We’re at less than a month’s remove from the release date of Forming the Void‘s second album, Relic (review here), and already it’s apparent that the Louisiana four-piece are turning heads in their direction. The follow-up to 2015’s Skyward (review here) is also the first outing for the band to be issued through Italy’s Argonauta Records, and it further solidifies the progressive charge of its predecessor with a crisp delivery and a marked sense of scope across its span. It toys with but is by no means subject to heavy rock genre restrictions, and one finds it no less at home in the aggro-catchiness of “Biolazar” and the post-Torche lumber of “Plumes” than it is in the more tripped-out roll of “Unto the Smoke” or the take on Led Zeppelin‘s “Kashmir” that rounds out.
United by a clean and clearheaded production, Relic freely careens between a swath of influences from the modern sphere: here touching on Baroness-style melody, there on Eastern-scale guitar leads like that in “Endless Road.” And though they don’t shy away from acknowledging the complexity of what they’re doing, neither do the album’s eight tracks come across as inflated. If anything, as asserted below by guitarist/vocalist James Marshall — joined in the band by guitarist Shadi Omar Al-Khansa, bassist Luke Baker and drummer Jordan Boyd — they’ve become stronger in terms of their editorial voice, so that the resulting output is all the more efficient and communicative in its purposes. That’s an ongoing process, of course, but so is creativity as a whole, and Relic sees Forming the Void take pivotal forward steps on a number of levels, establishing them as an act consciously dedicated to their sonic progression.
Below, Marshall talks about the origins of the band, what they learned from Skyward going into Relic, the mysterious figure on the front cover of both their albums to-date, working with Argonauta and more.
Please enjoy the following Six Dumb Questions:
Six Dumb Questions with Forming the Void
Tell me about getting Forming the Void together. Did you have a sound in mind first, or did you start playing and then the band’s style began to take shape?
When I first started looking for people to play in the band, I was just looking to play rock music. When we all got together in a room, each of our strengths just naturally came through in the music. As we’ve grown, we’ve steadily tried to play on those strengths more. The most drastic change is we’ve been steadily getting heavier.
Talk about your writing process, in general and for Relic particularly. What lessons did you learn from Skyward and how were you able to bring them into the new album?
With Relic the ideas were a lot more deliberate rather than the spontaneous jam room ideas that led to Skyward. I think each approach has its merits, but it was nice to be able to sit down and A-B parts to get a better idea of how we wanted something to flow. One lesson I think we took from Skyward was editing and trimming parts down if they didn’t serve a purpose. We have less long music breaks in Relic but I think it’s more well-packaged that way.
How long were you in the studio this time? How did the recording experience compare to when you put together Skyward? It seems like a really quick span between the two records.
We started tracking Relic in mid-July and finished reamping stuff mid-October. It was a very different experience than Skyward, which we tracked in a few days. We recorded drums at my buddy (and mastering engineer) Jai‘s house and tracked the rest at my house. It was a good and a bad thing to have that much time to obsess over it.
Both album covers feature hooded figures and the classic comic style of David Paul Seymour. Does that hooded character on the front of Relic have some special significance to the band? Does he have a name? Is there a story being told about him either through the album or the art?
There’s something nice about having a figure defined by his ambiguity. I think it’s a lot like our music; kind of hard to put a finger on it. There’s definitely a sense of mystery surrounding the artwork, especially the hooded figure, which is intentional. In that vein, I’ve never thought of giving him a name or a backstory. He’s just omnipresent; a veiled servant to a greater purpose.
How did signing to Argonauta Records come about and how has it been releasing the album with them?
Our friend Jason Ogle from Electric Age actually got me in touch Argonauta. It’s been really cool. [Label head] Gero has been incredibly helpful throughout the whole process and Argonauta has been really nice to work with. I couldn’t have asked for anything better from our first signing experience.
Any plans or closing words you want to mention?
We recently signed a deal with Lonestar Records from Germany to release Relic on vinyl. We’re pretty excited to have that coming. It should be released sometime between June 2nd and 9th. Vinyl has been a goal of mine for a while so we’re pretty stoked to finally have that come to fruition.
Posted in Reviews on March 28th, 2017 by JJ Koczan
Feeling groovy heading into Day Two of the Spring 2017 Quarterly Review, and I hope you are as well. Today we dig into a pretty wide variety of whatnots, so make sure you’ve got your head with you as we go, because there are some twists and turns along the way. I mean it. Of all five days in this round, this one might be the most wild, so keep your wits intact. I’m doing my best to do the same, of course, but make no promises in that regard.
Quarterly Review #11-20:
Ulver, The Assassination of Julius Caesar
Norwegian post-everything specialists Ulver have reportedly called The Assassination of Julius Caesar (on House of Mythology) “their pop album,” and while the Nik Turner-inclusive freakout in second cut “Rolling Stone” (that may or may not be him on closer “Comign Home” as well) doesn’t quite fit that mold, the beats underscoring the earlier portion of that track, opener “Nemoralia” and the melodrama of “Southern Gothic” certainly qualify. Frontman/conceptual mastermind Kristoffer Rygg’s voice is oddly suited to this form – he carries emotionally weighted hooks like a melancholy George Michael on the electronically pulsating “Transverberation” and, like most works of pop, shows an obsession with the ephemeral in a slew of cultural references in “1969,” which in no way is likely to be mistaken for the Stooges song of the same name. While “So Falls the World” proves ridiculously catchy, “Coming Home” is about as close as Ulver actually come here to modern pop progression, and the Badalamenti-style low-end and key flourish in “1969” is a smooth touch, much of what’s happening in these eight tracks is still probably too complex to qualify as pop, but The Assassination of Julius Caesar is further proof that Ulver’s scope only grows more boundless as the years pass. The only limits they ever seem to know are the ones they leave behind.
Last year, Louisiana four-piece Forming the Void had the element of surprise working to their advantage when it came to the surprising progressive edge of their debut album, Skyward (review here). Now signed to Argonauta, the eight-song/55-minute follow-up, Relic, doesn’t need it. It finds Forming the Void once again working proggy nuance into big-riffed, spaciously vocalized fare on early cuts “After Earth” and “Endless Road,” but as the massive hook of “Biolazar” demonstrates, the process by which guitarist/vocalist James Marshall, guitarist Shadi Omar Al-Khansa, bassist Luke Baker and drummer Jordan Boyd meld their influences has become more cohesive and more their own. Accordingly, I’m not sure they need the 11-minute closing take on Led Zeppelin’s “Kashmir,” since by then the point is made in the lumber/plunder of “Plumes” and in the more tripped-out “Unto the Smoke” just before, but as indulgences go, it’s a relatively easy one to make. They’re still growing, but doing so quickly, and already they’ve begun to find a niche for themselves between styles that one hopes they’ll continue to explore.
Though it keeps a wash of melodic keys in the background and its approach is resolutely laid back on the whole, “Beautiful Void” is nonetheless a major factor in the overall impression of Hidden Trails’ self-titled debut (on Elektrohasch), as its indie vibe and departure from the psychedelic prog of the first two cuts, “Lancelot” and “Mutations,” marks a major distinguishing factor between this outfit and Hypnos 69, in which the rhythm section of the Belgian trio played previously. “Ricky” goes on to meld acoustic singer-songwriterism and drones together, and “Hands Unfold” has a kind of jazzy bounce, the bassline of Dave Houtmeyers and drumming of Tom Vanlaer providing upbeat groove under Jo Neyskens’ bright guitar lead, but the anticipation of heavy psych/prog never quite leaves after the opening, and that doesn’t seem to be what the band wants to deliver. The sweetly harmonized acid folk of “Leaving Like That” is on a different wavelength, and likewise the alt-rock vibes of “Space Shuffle” and “Come and Play” and the grunge-chilled-out closer “Denser Diamond.” If there’s an issue with Hidden Trails, it’s one of the expectations I’m bringing to it as a listener and a fan of Houtmeyers’ and Vanlaer’s past work, but clearly it’s going to take me a little longer to get over the loss of their prior outfit. Maybe I’m just not ready to move on.
Naturalist vibes pervade immediately from this late-2016 self-titled Svvamp debut (on RidingEasy Records) in the bassline to “Serpent in the Sky,” and in some of the post-Blue Cheer heavy blues sensibility, the Swedish trio bring to mind some of what made early Dirty Streets so glorious. Part of the appeal of Svvamp’s Svvamp, however, is that among the lessons it’s learned from heavy ‘70s rock and from Kadavar‘s own self-titled is to keep it simple. “Fresh Cream” is a resonant blues jam… that lasts two and a half minutes. The bouncing, turning “Oh Girl?” Three. Even the longest of its cuts, the slide-infused “Time,” the subdued roller “Big Rest” and the Marshall Tucker-esque finale “Down by the River,” are under five. This allows the three-piece of Adam Johansson, Henrik Bjorklund and Erik Stahlgren to build significant momentum over the course of their 35-minute run, casting aside pretense in favor of aesthetic cohesion and an organic sensibility all the more impressive for it being their first record. Sweden has not lacked for boogie rock, but even the most relatively raucous moments here, as in the winding “Blue in the Face,” don’t seem overly concerned with what anyone else is up to, and that bodes remarkably well for Svvamp’s future output.
There are few songs ever written that require whoever’s playing them to “bring it” more than MC5’s “Kick out the Jams.” True, it’s been covered many, many times over, but few have done it well. Belgium’s Black Mirrors signal riotous intent by including it as one of the four tracks of their Napalm Records debut EP, Funky Queen, along with the originals “Funky Queen,” “The Mess” and “Canard Vengeur Masqué,” and amid the post-Blues Pills stomp of “The Mess,” the mega-hook of the opening title-track and the more spacious five-plus-minute closer, which works elements of heavy psych into its bluesy push late to welcome effect, “Kick out the Jams” indeed brings a moment of relative cacophony, even if there’s no actual threat of the band losing control behind the powerful vocals of Marcella di Troia. As a first showing, Funky Queen would seem to be a harbinger, but it’s also a purposeful and somewhat calculated sampling of Black Mirrors’ wares, and I wouldn’t expect it to be long before an album follows behind expanding on the ideas presented in these tracks.
No doubt that for some who’d take it on, any words beyond “members of Monarch!” will be superfluous, but Bordeaux three-piece Endless Floods, who do indeed feature bassist/vocalist Stéphane Miollan and drummer Benjamin Sablon from that band, as well as guitarist Simon Bedy, have more to offer than pedigree on their three-song sophomore full-length, II (on Dry Cough vinyl and Breathe Plastic cassette). To wit, 24-minute opener and longest track (immediate points) “Impasse” rumbles out raw but spacious sludge that, though without keys or a glut of effects, and marked by the buried-deep screaming of Miollan, holds a potent sense of atmosphere so that the two-minute interlude “Passage” doesn’t seem out of place leading into the 19-minute lumber of “Procession,” which breaks shortly before its halfway point to bass-led minimalism in setting up the final build of the record. Slow churning intensity and longform sludge working coherently alongside ambient sensibilities and some genuinely disturbing noise? Yeah, that’ll do nicely. Thanks.
Boasting four eight-plus-minute instrumentals, Couldn’t Handle… The Heavy Jam finds New Jersey trio Tarpit Boogie rife with classic style heavy rock chemistry, bassist John Eager running fills around the dense-toned riffing from guitarist George Pierro as drummer Chris Hawkins propels a surprising thrust on opener “FFF Heavy Jam.” I’ve been a fan of Pierro and Eager’s since we were bandmates a decade ago, so to hear them unfold “Chewbacca Jacket” from its tense opening to its righteously crashing finale is definitely welcome, but the 37-minute offering finds its true reasoning in the swing and shuffle of the eponymous “Tarpit Boogie,” which digs into the very challenge posed by the title – whether or not anyone taking on the album can handle its balance of sonic impact and exploratory feel – inclusive, in this case, of a drum solo that sets a foundation for a moment of Cactus-style rush ahead of a return to the song’s central progression to conclude. They round out with “1992 (Thank You Very Little),” Chevy Chase sample and all, bringing more crashing nod to a massive slowdown that makes it feel like the entire back half of the cut is one big rock finish. And so it is. A well-kept secret of Garden State heavy.
The self-released Dead Seeds, Barren Soil is Horseburner’s second full-length, and it arrived in 2016 from the four-piece some seven years after their 2009 debut, Dirt City. They’ve had a few shorter outings in between, demos and 2013’s Strange Giant EP, but the West Virginia four-piece of Adam Nohe, Chad Ridgway, Jack Thomas and Zach Kaufman seem to be shooting for a definitive statement of intent in the blend of heavy rock and modern, Baroness-style prog that emerges on opener “David” and finds its way into the galloping “Into Black Resolution,” the multi-tiered vocals of “A Newfound Purity” and even the more straight-ahead thrust of “The Soil’s Prayer.” Marked out by the quality of its guitar work and its clearly-plotted course, Dead Seeds, Barren Soil caps with “Eleleth,” which at just under eight minutes draws the heft and the complexity together for a gargantuan finish that does justice to the ground Horseburner just flattened as they left it behind.
Lafayette, Louisiana, five-piece Vermilion Whiskey telegraph participation in the New Wave of Dude Rock to the point of addressing their audience as “boy” in second cut “The Past is Dead,” and from the cartoon cleavage on the cover to the lack of irony between naming the record Spirit of Tradition and putting a song called “The Past is Dead” on it, they sell that well. The Kent Stump-mixed/Tony Reed-mastered six-tracker is the band’s second behind 2013’s 10 South, and basks in dudely, dudely dudeliness; Southern metal born more out of the Nola style than what, say, Wasted Theory are getting up to these days, but that would still fit on a bill with that Delaware outfit. If you think you’re dude enough for a song like “One Night,” hell, maybe you are. Saddle up. Listening to that and the chunky-style riff of closer “Loaded Up,” I feel like I might need hormone therapy to hit that level of may-yun, but yeah. Coherent, well written, tightly performed and heavy. Vermilion Whiskey might as well be hand-issuing dudes invitations to come drink with them, but they make a solid case for doing so.
If the cover art and a song title like “I Swear I’m Not My Thoughts” weren’t enough of a tip-off, there’s a strong undercurrent of the unsettled to Hex Inverter’s second long-player, Revision. The Pennsylvania-based experimentalists utilize a heaping dose of drones to fill out arrangements of keys, guitar and noise that would otherwise be pretty minimal, and vocals come and go in pro- and depressive fashion. Texture proves the key as they embark on the linear centerpiece “Something Else,” with a first verse arriving over a sweetened bassline after four minutes into the total 9:58, and the wash of noise in “Daphne” obscures an avant neo-jazz groove late, so while opener “Cannibal Eyes” basks in foreboding ambience prior to an emotionally-driven and explosive crunch-beat payoff, one never quite knows what to expect next on Revision. That, of course, is essential to the appeal. They find an edge of rock in the aforementioned “I Swear I’m Not My Thoughts,” but as the loops and synth angularity of closer “Fled (Deadverse Mix)” make plain, their intentions speak to something wider than even an umbrella genre.
Louisiana-based prog-metal tinged outfit Forming the Void release their second album, Relic, March 17 via Argonauta Records. The song for which they have a new video premiering below, “Unto the Smoke,” is the second to last track on that record. It arrives after a tumult of winding riffs, soaring shouts and rhythmic pummel, the four-piece outfit working in a range of modern influences from the post-Mastodon/Baroness sphere as they did on their 2016 debut, Skyward (review here), and then turning much of that on its head — they’re consistent in the regard of being quite heavy, despite pace or other aesthetic whatnots — with “Unto the Smoke,” opting for a slow, almost Sleep-minded crashing, lumbering doom riffing. Vocals hold to a sense of melody, but “Unto the Smoke” — well, the name says a lot. Compared to earlier tracks like the rushing “Biolazar” or even the rolling “After Earth,” which opens, it’s a departure from a lot of what Relic offers atmospherically.
If it tells you anything at all, the only thing that follows it is a cover of Led Zeppelin‘s “Kashmir.” Yeah, it’s like that.
You’d almost think Forming the Void have… range? Indeed, listening to the hook-laden “Plumes” before “Unto the Smoke” comes on, their production is steadily geared toward maximum largesse, but the band does work effectively within that to enact a scope between the various tracks. Admirable in intent, but more satisfying in the actual sound, and more so on repeat listens. It’s not a short record at a CD-era-esque 55 minutes — of which that Zeppelin cover accounts for 11 — but as with outfits like Summoner, there’s a purpose to every move the band makes throughout, and their careful execution, even in “Unto the Smoke,” gives Relic a sense of poise to go with that range. Nothing about it, front to back in that 55-minute span, is haphazard.
Hoping to have more to come on this one as we get closer to the release, or, you know, a review three months after the fact since that seems to be the timeline I work on nowadays (hangs head in shame). Either way, you can check out the premiere of “Unto the Smoke” below and beneath that find some comment from guitarist James Marshall about the clip’s origins as well as those of the song itself.
Forming the Void, “Unto the Smoke” official video
James Marshall on “Unto the Smoke”:
“The video was made by a Swiss artist who goes by ‘Gryphus’ who compiled it using clips from John Carpenter’s The Fog. The song itself is one of the more psychedelic songs on the album. There is a lead guitar odyssey at the end where Shadi really draws from his Middle Eastern roots. It’s also the slowest song on the album. The themes of the lyrics are transcendence and mortality.”
Relic by Forming the Void is released on 17th March 2017 via Argonauta Records.
Forming The Void: James Marshall – Guitar/Vocals Shadi Omar Al-Khansa – Guitar Luke Baker – Bass Jordan Boyd – Drums
Posted in Features on January 23rd, 2017 by JJ Koczan
Looks like it’s going to be another busy 12 months ahead. It’s been a busy better-part-of-a-month already, so that stands to reason, but you should know that of the several years now that I’ve done these ‘Tomorrow’s Dream’ posts, this is the biggest one yet, with over 150 upcoming releases that — one hopes — will be out between today and the end of 2017.
Actually, at last count, the list tops 180. Do I really expect you to listen to all of them? Nope. Will I? Well, it would be nice. But what I’ve done is gone through and highlighted 35 picks and then built lists off that in order of likelihood of arrival. You’ll note the categories are ‘Gonna Happen and/or Likely Candidates,’ ‘Definitely Could Happen’ and ‘Would be Awfully Nice.’
Beyond that last one, anything else just seems like speculation — one might as well go “new Sabbath this year!” with zero info backing it up. The idea here is that no matter where a given band is placed, there has been some talk of a new release. In some cases, it’s been years, but I think they’re still worth keeping in mind.
Another caveat: You can expect additions to this list over the next week — probably album titles, band names people (fingers crossed) suggest in the comments, and so on — so it will grow. It always does. The idea is to build as complete a document as possible, not to get it all nailed down immediately, so please, if you have something to contribute and you’re able to do so in a non-prickish, “You didn’t include Band X and therefore don’t deserve to breathe the same air as me,” kind of way, please contribute.
Other than that, I think it’s pretty straightforward what’s going on here and I’ll explain the category parameters as we go, so by all means, let’s jump in.
— Tomorrow’s Dream 2017 —
1. Abrahma, TBA
Late last year, Paris heavy progressives Abrahma announced a new lineup and third full-length in progress. No reason to think it won’t come to fruition, and a follow-up to 2015’s Reflections in the Bowels of a Bird (review here) is an easy pick to look forward to. Even with the shift in personnel, it seems likely the band will continue their creative development, driven as they are by founding guitarist Seb Bismuth.
2. All Them Witches, Sleeping Through the War
If 2017 ended today, Sleeping Through the War would be my Album of the Year. Of course, there’s a lot of year to go, but for now, Nashville’s All Them Witches have set the standard with their second album for New West Records behind 2015’s Dying Surfer Meets His Maker (review here) and fourth overall outing. They’ve got videos up so far for “3-5-7” (posted here) and “Bruce Lee” (posted here). Both are most definitely worth your time. Out Feb. 24. Full review should be later this week.
3. Alunah, Solennial
Seems like UK forest riffers Alunah are on this list every year. Wishful thinking on my part. Nonetheless, their fourth LP and Svart Records debut, Solennial, is out March 17, and if the tease they gave already with the clip for “Fire of Thornborough Henge” (posted here) is anything to go from, its Chris Fielding-produced expanses might just be Alunah‘s most immersive yet.
4. Arbouretum, TBA
I asked the Baltimore folk fuzzers a while back on Thee Facebooks if they had a new record coming in 2017 and they said yes, so that’s what I’m going on here. The last Arbouretum album was 2013’s Coming out of the Fog (review here), and even with frontman Dave Heumann‘s 2015 solo outing, Here in the Deep (review here), factored in, you’d have to say they’re due. Keep an eye on Thrill Jockey for word and I’ll do the same.
5. Atavismo, Inerte
This is another one that already has a spot reserved for it on my Best-of-2017 year-end list. Spanish heavy psych rockers Atavismo up the progressive bliss level with their second full-length, Inerte, without losing the depth of style that made 2014’s Desintegración (review here) so utterly glorious. It probably won’t have the biggest marketing budget of 2017, but if you let Atavismo fly under your radar, you are 100 percent missing out on something special.
6. Bison Machine, TBA
In addition to the video for new track “Cloak and Bones” that premiered here, when Michigan raucousness-purveyors Bison Machine put out the dates for their fall 2016 tour, they included further hints of new material in progress. As much as I dug their earlier-2016 split with SLO and Wild Savages (review here) and 2015’s Hoarfrost (review here), that’s more than enough for me to include them on this list. Killer next-gen heavy rock.
7. Brothers of the Sonic Cloth, TBA
News of a follow-up to Brothers of the Sonic Cloth‘s 2015 Neurot Recordings self-titled debut (review here) came through in October, and it remains some of the best news I’ve heard about 2017 doings. Took them a while to get the first record out, so we’ll see what happens, but it kind of feels like looking forward to a comet about to smash into the planet and cause a mass extinction, and by that I mean awesome. Can’t get here soon enough.
8. Cloud Catcher, Trails of Kosmic Dust
Okay, so maybe I jumped the gun and did a super-early review of Denver trio Cloud Catcher‘s second long-player and Totem Cat Records debut, Trails of Kosmic Dust, but hell, no regrets. Some albums require an early-warning system. Their 2015 debut, Enlightened Beyond Existence (discussed here), was a gem as well, but this is a band in the process of upping their game on every level, and the songwriting and momentum they hone isn’t to be missed.
9. Colour Haze, TBA
I’ve gotten some details on the upcoming full-length from Colour Haze. They do not include a title, artwork, audio, song titles or general direction. Less details, I guess, than word that the CD version of this answer to 2015’s To the Highest Gods We Know (review here) is set to come out next month, as ever, on Elektrohasch. That puts it out in time for Colour Haze‘s upcoming tour with My Sleeping Karma (announced here). Fingers crossed it happens. Colour Haze are perpetual top-albums candidates in my book.
10. Corrosion of Conformity, TBA
Signed to Nuclear Blast after being rejoined by guitarist/vocalist Pepper Keenan, North Carolina’s C.O.C. have been in the studio since last year. The lineup of Keenan, bassist/vocalist Mike Dean and guitarist Woody Weatherman and Reed Mullin on drums is the stuff of legend and last worked together on 2000’s America’s Volume Dealer, so no question this reunion makes for one of 2017’s most anticipated heavy rock records. They nailed the nostalgia factor on tour. Can they now add to their legacy?
11. Elder, TBA
I was incredibly fortunate about a month ago to visit progressive heavy rockers Elder at Sonelab in Easthampton, MA, during the recording process for their upcoming fourth album. I heard a couple of the tracks, and of course it was all raw form, but the movement forward from 2015’s Lore (review here) was palpable. That LP (on Stickman) brought them to a wider audience, and I expect no less from this one as well, since the farther out Elder go sound-wise, the deeper the level of connection with their listeners they seem to engage.
12. Electric Wizard, TBA
Could happen, could not happen. That’s how it goes. Announced for last Halloween. That date came and went. Word of trouble building their own studio surfaced somewhere along the line. That was the last I heard. Frankly, I wouldn’t be surprised if it showed up tomorrow, if it showed up in 2018, or if the band broke up and never put it out. They’re Electric Wizard. Anything’s possible.
13. John Garcia, The Coyote Who Spoke in Tongues
Out Jan. 28 on Napalm, The Coyote Who Spoke in Tongues (review here) is the first-ever acoustic album from former Kyuss frontman John Garcia, also of Unida, the reunited Slo Burn, Hermano, Vista Chino, Zun, etc. — basically the voice of desert rock. He does a couple Kyuss classics for good measure, but shines as well on the new/original tracks, and while it’s a piece for fans more than newcomers — that is, it helps if you know the original version of “Green Machine” — his presence remains as powerful as ever despite this new context.
14. Goya, Harvester of Bongloads
Riffs, dude. Goya seem to have them to spare. The Arizona-based wizard doomers have set a pretty prolific clip for themselves at this point, with at least two short releases out in 2016, one a 7″ of Nirvana covers (review here), and the The Enemy EP (review here). Set for a March 3 release through their own Opoponax Records imprint, Harvester of Bongloads continues the march into the abyss that 2015’s Obelisk (review here) and 2013’s 777 set in motion, finding the band coming more into their own as well. Creative growth — and bongloads! The best of both worlds.
15. Ides of Gemini, TBA
Ides of Gemini are set to record their yet-untitled third album with Sanford Parker early this year, and it will also mark their debut on Rise Above Records upon its release. They’ve also got a new lineup around vocalist Sera Timms and guitarist J. Bennett, so as they look to move forward from 2014’s Old World New Wave (review here), one can’t help but wonder what to expect, but to be honest, not knowing is part of the appeal, especially from a band who so readily specialize in the ethereal.
16. Kind, TBA
Three-fourths of Kind feature elsewhere on this list. Bassist Tom Corino plays in Rozamov. Drummer Matt Couto is in Elder. Vocalist Craig Riggs is in Roadsaw. And for what it’s worth, guitarist Darryl Shepherd has a new band coming together called Test Meat. How likely does that make Kind to release a second LP in 2017? I don’t know, but their 2015 Ripple Music debut, Rocket Science (review here), deserves a follow-up, and I know they’ve demoed some new songs. If it happens, great. If it’s 2018, at least these dudes will be plenty busy besides.
17. Lo-Pan, In Tensions
Yes, Lo-Pan‘s In Tensions (review here) has already been released — CD/LP with an artbook on Aqualamb. It’s out. Limited numbers. You can get it now. Why include it on a list of most anticipated releases? Because that’s how strongly I feel about your need to hear it. The fruit of a shortlived lineup with guitarist Adrian Zambrano, it distinguishes itself from everything they’ve done before in style while still keeping to the core righteousness that one hopes the Ohio outfit will continue to carry forward. It’s more than a stopgap between albums. Listen to it.
18. The Midnight Ghost Train, TBA
It seems to have been a rough ride for hard-boogie specialists The Midnight Ghost Train since their 2015 Napalm debut and third album overall, Cold was the Ground (review here). They’ve never taken it easy on the road or in terms of physicality on stage, and between injuries and who knows what else, their intensity at this point veers toward the directly confrontational. Nonetheless, they’ve been writing for album number four, may or may not have started the recording process, and I expect that confrontationalism to suit them well in their new material.
19. Monster Magnet, TBA
I have it on decent authority that NJ heavy psych innovators Monster Magnet were in the studio this past autumn. I’ve seen no concrete word of a new album in progress from Dave Wyndorf and company, and I wouldn’t necessarily expect to until it was time to start hyping the release, but after their two redux releases, 2015’s Cobras and Fire (review here) and 2014’s Milking the Stars (review here), their range feels broader than ever and I can’t wait to hear what they come up with next.
20. Mothership, High Strangeness
A pivotal moment for Mothership arrives with High Strangeness, and the heavy-touring, heavy-riffing Texas power trio seem to know it. Their third record on Ripple Music pushes into new avenues of expression and keeps the energy of 2014’s Mothership II (review here) and 2012’s Mothership (review here), but thus far into their career, it’s been about their potential and what they might accomplish going forward. 2017 might be the year for Mothership to declare a definitive place in the sphere of American heavy rock.
21. The Obsessed, Sacred
On Halloween 2016, founding The Obsessed guitarist/vocalist and doom icon Scott “Wino” Weinrich announced a new lineup for the band, with his former The Hidden Hand bandmate Bruce Falkinburg on bass/vocals, Sara Seraphim on guitar and Brian Costantino continuing on drums. A genuine surprise. Their first album since 1994, Sacred (due on Relapse) was tracked as the trio of Weinrich, Costantino and bassist/vocalist Dave Sherman, but clearly they’ve moved into a new era already. Wouldn’t even guess what the future holds, but hopefully Sacred still comes out.
22. Orange Goblin, TBA
When it was announced that London’s Orange Goblin were picked up by Spinefarm as part of that label’s acquisition of Candlelight Records last Spring, the subheadline from the PR wire was “Working on Ninth Studio Album.” I haven’t heard much since then, but even as 2014’s Back from the Abyss (review here) pushed them deeper into metallic territory than ever before, their songs retained the character that’s made the band the institution they are. Always look forward to new Orange Goblin.
23. Pallbearer, Heartless
Doomers, this is your whole year right here. I haven’t heard Pallbearer‘s third album, Heartless (out March 24 on Profound Lore), but I have to think even those who haven’t yet been won over by the Arkansas four-piece’s emotive, deep-running style have to be curious about what they’ve come up with this time around. I know I am. These guys have been making a mark on the genre since their 2012 debut, Sorrow and Extinction (review here), and there’s little doubt Heartless will continue that thread upon its arrival.
24. Radio Moscow, TBA
Fact: Radio Moscow stand among the best classic heavy rock live acts in the US. They’re the kind of band you can watch upwards of 15 gigs in a row — I’ve done it — and find them putting on a better show night after night, in defiance of science, logic and sobriety. Word of their signing to Century Media came just this past week and brought with it confirmation of a follow-up to 2014’s stellar Magical Dirt (review here), and for me to say hell yes, I’m absolutely on board, seems like the no-brainer to end all no-brainers. Can’t wait.
25. Roadsaw, TBA
Nearly six full years later, it’s only fair to call Boston scene godfathers Roadsaw due for a follow-up to their 2011 self-titled (review here). Granted, members have been busy in Kind, White Dynomite, and other projects, but still. Their upcoming outing finds them on Ripple Music after years under the banner of Small Stone Records, and though I haven’t seen a solid release date yet, my understanding is they hit Mad Oak Studio in Allston, MA, this past fall to track it, so seems likely for sooner or later. Sooner, preferably.
26. Rozamov, This Mortal Road
Speaking of albums by Boston bands a while in the making, This Mortal Road (out March 3 on Battleground Records and Dullest Records) is the debut full-length from Boston atmospheric extremists Rozamov. Haven’t heard it yet, but I got a taste of some of the material when I visited the band at New Alliance Audio in Aug. 2015, and the bleak expanses of what I heard seem primed to turn heads. I’m a fan of these guys, but in addition, they’ve found a niche for themselves sound-wise and I’m curious to hear how they bring it to fruition.
27. Samsara Blues Experiment, TBA
It’s been a pleasure over the last couple months to watch a resurgence of Berlin heavy psych trio Samsara Blues Experiment take shape, first with the announcement of a fourth album in October, then with subsequent confirmations for Desertfest, Riff Ritual in Barcelona, and a South American tour. Reportedly due in Spring, which fits with the timing on shows, etc., the record will follow 2013’s righteous Waiting for the Flood (review here) and as much as I’m looking forward to hearing it, I’m kind of just glad to have these guys back.
28. Seedy Jeezus, TBA
Work finished earlier this month on Melbourne trio Seedy Jeezus‘ second full-length. As with their 2015 self-titled debut, the band brought Tony Reed of Mos Generator to Australia to produce, and after their blissed-out 2016 collaboration with Earthless guitarist Isaiah Mitchell, Tranquonauts (review here), it’s hard not to wonder what experimentalist tendencies might show in the trio’s style this time out, and likewise difficult not to anticipate what guitarist Lex “Mr. Frumpy” Wattereus comes up with for the cover art.
29. Shroud Eater, Strike the Sun
Not to spoil the surprise, but Feb. 1 I’ll host a track premiere from Florida’s Shroud Eater that finds them working in a different context from everything we’ve heard from them to this point in their rightly-celebrated tenure. They also recently had a split out with Dead Hand, and their second long-player, Strike the Sun, will be their debut through STB Records. It’s been since 2011’s ThunderNoise (review here) that we last got a Shroud Eater album, so you bet your ass I’m dying to know what the last six years have wrought.
30. Sleep, TBA
If Sleep were any other band, they’d probably be in the “Would be Awfully Nice” category. But they’re Sleep, so even the thought of a new record is enough to put them here. The lords of all things coated in THC are reissuing their 2014 single, The Clarity (review here), on Southern Lord next month, but rumors have been swirling about a proper album, which of course would be their first since the now-legendary Dopesmoker. If it happens, it’ll automatically be a heavy underground landmark for 2017, but it’s one I’m going to have in my ears before I really believe it.
31. Stoned Jesus, TBA
Even as they tour playing their second album, 2012’s Seven Thunders Roar (review here), to mark its fifth anniversary and continued impact, Ukrainian trio Stoned Jesus are forging ahead with a fourth record behind 2015’s The Harvest (review here). The capital-‘q’ Question is whether or not looking back at Seven Thunders Roar and engaging that big-riffing side of their sound will have an impact on the new material, and if so, how it will meld with the push of The Harvest. Won’t speculate, but look forward to finding out.
32. Stubb, TBA
Since reveling in the soul of 2015’s Cry of the Ocean (review here) on Ripple, London trio Stubb have swapped out bassists, and they were in Skyhammer Studio this month recording a single that may be an extended psychedelic jam. I’ll take that happily, but I’m even more intrigued at the prospect of a third LP and what guitarist/vocalist Jack Dickinson, bassist/vocalist Tom Hobson and drummer Tom Fyfe might have in store as the band moves forward on multiple levels. Might be 2017, might not.
33. Sun Blood Stories, It Runs Around the Room with Us
It Runs around the Room with Us seems to find peace in its resonant experimentalist drones, loops, open, subdued spaces, but there’s always some underlying sense of foreboding to its drift, as if Boise’s Sun Blood Stories could anticipate the moment before it happened. Toward the end of the follow-up to 2015’s Twilight Midnight Morning (review here), they execute the 90-second assault “Burn” and turn serenity to ash. Look for it in April and look for it again on my best of 2017 list in December.
34. Ufomammut, TBA
Any new offering from the Italian cosmic doom magnates is worth looking forward to, and while Ufomammut have left the 15-year mark behind, they’ve never stopped progressing in style and form. To wit, 2015’s Ecate (review here) was a stunner after 2012’s two-part LP, Oro (review here and review here), tightening the approach but assuring the vibe was no less expansive than ever. They started recording last summer, finished mixing in November, so I’m hoping for word of a release date soon.
35. Vokonis, The Sunken Djinn
Born out of Creedsmen Arise, whose 2015 demo, Temple (review here), offered formative thrills, Swedish trio Vokonis debuted with last year’s Olde One Ascending (review here) and proved there’s still life in post-Sleep riffing when it’s wielded properly. They signed to Ripple in November and confirmed the title of their sophomore effort as The Sunken Djinn, as well as a reissue for the first album, which will probably arrive first. I don’t know how that will affect the timing on this one, but keep an eye out anyway.
Gonna Happen and/or Likely Candidates
Obviously some of these are more likely than others. Some have solidified, announced release dates — Dopelord‘s out this month, Demon Head‘s out in April, etc. — and others come from social media posts of bands in studios and hints at upcoming releases and so on. A big tell is whether or not a band has an album title with their listing, but even some of those without have their new albums done, like Atala and Royal Thunder, so it’s not necessarily absolute.
Either way, while I’m spending your money, you might want to look into:
36. Against the Grain
39. Attalla, Glacial Rule
40. Ayahuasca Dark Trip, II
42. Beaten Back to Pure
45. Buried Feather, Mind of the Swarm
46. The Clamps
47. Cold Stares
48. Coltsblood, Ascending into the Shimmering Darkness
49. Come to Grief, The Worst of Times EP
51. Cruthu, The Angle of Eternity
52. The Dead-End Alley Band, Storms
53. Dead Witches, Dead Witches
55. Death Alley, Live at Roadburn
56. Demon Head, Thunder on the Fields
57. The Devil and the Almighty Blues, II
58. Devil Electric
59. Doctor Cyclops, Local Dogs
60. Dool, Here Now There Then
61. Dopelord, Children of the Haze
62. Doublestone, Devil’s Own/Djævlens Egn
63. Dread Sovereign, For Doom the Bell Tolls
64. Drive by Wire
65. Elbrus, Elbrus
66. Electric Age
67. Electric Moon, Stardust Rituals
68. Endless Floods, II
69. Five Horse Johnson
70. Forming the Void, Relic
71. Funeral Horse
73. Green Desert Water
75. Grifter / Suns of Thunder, Split
76. Hair of the Dog, This World Turns
77. Heavy Temple, Chassit
78. Here Lies Man, Here Lies Man
79. Hollow Leg, Murder EP
80. Holy Mount, The Drought
81. Hooded Menace
82. Horisont, About Time
83. Hymn, Perish
84. Lecherous Gaze
85. Magnet, Feel Your Fire
87. Merlin, The Wizard
89. Mindkult, Lucifer’s Dream
90. Mirror Queen
91. Moonbow, War Bear
92. Mos Generator
93. The Moth
95. Mouth, Vortex
96. My Sleeping Karma, Mela Ananda – Live
99. PH, Eternal Hayden
100. Psychedelic Witchcraft, Magick Rites and Spells
101. Royal Thunder
102. Saturn, Beyond Spectra
103. Season of Arrows, Give it to the Mountain
104. Siena Root
105. Six Organs of Admittance, Burning the Threshold
106. Six Sigma, Tuxedo Brown
108. The Sonic Dawn, Into the Long Night
110. Spidergawd, IV
112. Stinking Lizaveta, Journey to the Underworld
113. Sula Bassana, Organ Accumulator
115. Sun Voyager, Sun Voyager
116. Sweat Lodge, Tokens for Hell EP
117. Thera Roya, Stone and Skin
119. Troubled Horse, Revelation on Repeat
120. VA, Brown Acid The Third Trip
122. Youngblood Supercult, The Great American Death Rattle
Definitely Could Happen
Maybe a recording process is upcoming (Gozu, Cities of Mars, YOB), or a band is looking for a label (The Flying Eyes), or they’ve said new stuff is in the works but the circumstances of an actual release aren’t known (Arc of Ascent, Dead Meadow, High on Fire), or I’ve just seen rumors of their hitting the studio (Freedom Hawk, La Chinga, Ruby the Hatchet). We’ve entered the realm of the entirely possible but not 100 percent.
So, you know, life.
123. The Age of Truth
124. Ape Machine
125. Arc of Ascent
126. At Devil Dirt
131. La Chinga
132. Chubby Thunderous Bad Kush Masters
133. Cities of Mars
134. Crypt Sermon
135. Dead Meadow
136. Death Alley (Studio LP)
137. Dee Calhoun
138. Destroyer of Light
140. Devil Worshipper
144. Electric Moon
145. Elephant Tree
147. The Flying Eyes
148. Freedom Hawk
150. The Great Electric Quest
151. Green Meteor, Consumed by a Dying Sun
152. High on Fire
154. Insect Ark
155. In the Company of Serpents
156. Iron Monkey
157. Jeremy Irons and the Ratgang Malibus
158. The Judge
159. Killer Boogie
160. King Dead
161. The Kings of Frog Island
162. Lords of Beacon House, Recreational Sorcery
164. Mondo Drag
166. Mountain God
167. The Munsens
169. Never Got Caught
175. Purple Hill Witch
176. Ruby the Hatchet
178. Satan’s Satyrs
179. Serpents of Secrecy
181. Shooting Guns
182. Sleepy Sun
183. Slow Season
184. Snowy Dunes, Atlantis
185. Spectral Haze
186. The Sweet Heat
187. Switchblade Jesus
191. Zone Six
Would be Awfully Nice
This last category is basically as close as I’m willing to come to rampant speculation. Endless Boogie have hinted at new material, and Queens of the Stone Age have talked about hitting the studio for the last two years. There were rumors about Om, and though Kings Destroy just put out an EP, they have new songs as well, though I doubt we’ll hear them before the end of 2017. I’ll admit that Across Tundras, Fever Dog, Lord Fowl, Lowrider and Hour of 13 are just wishful thinking on my part. A boy can hope:
192. Across Tundras
194. Elephant Tree
195. Endless Boogie
196. Fever Dog
197. Fu Manchu
198. Halfway to Gone
199. Hour of 13
201. Kings Destroy
202. Lord Fowl
204. Masters of Reality
207. Queens of the Stone Age
If you’ve made it this far, thanks for reading. Whatever this year brings, I hope it’s been great so far for you and I hope it continues to be so as we proceed inexorably to 2018 and all the also-futuristic-sounding numbers thereafter. At least we know we’ll have plenty of good music to keep us company on that voyage.
As always, comments section is open if there’s anything I’ve left out. I’m happy to add, adjust, etc., as need be, so really, have at it, and thanks in advance.
Posted in Whathaveyou on January 9th, 2017 by JJ Koczan
Louisiana four-piece Forming the Void issued the deceptively metallic Skyward (review here) last year and have signed to Italy’s Argonauta Records for the follow-up, Relic, which will see release on March 17. One can hear the aggressive/progressive thread continuing from the debut in the new song “Bialozar,” which is streaming ahead of the record’s arrival, but the groove underlying still owes part of its stomp to the heavier end of rock, and the blend seems all the more resonant with the vocal melody that tops. Easy to understand why they’d put the track out first, as it shows clear forward movement in sound and presentation and makes one look forward to the album. Nice tease, gents. Well played.
The PR wire sends good reason for marking your calendar:
FORMING THE VOID sign to Argonauta Records for release of new album Relic
Relic by Forming The Void is released on 17th March 2017
Following the release of last year’s impressive Skyward album, Forming the Void, originally formed in 2013 in Lafayette, Louisiana, has gained an impressive reputation for raising underground rock into realms of the previously unknown.
Atmospheric, heavy and progressive yet losing none of these earnest qualities at volume, they layer their ambitions as thickly as the riffs that help transmit their visions. Newly signed to Italian label Argonauta Records, this March will see the release of their third album Relic. Like Skyward before it, it draws on one hell of a colossal sound. New song ‘Bialozar’ is the first track lifted from said album and, as you will hear, it’s carried along on lead singer James Marshall’s soaring, practically airborne vocal about an epic voyage of a celestial beast: “Valiant mantra in mind, Radiant alive in light” / “Wings spread over the mountain, Bialozar”.
Summoning the towering hard rock riffs and progressive influence of bands like Mastodon, Baroness and Torche, it’s just one of many songs on Relic that finds the four piece illustrating their bold and adventurous ideas in the most vivid of colours.
Relic by Forming the Void is released on 17th March 2017 via Argonauta Records.
Forming The Void: James Marshall – Guitar/Vocals Shadi Omar Al-Khansa – Guitar Luke Baker – Bass Jordan Boyd – Drums
Posted in Reviews on March 29th, 2016 by JJ Koczan
I thought yesterday went pretty well, by which I mean I didn’t receive any complaints that somebody’s name was spelled wrong (yet), so I feel alright going into the second batch of releases for the Quarterly Review. Today mixes it up a bit, which is something I always enjoy doing with these, and while I’ll take pains to emphasize that the list of releases today, as with every day, isn’t in order, there was no way I wasn’t going to start with the first record below. Some albums just demand top placement.
Quarterly Review #11-20:
Eight Bells, Landless
However you define the word “heavy” as it relates to music, Eight Bells are it. The Portland, Oregon, trio release their second album and first for Battleground Records in the form of the five-track Landless, and from the opening sprawl and lumber of “Hating” through the crawling-plus-blasting chaos of “Touch Me,” a strong progressive current underscores the material – most notably the 13-minute title-track, but really the rest as well, which flows gracefully even in its harshest moments, the blackened rush in the second half of “Landless,” for example, which follows psychedelic drones and harmonies just minutes before, or the similar thrust of centerpiece “Hold My Breath,” which works in tighter quarters but manages to span genres all the same. “The Mortal’s Suite” provides some respite in airy guitar and airier vocals, giving new drummer Rae Amitay a break while showcasing the harmonies of guitarist Melynda Jackson (ex-SubArachnoid Space) and bassist Haley Westeiner. As open atmospherically as the band is in their creative scope, there just isn’t a level on which Landless isn’t superb.
Swedish four-piece Öken do themselves huge favors by refusing to be easily categorized on their 2015 self-titled Ozium Records debut full-length, which runs an immersive 62 minutes and blends doom, classic heavy/desert rock and forest psych with subtle grace throughout its eight tracks, each of which is fleshed out in an overarching naturalist atmosphere. “Väktaren” dives headfirst into boogie only after initial minimalist teasing, and “Crimson Moon” bursts to life after a hypnotic psychedelic opening to find its crux in later runs of dueling guitars. The two closing cuts, “Under Vår Sol” and “Cuauhtémoc” are an album unto themselves, the former nodding initially at Sungrazer’s serene vibes before pushing into even more open psychedelic territory, and the latter proffering riffy largesse en route to a striking classic prog finish. That Öken make these elements work side-by-side and transition from one to the other fluidly is emblematic of the confidence at work in the band, and they carry their scope with organic-sounding ease.
West Virginian roots doomers Brimstone Coven made their debut on Metal Blade in 2015 with a self-titled EP compilation (track stream here), and Black Magic is their first full-length. Its 10 tracks/54 minutes take cues varyingly from classic heavy rock, doom and the less majestic side of the NWOBHM, but Brimstone Coven’s approach is marked out by the extensive use of vocal harmonies on cuts like the prog-tinged “Beyond the Astral,” the later moments of raw-roller “Upon the Mountain” and “The Plague.” Black Magic’s production is barebones enough that this singing – credited solely to “Big John” Williams, while Corey Roth handles guitar, Andrew D’Cagna bass and Justin Wood drums – doesn’t really soar so much as nestle in and enhance the begging-for-vinyl analog-worship of the instruments surrounding, a proliferation of cultish themes distinguishing Brimstone Coven even as a song like “The Seers” finds them inheriting a trad-doom soulfulness from The Gates of Slumber.
Between its vicious aggression, inhumane chug and have-fun-enduring-this stomp, the self-titled, self-released debut LP from Pants Exploder could just as easily be definitive New York noise, but the low-end heft of their assault right from opener “It’s Ok, I’m Wiccan.” (punctuation included in title) has an element of early-Mastodonic lumber, and that’s a thread that continues throughout “End of the World” and “You Don’t Strike Me as a Reader,” which offsets its slab-of-concrete-on-your-chest push with moments of respite, but remains driving in its intensity. As in, driving your head into the ground. Also the ground is pavement. It’s fucking heavy, is the point. To wit, the mega-plod of “Um, I Curated an Art Show in College, So…” and thrust of “God Has a Plan for Me.” Capping with the seven-minute “You Smug Bastard,” Pants Exploder pays off the tension they build in a noise-wash fury that is as impressive as it is scathing.
The rather ominous The Moon Rises EP is the first non-demo offering from Asheville, North Carolina, four-piece Shallows, who blend heavy psychedelic and grunge influences across its five tracks, opener “Shimmering” and closer “Distance” mirroring each other’s spacious push while between, “Zero,” “A Mile Beneath” and the Earth-influenced “The Barn Burning” enact gorgeous vocal harmonies between Cameron Zarrabzadeh and HannahLynn Cruey atop atmospheric heavy rock, hitting into Alice in Chains-meets-Kylesa territory on the centerpiece, “A Mile Beneath,” which is a fair bit of ground to cover. That cut is the high point in showcasing Shallows’ potential, but the Western take with “The Barn Burning” and meandering post-rock echoes and organ of “Distance” only add to the breadth of this impressive, too-short collection. With a focus consistently kept on ambience throughout, The Moon Rises flows like a full-length album, and so bodes that much better for what Shallows will be able to accomplish when they get there. I’ll look forward to it.
Even before they get to the all the aggro fuzz riffing, there’s a distinct threat of violence in Monumentum’s The Killer is Me. Its four songs, “Noose,” “Whore,” “Fiend and Foe” and “Killer Me,” each seem to find the Norwegian band doling out noise-influenced heavy rock, driven by some underlying dissatisfaction on this, their first EP. Released on vinyl through Blues for the Red Sun Records, it offsets being so outwardly pissed off through groove, the starts and stops of “Killer Me” and the rolling seven minutes of opener and longest track “Noose” (immediate points) both marked out for both their tonal weight and the force with which Monumentum push their material forward – not speedy, though “Whore” is by no means slow, but dense and emitting a residual tension all the same. Somewhat unipolar in its mood, The Killer is Me still manages to give an initial impression of what Monumentum are about sound-wise, and provides them with a solid start to work from.
While the UK isn’t at all short on doom or sludge at this point, Canterbury five-piece Famyne distinguish themselves on their self-titled first EP with a traditional take and the at-times theatric harmonies of vocalist Tom Vane. Along with guitarists Alex Tolson and Alex Williams, bassist Chris Travers and drummer Jake Cook, Vane nods at Alice in Chains on lumbering opener “Enter the Sloth” without going full-on “hey whoa momma yeah” and provides a considerable frontman presence, particularly for a debut recording. Comprising three songs with the speedier bonus track “Long Lost Winter” as an add-on download with the CD version, Famyne’s Famyne EP finds its crux in the nod and push of the 10-minute “The Forgotten,” which takes a cue atmospherically from The Wounded Kings but finds its own, less-cultish niche in bringing new energy to classic doom and setting in motion a progression that already puts an individual stamp on established tenets.
There’s patient, and then there’s Ethereal Riffian, whose riffy ritualizing and exploration nonetheless brims with some intangible energetic sensibility on their new live outing, Youniversal Voice. Heavy psychedelic wash, thick riffs, theatric vocals and guitar effects, stoner roll and the occasional fit of shredding, one might hear any of it at a given point in over-12-minute cuts like “Wakan Tanka” and “Anatman,” the latter which arrives as the penultimate of the eight-song/56-minute set. The clarity, for being a live album, is remarkable, and Ethereal Riffian add to the experience with a CD version that includes a candle, elaborate packaging and artwork, and tea, so the multi-sensory impression is obviously important, and where many live outings are throwaways or a means of bowing to contractual obligation, Youniversal Voice adds to Ethereal Riffian’s studio work a substantial ambassasorial feel, conveying an onstage vibe with a fullness of sound and clarity of mind not often heard.
Desert rock trio Wet Cactus don’t make any bones about where they’re getting their influence from on their late-2015 self-titled second EP. By the time they get around to the penultimate “The Road” on the five-track/24-minute outing, they’ve dug themselves in deep into the worship of crunchy Kyuss-style riffing, and you can throw in looks for Unida, Queens of the Stone Age, Slo Burn and whoever else of that milieu, but Kyuss is at the root of it all anyway. Less grand in their production than UK outfit Steak, who operated in similar territory on their 2014 debut LP, Slab City, Wet Cactus keep it natural in the tradition of their forebears, and while there’s room for them to grow into a more individual approach, the hazy fuckall in closer “World’s Law” has a stoner charm before and after it kicks into a punkish push to close out. Cool vibe either way, and the tone is dead on. If these cats go jammier, watch out.
I won’t say a bad word about the artwork of David Paul Seymour in the context of this review or any other, but ultimately, Louisiana doomers Forming the Void are coming from someplace much more in line with progressive metal than the three-eyed goat and robed figures on the cover of their second album, Skyward, might represent. Again, that’s not a knock on Seymour, or for that matter, the band, just that the look of the record is deceptive, dogwhistling stonerisms even as moody cuts like the opening title-track and “Three Eyed Gazelle” – while thoroughly doomed in their vibe – prove more lucidly constructed. That holds true through the chugging centerpiece “Saber” as well, marked out by vocal harmonizing, and “Return Again,” which rolls through atmospheric metal and an ambient interlude to enact the record’s most memorable payoff and set up the linear course of the more patient closer “Sleepwalker.” Cohesive in mood and clearly plotted, Skyward is ultimately darker and more driven than it might at first appear.
Louisiana atmospheric metallers Forming the Void issued their debut album, Skyward, last fall. The brooding, lurching Lafayette four-piece have a new video for the track “Three Eyed Gazelle” from the outing, and it captures the kind of understated intensity that lies beneath the outwardly (mostly) calm waters of the song’s surroundings, Forming the Void taking cues from progressive metal as much as if not more than doom, resulting in a persistent sense of tightness to their rhythms and melodies and a style more forward thinking than one usually finds on an album the cover for which features a goat-inclusive ritual of some sort or other. Not to generalize, but if you’re reading this, you know what I’m talking about.
There’s plenty of ritual in the video itself, admittedly. The part of the gazelle? Why it’s played by a pretty lady in antlers, of course. She bellydances in front of a bonfire at night as the footage is sped up and slowed down to match the band’s rhythm, her third eye prevalent in her forehead and just a bit on the other side of creepy. The song’s blend of sludge and teeth-clenched metal calls to mind the likes of a less abrasive Beastwars from New Zealand or maybe Cultura Tres from Venezuela, so Forming the Void are nothing if not worldly. Might be a little clean for some listeners, in accordance with that whole “prog” thing, but has a darker vibe as well to go with all that fire and nighttime and those robes that show up later on.
The album — I’ve also seen it called an EP, so you know, don’t go quoting me or anything — is streaming now on Bandcamp, where the CD’s also available on the cheap. Links and other info after the video below. Enjoy:
Forming the Void, “Three Eyed Gazelle” official video
FORMING THE VOID – “Three Eyed Gazelle” from the album “Skyward”
FORMING THE VOID is a rock band based out of Lafayette, Louisiana. The band has been performing regularly since October of 2013 and released their second album, “SKYWARD” in August 2015. Their unique blend of atmospheric and stoner rock with a metal influence places a heavy emphasis on textures and layers.