Posted in Features on January 1st, 2017 by H.P. Taskmaster
The poll is closed, the results are counted and the top 20 albums of 2016 have been chosen. Hard to argue with the list as it’s shown up over the course of the past month, so I won’t try. Instead, let me just say thanks to incredible amount of participants who contributed this year.
All told, between Dec. 1 and Dec. 31, 612 people added their picks to the proceedings, compared to 388 in last year’s poll. Considering how much that number blew my mind on Jan. 1, 2016, I’m sure you can imagine how I feel about adding another 200-plus lists to the pot. In short, I’m astounded, deeply humbled and so, so, so grateful. I feel like we got enough of a sampling this year to give a genuinely representative showing for where people’s heads have been at, so thank you if you were a part of it.
Thank you as well as always to Slevin for running the poll’s back end and tabulating the results. As ever, the weighting system is one in which a 1-4 ranking is worth five points, 5-8 worth four, 9-12 worth three, 13-16 worth two and 17-20 worth one. You’ll find that list (plus some honorable mentions) below, followed by the raw-vote tally.
And after the jump, as has become the tradition, are the full lists of everyone who submitted, alphabetized by name. I’m in there too. It’s a huge amount to wade through, and even if you thought you heard everything in 2016, it should be more than enough to keep you busy for the next year.
One last note: I’m no statistician. Please allow for these numbers to change over the next couple days on some small level.
Top 20 of 2016 — Weighted Results
1. Wo Fat, Midnight Cometh (375 points)
2. Greenleaf, Rise Above the Meadow (368)
3. Elephant Tree, Elephant Tree (324)
4. Asteroid, III (302)
5. Brant Bjork, Tao of the Devil (295)
6. Gozu, Revival (274)
7. Neurosis, Fires Within Fires (253)
8. King Buffalo, Orion (244)
9. Mars Red Sky, Apex III (Praise for the Burning Soul) (238)
10. Conan, Revengeance (232)
11. Cough, Still They Pray (228)
12. Holy Grove, Holy Grove (218)
13. SubRosa, For this We Fought the Battle of Ages (213)
14. Truckfighters, V (206)
15. Blood Ceremony, Lord of Misrule (200)
16. Khemmis, Hunted (192)
16. Red Fang, Only Ghosts (192)
17. Inter Arma, Paradise Gallows (181)
18. Witchcraft, Nucleus (174)
19. Opeth, Sorceress (173)
20. Church of Misery, And then there Were None (159)
Honorable mention to:
Causa Sui, Return to Sky (157)
Goatess, II: Purgatory Under New Management (157)
Black Mountain, IV (148)
Mos Generator, Abyssinia (144)
Wretch, Wretch (140)
Look at those tallies for number one and two. That race was close all month. Wo Fat kept out front for the most part, but Greenleaf kept it interesting and Elephant Tree’s debut snuck in there at third, which I love to see, both because it’s their first album and because that record was indeed so great. King Buffalo, another debut, also made the top 10, underscoring those two as bands to watch, and though Brant Bjork, Conan, Asteroid, Neurosis, Gozu and Mars Red Sky might be more expected names, they still certainly delivered excellent records, so again, nothing to fight with here. Things flesh out a bit in the 10-20 range, but I don’t think there’s one album on this list you could call is “miss.”
Top 20 of 2016 — Raw Votes
1. Wo Fat, Midnight Cometh (109)
2. Greenleaf, Rise Above the Meadow (92)
3. Brant Bjork, Tao of the Devil (87)
4. Elephant Tree, Elephant Tree (82)
5. Asteroid, III (80)
6. Gozu, Revival (76)
7. Conan, Revengeance (73)
8. Cough, Still They Pray (70)
9. Mars Red Sky, Apex III (Praise for the Burning Soul) (68)
10. King Buffalo, Orion (67)
11. Truckfighters, V (62)
12. Red Fang, Only Ghosts (61)
13. Khemmis, Hunted (60)
14. Blood Ceremony, Lord of Misrule (59)
14. SubRosa, For this We Fought the Battle of Ages (59)
15. Holy Grove, Holy Grove (58)
16. Church of Misery, And then there Were None (53)
17. Inter Arma, Paradise Gallows (49)
17. Witchcraft, Nucleus (49)
18. Opeth, Sorceress (47)
19. Mos Generator, Abyssinia (45)
20. Black Mountain, IV (44)
20. Causa Sui, Return to Sky (44)
20. Wretch, Wretch (44)
Honorable mention to:
Goatess, II: Purgatory Under New Management (43)
Mondo Drag, The Occultation of Light (43)
Geezer, Geezer (41)
Crowbar, The Serpent Only Lies (41)
Gojira, Magma (37)
Slomatics, Future Echo Returns (36)
Graves at Sea, The Curse that Is… (35)
Black Rainbows, Stellar Prophecy (33)
Beastmaker, Lusus Naturae (32)
Vokonis, Olde One Ascending (31)
Left a few more honorable mentions in the raw-vote count, just for fun and so you could get more of a feel beyond the top 20 itself, which you’ll notice has a couple ties in it as the raw votes usually do and reorganizes a bit from the weighted results. One and two remain the same, however, and in the same order, and you’ll see Wo Fat was the only album that scored more than 100 votes on its own. As a whole, there were over 2,400 separate entries for albums this year, which is by far the most spread out that the voting has ever been. Frankly, with so many people involved and such a variety of stuff being voted on, I’m amazed anyone managed to agree on anything at all, but of course they did and once again a stellar list is the result.
Well, Happy New Year.
Before I go, thanks again to Slevin for the work put into running the back end of this site and this poll particularly. I show up with the finish lists, but it’s his code that makes it happen, and his efforts are appreciated more than I can say. Dude has never asked me for anything in the nearly eight years I’ve been a constant pain in his ass.
After the jump, you’ll find everybody’s list, alphabetized by name. Please enjoy browsing. I hope you find something awesome, because there’s certainly plenty in there that qualifies, and if you see something that looks like it appears often enough that it should be included in one or both of the counts above, let me know in the comments.
Posted in Features on December 20th, 2016 by H.P. Taskmaster
Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2016 to that, please do.
I say this every year: These are my picks. If you’re unfamiliar with this site, or you don’t come here that often, or if you do and just normally don’t give a crap — all of which is cool — you should know it’s all run by one person. One human being. Me. My name is JJ, and this is a list of what I think are the best albums that were released in 2016.
Since before 2016 began, I’ve kept a running list of releases. My criteria for what gets included in this list is largely unchanged — it’s a balance between what I feel are important records on the level of what they achieve, what I listened to most, what held some other personal appeal, and what I think did the best job of meeting the goals it set for itself. Pretty vague, right? That’s the idea.
The nature of worldwide heavy has become so broad that to encompass it all under some universal standard is laughable. Judging psychedelia, garage rock, heavy psych, doom, sludge and so on by the same measure makes no sense, and as genres continue to splinter and remake themselves as we’ve seen them doing all year and over the last several years, one must be malleable in one’s own taste. We’ve seen a new generation of heavy rock bands emerge in the last three-plus years. It’s been amazing, and there are a few pivotal second and third records that came out in 2016 to affirm that movement underway. Look for it to continue into 2017 and beyond.
This year more than any other seemed to want to bring the different sides together. A laudable goal. Thick riffing marked with flourish of psychedelia. Spacious doom bred against folk impulses. There’s been experimentation around melds that have led to considerable triumphs, and it just doesn’t seem to me that rigid standards can apply. It’s why I don’t grade reviews and never did.
Sound is evolving now as it always has been and as it will keep doing, but like any year, 2016 had a full share of landmarks to offer as a part of that process. As universal development hopefully remains ongoing, it’s only right that we celebrate the accomplishments helping to push it along its winding and sometimes divergent-seeming paths.
I have no doubt you know what I mean. Let’s get to the list:
Seems only fair to start with a record I couldn’t put down. Finnish trio Talmud Beach‘s second album and Svart debut, Chief, hit on just the right blend of laid back, semi-acoustic groove-blues, psychedelia and classic progressive folk rock, but with the exception of its sprawling dreamscape title-track (a welcome arrival at the finale), it also kept the songwriting simple, resulting in a natural, pastoral feel that only highlighted their melodic range in songs like “Mountain Man” and “Snow Snow Snow.” I think it flew under a lot of people’s radar, but I’ve kept going back to it over the course of the year and I see no reason to stop.
Space is still the place. I’ve already highlighted closer “Artificial Light” from Comet Control‘s sophomore LP, Center of the Maze as my favorite song of 2016, so I’ll spare you the longwinded treatise on its languid cosmic glories — this time — but consider this a reminder that that song was by no means the limit of what the eight-track release had to offer in terms of breadth. From the opening push of “Dig out Your Head” to the dream-drift of “Sick in Space,” it unfolded tonal presence and a melodic depth that engaged a gorgeous, multifaceted sonic wash as it moved onward toward that landmark conclusion.
There was not a level on which Madison, Wisconsin’s Droids Attack didn’t make it clear they were going all-out, all-in on Sci-Fi or Die. Even the title speaks to the stakes involved. And sure enough, the trio executed their fourth album with a sense of urgency and professionalism in songcraft, production, artwork (discussed here) and nuance of presentation that managed to make even a song called “Clawhammer Suicide” a classy affair. As guitarist/vocalist Brad Van said on the hidden title-track, “Death to false stoner thrash.” Droids Attack brought that ethic and more to life across the entire record.
A winding road brought Beelzefuzz around to following up their 2013 self-titled debut (review here), and as The Righteous Bloom brought guitarist/vocalist Dana Ortt and drummer Darin McCloskey together with bassist Bert Hall and lead guitarist Greg Diener, it found their songwriting more expansive, more progressive and dug further into their own particular oddball sense of grandeur. I’ve said on multiple occasions that no one out there is doing what Beelzefuzz are doing and that continues to be true. Even as a first offering from a new lineup of the band, The Righteous Bloom took bold and exciting forward steps.
Down to business. Immediately. Not a moment to spare. Taking part in what can only be considered a landmark year for Ripple Music, Baltimore’s Foghound issued The World Unseen as an answer to their 2013 debut, Quick, Dirty and High (review here), and upped their game across the board. From the intensity in the hooks of “Message in the Sky” and Rockin’ and Rollin'” to the quiet interlude of “Bridge of Stonebows” and the mid-paced heavy rock nod of “Never Return,” they made a strong case for themselves among their label’s foremost acts and found individualism in the growth of their songwriting. It was a kick in the ass you weren’t going to forget.
Put out by the band digitally in Dec. 2015 and issued on vinyl in 2016, Egypt‘s second LP, Endless Flight may be somewhat debatable in terms of when it actually landed (hence “25a.,” above), but the quality of the six-tracker more than warrants inclusion anyway. Rolling dense, massively-fuzzed groove, its nine-minute opening title-track set the course for the Fargo, North Dakota, three-piece, and they only grew the heavy revelry from there, as heard on the penultimate “Black Words,” which seemed to be chewing on rocks even as it played back and forth in tempo, build and push. The converted never had it so good.
There seems to be no stopping the Chiliomodi-based 1000mods, who with their third album have stepped to the forefront of Greece’s populous and vibrant heavy rock underground. Progressed well beyond where even 2014’s impressive Vultures (review here) found them, they seemed to hit a stride with Repeated Exposure To… thanks in part to road time and the ability to bring that energy directly into songs like the eight-minute roller “Loose” and the sizable crashes of “Groundhog Day.” Momentum working in their favor could be heard front-to-back from “Above 179” to “Into the Spell,” moving them toward something ever-more crucial and marking a considerable achievement along that path. 2017 might be a good time for them to test the waters with initial US shows.
Quick turnaround from Roman heavy psych magnate Gabriele Fiori (guitar/vocals) and company, but though it hit just about 13 months after their fourth full-length, Hawkdope (review here), Black Rainbows, Stellar Prophecy wholly succeeded in making an impact of its own, cuts like the oozing, organ-laced “Woman” and 11-minute jam-out triumph “Golden Widow” showcasing an approach in a continuous state of refinement that seems to get rawer as it goes, shifting like a rogue planetoid toward some maddening cosmic realization. How something can seem both so frenetic and so blissful is still a mystery, and perhaps that’s part of what makes Stellar Prophecy resonate as it does, but either way, Black Rainbows brought together some of the year’s most efficient psychedelic immersion.
Borracho don’t seem to release an album until they have something to say. That was to their credit on Atacama, their third LP and label debut for Kozmik Artifactz debut. Also their second collection issued as a trio behind 2013’s Oculus (review here), it distinguished itself from its predecessor in its sense of overarching flow, shifting between the ahead-thrust of “Gold from Sand” into the 10-minute sample-laden jam “Overload” to start out with such ease that the listener had little choice but to follow along. With an expanded scope on “Drifted away from the Sun” and the lightly-strummed memento mori “Flower,” Borracho found new avenues of expression to complement their well established dense, heavy riffing, and took obvious care in crafting their most realized LP yet.
Nothing Brooklyn’s The Golden Grass does feels like happenstance, and though their classic-styled boogie is imbued with a vibrant, friendly positive energy, there’s an underlying meticulousness in their arrangements and in their songwriting that came further into focus on Coming Back Again, their sophomore release 2014’s self-titled debut (review here). A more progressive take showed itself in “Reflections” and “Down the Line,” and taken in combination with the bookends “Get it Together” and “See it Through,” the three-piece stood on ground that was even more their own than on the first record, striking a careful balance between the willful exploration of new elements and the outright need for tracks to directly engage their listeners with catchy hooks and upbeat vibes. They did it. Expect continued growth.
For something so awash in fuzz, so nodding in its rhythms, so let’s-push-the-vocals-back-under-this-huge-awesome-fucking-riff, Curse the Son‘s Isolator was also remarkably clearheaded in its purposes. With the added vocal harmonies of “Callous Unemotional Traits,” the far-off spaces of “Hull Crush Depth” and the stoner metal despair of “Aislamiento,” the Connecticut three-piece of guitarist/vocalist Ron Vanacore, capital-‘d’ Drummer Michael Petrucci and newcomer bassist Brendan Keefe drew a direct, intentional line to sometimes-grueling (hello, “Sleepwalker Wakes”) weighted tonality and found justification for their largesse in its own being. Like 2012’s Psychache (review here), I expect to be returning to Isolator over a longer term than this single year of release.
I feel like I need to explain myself here. Make no mistake, Neurosis‘ Fires Within Fires is among the year’s most accomplished offerings. There’s just about no way it wouldn’t be. So why not top 10? Top five? It’s a question of timing. With the long-running post-metal progenitors, it’s always a longer digestion period. It was about two years before 2012’s Honor Found in Decay (review here) really sunk in, and I expect Fires Within Fires will work similarly over the greater term. Maybe a little guilt on my part for the disparity between its quality and its placement, but rest assured, Neurosis remain among the most imperative bands walking the earth, and as they took on the full brunt of 30 years of unmitigated progression through Fires Within Fires, they were no less brazen in pushing themselves creatively than they’ve ever been.
Though the narrative of Conan has remained largely unchanged since their inception — hack, slash, kill, riff — and they still bask in nigh-on-unmatched tonal slaughter, their third full-length brings a few key developments. Perhaps most notable from opener “Throne of Fire” onward is the vocal interplay between guitarist/founder Jon Davis and bassist/longtime-engineer Chris Fielding, who joined after 2014’s Blood Eagle (review here). Adding Fielding‘s deeper growls allowed Davis to subtly move into a cleaner shout, and the emergent dynamic between them made Revengeance a decidedly expanded affair compared to Conan‘s past work. Adding drummer Rich Lewis to the mix was no minor shift either, and as much as Conan had already established their sheer dominance, they also sounded refreshed and set themselves up to keep growing.
Some records just feel like gifts, and though many of its lyrical positions were cynical — “Reality,” “21st Century Slave,” “Mind Control Machine,” “Red the Sign Post,” etc. — Freedom marked the 15th anniversary of Danish garage-psych rockers Baby Woodrose with dripping lysergic aplomb, reminding some four years after their last LP, 2012’s Third Eye Surgery (review here), that bandleader Lorenzo Woodrose is unparalleled when it comes to manifesting his take on the psychedelic victories of 13th Floor Elevators and classic-era Hawkwind — firmly at home levitating on the edge of time. Its swirl and underlying foundation of songwriting, its Richie Havens cover title-track, and its sprawling interstellar “Termination” were like a welcome check-in from another dimension, and I only hope it’s not four years before Woodrose sends the next signal. Earth needs this band.
I’m not going to discount the shuffle of “Sunday Speed Demon” or sleeze of “Sunday Speed Demon,” but where Geezer‘s self-titled third full-length really showed how far the New York heavy blues-psych trio have come was in its extended midsection jams, “Sun Gods,” “Bi-Polar Vortex” and “Dust,” each of which showed a distinct approach while feeding into an engaging flow between them, offering a blend of trailmarker hooks as they drifted into realms of organic chemistry previously uncharted by the band. The slow-motion swing of “Hangnail Crisis,” raucous push of “Superjam Maximus” and concluding bounce of “Stoney Pony” brought them back down to earth to finish out with a symmetry to the album’s opening, but Geezer kept a collective hand on the controls the whole voyage and when they landed, it was an arrival indeed, and very much what their two previous records were building toward.
Beautifully experimental with its 27-minute finisher “As Sure as the Sun,” EYE‘s Vision and the Ageless Light seemed throughout its whole 46-minute run to be executing a cohesive vision in its synth-soaked progressive textures. Between the intro “Book of the Dead” and the subsequent “Kill the Slavemaster,” “Searching,” “Dweller of the Twilight Void” and the already-noted closer, each piece had something different to offer that added to the full impact of the whole, and with guitarist Jon Finely and bassist Michael Sliclen joining founding drummer/vocalist Brandon Smith and synth/Mellotron/Moog-ist Lisa Bella Donna (also vocals and acoustic guitar), EYE added to the scope of 2013’s Second Sight (review here) and found a place for themselves where prog complexity didn’t need to come at the expense of memorable songwriting and spaced-out vibes. An absolute joy, front to back.
Even Fatso Jetson themselves would probably have to admit that six years — even a six years that saw several splits, singles, etc. — was too long between albums. Fortunately, Idle Hands saw the desert rock forebears in top form as regards their quirk-fueled songwriting, angular approach to punk and inimitable groove. Following 2010’s Archaic Volumes (review here) was no easy task, but with additional depth to the material from the contributions of guitarist Dino von Lalli — son of founding guitarist/vocalist Mario Lalli and nephew of founding bassist Larry Lalli — guest spots from his sister Olive Lalli as well as Sean Wheeler (the latter moves second cut “Portuguese Dream” into high-echelon strangeness) and the ever-propulsive drumming of Tony Tornay, Fatso Jetson were both all over the place and right at the core of where they most ought to be sonically. At 56 minutes, it hardly seemed long enough.
Each song was like a different persona the band adopted momentarily, whether it was the Bowie-goes-proto-goth-prog of organ-ic opener “Transparent Eyeball” or the grim pastoralia of “Mirror Boy” and the condemnations/proclamations of “Drugged up on the Universe,” but wherever Hexvessel went on their third full-length and Century Media debut, When We are Death, that unifying theme went with them. Death. It was everywhere in the Finland-based genre-benders’ deeply varied approach, though its presence made their material in no way off-putting, and in the case of cuts like “Cosmic Truth” or the later “Mushroom Spirit Doors,” not even dark, and as it drew the tracks together despite working in different sounds and style, it became apparent that When We are Death worked because of a universal quality in songwriting and presentation allowing for such drastic shifts without any risk of losing the audience.
Yawning Man guitarist Gary Arce — a key figure in the development of desert rock and a player of unmatched tone, period — had quite a year, between Zun‘s Burial Sunrise, his main outfit and his collaboration with Fatso Jetson vs. HifiKlub, but it was the dreamscape drift of songs like “Come Through the Water” and “All that You Say I Am” as well as the subtle hooks of “Into the Wasteland” and “All for Nothing” that, for me, made this the highlight. Sure, bringing in vocalists Sera Timms (Ides of Gemini, Black Mare) and John Garcia (ex-Kyuss, Slo Burn, Vista Chino, etc.) and having them swap back and forth between the tracks didn’t hurt either, but the wash of ethereal presence in Arce‘s guitar was an excellent showcase for his patience and improvisational sensibilities, and the spaces Burial Sunrise covered seemed to have an infinite horizon all their own. Will hope for a follow-up, will hope Garcia and Timms return, and will hope for a duet.
One had reasonably high expectations for the debut full-length from London’s Elephant Tree after their 2014 EP Theia (review here) so deftly blended spacious, sitar-laced heavy psychedelic rock with more visceral sludge impulses — a difficult mix to pull off — but I think it would’ve been impossible to see the quality of this self-titled outing coming in any substantive way. Gone were the screams, in was a depth of tone and nigh-on-perfect tempo — see “Dawn” and “Aphotic Blues,” as well as the acoustic “Circles” between them — and where some first albums have a kind of tentative, feeling-it-out vibe, guitarist/vocalist Jack Townley (interview here), bassist/vocalist Peter Holland, drummer Sam Hart and sitarist/vocalist/engineer Riley MacIntyre took utter command of the proceedings. They won’t have the element of surprise working for them next time, but as Elephant Tree made perfectly clear in its biggest surprise of all, neither do they need it.
If you were to ask me to summarize in one word the last four-plus years of Mos Generator‘s tenure, since their reactivation with 2012’s Nomads (review here) and the subsequent lineup changes and hard-touring that followed 2014’s Electric Mountain Majesty (review here), I’d say “go.” I might say it three times: Go-go-go. One of three LP-ish offerings out this year, the studio album Abyssinia embodied this ethic as it started with immediate momentum on “Strangest Times” and “You’ve Got a Right” and seemed to push itself into new ground as it went. Guitarist/vocalist/founder Tony Reed brought heavy boogie to bear at a frenetic clip, but Abyssinia offset its early mania with later progressive stylization on “There’s No Return from Nowhere,” “Time and Other Thieves” and harmonized closer “Outlander,” so that in addition to representing their furious creativity, it also brought them to places they’ve never been before in sound.
In some ways, Future Echo Returns was simply picking up where Belfast’s Slomatics left off with 2014’s Estron (review here), as heard on the riff of lead-in track “Estronomicon,” but as the third in a purported trilogy following that record and 2012’s A Hocht, it also brought the tonecrushing three-piece to Skyhammer Studio to work with producer Chris Fielding (Conan) and presented a linear storyline that, while rife with standout moments in cuts like “Electric Breath,” the ambient “Ritual Beginnings” and ultra-catchy “Supernothing,” found a genuine sense of resolution in the finale “Into the Eternal” that spoke to the scope the entire work was meant to represent — not just itself, but an entirety spanning three albums. Not a minor feat, but what also made Future Echo Returns so resonant was how well the material stood on its own, so that even without the narrative context, it was immersive, hypnotic and unbridled in its heft.
After two landmarks issued by Small Stone in 2014’s The Conjuring (review here) and 2012’s The Black Code (reviews here and here), Texas forerunners of riff Wo Fat gave a concise rundown of their appeal in the six-track Ripple debut and sixth LP overall, Midnight Cometh. Their ongoing development as found them bringing together a two-sided personality of memorable songs and open, fluid jams, and cuts like “There’s Something Sinister in the Wind,” “Of Smoke and Fog,” “Three Minutes to Midnight” and “Nightcomer” emphasized the next stage of this process, while the shuffling “Riffborn” and swaggering blues rock of “La Dilleme de Detenu” gave listeners a chance to touch ground every now and again. Over the last two-plus years, Wo Fat have become a point of influence for other, particularly American, acts — see labelmates Geezer — and Midnight Cometh assured that will be the case going forward too; a status well-earned.
Offered up this summer as a limited self-release and picked up by no less than Stickman Records (Motorpsycho, Elder), Orion might be the most molten inclusion on this list. It’s also my pick for 2016 Debut of the Year, and to hear cuts like “She Sleeps on a Vine,” “Kerosene,” the sprawling closer “Drinking from the River Rising,” or even just to take the whole record front-to-back, which was clearly how the band intended it be experienced, there’s just about no competition in that regard that stands up. The Rochester, NY, three-piece showed marked promise on their 2013 demo (review here) and 2015 split with Lé Betre (review here), but the listenability of Orion — which earned every single one of its repeat visits — made it a triumph on a different level entirely, and distinguished King Buffalo as a formidable presence in the sphere of US heavy psychedelia, fostering a sound no less soulful for its outward cosmic reach and to-be-measured-in-lightyears scale of potential.
7. Wight, Love is Not Only What You Know
Released by Fat and Holy Records, Kozmik Artifactz, Import Export Music and SPV. Reviewed Sept. 7.
German outfit Wight answered significant anticipation on their third album, Love is Not Only What You Know, some four years after 2012’s Through the Woods into Deep Water (review here) and undertook a significant evolution in sound. A transition from a trio to a four-piece and adding a strong current of funk to their heavy psych groove and boogie resulted in cuts like “The Muse and the Mule,” the jammed-out “Kelele” and “The Love for Life Leads to Reincarnation,” which were as danceable as they were nod-ready, and when complemented by shorter classic rockers like “Helicopter Mama” and “I Wanna Know What You Feel” (still plenty funky) and the Eastern-tinged interlude “Three Quarters,” gave Love is Not Only What You Know scope to match its ass-shaking encouragement. It was a spirit unto itself among 2016 releases, but ultimately, the key to understanding the record was right there in the title: It was all about love, and wherever Wight went in a given track, they never lost sight of that.
A decade and a half after 2001’s Revolution Rock (discussed here), Sweden’s Greenleaf most embodied that ethic with Rise Above the Meadow, their sixth long-player and Napalm Records debut. 2014’s Trails and Passes (review here) represented the key step of founding guitarist Tommi Holappa (interview here) bringing vocalist Arvid Johnsson into the lineup, but Rise Above the Meadow built exponentially on what that album achieved, bolstered by work as a touring band and a revitalized songwriting process heard in “Howl,” “A Million Fireflies,” “You’re Gonna be My Ruin,” the stomping “Golden Throne” and “Tyrants Tongue,” among others. I refuse to discount the quality of Trails and Passes, 2012’s Nest of Vipers (review here) or 2007’s landmark Agents of Ahriman (review here), but as Greenleaf shifted toward a style more reminiscent of Holappa‘s later output with Dozer, they also seemed to stake their claim on the forefront of European heavy rock and roll, which was just waiting for them to do so.
Perhaps the most believable lyric of 2016 was the opening line of leadoff cut “The Gree Heen” from Brant Bjork‘s Tao of the Devil: “I got all that I need. I got the gree-heen.” From the prominent pot leaf on the cover to that single clause — which set the tone for that song’s mega-nod as much as everything that followed in the boogie of “Humble Pie” and “Stackt,” the so-laid-back-it’s-almost-unconscious title-track and the longer-form explorations of “Dave’s War” and the wah’ed-out “Evening Jam” — the inimitable Bjork seems to have embraced the role of stoner guru and the Godfather of Desert Rock. Tao of the Devil was his second release through Napalm behind 2014’s Black Power Flower (review here), which introduced the Low Desert Punk Band, and far from hanging its hat on the man’s historical accomplishments from his days in Kyuss, Fu Manchu, Che, Vista Chino, etc., the 50-minute eight-tracker came fueled by the soul most typified in Bjork‘s solo catalog, which it’s increasingly easy to argue is his greatest contribution to the desert aesthetic. Definitely in his wheelhouse, but what a wheelhouse.
What a relief it was to have Asteroid back, and what a relief it was to have III arrive some six years after II (review here) and find the Örebro, Sweden, trio’s certified-organic chemistry undulled by that long stretch. The songs — “Pale Moon,” “Last Days,” “Til Dawn,” “Wolf and Snake,” “Silver and Gold,” “Them Calling,” “Mr. Strange” — there wasn’t a miss in the bunch, and in addition to the reignited craftsmanship, III made clear a progression as players and the intent to move forward from guitarist/vocalist Robin Hirse, bassist/vocalist Johannes Nilsson and drummer Elvis Campbell (since replaced by Jimmi Kolscheen), so that the material didn’t just let listeners know Asteroid was a band again after having unceremoniously faded out for a half-decade, but gave a signal that perhaps they were just getting started. One can only hope that turns out to be the case, but either way, III felt like a reward dolled out to their fanbase after a long absent stretch, and one that, like II and their 2007 self-titled debut (discussed here) before it, will reverberate its echoes for years to come. Hands down 2016’s most welcome return.
Though it would carry the context of its scorching opener “Nature Boy” with it for the duration and, accordingly, hit with a more intense feel than its 2013 predecessor, The Fury of a Patient Man (review here), Gozu‘s fourth album overall and Ripple label debut was a kick in the ass on more than just that one level. It found the Boston foursome with the finally-solidified lineup of vocalist/guitarist Marc Gaffney, guitarist Doug Sherman, bassist Joe Grotto and drummer Mike Hubbard, and while one could argue they still wound up under the banner of a heavy rock band, that became happenstance to the songs themselves. That is, even more than The Fury of a Patient Man or 2010’s Locust Season (review here), Gozu came across as writing not to style, but to their own impulses, as demonstrated in “Big Casino,” the echoing soul of “Tin Chicken” and shuffle-thrust of “Oldie,” and as they moved beyond their initial swath of influence into this individualized sonic persona, they reaped the benefits of the locked-in lineup and a process of craft that never sounded so purposeful. Revival was indeed typified by its vitality, but it was also the sound of a band maturing as a unit, becoming who they were meant to be, and there is almost nothing more exciting than that for a single album to represent. Plus, it had a song called “By Mennen,” and, you know, references.
2. Mars Red Sky, Apex III (Praise for the Burning Soul)
It was unreasonable to expect the third full-length from Bordeaux, France, trio Mars Red Sky to surpass 2014’s Stranded in Arcadia (review here) and the progressive crux that album brought to the warm tones and sweet melodicism of their 2011 self-titled debut (review here), but Apex III (Praise for the Burning Soul) reinforced the elements that worked so well on previous outings while pushing inarguably onto what the band seemed to know was “Alien Ground” if the title of their intro was anything to go by. More over, it did so with a natural fluidity and poise that were as striking as they were encompassing in sound. Tying to earlier 2016’s Providence EP (review here) in concept and execution through that intro and the title-track following it, Apex III presented the to-date pinnacle of Mars Red Sky‘s growth in songs like “The Whinery,” “Mindreader,” the tear-inducing “Under the Hood,” the swing-happy “Friendly Fire,” the willful atmospheric crash of closer “Prodigal Sun” — each one a crucial advancing step from the trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Mathieu “Matgaz” Gazeau — and brilliantly fed them one into the other, so that in addition to the standout impressions of each, there developed a personality to the whole span of the album; a world of Mars Red Sky‘s own creation, where they dwelt for what seemed too short a time before returning to earth and on from here to who knows where next.
Most of all, For this We Fought the Battle of Ages was fearless. For their fourth album, Salt Lake City’s SubRosa adapted themes from 1924’s We by Yevgeny Zamyatin, which laid out a futuristic dystopia wherein all identity is subsumed to the state and even love is outlawed when not properly sanctioned. This framework, obscure if influential, gave guitarist/vocalist Rebecca Vernon, violinist/vocalist Sarah Pendleton, violinist/backing vocalist Kim Pack, bassist/vocalist Levi Hanna, drummer/engineer Andy Patterson (formerly of Iota, among others), and a range of other contributors, a space in which to explore gender and LGBT issues across the six included tracks, and from the opening build and crush of the chorus to “Despair is a Siren” through the depiction of privilege in “Wound of the Warden,” the 97-second Italian-language ballad “Il Cappio” (translated: “the noose”) and into the gut-wrenching finale of “Troubled Cells,” their musical accomplishment was no less stunning than lyrics like, “Isn’t it good to be acquainted with darkness?/To caress it gently/To slit its throat,” from “Black Majesty.” Tense in its quiet stretches, harmonized vocally, given orchestral presence through its use of strings, flute, French horn, and so on, For this We Fought the Battle of Ages worked fluidly in what for most acts would be a contradictory modus of careful, meticulous arrangements and raw, emotional realism. No matter how deep it dove — and by the time identity was being erased and the state was taking control of the body on “Killing Rapture,” it was diving pretty deep — SubRosa never lost their sense of poise, so that the defiance in the last movement of “Troubled Cells” in which Heaven itself is rejected with the clearest of justifications, “Paradise is a lie if you’re not by my side,” the band seemed to stand as straight and tall as their multi-tiered righteousness would warrant. But even if one took For this We Fought the Battle of Ages with politics aside, its achievement in marrying post-metallic structures, gothic texture and progressive atmospherics was on a plane of its own making, operating under its own rules and in its own definitive space. Albums like it do not happen every year, and forward motion for genre as a whole is rarely so visible as it was in this special offering, which seems only fair to regard as a landmark for the band and anyone whose ears and hearts it touched.
The Next 20
Like any good Top 30, mine goes to 50. Here is the next batch:
31. Blaak Heat, Shifting Mirrors
32. Truckfighters, V
33. West, Space & Love, Vol. II
34. Seedy Jeezus with Isaiah Mitchell, Tranquonauts
35. Yawning Man, Historical Graffiti
36. Causa Sui, Return to Sky
37. Vokonis, Olde One Ascending
38. Hotel Wrecking City Traders, Phantomonium
39. The Wounded Kings, Visions in Bone
40. It’s Not Night: It’s Space, Our Birth is but a Sleep and a Forgetting
41. Beastwars, The Death of all Things
42. Naxatras, II
43. Holy Grove, Holy Grove
44. Worshipper, Shadow Hymns
45. Wretch, Wretch
46. Colour Haze, Live Vol. I: Europa Tournee 2015
47. Zaum, Eidolon
48. Bellringer, Jettison
49. Young Hunter, Young Hunter
50. Mammoth Weed Wizard Bastard, Y Proffwyd Dwyll
From the kinetic desert artistry of Blaak Heat to Mammoth Weed Wizard Bastard’s ethereal synth-laden doom, there are more than a few essentials here. I’ve never before done a year-end list that had so many releases on it, but my motivation in doing so this time around couldn’t have been simpler: They were simply too good and had too much to offer to leave out. It would’ve been an oversight to do so.
Even a Top 50 fails to grasp the full scope of what 2016 brought about musically, so here are even more, alphabetically:
Ancient Warlocks, II
Black Moon Circle, Sea of Clouds
Sergio Ch., Aurora
Lamp of the Universe, Hidden Knowledge
Mondo Drag, The Occultation of Light
Øresund Space Collective, Visions Of…
-(16)-, Lifespan of a Moth
The Well, Pagan Science
Wovenhand, Star Treatment
And if that’s still not enough, here are 60-plus more names who shouldn’t be left out of the discussion, also alphabetically:
Akris, Atala, Atomikylä, Backwoods Payback, Beastmaker, BigPig, Black Cobra, Black Lung, Blood Ceremony, Blues Pills, Bright Curse, Bus, Dee Calhoun, Captain Crimson, Child, La Chinga, Church of Misery, Conclave, Cough, Devil to Pay, Domkraft, Dot Legacy, Electric Citizen, Estoner, Eternal Elysium, Fatso Jetson & Gary Arce vs. Hifiklub, Fox 45, Goatess, Goblin Cock, Graves at Sea, Heavy Temple (they’ll be back on next year’s list), High Fighter, Holy Serpent, Hotel Wrecking City Traders, Inter Arma, Joy, Kaleidobolt, Khemmis, King Dead, Lord, Lord Vicar, Merchant, Mirrors for Psychic Warfare, Helen Money, Monkey3, Moon Coven, Mother Mooch, Necro, New Keepers of the Water Towers, T.G. Olson, Oranssi Pazuzu, Pooty Owldom, Russian Circles, Salem’s Pot, Samavayo, Seremonia, Skuggsjá, Sourvein, Spirit Adrift, Stone Machine Electric, Suma, Surya Kris Peters, Swans, Throttlerod, Virus, Wasted Theory, Wretch, and Zaum.
In case none of the above has made it clear, I’ll just say flat out that 2016 has been an amazing year for music, and that every time I feel like maybe underground heavy has hit a wall and there’s nowhere left for it to go, sure enough about three minutes later another record shows up that slaps me in the face with a reminder of just how wrong that notion is.
If you’re still reading — how could you be? — thank you so much for your incredible support throughout 2016 and all the years The Obelisk has been in progress. I already know that 2017 is going to bring some incredible music as well, but that’s another list for another time, so I’ll just say again how much I appreciate your being a part of this ongoing project, how much it means to me to have you here. Thank you, thank you, and thank you.
And please, if there’s anything I forgot, got wrong, misspelled, or if you just think I used the word “breadth” too many times, please let me know about it in the comments.
I’m not going to post about the US Presidential election and I won’t co-opt SubRosa‘s work here to go on a screed about it, but if anything, the events in my country this week only underscore the point that issues of LGBTQ rights in the face of religious and state discrimination aren’t going away anytime soon. Not that they would’ve had the contest turned out otherwise, but yeah. “Troubled Cells,” which wasn’t lacking for resonance or relevance anyway, feels even more poignant today than a couple days ago when it premiered.
The track comes from SubRosa‘s utterly brilliant 2016 fourth album, For this We Fought the Battle of Ages (review here), which was released at the end of August via Profound Lore. It’s the closer, and its finish presents an emotional crux strong enough to hold up the almost an hour of heft that precedes it, the band providing a cutting commentary on growing up queer in Mormon Utah that goes beyond simple political argument and nails the raw humanity behind the issues at hand. Children fucking killing themselves, and how the fuck do we live on a planet that doesn’t completely stop spinning every time it happens?
Like I said, I’m not going to go on a rant, because doing so accomplishes nothing, but with “Troubled Cells,” SubRosa extend the importance of the work they’re doing beyond the aesthetic, and if that isn’t worth supporting then I’m sorry nothing is. In dark times, it can feel like all we’ve got.
SubRosa toured Europe in September and October, start a West Coast run this weekend, will play Black Sky Fest in Denver on Dec. 10 and were recently confirmed to play For this We Fought the Battle of Ages in its entirety at Roadburn 2017.
Video follows here, with a statement from the band beneath, courtesy of the PR wire.
Watch and read the whole thing:
SubRosa, “Troubled Cells” official video
Salt Lake City’s SubRosa recently released their most triumphant album to date, For This We Fought the Battle of Ages. This album is a crucial marker in the band’s repertoire; musically, their trademark mix of haunting doom and innovative chamber music skyrockets to new heights, and lyrically, the album explores difficult and immediate issues relevant in America today.
The song “Troubled Cells” and the accompanying video directly address one such issue and serve as an artistic expression and vehicle of activism. In November of last year, the Mormon Church made a change to their handbook with heavy consequences for LGBTQ members who choose to marry, and any children they might have. Since the passing of this policy, multiple suicides among Mormon LGBTQ have occurred. Many of those who have taken their own lives since last November 5th were under the age of 20. SubRosa vocalist Rebecca Vernon made the decision to write “Troubled Cells” to speak out against these directives.
This video was shot in the forests and deserts of California by a hand-picked crew of film industry professionals from all over the country, all of whom donated 100% of their time, skills, and resources to make this project possible. The film was co-directed by Danica Vallone and Thomas Dekker.
The video for “Troubled Cells” premieres just after the anniversary of the Church’s policy change (November 5th, 2015).
This is particularly impactful as suicide is now the leading cause of death for children ages 10-17 in Utah. Many link this increase in suicides to the escalating anti-LGBTQ/gay marriage rhetoric from the Mormon church in recent years. LGBTQ individuals are four times more likely to attempt suicide than their straight peers, and 8.4 times more likely if they come from a highly rejecting family and community.
The band commented:
“The SubRosa song ‘Troubled Cells’ was written for all LGBTQ individuals around the world who face oppression and exclusion from religious communities.
It was inspired by a new policy affecting LGBTQ members of the Church of Jesus Christ of Latter-day Saints (LDS), released Nov. 5, 2015, declaring that gay members of the church who marry will face excommunication. The policy also forbids children of gay parents to be baptized until they turn 18 and then, only if they formally disavow their parents’ lifestyle. This came on the heels of escalating rhetoric against same-sex marriage and relationships from the church for many years.
Since the passing of this policy, multiple suicides among Mormon LGBTQ have occurred. Youth are particularly vulnerable to negative messages from church culture. Many of those who have taken their own lives since last Nov. 5 were under the age of 20.
SubRosa has friends and family within and without the church deeply affected by this policy change. Many individuals—both straight and gay—are in turmoil, both those who have left the church in protest, and those who stay in the church, dedicated to incite change from within.
In SubRosa, we believe that art can help change the world. Therefore, we feel compelled to speak out about what is happening, and to reach out to those most affected—LGBTQ youth. This desire compelled us to write ‘Troubled Cells’ and partner with filmmakers whose ambition matched our own to create the song’s accompanying video.
The ‘Troubled Cells’ song and video is a reminder that if we feel we have the luxury to avoid examining our deepest prejudices, we do so at our own peril and the peril of our children.”
If you are a young person in crisis, feeling suicidal, or in need of a safe and judgment-free place to talk, call the Trevor Lifeline now at 1-866-488-7386. Their trained counselors are here to support you 24/7.
See SubRosa on tour in support of For This We Fought the Battle of Ages: November 12 San Diego, CA @ Soda Bar November 13 Glendale, CA @ Complex November 14 Oakland, CA @ Golden Bull November 15 Sacramento, CA @ Starlite November 16 Portland, OR @ Mississippi Studios November 17 Vancouver, BC @ Cobalt November 18 Seattle, WA @ Highline November 19 Boise, ID @ Neurolux December 10 Denver, CO @ Black Sky Fest
Posted in Whathaveyou on September 7th, 2016 by H.P. Taskmaster
Salt Lake City’s SubRosa had a 40-minute set at Psycho Las Vegas on Aug. 27. That was three songs. The string-infused five-piece were there marking the release of their fourth full-length, For this We Fought the Battle of Ages (review here), which came out the day before via Profound Lore.
If you haven’t heard it, that album is scarily brilliant. A meld of memorable songwriting and hear-something-different-each-time depth that continues to deliver on repeat listens, growing richer each time out. It is so emotionally wrought and so honest and up front in that that it’s almost exhausting to witness front to back, but the complexity driving the material, the melodies SubRosa elicit and the themes they tackle feel no less weighted than the heft of the guitars and bass or the crash of the drums. It’s as much of an accomplishment atmospherically as it is in its actual craft and structure.
At Psycho Las Vegas, SubRosa played the first two cuts from the new album, “Despair is a Siren” and “Wound of the Warden,” backing them up with “The Usher” from 2013’s More Constant than the Gods, a critical breakthrough on which For this We Fought the Battle of Ages continues to build, standing tall among 2016’s best records and exceeding their past work by any measure one might consider. It’s the blueprint for a next step in post-metal. We’d be lucky if other bands started to pay attention.
SubRosa head to Europe later this month to play Asymmetry Festival in Poland and much more besides before coming back to the US and touring the West Coast in November ahead of a slot at the Black Sky Festival in Denver on Dec. 10. Dates follow the video below.
Kudos to YouTube’s “sexthrash69” for filming this and a slew of other sets from Psycho Las Vegas 2016. The fest has announced it will return to the Hard Rock Cafe in Vegas next August, and with performances like this one, well it should.
SubRosa, Live at Psycho Las Vegas 2016
SUBROSA ON TOUR: September 22 Berlin, Germany @ Urban Spree ^ September 23 Wroclaw, Poland @ Asymmetry Festival ^ September 24 Prague, Czech Republic @ Modra Vopice ^ September 25 Wien, Austria @ Viper Room ^ September 26 München, Germany @ Feierwerk ^ September 28 Milano, Italy @ Lo-Fi ^ September 29 Bologna, Italy @ Freak Out ^ October 1 Nijmegen, Netherlands @ Merleyn ^ October 3 Hamburg, Germany @ Hafenklang ^ October 5 Oslo, Norway @ Bla ^ October 9 Koln, Germany @ Underground ^ October 10 Paris, France @ Espace B ^ October 11 London, UK @ Underworld * October 12 Birmingham, UK @ Rainbow * October 13 Manchester, UK @ Rebellion * November 12 San Diego, CA @ Hideout November 13 Glendale, CA @ Complex November 14 Oakland, CA @ Golden Bull November 15 Sacramento, CA @ Starlite November 16 Portland, OR @ Mississippi Studios November 17 Vancouver, NV @ Cobalt November 18 Seattle, WA @ Highline November 19 Boise, ID @ Neurolux December 10 Denver, CO @ Black Sky Fest ^ w/ Sinistro * w/ Darkher
SubRosa is: Rebecca Vernon: Guitar Sarah Pendleton: Electric violin + Vocals Kim Pack: Electric violin + Vocals Levi Hanna: Bass Andy Patterson: Drums
Posted in Reviews on August 26th, 2016 by H.P. Taskmaster
The real challenge when it comes to SubRosa‘s fourth album, For this We Fought the Battle of Ages, is in trying to listen to it without giving in to absolute hyperbole. Released through Profound Lore as the follow-up to the Salt Lake City five-piece’s 2013 moment of arrival, More Constant than the Gods, it is a triumph of songwriting and construction that feels so complete, showcases such breadth and depth throughout its six tracks, and that seems to reach into such a soulfulness, that one is inclined to apply only the grandest of statements to it. Taking inspiration from the 1924 Soviet dystopian novel We by Yevgeny Zamyatin, it sounds nonetheless personal to a point of being visceral, and that might be the element of influence it most shares with post-metal progenitors Neurosis.
It would be a mistake to call SubRosa‘s songwriting anything other than thoughtful, but it is by no means overly cerebral or cold in the way that a lot of post-metal can be, and in place of self-indulgence it engages with gorgeous arrangements of melodic strings and vocals, executed with poise, memorable lines and an emotional density that meshes in fluidity with the heft of tone found in the guitar, bass and drums.
With the lineup of guitarist/vocalist Rebecca Vernon, violinist/vocalist Sarah Pendleton, violinist/backing vocalist Kim Pack, bassist/vocalist Levi Hanna and drummer/engineer Andy Patterson (ex-Iota), as well as a host of guests adding flute, sax, French horn, vocals, etc. to the arrangements, SubRosa present a bold sonic vision, refined through a clear linear progression across their prior outings, 2008’s Strega debut on I Hate Records and their first for Profound Lore, 2011’s No Help for the Mighty Ones (review here), as well as More Constant than the Gods, but at the same time completely outstripping anything they’ve done before. For this We Fought the Battle of Ages is a significant achievement, pushing the band and their genre into yet-uncovered ground.
See what I mean about the hyperbole? It’s true though. With just six tracks (one of which is under two minutes long), For this We Fought the Battle of Ages spreads across a completely-earned 64 minutes. It begins with three side-consuming cuts, “Despair is a Siren” (15:25), “Wound of the Warden” (13:28) and “Black Majesty” (15:22), and each offers enough scope for a full-length album on its own. It’s not just about trading off loud parts and quiet parts — it’s about how SubRosa create worlds and use them to convey a resonant narrative.
On a more basic level, it’s also about the violins playing off the guitar, the intertwining vocal lines, Hanna‘s bassline in the beginning of “Wound of the Warden” and Patterson‘s Jason Roeder-worthy creativity on drums punctuating the dramas and meditations brought to bear, but principally it’s about those dramas themselves. One might look at the titles of the first three songs or “Il Cappio” (1:37), “Killing Rapture” (10:32) and “Troubled Cells” (7:38), which follow, and think the overriding mood would be pretty dark, and it’s true there’s no shortage throughout of tumult and longing and lines like those in the final movement of “Despair is a Siren” about sleeping in glass chambers, but particularly from “Il Cappio” onward, there’s also love.
After a stunning apex in “Troubled Cells,” the album ends on the line “Paradise is a lie if you’re not by my side,” and that’s no less telling about the overall perspective from which it’s working than how “Black Majesty” stares into a lonely, calculating abyss or how “Wound of the Warden” seems to take on the voice of an oppressor and set about justifications that feel all too familiar and are no doubt intended to do just that. Even so, there’s beauty at hand in the violins of “Wound of the Warden” or in the rhythmic crunch of “Despair is a Siren,” and “Black Majesty” seems to provide a culmination for this duality in its theme, taking the beauty in darkness head-on. Through all this impeccably-mixed struggle, SubRosa retain their sense of dynamic and their command, Vernon‘s vocals a center around which all can churn and gather and, eventually dissipate.
“Il Cappio” — translated to “the noose” — begins what would likely be the final side of the 2LP and is delivered by Pendleton in Italian over what sounds like plucked violin strings. I don’t speak the language, and I don’t have a lyric sheet to go from, but it seems an awful lot like the noose in question might be love itself. Either way, “Il Cappio” works as more than interlude or as an introduction for “Killing Rapture” (though that has a verse in Italian as well, further linking the two), the opening roll of which seems to explode in comparison. Right around its midpoint, “Killing Rapture” transitions from that initial lumbering to a frenetic turbulence of drums, guitar, bass and violin, creating a tension that, while it develops a groove, seems to grip even tighter when the vocals return as the double-kick starts beneath. When it finally opens whatever release valve the pressure has been building behind, the effect is more relief than rush, SubRosa breaking for a moment before resuming the dirge that started them off as a finish, giving way to the quieter beginning of “Troubled Cells,” which brings vocals forward as it unfolds and rightly so.
The band often get tagged as being goth, and mournful melodies like that in “Troubled Cells” are probably part of why. That’s fine so long as one realizes that being “goth” doesn’t take away from their being progressive, or deeply affecting, or honest in a way that goth’s performative aspects might seem to contradict. In its final three minutes, “Troubled Cells” begins the push toward its and the record’s final crescendo, building a vocal call and response, meeting the lines “There is no greater good” with “Paradise is a lie if we have to burn you at the stake to get inside” before shifting to the already-noted “Paradise is a lie if you’re not by my side,” with one voice over just guitar as a closing statement before a reprise of guitar and violin from the intro end the song.
It is important to understand the massiveness of this work. Of the many impressive aspects of For this We Fought the Battle of Ages, its spectrum-consuming range might be the most pivotal, but SubRosa‘s delivery retains a raw emotive spirit that carries through the entire 64-minute run, instrumentally as well as vocally. That forms the core of the sonic identity; complex, dark, beautiful and crushing and utterly essential. Might be album of the year. Recommended.
SubRosa, For this We Fought the Battle of Ages (2016)
Posted in Whathaveyou on June 6th, 2016 by H.P. Taskmaster
Salt Lake City churn specialists SubRosa will issue their new album, For this We Fought the Battle of Ages, via respected purveyor Profound Lore Reords on Aug. 26. Late summer/early fall seems like a fitting moment for a new SubRosa to arrive, as the band’s sprawling, contemplative and emotionally resonant experiments might often lead a listener toward richer colors, oranges, reds and browns, that the season begins to produce. Doubtful seasonal complement was in mind when the scheduling was done, but sometimes these things are serendipitous anyway.
I’ll hope to have more on this one to come leading up to the release. From the PR wire:
SUBROSA ANNOUNCE NEW ALBUM, ‘FOR THIS WE FOUGHT THE BATTLE OF AGES’
Available on CD, LP & digital formats from Profound Lore on August 26, 2016
Salt Lake City experimental doom band SubRosa are elated to announce their most triumphant and enveloping album to date; For This We Fought the Battle of Ages, due out August 26th from Profound Lore Records. Continuing the momentum from 2013’s More Constant Than the Gods, which saw year-end acclaim in metal and mainstream outlets, For this We Fought The Battle of Ages brings a new awareness to SubRosa as one of the most prominent progressive metal bands from America today. The band’s crushing monolithic sound canvas consists of a devastating mix of soul-crushing doom, innovative chamber music (solidified by the band’s two electric violin players) and balladry all filtered through the veil of American gothic tragedy.
Guitarist Rebecca Vernon’s vision for SubRosa brewed for some years before songwriting for the band began in the beginning of 2005; debut album The Worm Has Turned was released the following year, the Strega LP followed in 2008 and SubRosa went on to self-release The Swans Trapped In Ice EP in 2009. In 2011, SubRosa’s groundbreaking full-length album No Help For The Mighty Ones was released on Profound Lore Records; No Help received extensive critical acclaim. With the band’s lineup solidified with Vernon alongside Kim Pack (electric violin, vocals), Sarah Pendleton (electric violin, vocals), Levi Hanna (bass) and Andy Patterson (drums), SubRosa released More Constant Than the Gods in 2013 which topped countless year end lists including Decibel Magazine, Pitchfork, Rolling Stone, SPIN, Entertainment Weekly and more.
Now, SubRosa will release For This We Fought the Battle of Ages which sees the band expanding their sound to a new plateau with their heaviest, darkest, and most dynamic-sounding album to date through bigger-sounding production value (the new album was fully engineered and mixed by drummer Andy Patterson). With the awareness brought onto the band with the new album’s predecessor, which also saw SubRosa on their most active touring schedule yet, For This We Fought the Battle of Ages will bring push the band further as they prepare to unveil their most important and crucial album in their repertoire.
SubRosa will tour the globe extensively in support of For This We Fought the Battle of Ages – the band has confirmed a European tour in September and October and will tour the U.S. following in the Fall. More info coming soon.
For This We Fought the Battle of Ages Tracklist: 1. Despair Is A Siren 2. Wound of the Warden 3. Black Majesty 4. Il Cappio 5. Killing Rapture 6. Troubled Cells
SubRosa, on tour: June 15-18 Salt Lake City, UT @ Crucial Fest June 22-26 Calgary, AB @ Sled Island Festival August 26-28 Las Vegas, NV @ Psycho Las Vegas *Record Release Show* September 22-24 Wroclaw, Poland @ Asymmetry Festival December 10 Denver, CO @ Black Sky Fest
SubRosa is: Rebecca Vernon: Guitar Sarah Pendleton: Electric violin + Vocals Kim Pack: Electric violin + Vocals Levi Hanna: Bass Andy Patterson: Drums