE.
EYE Live: 11/11/2016 The Union – Athens, OH w/ Hawkwind 11/13/2016 The Grog Shop – Cleveland, OH w/ Hawkwind 12/16/2016 Thursdays – Akron, OH w/ Nights 12/17/2016 Happy Dog – Cleveland, OH
EYE is: Brandon Smith: Vocals Lisa Bella Donna: Vocals, Acoustic Guitar, Mellotron, MiniMoog & ARP 2600 Synthesizers Jon Finely: Acoustic Guitar Michael Sliclen: Upright Bass
I honestly can’t remember the last time I was so tired. Pure physical and mental exhaustion. By the end of the day I could barely stand up, keep my head up, or down one last cup of coffee while watching Mars Red Sky close out the show. It’s been three days. I’m still not sure I have the mental faculties to write this post.
I hereby dub the first-ever The Obelisk All-Dayer a success.
The day started with The Patient Mrs.’ car breaking down on I-95 in Connecticut on the way south to Brooklyn and continued through flash floods, the first two bands running late (both got there on time, but my nerves were already frayed from being late myself), my camera breaking – again – during Funeral Horse, Death Alley blowing a tire on their way up from Philly, and so on, but there were tacos, the day ultimately ran on time, and everybody killed.
Absolutely killed. I mean it. Front to back. What a show.
From Heavy Temple bringing it for an early 2:30 start through Mars Red Sky dipping back to their first record for a rendition of “Strong Reflection” that nearly brought a tear to my eye, and everything in between. King Buffalo? Funeral Horse? Fucking EYE? Kings Destroy? Snail? Death Alley’s absolute ownership of the room? There wasn’t a dud in the bunch.
Most importantly, it seemed like everybody there had a good time. The tacos went. We wound up with about 170 people in the door, not counting bands and guests, and with the professionalism of the Saint Vitus Bar staff, the show ran smoothly the whole time, changeovers were easy, and my sincere hope is that everyone who came felt welcome, because they absolutely were.
On that note, I’ll say that I’m not going to review the show. Just doesn’t feel right. But I did want to say thank you to a few people who helped make the day so incredibly special.
First to The Patient Mrs., who not only handled money at the end of the night, but sold posters and patches, kept me sane as we stood on the side of the highway and waited for the tow truck, reminded me to eat, and got me that aforementioned last cup of coffee to get me through the last part of the show. She was there (almost) the whole day and it was deeply meaningful to me to have her around.
Thanks to Walter Roadburn, who left the comforts of home to come and co-DJ the afterparty, sat in traffic with The Patient Mrs. and I on the trip from Boston to Connecticut, Connecticut to Brooklyn, and back again. The time we got to spend talking about music, about what he does with his festival, and his insights on the show are memories that I imagine I will continue to treasure for as long as I can remember anything at all. Highlight of the weekend, without question. And thanks to Esther, who convinced him to come.
Thanks to David Castillo, George Souleidis, Sound Guy Jeff and the staff at the Saint Vitus Bar, which leaves absolutely nothing to question as to why it has the reputation it has. The generosity they showed in welcoming the All-Dayer into their rightly-hallowed space, the accommodation of the weird schedule, and just the sheer slog of the hours put in – all handled with professionalism beyond enviable. Other venues should aspire to run such a ship. It was staggering to see it from the end of someone organizing a show. Thank you so much.
Thank you to Steve Murphy for the endless, thoroughly unjustified belief in my being able to pull this whole thing off, for the tacos and for the support across the board. Thank you for your friendship, your kindness, and for your threat to print up bootleg Obelisk t-shirts to give away at random. I hope that works out.
Thanks to the bands. Mars Red Sky coming from France to play, Death Alley from the Netherlands, Snail from the West Coast, Kings Destroy giving New York due representation with a special set – “Planet XXY?” who knew? – EYE from Ohio, Funeral Horse from Houston, King Buffalo from Rochester and Heavy Temple from Philly. And to Walter and Adam Otracina for helming the afterparty. Whether they were coming from near or far, it really felt like everybody put something extra into the show and I was continually humbled and blown away by what I saw and heard all day and into the night. People loaning each other gear, making adjustments on the fly, starting and ending on time, everything came together better than I could’ve hoped, and it was just wonderful to see. I am deeply grateful.
Thanks to Jaime Traba for recording the audio of the sets. More on that hopefully soon. Thanks to Frank Huang for capturing video. Steve Truglio, Randy Blood, Harry Booth and others for getting photos. Like I said, my camera died, so knowing that there were plenty of others around was a great comfort.
Thanks to Skillit for the amazing poster and logo design, and to Dave from Made in Brooklyn for printing the patches. Thanks to my family, Suze Wright, Andy Wright and Rob Jones, for coming and helping sell merch. Thanks to Slevin and Ralph. Thanks to Liz and Dave from Earsplit and Becky Laverty for the plugs. Thanks to Postman Dan for buying tickets even though he couldn’t make it. Thanks to Randy and Laura Blood, Juan Lopez, Jen Hendrix-Johnson, Kenny Sehgal, Phil Moon, Adam Sawford, Nico Liengme and Laurel Jane May, Earl Walker Lundy, Seibert Lowe, Paul John Shaft, Lisa Hass, Melanie Streko, Ron, Jill Lavilette, Brian Schmidt, Ross Colombo, Alex Jakstas, Natasha Padilla, Tad Proshansky, Zack Kurland, Greg Aramini, and many, many others who came out, everyone who had a kind word about the site, the band selection, my book, everything. I’m quite sure I’ll add to this list as I regain even my usual limited use of my mental faculties, but this is for starters and please know that whether you were there in-person or if you shared a link or saw a post about it and liked it or bought tickets in advance or just read the site generally. Thank you. Thank you all so much. Thank you.
I’m going to take a couple weeks and really think about whether this is something I want to do again, but if I do, I know it won’t be an annual thing. Whatever happens moving forward, I want you to know how unbelievable this night was for me and I hope for everyone who attended as well. One more time, thank you.
I don’t have photos of my own, Steve Truglio was kind enough to send me shots of each band who played, and you’ll find them after the jump.
My understanding is that the release date for EYE‘s long-awaited third album — actually not that long, it just feels that way — has been pushed back to November. When it arrives, Vision and Ageless Light will be the Ohio space-psych rockers’ first outing for new label home The Laser’s Edge, following 2013’s Second Sight (review here) and their 2011 debut, Center of the Sun (discussed here and here).
The trailer premiered below marks the first audio to be made public from Vision and Ageless Light, as well as the debut of the cover art, and it comes so far ahead of the release date in honor of the band’s appearance at The Obelisk All-Dayer, THIS SATURDAY, Aug. 20 at Saint Vitus Bar in Brooklyn. Five days from now. If you’re not excited for it yet, I double-dog-dare you to click play below and not buy a ticket immediately to witness this Moog-y majesty in person.
EYE were the final band to be added to the first-ever The Obelisk All-Dayer, and what they bring to the lineup is something distinct from every other group involved. Their lush, melodically rich progressive psychedelia is utterly spaced in its atmosphere, but still maintains an emotional crux, as the swirling synth and guitar, vocal harmonies and contemplative rhythms display across their first two albums leading up to this one. If I wanted to, I don’t think I could be more thrilled to have EYE as a part of this show, and the fact that they come on the eve of issuing their new album with the prospect of playing new material only enhances that enthusiasm.
Joining EYE at The Obelisk All-Dayer are Mars Red Sky, Death Alley, Snail, Kings Destroy, Funeral Horse, King Buffalo and Heavy Temple, as well as DJs Adzo and Walter Roadburn, who’ll handle aftershow duties. It’s going to be incredible. Don’t miss it.