Abrahma Reveal Art and Teaser for New Album Reflections in the Bowels of a Bird

Posted in Whathaveyou on February 17th, 2015 by H.P. Taskmaster

abrahma (photo by Falk-Hagen Bernshausen)

Paris heavy psych rockers Abrahma will release their second album for Small StoneReflections in the Bowels of a Bird, this May. The album release comes after a European tour alongside Lo-Pan that includes stops at Roadburn and Desertfest Berlin, and is the follow-up to 2012’s debut, Through the Dusty Paths of Our Lives (review here), which established the four-piece’s balance of memorable hooks and psychedelic flourish. The new album boasts a guest appearance from Ed Mundell of The Ultra Electric Mega Galactic and has a co-production credit from Blaak Heat Shujaa‘s Thomas Bellier, with whom Abrahma‘s Sébastien Bismuth collaborated on the Sonny Simmons and Moksha Samnyasin late 2014 album, Nomadic (review here).

You can see the stunning Jalón de Aquiles artwork below, and Abrahma have posted a video teaser for the album that follows the PR wire info and tour dates with Lo-Pan. Dig it:

abrahma reflections in the bowels of a bird

Paris heavy sorcerers ABRAHMA reveal artwork and details for their new album on Small Stone Records

Paris-based heavy psych outfit ABRAHMA just unveiled more details on their sophomore record “Reflections In The Bowels Of A Bird”, due out mid-May on Small Stone Records.

“Reflections In The Bowels Of A Bird” will be ABRAHMA’s second full-length on Small Stone Records, and features prestigious guests such as Ed Mundell (Monster Magnet, The Atomic Bitchwax), as well as Thomas Bellier (Black Heat Shujaa) as its co-producer. Its fabulously coloured artwork was created by Barcelona’s artist Jalón de Aquiles.

The band released a teaser that displays all album details as well as the release date for their upcoming video “An Offspring To The Wolves”.

Forcefully ascending from the depths of Paris rock underground, it only took ABRAHMA one album to emerge as one of the torchbearers of French heavy rock on the international scene. Released in late 2012 on renowned North American label Small Stone Records, “Through The Dusty Paths Of Our Lives” unveiled an incredibly mature songwriting, while showcasing the band’s sombre and complex music realm. With this first full-length, they laid the foundations of their peculiar stoner aura adorned with the darkest riffage of the Seattle sound, and drew the attention of the international press. 2015 will see the Parisian foursome release their second album to date, due out this spring on Small Stone Records.

UPCOMING SHOWS:
09.04 – STRASBOURG (FR) Mudd Club
10.04 – LICHTENFELS (DE) Paucnhy Cats Inn
11.04 – MUNSTER (DE) Rare Guitar
12.04 – TILBURG (NL) Roadburn Festival
13.04 – France TBA
14.04 – MONTPELLIER (FR) Black Sheep
15.04 – MADRID (SP) Maravillas Club
16.05 – BARCELONA (SP) Rocksound
17.05 – VITORIA (SP) Helldorado
18.04 – NICE (FR) Le Volume
19.04 – Italy TBA
20.04 – SAVIGNANO SUL RUBICONE (IT) Sidro Club
21.04 – MUNICH (DE) Orange House
22.04 – DRESDEN (DE) Ost-Pol
23.04 – BERLIN (DE) Desertfest Berlin

www.abrahmamusic.net
www.facebook.com/ABRAHMAMUSIC
www.twitter.com/ABRAHMAMUSIC
www.smallstone.com

Abrahma, Reflection in the Bowels of a Bird Teaser

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Soundcrawler Premiere “The Plastic Truth” from The Dead-End Host

Posted in audiObelisk on February 9th, 2015 by H.P. Taskmaster

Soundcrawler_web2

French heavy rockers Soundcrawler will release their debut full-length, The Dead-End Host, on Feb. 20. Out through Klonosphere Records, it is an album underscored by a current of brooding progressive metal, not necessarily aggressive — unless one counts the ending of the penultimate “Infinite Genocide” — but tense and purposeful in its arrangements, both instrumental and vocal, and cohesive despite markedly varied influences. The Périgueux-based five-piece of vocalist Rémy Pocquet, guitarists Paul Parsat and Clément Reviriego, bassist Firouze Pirolley and drummer Robin Cauchois seem just as likely to draw on Soundgarden as Kyuss in setting a ’90s vibe, but there’s an awareness of modern heavy as well, as the Mars Red Sky-style wah of “A God to Feed” and generally fuzzy overtones of cuts like the opener “Raiders” and the plus-sized riffing of “Souls from the Trash” demonstrate.

What stands The Dead-End Host out is its primarily moody spirit and the atmospherics through which Soundcrawler attain it. The fivesome may be a relatively recent advent in terms of putting out records — this debut was preceded by a 2012 EP called The Sandcrawler that came together before the lineup was finalized — and their sound is soundcrawler the dead-end hostthoroughly modern, but there’s something “old soul” about The Dead-End Host as well. It’s not upbeat songs about drinking and monsters, but it’s got moments where it could be. I’ll point to Pirolley‘s bass as a key factor in setting the ambience of “The Plastic Truth,” which I have the pleasure of hosting today for streaming. Starting the track with Cauchois‘ drums in what almost sounds like a noise rock rollout, it is a dense slab of tone, and even after the guitars and vocals join in, it remains a defining presence, its push of air never really abating throughout “The Plastic Truth”‘s five-minute course.

That course is complex, but ultimately accessible, and with its persistent melody, ebbs and flows, nod, break in the midsection and rebuild to a double-kick apex, it serves well to give an impression of what The Dead-End Host has to say and from where Soundcrawler are coming stylistically. I won’t say it’s a complete summary, but you’ll likely get the idea, and as a sample, it functions with efficiency coinciding to that of the band’s songwriting.

Some bio background follows “The Plastic Truth,” which you’ll find on the player below. Please enjoy:

Soundcrawler initially formed in 2011 as a two-piece project by vocalist Rémi Pocquet and guitarist Clément Revieriego. Influenced by the likes of Kyuss, Mastodon and Karma To Burn, the duo soon started working on their first studio effort, “The Sandcrawler” EP, which was released one year later, in July 2012.

In 2013, Soundcrawler expanded into a quintet with the addition of Robin Cauchois on drums, Firouze Pirolley on bass and Paul Parsat on guitar and were able to test their riff-centric heavy-rock before a live audience for the first time.

2015 will finally see the release of their first full-length album “The Dead-End Host”, a powerful collection of nine new songs filled with infectious riffs, groovy rhythms and dark, bluesy melodies that will surely impress fans of Queens Of The Stone Age, Soundgarden, Alice In Chains and Truckfighters.

Soundcrawler on Thee Facebooks

Soundcrawler on Bandcamp

Soundcrawler’s website

Klonosphere Records

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Mars Red Sky Winter Tour Starts this Week; “Circles” Video Released

Posted in Whathaveyou on January 19th, 2015 by H.P. Taskmaster

mars red sky

While I’m consistently bummed Mars Red Sky haven’t made it to the US yet in support of 2014’s righteous Stranded in Arcadia (review here), the release of their new video for “Circles” at least gives me an excuse to revisit the album this afternoon, and for that I’m grateful. The Bordeaux heavy psych rock trio offered one of last year’s most engaging listens with their second full-length, and this week they’ll hit the road in Europe to hand-deliver warm tones and memorable hooks to what I’ve no doubt will be a thankful audience.

The tour is broken up into different sections and really takes hold in March, but there are five dates this week, and that’s not nothing, especially with the new video accompanying. Whatever. Anytime I get to write about Mars Red Sky is a win.

Here’s this off the PR wire:

mars red sky winter tour 2015

MARS RED SKY European takeover continues; new video for “Circles” unveiled

That’s a fact: MARS RED SKY love being on the road, to such an extent that touring has become their second nature. Once again, the French trio is set to drag even more audiences into their oniric stoner rock trip with a full winter tour across France and Europe. On the occasion of this recent addition, the band also released a hypnotizing video for “Circles”.

“Circles” is a song taken off MARS RED SKY’s sophomore album “Stranded In Arcadia” (listen here), released on April 28th through French music label Listenable Records. The video was created and edited by Geoffrey Torres, and features images from Kazumasa Nagai’s and German movie director Oskar Fischinger’s work.

MARS RED SKY’s winter tour is kicking off this week, more Spring dates and festivals will be announced later. As usual, you can contact me for guest list spots and interview requests.

UPCOMING SHOWS:
21.01 – ZARAGOZA (Sp) La Ley Seca
22.01 – MADRID (Sp) Maravillas Club
23.01 – BARCELONE (Sp) Rocksound
24.01 – LE FARE (13) L’Humus
25.01 – MONTPELLIER (34) Secret Place
20.02 – BRUXELLES (Be) Psych Fest – Le Magazin 4
21.02 – GERARDMER (88) Festival Gérardm’Electric
22.02 – GENEVE (CH) Kalvingrad
27.02 – NEVERS (58) Le Café Charbon
05.03 – BORDEAUX (33) “Help Kampuchea” – I.Boat
09.03 – MUNICH (D) Feierwerk w/ Colour Haze & Radio Moscow
10.03 – KÖLN (D) Underground
11.03 – LEIPZIG (D) UT Connewitz
12.03 – BERLIN (D) Zukunft am Ostkreuz / Theatersall
13.03 – DRESDEN (D) Chemiefabrik
14.03 – WROCLAW (PL) Sound Depot
15.03 – WARSAW (PL) Klub Hydrozagadka
16.03 – GDANSK (PL) Wydzial Remontowy
17.03 – COPENHAGEN (DK) KB18
18.03 – SWEDEN TBA
19.03 – SWEDEN TBA
20.03 – OSLO (Nor) Vulkan Arena
21.03 – AALBORG (DK) 1000Fryd
22.03 – BREMEN (D) Römer
23.03 – TILBURG (NL) Little Devil
23.03 – TILBURG (NL) Little Devil
24.03 – UTRECHT (NL) DB’s Club
25.03 – DUNKERQUE (59) L’Entrepôt
26.03 – VILLENEUVE D’ASQ (59) La Ferme d’en Haut
15.08 – SAINT NOLFF (56) Motocultor Festival
Artwork by Markel Urrutia / Smoke Signals

“Stranded in Arcadia” is still available worldwide
as well as on marsredsky.bigcartel.com

www.facebook.com/marsredskyband
www.marsredsky.bandcamp.com
www.youtube.com/marsredsky
www.twitter.com/marsredsky1
www.listenable.net

Mars Red Sky, “Circles” official video

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Last Licks 2014: The Re-Stoned, Anthroprophh, Lavagoat, Ketch, Eternal Khan, Mount Carmel, Pocket Size, Zoltan, The Garza, Dot Legacy

Posted in Reviews on January 2nd, 2015 by H.P. Taskmaster

Yesterday was pretty rough. Some excellent stuff in that batch of 10 discs, but man, by the end of it I don’t mind telling you I was dragging more than a bit of ass. I guess that’s to be expected. Still, I think that, as a project, this was worthwhile. There was a lot of stuff — too much — sitting around that was going to go undiscussed coming out of 2014, and now here we are, it’s the New Year, and I feel like at least a small percentage of what came my way got its due. Small victories.

So this is it. Reviews 41-50. After this, there isn’t much from 2014 that I’ll be looking back on; it’s mostly stuff to come, which is a different matter entirely. I’m sure we won’t be out of Jan. before I’m behind again in a major way, but what the hell, at least I’m trying, and at least there’s 50 discs that showed up on my desk that can be put on the shelf instead. Yes, it’s a very complex filing system. Ask me sometime and I’ll tell you all about it. Until then, let’s finish it like the final battle from Highlander. There can be only… 10… more…?

Okay maybe not.

Thanks for reading.

The Re-Stoned, Totems

the re-stoned totems

Helmed since 2008 by the multifaceted Ilya Lipkin, Moscow mostly-instrumentalists The Re-Stoned release their fourth album in the form of Totems on R.A.I.G., a 58-minute wide-breadth journey into heavy rock groove with touches of psychedelia, plotted jazz-jamming and a raw tonal sensibility. Wo Fat guitarist/vocalist Kent Stump contributes a noteworthy solo to “Old Times,” and along with bassist Alexander Romanov, Lipkin (who himself handles the artwork design, guitar, bass, shaman drum, jew’s harp, mandala and some voice work) employs a guest drummer, percussionist and didgeridoo player, so there’s a measure of variety to the proceedings, be it the jerky pauses in “Shaman” or the earlier effects-laden exploration of “Chakras.” “Old Times” has a bit of funk to it even before Stump’s arrival, and the acoustics of “Melting Stones,” which follows, border on cowboy Americana. They’ve never had the most vibrant production, but The Re-Stoned manage to convey a natural feel and confidence as they progress, the creative growth of Lipkin always at the center of what they do.

The Re-Stoned on Thee Facebooks

R.A.I.G.

Anthroprophh, Outside the Circle

anthroprophh outside the circle

For his second album under the moniker Anthroprophh, guitarist/vocalist Paul Allen (also of The Heads) brings in a rhythm section to aid him in his time-to-get-really-weird purposes. Thus, bassist Gareth Turner and drummer Jesse Webb, who together form the duo Big Naturals, add to the strangeness of songs like “2013 and She Told Me I was Die” on Anthroprophh’s Outside the Circle, a 45-minute excursion into warped sensibilities and things meant to go awry. Songs are made to be broken, and that happens with drones, sudden shifts in atmosphere, some smooth transitions, some jagged, all designed to transport and ignite stagnation. It does not get any less bizarre as Outside the Circle moves toward its nine-minute title-track, but one doesn’t imagine Allen would have it any other way, and one wouldn’t have it any other way from him. I call a fair amount of music adventurous for deviating from the norm. Anthroprophh makes most of that sound silly in comparison with its buzzsaw guitar and raw experimental display.

Anthroprophh on Thee Facebooks

Rocket Recordings

Lavagoat, Weird Menace

lavagoat weird menace

Saskatoon four-piece Lavagoat continue to challenge themselves even as they bludgeon eardrums. Their single-track CD EP, Weird Menace, pulls together six individual songs recorded mostly live in their rehearsal space with a purposeful drive toward rawness and a horror thematic. Sure enough, where their 2012 LP, Monoliths of Mars (review here) and 2010 self-titled debut (review here) offered increasing stylistic complexity, Weird Menace steps forward atmospherically by pulling back on the production value. Murky screams permeate “Ectoplasm” only to be immediately offset by the low growls and deathly groove of “Creature from the Black Lagoon,” presented as nasty as possible. There are still some touches of flourish in the guitar – one can’t completely cast off a creative development, even when trying really, really hard – but to call Weird Menace’s regressive experimentalism anything but a success would be undervaluing the turn they’ve made and how smoothly they’ve made it. Note: a follow-up LP, Ageless Nonsense (actually recorded earlier than this EP), has already been released.

Lavagoat on Thee Facebooks

Lavagoat on Bandcamp

Ketch, Ketch

ketch ketch

Limited to 50 CD copies and presented in an oversize sleeve, soon-to-be-picked-up-by-somebody Colorado five-piece Ketch’s self-titled debut demo/EP is death-doom brutal and doom-death grooving. Vocalist Zach Salmans and guitarist Clay Cushman (who also recorded) trade off growls and screams over plus-sized, malevolent riffs and guitarist Jeremy Winters, bassist Dave Borrusch and drummer David Csicsely (also of The Flight of Sleipnir) only add to the pummel, which hits a particularly vicious moment in the grueling second half of “Counting Sunsets,” a dirge of low growls giving way to churning, nodding despair. Beginning with 9:18 longest cut “Shimmering Lights” (immediate points), Ketch deliver a precision extremity that even on this initial offering makes its villainous intent plain with volume and overarching drear. The midsection stomp of “Chemical Despondency” and the gurgle in closer “13 Coils” affirm that Ketch have found their stylistic niche and are ready to begin developing their sound from it. One looks forward to the growth of this already maddening approach. Bonus points for no obvious Lovecraft references.

Ketch on Thee Facebooks

Ketch on Bandcamp

Eternal Khan, A Poisoned Psalm

eternal khan a poisoned psalm

Somewhere between death, black and doom metals, one finds Rhode Island three-piece Eternal Khan exploring cosmic, existential, literary and mythological themes on their self-released debut full-length, A Poisoned Psalm, the jewel case edition of which includes both lyrics and liner note explanations of each of its seven tracks. It’s an ambitious take from a trio who seem destined at some point to write a concept album – maybe based on Faust, maybe not – but the actual songs live up to the lofty presentation, be it the suitable gallop of “Raging Host,” despondent push of centerpiece “The Tower” or double-kick bleakness of “Void of Light and Reconciliation.” Guitarist/vocalist N. Wood, guitarist T. Phrathep and drummer D. Murphy mash their various styles well, but there’s room to grow here too, and I’d wonder how “The Black Stork” might work with an element of drone brought into the mix to add to the atmosphere and provide contrast to the various sides of Eternal Khan’s extremity. Even without, A Poisoned Psalm serves vigorous notice.

Eternal Khan on Thee Facebooks

Eternal Khan on Bandcamp

Mount Carmel, Get Pure

mount carmel get pure

Rife with ‘70s swagger and easy-rolling blues grooves, Get Pure is the third record from Columbus, Ohio trio Mount Carmel, and it goes down as smooth as one could ask, the guitar work of Matthew Reed, bass of his brother, Patrick Reed (since out of the band and replaced by Nick Tolford) and drums of James McCain meshing with a natural, classic power trio dynamic only furthered by the vocals, as laid back as Leaf Hound but with an underlying bluesiness on cuts like “One More Morning” and “No Pot to Piss.” At 11 tracks and a vinyl-minded 35 minutes, neither the album as a whole nor its component tracks overstay their welcome, and late pushers like “Hangin’ On” and “Fear Me Now” leave the listener wanting more while closer “Yeah You Mama” bookends with opener “Gold” in hey-baby-ism and irrefutable rhythmic swing. Comfortable in its mid-pace boogie, Get Pure offers a party vibe without being needlessly raucous, and its laid back mood becomes one of its greatest assets.

Mount Carmel on Thee Facebooks

Alive Naturalsound

Pocket Size, Exposed Undercurrents

pocket size exposed undercurrents

One could hardly accuse Stockholm classic proggers Pocket Size of living up to their name on Exposed Undercurrents, their second album. Even putting aside the expansive fullness of their sound itself, there are nine people in the lineup. It would have to be some pocket. The group is led by guitarist Peder Pedersen, whose own contributions are met by arrangements of saxophone, Hammond B-3, flute, theremin and so on as the 11 tracks of Exposed Undercurrents play off intricately-conceived purposes to engaging ends. One is reminded some of Hypnos 69’s takes on elder King Crimson, but Pocket Size have less of a heavy rock stylistic base and are more purely prog. A clean production – this is clearly a band that wants you to hear everything happening at any given moment – serves the 54-minute offering well, and though it’s by no means free of indulgence, Exposed Undercurrents is imaginative in both the paths it follows and those it creates, the joy of craftsmanship clearly at the core of its process.

Pocket Size on Thee Facebooks

Pocket Size website

Zoltan, Sixty Minute Zoom

zoltan sixty minute zoom

Though it’s actually only about 41 minutes, I doubt if Zoltan’s Sixty Minute Zoom would benefit from the extra time in terms of getting its point across. The instrumental London trio of keyboardist Andy Thompson, bassist/keyboardist Matt Thompson and drummer/keyboardist Andrew Prestidge revel in ‘70s synth soundtrack stylizations. For good measure I’ll name-check Goblin as a central influence on “Uzumaki,” the second of Sixty Minute Zoom’s five inclusions, but John Carpenter’s clearly had a hand as well in brazenly cinematic texturing of synth and the late-‘70s/early-‘80s vibe. The various washes culminate in the side B-consuming 21-minute stretch of “The Integral,” which is broken into separate movements but flows smoothly between them, pulsations and drones interweaving for a classic atmosphere of tension and balance of the chemistry between the Thompsons and Prestidge and the progressive, immersive sound they create. Fans of earlier Zombi will find much to chew on, but Zoltan dive even further into soundtrack-style ambience. All that’s missing is Lori Cardille running down a dimly lit hallway.

Zoltan on Thee Facebooks

Cineploit Records

The Garza, The Garza

the garza the garza

Offered as a nine-track full-length plus a four-song bonus EP, the self-titled debut from Madison, Wisconsin’s The Garza meters out noise rock punishment with sludgy ferocity. A trio of notable pedigree – drummer/vocalist Magma (Bongzilla, Aquilonian), guitarist Shawn Blackler (Brainerd, Striking Irwin), and bassist Nate Bush (ex-Droids Attack, ex-Bongzilla) – they fluidly pull together post-hardcore elements and Crowbar-esque turns while retaining a core of punk rock. “Rage” is a solid example of this, but it’s true of just about all of the album proper, which largely holds to its approach, adding some melody to the seven-minute pre-bonus-tracks closer “Kingdoms End” and varying tempo here and there around its destructive central ideology. The four bonus tracks are of a similar mind as well, Magma switching up his vocals every now and then to add variety to proceedings that otherwise prove vehemently assured of their position. I’m not sure if the extra cuts help reinforce the album’s rawness or detract from the closer, but The Garza aren’t exactly light on impact either way.

The Garza on Thee Facebooks

The Garza on Bandcamp

Dot Legacy, Dot Legacy

dot legacy dot legacy

Dot Legacy’s self-titled Setalight Records debut, particularly for a green-backed CD with vinyl-style grooves on front, is not nearly as stoned as one might think. The Parisian foursome of Damien Quintard (vocals/bass/recording), Arnaud Merckling (guitar/keys/vocals), John Defontaine (guitar/vocals) and Romain Mottier (drums/vocals) employ a broad range on the 46-minute album’s nine tracks, from the shoegaze post-rock of “The Passage” to the driving heavy psych of “Gorilla Train Station,” all the while holding firm to a creative reasoning geared toward individuality. If they wound up adopting “The Midnight Weirdos” as a nom de guerre, I wouldn’t be surprised, but in fact there’s little sense that at any point Dot Legacy aren’t in full command of where their material is headed. All the better for the surprising opening duo of “Kennedy” and “Think of a Name,” which shift between reverb-soaked meditation and vibrant, hook-laden heavy rock. A fascinating and original-ish debut that could be the start of something special. They should hit the festival circuit hard and not look back.

Dot Legacy on Thee Facebooks

Setalight Records

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Last Licks 2014: Brain Pyramid, Zaum, Fire Faithful, Pendejo, Heavy Glow, Bibilic Blood, Thera Roya & Hercyn, The Spacelords, The Good Hand and Byzanthian Neckbeard

Posted in Reviews on December 31st, 2014 by H.P. Taskmaster

Yesterday was kind of crazy, but I don’t mind telling you I think today might be the most all-over-the-place of the week each of the five piles on my desk — now three, soon two — offers something different from the others, but it’s a wide spectrum being covered here, and there’s a couple abrupt turns from one to the next that I didn’t really do on purpose but I think will make for an interesting challenge anyway. In case you’ve been wondering, that’s what kind of nerd I am. Also the Star Trek kind.

I’m feeling really good about this series so far. Really good. I reserve the right to, by Friday, be so completely done with it that I never want to even think of the idea again, but I can only begin to tell you how satisfying it is to me to be able to write about some of these records after staring at them for so long sitting on my desk. Today’s batch is reviews 21-30 of the total 50, so we’ll pass the halfway point in this pile. If you’ve been keeping count since Monday or checking in, thanks, and if not, thanks anyway. Ha.

It’s about that time:

Brain Pyramid, Chasma Hideout

brain pyramid chasma hideout

Although it was streamed here in full in September, the persistent stoner charm of French trio Brain Pyramid’s debut album, Chasma Hideout (released by Acid Cosmonaut Records), seemed to warrant further highlight. Whether it’s small touches like the organ underscoring centerpiece “Lucifer” or the wah-ready bass of Ronan Grall – joined in the band by guitarist/vocalist Gaston Lainé and drummer Baptiste Gautier-Lorenzo – or the memorable if genre-familiar turns of “Into the Lightspeed,” the band’s first LP impresses with unpretentious heavy rock front to back. It’s not perfect. Lainé’s vocals come across high in the mix on opener “Living in the Outer Space” and there are points where the “familiar” runs stronger than others, but especially as their initial full-length offering, Chasma Hideout is one that one seems to continue to grow on the listener as time goes on, and one hopes that the heavy psych chicanery from which they launch the 11-minute closing title-track becomes the foundation from which they build going forward. Potential worth reiterating.

Brain Pyramid on Thee Facebooks

Acid Cosmonaut Records

Zaum, Oracles

zaum oracles

With the backing of venerable Swedish imprint I Hate Records, Canadian two-piece Zaum release their first LP in the four-song Oracles, a 48-minute work taking its central musical and atmospheric themes from Middle Eastern cues. Melodically and atmospherically, it relies on chants, slow, deep low end and minor key riffs to convey a dense ambience, reminding some of Om’s Mideast fixation on “Peasant of Parthia” – third and shortest here at 8:13 – but otherwise on a much heavier, darker trip entirely. Opener “Zealot” (12:55) and closer “Omen” (14:08) both offer plodding pace and a methodology not unlike Nile played at quarter-speed, but it would be a mistake to call the hand with which Kyle Alexander McDonald (vocals, bass, synth, sitar) and Christopher Lewis (drums) approach their aesthetic anything but commanding, and when McDonald switches to a semi-blackened rasp in the second half of “Omen,” Zaum demonstrate a desire to push even further into extremity’s reaches. I can’t help but wonder how far they’ll go.

Zaum on Thee Facebooks

I Hate Records

Fire Faithful, Organized Occult Love

fire faithful organized occult love

Some of the organ sounds on “Eye Opener,” the aptly-titled leadoff from Virginia four-piece Fire Faithful’s second LP, Organized Occult Love, remind of what Beelzefuzz conjured atmospherically, but an even more primary impression is the uptick in production value from Fire Faithful’s 2012 outing, Please Accept this Invocation (review here). Recorded by Windhand’s Garrett Morris, songs like “Last Fool on Earth” and “Organized Occult Love” brim with tonal resonance and a perfect balance the mix. Guitarist Shane Rippey handled the latter with Morris, and throughout, his tones and that of bassist Jon Bone shine, but whether it’s a more straightforward, Earthride-style groover like the title-track, or a more ranging doomer like “Combat,” vocalist Brandon Malone is well balanced to cut through the morass and drummer Joss Sallade’s crash resides comfortably behind the thick chugging. Melissa Malone and Gabrielle Bishop contribute backing vocals to “Last Fool on Earth” and only affirm how much Organized Occult Love brings Fire Faithful’s Southern doom to another level of presentation. An important forward step.

Fire Faithful on Thee Facebooks

Fire Faithful website

Pendejo, Atacames

pendejo atacames

Five years after debuting with 2009’s Cantos a Ma Vida, Amsterdam-based Pendejo return on Chancho Records with Atacames, a 10-track/44-minute wallop of classic heavy rock riffing and Latin American influence via the Spanish lyrics of vocalist El Pastuso and his readily-wielded-but-not-overused trumpet, which makes a surprising complement to Jaap “Monchito” Melman’s fuzz-heavy guitar, Stef “El Rojo” Gubbels’ bass and Jos “Pepellín” Roosen’s drums, but in context works well to bring personality and an individualized sensibility to a sound otherwise heavily indebted to the likes of Kyuss and Fu Manchu. Quality songwriting and variety in songs like the slower “Amiyano” and the building “Hermelinda” ensures Atacames offers more than novelty to those who’d gape at its other-ness, and when that trumpet does hit, it never falls flat. Closing out with a pair of big-riffers in “El Jardinero” and “La Chica del Super No Se Puede Callar,” Pendejo’s sophomore effort produces results as substantial as they are fun, and serve to remind that’s why we’re here in the first place.

Pendejo on Thee Facebooks

Chancho Records

Heavy Glow, Pearls and Swine and Everything Fine

heavy glow pearls and swine and everything fine

Cali trio Heavy Glow – guitarist/vocalist Jared Mullins, bassist Joe Brooks and drummer St. Judas – have spent a decent portion of the year on tour in support of their full-length, Pearls and Swine and Everything Fine. Understandable, and all the better to pick up your girlfriend in-person. Smooth, well-baked grooves permeate cuts like “Mine all Mine,” which also appeared on their prior 7” (review here), and the later “Nerve Endings,” a Queens of the Stone Age-style production giving about as much of a commercial vibe as a record can have and still be heavy rock, but the songwriting is paramount and definitely an element working in Heavy Glow’s favor, whether it’s the takeoff chorus of “Domino” or near-lounge vibe of “Fat Cat.” There’s an aspirational sensibility at the album’s core that’s going to make for an odd fit for some riff-heads who might be puzzled how something so nearly desert rock can still sound not at all like Brant Bjork, but hooks is hooks, and Heavy Glow use them well.

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Heavy Glow website

Bibilic Blood, Snakeweed

bibilic blood snakeweed

Bibilic Blood released three albums between 2009 and 2011, but the Eastlake, Ohio, duo haven’t been heard from since – their nightmarish, depraved psychedelic sludge vanishing in a smoky, somehow hateful wisp. Snakeweed marks their fourth album, and with it bassist/vocalist Suzy Psycho and drummer/guitarist Scott “Wizard” Stearns unfurl another demented collection of chaos snippets from an alternate, terrifying universe, the 11 songs totaling just 27 minutes with enough lumber and obscure freakout on two-minute mainliners like “Severed” and “Bloodnomicon” in the middle of the record to be a genre on itself — like a grainy horror flick made scarier by its rawness. Closer and longest cut at 4:10 “Bloody Rabbit” starts with Boris, Flood-style noodling from Stearns on guitar, but samples transition into Snakeweed’s most gruesome chapter, Suzy Psycho’s voice echoing, twisted, from out of an abyss that might as well be your own subconscious, referencing Jefferson Airplane along the way. Their particular brand of malevolence has been missed, and hopefully Snakeweed starts a new bout of activity.

Bibilic Blood on Bandcamp

Goat Skull Records

Thera Roya & Hercyn, All this Suffering is Not Enough

thera roya and hercyn all this suffering is not enough

Gloom prevails and takes multiple shapes on All this Suffering is Not Enough, the new jewel-case split between Brooklyn post-metallers Thera Roya and progressive New Jersey black metallers Hercyn. Each band includes one song, and for the trio Thera Roya, that’s “Gluttony,” which builds its churn from the ground up and intersperses spacious guitar and almost punkish clean singing en route to a wash of scream-topped distortion, trading off volume and ambience and ultimately delivering a lot of both in a densely-packed eight minutes. Hercyn, a four-piece, counter with the 14-minute “Dusk and Dawn,” which follows their also-longform Magda EP (review here) in grand and squibbly form, a gallop taking hold early topped with throaty screams and shifting between melodic and dissonant impulses, a midsection solo offering a standout moment before the bludgeoning resumes. Each act offers a quotient of noise not to be understated, and despite working in different styles, that’s enough to let them complement each other well on the searing 23-minute Ouro Preto Productions release.

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The Spacelords, Synapse

the spacelords synapse

Synapse, the third full-length from German trio The Spacelords, arrives like a gift from the bliss-jam gods. Four extended mostly-instrumental cuts arranged two per side on a Sulatron Records LP, crafting memorable impressions with washes of synth and guitar, intelligent jams that feel partially plotted and intelligent but still exploratory and natural in how they flesh out. Guitarist Matthias Wettstein is out front in the mix, but bassist Akee Kazmaier and drummer Marcus Schnitzler (also of Electric Moon) aren’t far behind, as much as a title like “Starguitar” might make you think otherwise. The chemistry between the three-piece remains tight across the album’s 41 minutes, and from the rich bass and chugging guitar of the opening title-track to the more laid-back groove of “No. 5” and voicebox strangeness of “Pyroclastic Master,” which has the record’s only vocals in robotically spoken lines, Synapse seems to make all of its connections along the way. Heavy psych heads previously unfamiliar will want to take note. The vinyl, of course, is limited.

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Sulatron Records

The Good Hand, Atman

the good hand atman

A progressive heavy rock trio from the Netherlands, The Good Hand present Atman, their second album, on Minstrel Music, with an adventurous semi-desert sensibility given crisp production and a somewhat wistful feel in songs like “Greenwich Mean Time” and “Unity.” For a record that starts out with lead guitarist/vocalist Arjan Hoekstra (also tuba, trombone, bugle, keys, percussion) declaring “I am god,” Atman is surprisingly not-arrogant, owing probably as much to Radiohead as Kyuss and keeping an experimental feel to the stops and arrangement of “The Opposite,” bassist/vocalist Dennis Edelenbosch and drummer/vocalist Ingmar Regeling (both also Monotron) swinging out classic style but holding firm to a modern edge. Out of nowhere is the 19-minute closing title-track (nothing else hits six), on which The Good Hand unfold varied movements that push beyond the charm of “The Death of the Real”’s ‘60s affiliations and into spaces jazz-funky, or droning, or doomy, or all of them. No easy accomplishment, but The Good Hand manage to hold it all together fluidly.

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Minstrel Music

Byzanthian Neckbeard, From the Clutches of Oblivion

byzanthian neckbeard from the clutches of oblivion

Okay, seriously. What the hell do you think a band who live on an island in the English Channel and call themselves Byzanthian Neckbeard sound like? Burly as hell? Well you’re right. The Guernsey foursome of guitarist/vocalist Phil Skyrme, guitarist Jon Langlois, bassist Dano Robilliard and drummer Paul Etasse get down on some dudely, dudely grooves on their 2014 debut, From the Clutches of Oblivion. “Doppelganger” nestles somewhere between death rock, stoner and sludge, and there’s a heaping crash of doom on “Plant of Doom” (duh) and “To Seek the Cyberdwarf” to go with the more swaggering take of “Hive Mind Overlord” as well. But primarily, you don’t put the word “Neckbeard” in your band’s name unless you’re on a pretty masculine trip, and Byzanthian Neckbeard do not fuck around in that regard or in the aggro boogie of “The Ganch.” CD is limited to 200 copies in a four-panel digipak to house the growl-laden, riff-led plunder that ensues across its brief but bloody 32-minute span.

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Buried Treasure: Glowsun, Eternal Season

Posted in Buried Treasure on December 30th, 2014 by H.P. Taskmaster

glowsun-eternal-season-cd-cover

Some records just gnaw at you, and that’s the short version of the story of me and Eternal Season. The sophomore outing and Napalm Records debut from Lille, France-based trio Glowsun was released in 2012, and I got the usual digital promo of it at the time. I’d greatly enjoyed the 2011 split between Glowsun and German jammers Electric Moon, cleverly titled Sun and Moon (review here), but basically I didn’t want to dig into Eternal Season, wind up loving it and then have to chase down a copy. I kept up with the band as they did various fests — Keep it LowDesertfest — played shows alongside countrymen Mars Red Sky and released a video for “Lost Soul,” the third of the album’s eight tracks, but still never really sat with the record itself.

glowsun eternal season digipakFinally, just after Xmas, I saw their name somewhere again and popped onto Major Corporate Purveyor X™ to look for a deal, and there was one, so with a couple extra bucks in my account after the holiday, I finally decided to make it mine. It showed up in the mail today and as usual, I feel like twice the sucker for sleeping on it for so long. Glowsun – the trio of guitarist/vocalist Johan Jaccob (also responsible for the gorgeous artwork on the six-panel digipak), bassist Ronan Chiron and drummer Fabrice Cornille — proffer dense low end and airy psychedelics in kind, equally comfortable in long instrumental passages like those of “From the Sky” or “Dragon Witch” as they are in the chugging progressive rock of “Reverse” or the jabbing CD bonus track “No!,” which arrives after the closer of the album itself, “Money Time,” a song that could just as easily be named in homage to Monkey3 as for its primate samples.

“Lost Soul” effectively blends the various sides at work throughout, but at least what I’ve found in listening so far is that like their labelmates in My Sleeping KarmaGlowsun‘s Eternal Season is better taken as a whole, without so much of a focus on individual turns as on overarching atmosphere — of which it has plenty. A creepy opening in “Thing” gives way to driving heavy rock with vocals emerging after three minutes in, and “Sleepwaker” assaults with noise up front only to provide both Cornille‘s most satisfying glowsun eternal seasonperformance but an apex that functions to payoff the record as a whole in stylized fashion. From the gradual unfolding of opener “Death’s Face,” Chiron‘s basslines are the foundation on which the songs play out, but the variety of direction and consistency of tone make the listening experience as immersive as it is entrancing. That is, you can dig as deep as you might want to go, and there’s still substance to be found.

Along with a slot at 2015’s Hellfest and no doubt others, Glowsun have a new full-length slated for release in 2015. Might be needless to say — I will anyhow — but letting one of their records slip by me isn’t a mistake I’m going to make twice. I’m glad I finally caved and picked this one up.

Glowsun, Eternal Season (2012)

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Eternal Season at Napalm Records

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The Obelisk Presents: The Top 30 of 2014

Posted in Features on December 22nd, 2014 by H.P. Taskmaster

the-obelisk-top-30-of-2014

Please note: These are not the results of the Readers Poll, which is ongoing. If you haven’t added your list yet, please do.

This was a hard list to put together. The top three have been set in my mind for probably the last month, but trying to work my way backwards from there was a real challenge — what’s a top 10 record, a top 20 record, a top 30, honorable mentions and all the rest. I’ve never done a full top 30 before, always 20, but the truth is there was just too much this year to not expand.

I’m still juggling numbers even as I put together this post, and I’m sure that by the time I’m done several records will have switched places. That’s always how it seems to go. What I’m confident that I have is a list accurately representing critique and my own habits, both what I gravitated toward in listening throughout the year and what I feel is noteworthy on a critical level. This site has always been a blend of those two impulses. It’s only fair this list should be as well.

Before we dig in, you should note this is full-length albums only. I’ll have a list of short releases (EPs, singles, demos) to come, as well as a special list of debut releases, since it seemed to be a particularly good year for them. And since I’m only one person, I couldn’t hear everything, much as I tried.

Okay. Here we go:

30. Orange Goblin, Back from the Abyss

orange-goblin-back-from-the-abyss

Released by Candlelight Records. Reviewed on Nov. 17.

The kings of London’s heavy scene offered more powerhouse heavy rock with their eighth album and second for Candlelight, and their rabid and ever-growing fanbase ate it up. Back from the Abyss proved yet again that few can attain the kind of vicious force that seems to come so natural to Orange Goblin, and made it clear their domination shows no signs of losing momentum.

 

29. Mos Generator, Electric Mountain Majesty

mos-generator-electric-mountain-majesty

Released by Listenable Records. Reviewed on March 14.

A darker affair from Port Orchard, Washington’s Mos GeneratorElectric Mountain Majesty still found its core in the songwriting led by guitarist/vocalist Tony Reed. They’re a band with some changes on the horizon, and I’ll be interested to hear what hindsight does to these songs. As it was, the hooks and downer vibes may have been in conceptual conflict, but the execution was inarguable.

 

28. Pilgrim, II: Void Worship

pilgrim-ii-void-worship

Released by Metal Blade Records. Reviewed on April 15.

Richer in the listening than 2012’s Misery Wizard debut, Pilgrim‘s II: Void Worship nonetheless held firm to the doomly spirit that’s made the Rhode Island outfit such a sensation these last couple years. Its longer songs, “Master’s Chamber,” “Void Worship” and the emotionally weighted “Away from Here,” were particularly immersive, and they remain a bright spot in doom’s future.

 

27. John Garcia, John Garcia

john-garcia-john-garcia

Released by Napalm Records. Reviewed on July 7.

His long-awaited solo debut, John Garcia‘s John Garcia offered memorable tracks culled from years of songwriting from the former Kyuss, Slo Burn, Unida and Hermano frontman, performed in the classic desert rock style he helped define. I’m not sure it was worth trading a second Vista Chino record for, but it was hard to argue with “The Blvd” and “All These Walls.”

 

26. Swans, To be Kind

swans-to-be-kind

Released by Mute/Young God Records. Reviewed on May 9.

An overwhelming two-disc barrage from a relentless creativity that, more than 30 years on from its first public incarnation, is still to be considered avant garde. I’m not sure planet earth realizes how lucky it is to have Swans running around unleashing all this chaos, but I hope they don’t stop anytime soon. To be Kind was brutal and beautiful in like measure.

 

25. Sólstafir, Ótta

solstafir-otta

Released by Season of Mist. Discussed Oct. 11.

Icelandic four-piece Sólstafir hit on a rarely attained balance of gorgeousness and melancholy, and while Ótta is expansive, it’s also gripping front to back and is the best execution of its style I’ve heard since Anathema‘s Alternative 4, which is not a comparison I make lightly. A challenging record, but satisfying in kind and universal in its expressiveness.

 

24. Greenleaf, Trails and Passes

greenleaf-trails-and-passes

Released by Small Stone Records. Reviewed on April 25.

The follow-up to Greenleaf‘s stellar 2012 outing Nest of Vipers (review here) brought lineup changes and stripped away many of the textural elements of the band’s sound — guest appearances, arrangement flourishes — in order to get back to a classic heavy rock sound and translate better to the stage. With guitarist Tommi Holappa‘s songwriting ever at the core, it would be unfair to call the process anything but a success.

 

23. Earth, Primitive and Deadly

earth-primitive-and-deadly

Released by Southern Lord Recordings. Reviewed on Sept. 9.

Most of the headlines went to the fact that Primitive and Deadly had vocals, where the generally-instrumental Earth had avoided singers for 18 years prior, but even putting aside Mark Lanegan and Rabi Shabeen Qazi, whose performance on “From the Zodiacal Light” was the high point of the record, presented Earth‘s always progressive tensions in a rawer, heavier production, and was a joy for longtime fans.

 

22. Ogre, The Last Neanderthal

ogre-the-last-neanderthal

Released by Minotauro Records. Reviewed on March 10.

Six years and one breakup later, Portland, Maine, doom trio Ogre returned with The Last Neanderthal, neither afraid to revel in Sabbathian traditionalism or rock out a more upbeat cut like opener “Nine Princes in Amber.” For bassist/vocalist Ed Cunningham, guitarist Ross Markonish and drummer Will Broadbent, it was a welcome resurgence of pretense-free heavy riffs and grooves.

 

21. The Wounded Kings, Consolamentum

CANDLE415CD_BOOKLET.indd

Released by Candlelight Records. Reviewed on Jan. 30.

Of course, at the time we didn’t know it would be the final outing from this lineup of UK doomers The Wounded Kings, whose guitarist/founder Steve Mills has now reunited with original vocalist George Birch, but Consolamentum was a hell of a closing statement anyway for this era of the band, showcasing their murky, increasingly progressive style still waiting for wider appreciation.

 

20. Floor, Oblation

floor-oblation

Released by Season of Mist. Reviewed on April 22.

Wasn’t sure where to put Floor‘s reunion offering, Oblation, on this list at first, since I kind of fell off listening to it as the year went on, but I’ve gone back to it over the last couple weeks and it has held up to the revisit, whether it’s songs like the extended “Sign of Aeth” or shorter, catchy pummelers like “Rocinante” or “War Party.” Floor‘s 2002 self-titled holds an untouchable legacy in heavy rock, but I think the years will prove Oblation a worthy successor. Nobody knew what they had with Floor at the time either.

 

19. Druglord, Enter Venus

druglord-enter-venus

Released by STB Records. Reviewed on Feb. 14.

Little on 2011’s Motherfucker Rising (review here) or their 2010 demo (review here) prepared for the kind of assault that Druglord‘s Enter Venus brought to bear. Four stomp-laden slabs of tectonic crash and distortion, vocals buried under and calling up from the amp-bred fog. The Virginian trio were in and out on the 27-minute 12″ release, but had enough heavy for a record twice as long, and the tinges of darkened psychedelia made their songs like a lurking presence just on the edge of consciousness, a threat waiting to be unleashed.

 

18. Ararat, Cabalgata Hacia la Luz

ararat-cabalgata-hacia-la-luz

Released by Oui Oui Records. Reviewed on April 4.

For the sheer variety of Ararat‘s third album in rockers like “Nicotina y Destrucción,” “El Hijo de Ignacio,” the experimentalism of “El Arca” and the piano-driven “Los Viajes” and the acoustic closer “Atalayah,” and the assured, flowing manner in which the Argentina trio pulled it all off, Cabalgata Hacia la Luz should be higher on this list than it is. Part of that might be my frustration at my apparent inability to buy a copy, but don’t let that take away from the quality of the material here, which is wonderfully chaotic, memorable and engaging, rushing in some places and stopping to weep in others.

 

17. Radio Moscow, Magical Dirt

radio-moscow-magical-dirt

Released by Alive Naturalsound. Reviewed on May 29.

You won’t hear me deny that Radio Moscow‘s primary impact is as a live band, but their fifth album, Magical Dirt, managed to bring forth much of their psychedelic blues presence in “Death of a Queen,” “Before it Burns” and “Gypsy Fast Woman,” the blinding rhythmic turns and wah-soaked guitar supremacy of Parker Griggs front and center throughout. Together with bassist Anthony Meier (also Sacri Monti) and drummer Paul Marrone (also Astra and Psicomagia), Radio Moscow are hitting their stride as one of heavy rock’s most powerful power trios. One never knows what to expect, but hopefully they keep going the way they are.

 

16. Apostle of Solitude, Of Woe and Wounds

apostle-of-solitude-of-woe-and-wounds

Released by Cruz del Sur. Reviewed on Nov. 6.

Four years isn’t the longest time I’ve ever waited for a record to come out, but in the case of Indianapolis’ Apostle of Solitude, it felt like an especially long stretch. Their third full-length and first for Cruz del Sur, Of Woe and Wounds followed the anticipation-building Demo 2012 (review here) and a couple splits and brought aboard bassist Dan Dividson and guitarist/vocalist Steve Janiak (also Devil to Pay), who fit well with drummer Corey Webb and guitarist/vocalist Chuck Brown to result in a payoff worthy and indicative of the time that went into its making. Hands down one of the finest acts in American doom.

 

15. Stubb, Cry of the Ocean

stubb-cry-of-the-ocean

Released by Ripple Music. Reviewed on Nov. 24.

Stubb‘s second long-player, also their debut on Ripple, gets a nod for the sense of progression it brought in answering the potential of the trio’s 2012 self-titled debut (review here), guitarist/vocalist Jack Dickinson, bassist Peter Holland and new drummer Tom Fyfe expanding the scope to include more heavy psych influence and soul along with the fuzz riffs and steady rolling while giving no ground in terms of the level of craft at work. Cry of the Ocean has become one of those albums where all I have to do is look at a title, be it “Cry of the Ocean Pt. I” or “Sail Forever” or “Heartbreaker,” and the song is immediately stuck in my head. With these tracks, that’s not at all a complaint.

 

14. Brant Bjork and the Low Desert Punk Band, Black Power Flower

brant-bjork-and-the-low-desert-punk-band-black-power-flower

Released by Napalm Records. Reviewed on Nov. 10.

Brant Bjork has worn many hats, literal and figurative, over the years, whether it’s drummer in Kyuss or Fu Manchu, producer, solo artist or bandleader. With Brant Bjork and the Low Desert Punk Band, he steps once again into the latter role, and with guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, presents not only on his heaviest record to date, but what could easily begin a sustainable full-band progression that can go just about anywhere his songwriting wants to take it. “Stokely up Now,” “That’s a Fact Jack,” “Controllers Denied” and “Boogie Woogie on Your Brain” made for some of 2014’s best in desert rock, and Black Power Flower was an stellar return for Bjork to his “solo” work.

 

13. Dwellers, Pagan Fruit

dwellers-pagan-fruit

Released by Small Stone. Reviewed on May 22.

An earlier version of this list had Pagan Fruit at a lower number, but I couldn’t live with it not being closer to the top 10. Salt Lake City’s Dwellers pushed deeper into laid back psych and blues on their second album, and in doing so, crafted an atmosphere entirely their own. From “Creature Comfort” down to “Call of the Hollowed Horn,” with triumphs along the way like “Rare Eagle,” “Totem Crawler” (“Ohh, my queen… To whom, I crawl…) and “Son of Raven,” Pagan Fruit became a staple of my 2014, building off their 2012 debut, Good Morning Harakiri (review here), but presenting their stylistic growth with a confidence and poise that can only come from a band who’ve figured out what they want to be doing and how they want to do it. Front to back, Pagan Fruit sounds like an arrival.

 

12. The Golden Grass, The Golden Grass

the-golden-grass-the-golden-grass

Released by Svart Records. Reviewed on March 25.

What made Brooklyn trio The Golden Grass‘ self-titled debut such a special released wasn’t just that it was heavy, or that the tracks were catchy, or that guitarist Michael Rafalowich and drummer Adam Kriney could harmonize over Joe Noval‘s warm-toned basslines. That was all great, don’t get me wrong, but what really stood out about The Golden Grass was its irony-free positivity, the way it was able to capture an upbeat, sunshiny feel without having to smirk about it on the other side of its mouth. It was self-aware, to be sure — knew what it was doing — but the way I see it, consciousness only makes the stylistic choices more impressive. Add to that the nuance they brought to ’70s revivalism, and all that stuff about catchiness and the harmonies, and there just wasn’t a level on which the album didn’t work.

 

11. The Well, Samsara

the-well-samsara

Released by RidingEasy Records. Reviewed on Sept. 22.

My appreciation continues to grow for The Well‘s Samsara, which successfully pulled together influences from garage doom and heavy psychedelia while crafting an identity for the Austin, Texas, three-piece at once raw and melodically accomplished, guitarist Ian Graham and bassist Lisa Alley sharing vocals to classic effect on “Refuge” while otherwise trading off lead position to bolster variety in the material. The high point might’ve been the eight-minute “Eternal Well,” on which GrahamAlley and drummer Jason Sullivvan conjured some of their grooviest demons, but the hooks of “Mortal Bones,” “Trespass” and the attitude-laced “Dragon Snort” were no less engaging. One of many strong releases from their label this year — Slow SeasonThe Picturebooks, etc. — they seemed to come ready to serve notice of a stylistic movement underway.

 

10. Montibus Communitas, The Pilgrim to the Absolute

montibus-communitas-the-pilgrim-to-the-absolute

Released by Beyond Beyond is Beyond. Reviewed on Dec. 4.

Peruvian psych adventurers Montibus Communitas more or less blew my mind when I heard their late-2013 offering, Harvest Times earlier this year, and the narrative, conceptual 2014 release, The Pilgrim to the Absolute, is even more of an achievement in its portrayal of improvised exploration, sonic ritualism and open creativity. The weaving of longer pieces against shorter ones with the various steps along the path as presented in the titles, some journeying, some arriving, some descriptive, almost all accompanied by nature in one form or another, gives The Pilgrim to the Absolute an almost impressionistic quality, so that even as you listen to it, you engage it as much as it carries you along its vibrant, breathtaking progression en route to the closing title-track, which is a destination every bit worthy of the journey. This is the most recently reviewed inclusion on this list, but Montibus Communitas‘ latest readily earns its place in the top 10. It is unique in its surroundings.

 

9. Fu Manchu, Gigantoid

fu-manchu-gigantoid

Released by At the Dojo Records. Reviewed on May 14.

Looking back at the last two Fu Manchu records, 2007’s We Must Obey and 2009’s Signs of Infinite Power, it seemed reasonable to expect the groundbreaking SoCal fuzz foursome to put out another collection of big-sounding riffs in a big-sounding production. Nothing to complain about, but probably not a landmark. By going the other way completely — stripping their buzzed-out riffing down to its punkish core thanks in no small part to recording with Moab‘s Andrew GiacumakisFu Manchu served up a raw reminder both of where they came from and how top notch their songwriting remains. Reissuing their earliest work and being on their own label might’ve had something to do with it, but whatever it was, the 35 minutes of Gigantoid was as efficient a heavy rock outing as one could hope from an already legendary band, whether it was the hook-prone opening salvo of “Dimension Shifter,” “Invaders on My Back,” “Anxiety Reducer” and “Radio Source Sagittarius” or the righteous ending jam “The Last Question.”

 

8. The Skull, For Those Which are Asleep

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Released by Tee Pee Records. Reviewed on Nov. 5.

Given the origins of The Skull — ex-Trouble members Eric Wagner, Jeff “Oly” Olson and Ron Holzner joining with Lothar Keller and a series of other guitarists, finally Matt Goldsborough, working essentially as a tribute band to their former outfit — I think not only did the quality of the material and performance on For Those Which are Asleep surprise, as well as the classically doomed feel that resonates throughout the album, but the sheer heartfelt nature of songs like “Sick of it All,” “Send Judas Down” and the title-track itself. This wasn’t a cynical attempt to make a go of an already set legacy. It was an expression of appreciation both for what they accomplished as Trouble and a desire to continue that work. The Skull‘s whole thing has been that they’re “more Trouble than Trouble,” and in their lineup that’s been true since they brought Olson on board. For Those Which are Asleep demonstrated that the classic spirit of that band is alive and well, its address has just changed. Moreover, it’s the beginning of a new progression for that spirit, and I hope it continues.

 

7. Blood Farmers, Headless Eyes

blood-farmers-headless-eyes

Self-released on CD, LP on PATAC Records. Reviewed on March 24.

Nineteen years after releasing their self-titled debut, New York’s Blood Farmers contended for 2014’s comeback of the year with their sophomore outing, Headless Eyes — a morose, horror-obsessed six-track collection that on “Night of the Sorcerers” owed as much to Goblin as to Sabbath. The closing cover of David Hess‘ theme from The Last House on the Left, “The Road Leads to Nowhere,” was a late bit of melodic flourish to add depth, but how could the highlight be anything other than the 10-minute title-track itself, with its samples from the 1971 horror flick The Headless Eyes, bassist Eli Brown in a call and response with lyrics comprised of lines directly taken from the movie? That after playing shows the last several years, Blood Farmers managed to get a record out was impressive enough. That Headless Eyes turned out to be the year’s best traditional doom release was an entirely different level of surprise. I wouldn’t hold my breath waiting for their third, but Brown, guitarist David Szulkin and drummer Tad Leger gave plenty to chew on with Blood Farmers‘ second. It was better than would’ve been fair to expect.

 

6. Lo-Pan, Colossus

lo-pan-colossus

Released by Small Stone. Reviewed on Oct. 7.

A lot of what you need to know about Lo-Pan‘s fourth album you learn in the first five seconds of opener “Regulus.” There’s no fancy intro, no time wasted, nothing to take away from the directness of the song itself. Tones are crisp — the verse is already underway — and guitar, bass and drums are laser-focused in their forward movement. Even when vocalist Jeff Martin enters the song, roughly six seconds later, his arrival comes with no indulgence, no pomp. Colossus is easily Lo-Pan‘s most immediate work to date, and throughout, Martin, guitarist Brian Fristoe (since replaced by Adrian Zambrano), bassist Scott Thompson and drummer Jesse Bartz retain that focus no matter where the material takes them, delivering a clinic in how to kick as much ass as possible at any given moment on cuts like “Marathon Man” and “Eastern Seas,” or even bringing in guest vocalist Jason Alexander Byers, who also designed the album cover, for a spot on “Vox.” They had a hard task in following up 2011’s Salvador (review here), but the Columbus, Ohio, unit stood up to the challenge and met it and everyone else head-on.

 

5a. All Them Witches, Lightning at the Door

all-them-witches-lightning-at-the-door

Self-released. Reviewed on Sept. 25.

What to do with All Them Witches‘ Lightning at the Door? The Nashville four-piece released the album last fall digitally, but it wasn’t until this September that it saw a physical manifestation. In fact, if you go back, it was included on the Top 20 of 2013 as well. Which is the release date? I don’t know. What I know is that in terms of the sheer amount of time spent listening, I put on Lightning at the Door more than any other record this year. From where I sit, that alone gets it a place in the top five. Yeah, it might be a cop-out to do a “5a,” but sometimes exceptions have to be made, and All Them Witches have proved to be nothing if not exceptional in their still relatively brief, jam-laden history, the psych-blues dynamic between bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, Fender Rhodes specialist Allan van Cleave and drummer Robby Staebler pushing them quickly to the fore of American heavy rock’s innovators, their natural, improv-sounding material feeling brazen and exploratory while reshaping the elements of genre to suit their needs. One can only see this dynamic developing further as they continue to grow as a live band, so Lightning at the Door may just be the start, and that’s perhaps most exciting of all.

 

5. Witch Mountain, Mobile of Angels

witch-mountain-mobile-of-angels

Released by Profound Lore. Reviewed on Aug. 20.

A beautiful, stunning work made even more powerful by the honesty driving it. Portland, Oregon’s Witch Mountain completed a trilogy with the Billy Anderson-produced Mobile of Angels that brought about some of the best doom of this young decade, their 2011 return from a years-long hiatus, South of Salem (review here) serving as the foundation for a stylistic progression that continued on the following year’s Cauldron of the Wild (review here) and onto Mobile of Angels itself as the four-piece’s most accomplished album to date. The reason it feels like such a concluding chapter is because of the departure of vocalist Uta Plotkin, whose voice helped establish Witch Mountain both on stage and in the studio, leaving founders Rob Wrong (guitar) and Nathan Carson (drums) with the sizable task of finding a replacement. That situation will be what it will be, but Mobile of Angels remains a gorgeous, lonely testament. Plotkin gives a landmark performance on “Can’t Settle” and “The Shape Truth Takes,” which in the context of what was happening in Witch Mountain at the time ring with a truth that’s rare in or out of doom, and she seems to have left the band just as they were hitting their finest hour. So it goes.

 

4. Conan, Blood Eagle

conan-blood-eagle

Released by Napalm Records. Reviewed on Jan. 22.

In all of heavy, there is no assault so severe as Conan‘s. With their second full-length and debut on Napalm Records, the UK trio solidified the two sides of the preceding 2012 outing, Monnos (review here), in constructing material that, fast or slow, short or long, retained an epic feel melded with their ungodly tonality and memorable songwriting. Their first recording at guitarist/vocalist Jon DavisSkyhammer Studio, it affirmed Conan‘s will to conquer in its two massive bookends, “Crown of Talons” and “Altar of Grief,” and in the High on Fire-worthy gallop of “Foehammer” — a bludgeon commandingly wielded by Davis, bassist/vocalist Phil Coumbe and drummer Paul O’Neil, the latter to of whom have since left the band to be replaced by longtime-producer Chris Fielding and Rich Lewis, respectively. What effect the changes might have on the band — except apparently more touring, which isn’t a bad thing — have yet to be seen, but Conan are already in the process of writing a follow-up to Blood Eagle, so it doesn’t seem like it’ll be all that long until we find out. With Davis still steering the band in songwriting and overall direction, one severely doubts they’ll be fixing what obviously isn’t broken anytime soon. None heavier.

 

3. Wo Fat, The Conjuring

wo-fat-the-conjuring

Released by Small Stone Records. Reviewed on June 18.

Dallas riff-rockers Wo Fat have grown steadily over the course of their five albums, from the nascent heavy roll of 2006’s The Gathering Dark, to the hooks of 2008’s Psychedelonaut (review here), the jamming that started to surface on 2011’s Noche del Chupacabra (review here) and was pushed further on 2012’s The Black Code (review here). And their approach has been as steady as the frequency of their releases. In making The Conjuring, the three-piece were simply engaging the next step in their progression, but the material on the five-track/48-minute outing goes further than just that. Putting aside (momentarily) the 17-minute closer “Dreamwalker,” the other cuts, “The Conjuring,” “Read the Omens,” “Pale Rider from the Ice” and “Beggar’s Bargain” each found a place for themselves in pulling together jammed-sounding elements with a memorable construction, and when guitarist/vocalist Kent Stump, bassist Tim Wilson and drummer Michael Walter did kick into “Dreamwalker,” they hit on not only their longest piece yet, but their most accomplished showcase of the chemistry that has developed between them. That song is a beast unto itself, but as has been the case with Wo Fat each time out so far in their career, there’s nothing on The Conjuring to give the impression the band can’t or won’t continue to keep going on the path that’s worked so well for them on this point. They’ve spent the last eight years on the right track and have yet to waiver. The Conjuring should be played at top volume for anyone who contends there’s no life left in heavy rock and roll.

 

2. Mars Red Sky, Stranded in Arcadia

mars-red-sky-stranded-in-arcadia

Released by Listenable Records. Reviewed on March 11.

Mars Red Sky‘s second LP and first for Listenable, Stranded in Arcadia was originally supposed to be recorded in the California desert, but visa problems kept the French trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Matgaz in Brazil, where they’d previously been touring. Thus, “stranded in Arcadia,” which is basically another way of saying “lost in paradise.” Can’t say the Bordeaux three-piece didn’t make the most of it, though. Songs like “The Light Beyond” and “Hovering Satellites” — not to mention the utter melodic bliss of “Join the Race” — took cues from their 2011 self-titled debut (review here) in terms of memorable songwriting and melodic craft, but added to that heft and tonal richness more of a psychedelic vibe, so that not only was there fuzz and wah, but a spacious world in which the songs took place. With Kinast on lead vocals, the sneaky boogie of “Holy Mondays” became a highlight, and the one-two swing ‘n’ stomp of “Circles” and “Seen a Ghost” were a perfect demonstration by the band of the various sides of their sound, particularly following after the dreamy instrumental “Arcadia,” an echoing jam distinguished by Pras‘ wistful guitar lead and coming before the closing “Beyond the Light,” which reprises the opener’s resonant unfolding. It probably wasn’t the record they intended to make, but Stranded in Arcadia became one of my go-to albums for 2014, and like the best of any given year’s output, I’ve no doubt it will transcend the passage of time and continue to deliver for years to come. Hell, I was barely done with the debut when this one came out.

 

1. YOB, Clearing the Path to Ascend

yob-clearing-the-path-to-ascend

Released by Neurot Recordings. Reviewed on Sept. 3.

“It’s time to wake up.”

Can’t imagine this is any great surprise. Not only did Clearing the Path to Ascend – YOB‘s seventh album and first for Neurot — produce my pick for song of the year in its sprawling, emotionally weighted 18-minute closer, “Marrow,” but in the three full-lengths the Eugene, Oregon, trio of drummer Travis Foster, bassist Aaron Rieseberg and guitarist/vocalist Mike Scheidt have released since the latter reformed the band after breaking it up following 2005’s The Unreal Never Lived, all three have been my album of the year. The Great Cessation was in 2009, and Atma was in 2011. Consistency aside, I’ll point out specifically that each of the same three records has earned that position, perhaps Clearing the Path to Ascend most of all for its progressive feel, moving past genre even at its most raging moment, second cut “Nothing to Win,” the chorus of which proved that among everything else YOB could be, they could be anthemic. The cosmic, spiritual questing that has always been present in their songs, that feeling of searching, showed up in opener “In Our Blood,” but even there, it was evident YOB were pushing themselves beyond what they’ve done before, rewriting their own formulas incorporating lessons from their past in among their other points of inspiration. “Unmask the Spectre” could have easily been an album closer itself, with its patient exploration and feverishly intense payoff, but with the melodic progressivism of “Marrow” and the soul poured into every second of that track, every verse and chorus, solo and build — including the Hammond added to the last of them by producer Billy Barnett — YOB created a landmark both for themselves and the increasing many working under their influence. I’ve said on several occasions (bordering on “many” at this point) that YOB are a once-in-a-generation band, and it feels truer in thinking of Clearing the Path to Ascend than it ever has. Without a doubt, album of the year and then some.

 

 

Honorable Mention

First, special note to Colour Haze‘s To the Highest Gods We Know. I’ve decided to count it as a 2015 release since the vinyl will be out in Spring, but otherwise surely it would earn a place on this list. Blackwolfgoat‘s Drone Maintenance also deserves note.

A few other honorable mentions:

MothershipMothership II — It’s hard to argue with a classic heavy rock power trio kicking ass. I won’t try.

AlunahAwakening the Forest — Every time I make a list, no matter what kind of list it is, there’s a band I wind up kicking myself for forgetting about at the time. This is the case 100 percent with why Alunah aren’t in the Top 30. In fact, I might go in and swap them out with somebody.

Ice DragonSeeds from a Dying Garden — Boston experimental psych/garage doomers continue to defy expectation. May their weirdness last forever and continue to produce material so satisfying.

TruckfightersUniverse – I thought at some point I’d go back to Universe again, but never really did. A problem with me more than the album.

SteakSlab City — An impressive debut following two strong EPs.

GodfleshA World Lit Only by Fire — I never got a review copy, so I never reviewed it. Its name is here because I’m a fan of the band and glad they’re back.

ThouHeathen — Just recently purchased this and am only getting to know it, but a ridiculously strong album.

Corrosion of ConformityIX — Everybody who gets a boner whenever Pepper Keenan is mentioned in connection with this band has missed out. This record and the self-titled kick ass.

SpidergawdSpidergawd — Holy shit they’re over here! No they’re over there! No wait over here again! Oh my god I’ve just gone blind!

Monster MagnetMilking the Stars — I wasn’t sure what to do with this since technically it’s not a new album, mostly reworked songs from the last one. I still listened to it a ton though, whatever it is.

SlomaticsEstron — Another one I’m just getting to know, but am very much digging.

Electric WizardTime to Die — People seem to do this thing where Electric Wizard puts out a record, everyone slathers over it for a few months and then spends the next two years talking about how it sucked. I guess I’ll be on the ground floor with not having been that into Time to Die.

PallbearerFoundations of Burden — Had to put their name somewhere on this list or someone would burn my house down. Album of the year for many.

The list goes on: Monolord, Comet Control, Mammatus, Triptykon, Eyehategod, Fever Dog, Moab, Karma to Burn, Atavismo, Grifter, 1000mods, Megaton Leviathan, Wovenhand, Mr. Peter Hayden, Primordial, and many more.

Before I check out and go sit in a corner somewhere to try and rebuild brain power after this massive dump of a purge, I want to sincerely thank you for reading. If you check in regularly, or if you’ve never been to the site before, if you don’t give a crap about lists or if you’re gonna go listen to even one band on here, it’s fantastic to me. Thank you so much for all the support this site receives, for your comments, for sharing links, retweeting, whatever it is. I am a real person — I’m sitting on my couch at this very moment — and being able to do this and have people see it and be a part of it with me is unbelievable. I realize how fortunate I am. So thank you. Thank you.

Thank you.

More to come as we close out 2014. I’ll have a list of short/split/demo releases, a year-end podcast, a list of the best debuts, a round up of the best live shows I saw, as much more as time allows. Please stay tuned.

And again, thank you. If I left anyone off the list, I hope you’ll let me know in the comments and contribute your own top albums, however many there are, to the Readers Poll.

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Mars Red Sky Winter Tour Plans Announced

Posted in Whathaveyou on December 17th, 2014 by H.P. Taskmaster

mars red sky

Though I’m always glad to have the chance to post a tour update from Mars Red Sky, and I seem to get enough opportunities to do so since they hit the road on the regular, if I’m completely honest, this time around I’m particularly pleased to see an update about the band because it’s given me an excuse to revisit their 2014 album, Stranded in Arcadia (review here), and to point out its staying power these last several months among the year’s best records.

Sure, it’s easy to be all about a release that came out in March when it’s June, but for something to hold up another six months after that as well as Stranded in Arcadia has is the exception rather than the rule. The Bordeaux trio will play their last show of 2014 tomorrow night in their hometown, and they’ve got shows booked through January, February and March, some sporadic dates and a couple weekenders while they continue to support Stranded in Arcadia, which is nothing if not a worthy cause.

They’ve tended to work pretty quick so far, so I wouldn’t be surprised if they’ve got some new stuff in the works already (if anyone wants to record a show, that’d be awesome), but even if not, it’s still worth showing up if you happen to be in this part of the world. Note the March 9 date in Munich where they’ll share the stage with Colour Haze and Radio Moscow, who’ll be out together on the Up in Smoke V tour:

mars red sky winter tour

French rockers Mars Red Sky will play their last show of 2014 in their home town Bordeaux on Thursday, but already unveiled a few dates for early 2015! More will be announced in January, so stay tuned!

18.12 (FR) BORDEAUX – Le Krakatoa

21.01 (SP) ZARAGOZA – La Ley Seca
22.01 (SP) MADRID – Maravillas Club
23.01 (SP) BARCELONA – Rocksound
24.01 (FR) LE FARE – L’Humus
25.01 (FR) MONTPELLIER – Secret Place
20.02 (BEL) BRUSSELS – Magasin 4
21.02 (FR) GERARDMER – Gerardm’Electric Festival
22.02 (CH) GENEVA – Kalvingrad
27.02 (FR) NEVER – Le Café Charbon
09.03 (GER) MUNICH – Feierwerk (w/ Colour Haze & Radio Moscow)
25.03 (FR) DUNKERQUE – L’Entrepôt
26.03 (FR) VILLENEUVE D’ASCQ – La Ferme d’en Haut

http://www.marsredsky.bigcartel.com/product/pre-order-lp-debut-album-vinyl-tote-bag-free-shipping
http://www.marsredsky.net/
www.soundofliberation.com

Mars Red Sky, “Join the Race’ official video

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