Psycho Las Vegas 2019 Adds Electric Wizard, Fu Manchu, Graveyard, Clutch, Amenra, Deafheaven and More

Posted in Whathaveyou on February 20th, 2019 by JJ Koczan

psycho las vegas 2019 logo

If we’ve learned anything at all about Psycho Las Vegas in the last few years, it’s that Psycho is gonna do its own shit its own way. It’s not about being the American Roadburn, or about being a non-suck Coachella. It’s Psycho Las Vegas. It’s its own thing, and to think otherwise is simply to have a mistaken impression. If you’ve been, you know this already.

It would seem to be in that spirit that where every other fest doles out its lineup either at once or piecemeal in a succession of announcements — trust me, I know: I write them — Psycho is once again doing its thing its way. With barely any text whatsoever, band posters have been trickling out through the Psycho Las Vegas Instagram, and if you’ve been paying attention, you’ve started to see some of the festival take shape. There was a first announcement way back in November, and I’m sure when it’s all said and done they’ll have more official word, but until then, it’s worth keeping your eyes open to see how it’s playing out. I’m trying to keep up as best I can.

To that end:

We’re upping the ante and taking this party to the strip. Join us August 16-18, 2019 at Mandalay Bay Resort and Casino for Psycho Las Vegas––featuring four stages, late night parties, and exclusive performances you won’t see anywhere else. Early Bird + Tier I tickets are on sale now at vivapsycho.com.

Lineup so far:
Uncle Acid and the Deadbeats
High on Fire
Glassjaw
YOB
Perturbator
Kadavar
Oranssi Pazuzu
Electric Wizard
Fu Manchu
Graveyard
Amenra
Deafheaven
Old Man Gloom
Clutch
Power Trip
Bad Religion
Rotting Christ

America’s rock ‘n’ roll bacchanal returns as PSYCHO LAS VEGAS brings its annual debauchery and unbridled volume to the Strip itself, with a move to the Mandalay Bay Resort and Casino that sets the stage for a Las Vegas Boulevard takeover, the likes of which have never been seen.

Slated for August 16th through August 18th, PSYCHO LAS VEGAS 2019 will feature four stages, including the newly renovated Events Center, the iconic House Of Blues, the Mandalay Bay Beach, featuring a wave pool and lazy river, and an old-school Vegas-style Lounge smack dab in the middle of the casino floor. While all of the venues are located on the property, Mandalay Bay is connected by a complimentary tram service that provides easy access to affordable accommodations such as Luxor and Excalibur. Attendees will have access to discounted rates at all of these properties and other MGM hotels and resorts down the Strip.

The highly coveted “Psycho Special” passes, notorious for selling out instantly, are priced at $99, plus taxes and fees and go on sale Thursday, November 29th at 10:00am PST. Weekender General Admission passes are priced at $249, plus taxes and fees, and will increase to $299, plus taxes and fees, once the first tier sells out. Only 300 High Roller VIP passes will be sold at $499, plus taxes and fees, with package details to be announced in December. Single-day tickets will be available in the Spring at $109, plus taxes and fees. While the festival format will remain largely the same as previous years, the Thursday pre-party at DAYLIGHT Beach Club will be a more intimate event for attendees and will require a separate ticket from the festival pass. Tickets and more information available at VivaPsycho.com.

https://www.facebook.com/events/2035404693146567/
https://www.facebook.com/psychoLasVegas/
https://www.instagram.com/psycholasvegas/
http://vivapsycho.com

Fu Manchu, Live in Vancouver, BC, Nov. 11, 2018

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Stoned and Dusted Announces Full Lineup; Party in the Desert

Posted in Whathaveyou on February 19th, 2019 by JJ Koczan

stoned and dusted banner

There wasn’t really any doubt, but it’s nice to have confirmation that the lineup for Stoned and Dusted is awesome. So there you have Melvins, Fu Manchu, Brant Bjork, King Buffalo, Yawning Man, Acid King, Black Mountain, Lo-Pan, REZN, BigPig, Del-Toros, Sgt. Papers and, oh yeah, Radio Moscow for a bit of the ultra-boogie. I was having a conversation not so long ago with an artist who played last year and was talking about how the sound guy was indeed spaced way the hell out, so when you look at the poster and see “Sound Guy on Acid” listed above the Mad Alchemy Liquid Light Show, you should know they may be speaking literally. No doubt that will only add to the one-of-a-kind experience of the desert’s own heavy party.

The lineup speaks for itself, so I’ll spare you the get-there-if-you-can-get-there rant and just drop the ticket link here for your purchasing and travel planning. There’s also a Spotify playlist below that, while I imagine you’re well familiar with the bulk of these acts, is no less welcome for that, as far as I’m concerned.

Dig:

Stoned and Dusted 2019

The California Desert Wizards Association will hold its second annual members’ gathering on May 25 & 26th, 2019 in the Southern California Mojave Desert, USA.

Total radness on Memorial Day weekend!

On Saturday May 25th we are doing it up at Pappy & Harriet’s, our favorite desert roadhouse and one of the world’s coolest music venues. Get ready for an outside show under the desert skies with Melvins, Fu Manchu, Brant Bjork, REZN, (Big) Pig, and lights by the Mad Alchemy Liquid Light Show.

Our desert party is back and it’s going down on May 26th at a secret location near Joshua Tree, CA with Black Mountain, Acid King, Radio Moscow, Yawning Man (Official), King Buffalo, Lo-Pan, Sgt. Papers, Del-Toros, and the Mad Alchemy Liquid Light Show.
Limited tickets available, get yours now!

https://cdwa.ticketleap.com/2019-stoned-and-dusted

Poster by Branca Studio
photo by Sam Grant.

Big thanks to Pizza Del Perro Negro and TIMEWARP MUSIC!!

https://cdwa.ticketleap.com/2019-stoned-and-dusted/
https://www.facebook.com/StonedandDusted/
https://www.facebook.com/events/1053849404806774
https://www.instagram.com/stonedanddusted/
https://www.stonedanddusted.com/

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The Top 20 of 2018 Year-End Poll — RESULTS!

Posted in Features on January 1st, 2019 by JJ Koczan

derp

If you’re reading this, congratulations on making it all the way through the existential rollercoaster that was 2018.

I hope you celebrated that year’s end and this year’s beginning in riotous fashion if that’s your thing, and if you’re more the stay-at-home-and-don’t-break-stuff type, I hope that was fun too.

Over the last month, best-of lists have been collected from all around the world and as we move into 2019, it’s time to do the results of the Year-End Poll for 2018.

What a year. As I look back on the lists submitted, of course I can’t help but think how absolutely incredible 2018 was for music. With the world crumbling around, creativity surged, and the quality of output was off the charts. I published my own list last week and was quickly inundated with stuff I forgot or that I missed owing to being robbed earlier this year — I guess I didn’t even realize until the post went up just how much that screwed me — and I’m sure there’s more still out there from what everyone turned in. It’s infinite. It keeps going. Trends change. Sounds change. People change. Creativity flourishes.

But I think if you’re reading this, you know why we’re here. We wound up with somewhere in the neighborhood of 2,000 discrete releases submitted. That’s more than five for every day of the year. And they came from 547 people, which is amazing. Accordingly, there should be plenty here to keep you busy for a while.

Not exactly suspenseful as to which was the album of the year, but it’s still interesting to see where stuff landed. Just to remind, there are two lists, one of the raw votes, and one in which a 1-4 ranking is worth five points, 5-8 worth four, 9-12 worth three, 13-16 worth two and 17-20 worth one. Thanks as always to Slevin for the help in setting up the back end functionality and compilation scripts.

Let’s go:

Top 20 of 2018 — Weighted Results

sleep the sciences

1. Sleep, The Sciences (1,087 points)
2. YOB, Our Raw Heart (721)
3. High on Fire, Electric Messiah (478)
4. Earthless, Black Heaven (413)
5. King Buffalo, Longing to Be the Mountain (408)
6. Windhand, Eternal Return (387)
7. All Them Witches, ATW (373)
8. Uncle Acid and the Deadbeats, Wasteland (354)
9. Clutch, Book of Bad Decisions (323)
10. Fu Manchu, Clone of the Universe (315)
11. Greenleaf, Hear the Rivers (285)
12. Holy Grove, Holy Grove II (274)
13. Graveyard, Peace (225)
14. Brant Bjork, Mankind Woman (222)
15. Weedpecker, III (212)
16. Corrosion of Conformity, No Cross No Crown (197)
17. Monster Magnet, Mindfucker (189)
18. Conan, Existential Void Guardian (188)
19. The Skull, The Endless Road Turns Dark (167)
20. ASG, Survive Sunrise (164)

Honorable Mention:
Messa, Feast for Water (150)
Gozu, Equilibrium (148)
Judas Priest, Firepower (148)
Naxatras, III (148)
Forming the Void, Rift (146)

I’m not saying everyone had to love the Sleep record, but there’s no way it wasn’t the biggest underground heavy release of the year. That top spot was established the first day the poll went up and while YOB caught up as both neared 100 votes, there was no doubt how it would ultimately shake out. It was pretty clear early on what people were passionate about, but there are some interesting differences between the raw vote and the weighted results even high on the list, as you’ll see below.

Top 20 of 2018 — Raw Votes

sleep the sciences

1. Sleep, The Sciences (263 votes)
2. YOB, Our Raw Heart (185)
3. High on Fire, Electric Messiah (141)
4. Windhand, Eternal Return (115)
5. Earthless, Black Heaven (109)
6. King Buffalo, Longing to Be the Mountain (102)
7. Uncle Acid and the Deadbeats, Wasteland (101)
8. All Them Witches, ATW (95)
8. Clutch, Book of Bad Decisions (95)
9. Fu Manchu, Clone of the Universe (93)
10. Greenleaf, Hear the Rivers (77)
10. Holy Grove, Holy Grove II (77)
11. Graveyard, Peace (69)
12. Brant Bjork, Mankind Woman (67)
13. Weedpecker, III (63)
14. Monster Magnet, Mindfucker (57)
14. Conan, Existential Void Guardian (57)
15. Corrosion of Conformity, No Cross No Crown (54)
16. The Skull, The Endless Road Turns Dark (50)
17. ASG, Survive Sunrise (48)
18. Gozu, Equilibrium (46)
19. Forming the Void, Rift (45)
20. Judas Priest, Firepower (43)
20. Khemmis, Bloodletting (43)
20. Mos Generator, Shadowlands (43)
20. Orange Goblin, The Wolf Bites Back (43)

Honorable Mention:
Messa, Feast for Water (41)
Domkraft, Flood (40)
Naxatras, III (40)
Thou, Magus (40)

Everything else got fewer than 40 raw votes. Why cap it at 40? I don’t know. Good a place as any. And when a top 20 has 26 releases on it, I don’t imagine there will be too many complaints about not enough stuff being included. One can hope, anyhow. You can see the difference between Sleep and everyone else here as well, a pretty precipitous drop after both them and YOB, and YOB and High on Fire — the top three being well ahead of everyone else in terms of general agreement.

The ‘Respect the Hustle’ Award

Somewhere around the middle of the month, I noticed a massive surge of votes for a band called Entropía and their debut album, Invisible. A bunch of people with lists of 20 just including Entropía. I’ve included them below, you can see them. I didn’t know what was up, whether it was the band spamming the vote or what, so I sent them a message. Turns out they had sent the link to their email list and asked for votes, and that’s how they all got in. Well, okay.

They wound up with well over 750 raw votes (to remind, Sleep got 263), and it didn’t feel representative to have them be album of the year, but hey, I respect the hustle, so they get the award accordingly. Nicely done, folks. I’ve been doing Year-End Polls since like 2010 and that’s never happened before. Their totals were 2,367 points and 777 votes.

Thank you from the bottom of my heart for reading. Whether this is the only post you’ve seen this year or you click ‘Like’ on everything that comes across your Facebook feed, your support is tremendously appreciated. This is the only post that will go up today, but we’ll be back to business as usual tomorrow, and in the meantime, you’ll find everybody’s list included after the jump.

All the best for 2019.

Read more »

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Desertfest Berlin 2019 Adds Fu Manchu, The Devil and the Almighty Blues, Zig Zags and Swedish Death Candy to Lineup

Posted in Whathaveyou on December 26th, 2018 by JJ Koczan

desertfest berlin 2019 banner

So, uh, in addition to the kickass poster art — which so good that I’m happy to look at it twice with the banner above and the vertical poster below, Desertfest Berlin 2019 pretty much rules as regards lineup as well. Granted, you could put “ham sandwich” on a card under Fu Manchu and Om, and I’d pass on the sandwich but still call that a really good show, but WovenhandAll Them WitchesWitchColour HazeKikagaku MoyoNaxatrasEarthless, on and on. I mean, come on. This is serious business. I know it’s the holidays and people are kind of checked out, but just look at this fucking thing. Plus, you know, the art.

Their latest announcement is duly celebratory:

desertfest berlin 2019 poster

FU MANCHU ++ THE DEVIL AND THE ALMIGHTY BLUES ++ ZIG ZAGS ++ SWEDISH DEATH CANDY confirmed for DESERTFEST BERLIN 2019!!!

HoHoHo dear desert festers! Perfect in time for Xmas, we would like to make a very special gift, and are more than proud to reveal 4 more bands for Desertfest Berlin 2019. And holy moly, it still feels like a dream but it’s getting real! Since our very first edition, we wanted them to play our stage, 8 years later it finally happens: Fu Manchu are going to play live at our beloved DESERTFEST BERLIN!!!

Since their inception, FU MANCHU has built itself a fanatical army of loyal enthusiasts all drawn to the group’s guitar-driven sound and carefree lyrics centered on old muscle cars, choppers, vans, skateboarding and science fiction. Over their impressing career, FU MANCHU has released 12 albums and has performed to sold out audiences all over the world. 2019 sees desert rock legends Scott Hill, Brad Davis, Bob Balch and Scott Reeder embarking on new adventures, with EXCLUSIVE SHOWS ONLY at DESERTFEST BERLIN + LONDON! “Germany is one of our favorite places to play and the crowds are always amazing. We’re stoked to be coming back to Berlin as part of Desertfest!” the band comments. And so are we to welcome FU MANCHU in 2019!!!

The Devil And The Almighty Blues will be armed with vintage Gibson guitars and tube amplifiers to take over DESERTFEST BERLIN! The Norwegian quintet’s blues- based rock is so heavy without becoming metal, slow without being doom, bluesy without being straight up and boring. Please welcome THE DEVIL AND THE ALMIGHTY live at the ARENA BERLIN, when they will also unleash upon us a brand new album in the Spring of 2019!

Grab your pack of Zig Zags desert rockers, as we will bring you the Los Angeles- based sci-fi power trio live on stage! With their scuzzy fusion of punk, metal and stoner sounds, these guys will deliver the ultimate soundtrack to get high on their sounds. Be prepared for a rad and insane live set!

Tunes as thick and heavily layered, powerful and melodic at the same time, Swedish Death Candy are rounding up today’s special Christmas announcement! Following their formation in 2014 and thundering live shows later, the four-piece psych band quickly began to grab attention from rock fans all over the globe. For a good reason: The variety within the band’s individual backgrounds, skill sets and influences has led the band to be truly unique – and one that is vital for today’s current scene.

Friends, we hope you are as much excited about this very special Christmas present as we are. But that’s not all, DAY TICKETS + FIRST SPLIT OF LINE-UP for each day are also now available and to plan your trip to Desertfest Berlin 2019: www.desertfest-tickets.de

The DESERTFEST-crew would like to wish all desert rockers, friends & families a peaceful Christmas and a heavy happy New Year. Stay safe, enjoy the festive season and we will see us all again soon at the capitol of the almighty riffs: DESERTFEST BERLIN 2019!

www.desertfest-tickets.de
www.desertfest.de
www.facebook.com/DesertfestBerlin
www.instagram.com/desertfest_berlin

Fu Manchu, Clone of the Universe (2018)

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Desertfest London 2019 Adds Fu Manchu as May 5 Headliner

Posted in Whathaveyou on December 21st, 2018 by JJ Koczan

fu manchu (Photo by JJ Koczan)

So Desertfest London 2019 has a night at The Roundhouse where the lineup is Colour HazeEarthlessWitchAll Them Witches and Fu Manchu. That’s the bill front to back. The word ‘unfuckwithable’ comes quickly to mind. It’s an astonishing assemblage, as I honestly think if the festival had announced any of them as headliners, you would go, “Yeah, that makes sense.” Colour Haze headlining? Yeah, that makes sense. Earthless headlining? Yeah, that makes sense. Witch? Etc.

But it’s Fu Manchu in the top spot, and indeed, it makes sense. Not only are they the longest tenured of the five acts who’ll take the stage at The Roundhouse, but they have the distinct advantage of being Fu frickin’ Manchu, which puts them ahead of much of the planet when it comes to any number of considerations. Especially fuzz.

The PR wire brought confirmation:

desertfest london 2018 fu manchu

Desertfest London announce Fu Manchu as second headliner!

Over the past seven years of DESERTFEST LONDON, we’ve had a lot of incredible memories of otherworldly performances from many of the notable bands this humble scene has to offer. Today, we finally cross another huge name off our bucket list, as we reveal that kings of the road Fu Manchu will headline Roundhouse on the Sunday at Desertfest 2019. Not only that, but we can also reveal that joining them on May 5th’s mammoth Roundhouse Stage are the previously announced All Them Witches, Witch, Earthless and Colour Haze.

Southern California’s boogie-rocking titans were born out of the hardcore punk scene of ’85 as Virulence, but quickly switched up their super-speed, underground angst for more of a drawlin’, skateboard rampin’, hard-rockin’ vibe and so FU MANCHU was born. Throughout the next thirty years or so they’d come to be known to many as the AC/DC of the now global desert rock scene: always consistent, always on trend, always ready to rock; any time, any venue, anywhere. Recently Fu Manchu have gone through a phase of touring albums in their entirety, and from the rising asphalt of In Search Of…, to the laserblastin’ The Action Is Go and right through the true hell on wheels that is King On The Road and beyond, we’ve all got a favourite Fu Manchu moment. If not, then there’s never been a better time to get familiar with the hardest rockin’, hotdoggin’ back catalogue in history.

Fu frontman Scott Hill is clearly as excited as we are for the boogie van to roll into Camden Town: “We’re so stoked to be a part of Desertfest and to play the legendary Roundhouse in London. It’s hard to believe that we will be playing the same spot as some of our heroes like Hendrix, Pink Floyd, Led Zeppelin, The Clash, Ramones and Motörhead.” We couldn’t agree more.

Joining them on what we believe is our biggest Roundhouse stage yet on Sunday May 5th, are four must-see masters of the underground who have already been announced for Desertfest 2019. ALL THEM WITCHES bring an approach to the modern wave of bluesy psychedelia that is all their own, hot off the heels of their recently released and truly impeccable ATW. After releasing a few of the noughties’ most bad ass albums, WITCH return from their slumber to provide a doomed out kind of psych to the Sunday. Riffs for days are guaranteed when EARTHLESS show up; with an ultimate jam band approach which both rips and shreds, faces will melt into a gooey pile of mush. Last but not least, European underground heroes COLOUR HAZE will open up the Roundhouse with their scene defining slice of heavy psych.

We couldn’t ask for a better way to round out what we’re sure will be a killer Desertfest 2019 than this lineup at The Roundhouse. Be sure not to miss out, book your tickets today.

DESERTFEST LONDON /// 3-5th May, 2019 in London
All tickets on sale at this location

http://www.desertfest.co.uk/
https://www.facebook.com/DesertfestLondon
https://www.instagram.com/desertfest_london/
https://twitter.com/DesertFest

Fu Manchu, Live in Vancouver, BC, Nov. 11. 2018

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The Obelisk Presents: THE TOP 30 ALBUMS OF 2018

Posted in Features on December 20th, 2018 by JJ Koczan

the-top-30-of-2018

Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2018 to that, please do.

It just wouldn’t be a year if it wasn’t completely overwhelming, right?

2018 has certainly met that standard and then some. The swath of output, whether it’s a new generation adopting and adapting established methods or out and out reinventing the stylistic wheel and then pushing it uphill on a seemingly endless barrage of tours, has been staggering, and it’s still happening. There’s a little more than a week to go in the year. You think a band isn’t putting something out today? Of course they are. It’s every day. It’s all the time.

But this year wasn’t just about quantity either. I think one of my biggest struggles in writing about albums in 2018 — and with the last Quarterly Review and various premieres and video posts that were basically album reviews in disguise, let’s estimate we’re somewhere past 300 records reviewed one way or another — was in conveying just how killer so much of the stuff coming through was. How many times can you say the word “awesome?” Well, I’m sure we’ll see it a few more times before this list is over, so there you go.

I say something like this every time I do a list, but please keep in mind these are my picks and I’m one person. But I am a person. I know there’s the whole internet-anonymity thing, but I assure you, I’m a human being (more of a cave troll, really) typing these words. I’m all for everyone sharing their own picks in the comments, and all for passionate advocating, but please, let’s keep it civil and respectful. These things can spiral out of control quickly, but let’s remember that we’re all human beings and worth of basic courtesy, even if some of us are dead wrong about a good many things. You should definitely punch nazis, though.

Thanks in advance for reading. Here we go:

[UPDATE: You’ll notice the inclusion of an ’18a.’ I had Stoned Jesus in my notes as number 18 initially and they got dropped as I was adjusting things along the way. I’ve added them back in, but it didn’t seem fair to bump everyone else down after the post had already been published. That was the best I could come up with for a solution. If you’re pissed about one more killer record being added, please feel free to email me and tell me all about it.]

30. The Skull, The Endless Road Turns Dark

The Skull The Endless Road Turns Dark

Released by Tee Pee Records. Reviewed Sept. 12.

Chicago’s The Skull had no small task before them in following up their 2014 debut, For Those Which are Asleep (review here) — let alone living up to their pedigree — but their second album demonstrated a creative growth that sacrificed nothing of memorability when it came to songs like “Breathing Underwater” and “All that Remains (Is True).” They got down to work and got the job done, which is what a working band does. 2018 was by any measure a fantastic year for doom, and The Skull were a big part of why.

29. Foghound, Awaken to Destroy

foghound awaken to destroy

Released by Ripple Music. Reviewed Nov. 21.

The Dec. 2017 murder of Rev. Jim Forrester was tragic. No other way to say it. Foghound, who were in the midst of making Awaken to Destroy at the time, put together an album that not only features Forrester‘s last recorded performance, but pays respect to his memory while the wound is still raw and manages to kick ass all the while. It’s a record that can’t ever be divorced from its circumstances — just can’t — and so it can be a heavy listen in more than just its tones, but it’s basically Foghound proving they’re unstoppable. And so they are.

28. Orange Goblin, The Wolf Bites Back

orange goblin the wolf bites back

Released by Spinefarm Records. Reviewed June 13.

Who among us here today is not a sucker for Orange Goblin? Come forward an be judged. I mean, really. Nine records deep, the London sceneforgers are nothing less than an institution, beloved by boozehounds, riffhounds, doomhounds, and really, a wide variety of hounds the world over. Also dudes. With its essential title-track hook and highlight cuts in “Ghosts of the Primitives” and “Burn the Ships” — or, you know, any of them — they added to one of heavy’s most unshakable legacies with an album as furious as it is welcoming to its generations-spanning fanbase.

27. Fu Manchu, Clone of the Universe

fu manchu clone of the universe
Released by At the Dojo Records. Reviewed Feb. 15.

There are two kinds of people in this world, and they’re both Fu Manchu fans. Clone of the Universe turned heads with a guest appearance from Rush‘s Alex Lifeson on the 18-minute side-B-consuming “Il Mostro Atomico,” but really to focus on that instead of “Intelligent Worship,” “(I’ve Been) Hexed,” “Don’t Panic,” “Slower than Light,” etc., is only seeing half the point of the album in the first place. The long-running lords of fuzz hit a new stride with 2014’s Gigantoid (review here), and Clone of the Universe was in every way a worthy successor.

26. Witch Mountain, Witch Mountain

Witch-Mountain-Witch-Mountain
Released by Svart Records. Reviewed May 16.

It was an unenviable task before Witch Mountain in replacing vocalist Uta Plotkin, but founding guitarist Rob Wrong and drummer Nathan Carson found the right voice in Kayla Dixon and solidified the lineup with her and bassist Justin Brown enough to make a declarative statement in Witch Mountain‘s self-titled LP. That’s the story of it. They pulled it off. Met with what was unquestionably a bummer circumstance, they pushed through and moved their sound forward through a new beginning — and not their first one. Watch out when their next record hits.

25. Windhand, Eternal Return

windhand eternal return

Released by Relapse Records. Reviewed Oct. 3.

Richmond, Virginia, doomers Windhand‘s second collaboration with producer Jack Endino produced a marked and purposeful expansion of their sound, encompassing classic grunge influences and a heavy psychedelic swirl that added color their previously-greyscale sonic haze. Resonant in tone and emotionalism, Eternal Return readjusted Windhand‘s trajectory in such a manner that, where one might’ve thought they knew where the band were headed in terms of their progression, they’ve made themselves a less predictable outfit on the whole. For that alone, it’s a triumph. Then you have the songs.

24. Sun Voyager, Seismic Vibes

Sun Voyager Seismic Vibes

Released by King Pizza Records. Reviewed April 18.

I don’t even want to admit how long I was waiting for Sun Voyager‘s first long-player to show up, but when it finally did, the New York trio did not disappoint. Catchy, energetic, fuzzed-out tunes with driving rhythms and a heavy psych flourish, they tapped into shoegaze and desert vibes without losing any sense of themselves in the process, and if the extra wait was so they could be so remarkably coherent in their expression on their full-length, then I wouldn’t want it to have shown up any sooner. An easy pick to stand among 2018’s best debut albums. Now to wait for the next one.

23. Forming the Void, Rift

forming the void rift

Released by Kozmik Artifactz. Reviewed July 27.

It should tell you something that after working quickly to produce three albums, Louisiana’s Forming the Void are still defined by their potential. If I had my druthers, I’d put the recent Ripple signees on tour for the bulk of 2019, across the US and in Europe for festivals and support-slot club shows, really give them an opportunity to hammer out who they are as a band and then hit the studio for LP four. I don’t know if that’ll happen, but they’d only be doing the universe a favor by kicking into that gear. As it stands, their progression is palpable in their material and they stand absolutely ready for whatever the next level might be for them.

22. Spaceslug, Eye the Tide

spaceslug eye the tide

Released by BSFD Records and Oak Island Records. Reviewed June 29.

Aside from the speed at which Spaceslug have turned around offerings — with Eye the Tide following 2017’s Mountains and Reminiscence EP (review here) and Time Travel Dilemma (review here) full-length and their 2016 debut, Lemanis (review here) — the Polish outfit have undertaken significant progression in their sound, moving from pure heavy psychedelic warmth to incorporating elements out of extreme metal as they did on Eye the Tide. Adding to the latest record’s accomplishment is the smoothness with which they brought seemingly opposing sides together, only adding depth to an approach already worthy of oceanic comparison.

21. Conan, Existential Void Guardian

Conan Existential Void Guardian
Released by Napalm Records. Reviewed Sept. 14.

Conan‘s reign of terror has been unfolding for more than a decade now, and each of their albums has become a kind of step along a path of incremental growth. Consider the melody creeping into the shouts of founding guitarist Jon Davis, or the emergence of bassist Chris Fielding as a vocal presence alongside, the two sharing a frontman role more than ever before while welcoming drummer Johnny King to the fold of destructive tonality and doomly extremism. Existential Void Guardian may end up just being another stomp-print on their way to the next thing, but it affirmed the fact that as much as Conan grow each time out, their central violence continues to hold sway.

20. Pale Divine, Pale Divine

PALE DIVINE S/T
Released by Shadow Kingdom Records. Reviewed Nov. 21.

Look. A new Pale Divine record doesn’t come along every day, so yeah, their self-titled was probably going to be on my list one way or the other, but it definitely helps that not only was it their first outing in six years since 2012’s Painted Windows Black (review here), but it had the songs to live up to a half-decade-plus of anticipation. It marked the first studio appearance from bassist/backing vocalist Ron “Fezz” McGinnis alongside guitarist Greg Diener and drummer Darin McCloskey — now both of Beelzefuzz as well — and made a strong argument for how much Pale Divine deserve more than 20 years on from their initial demo to be considered classic American doom.

19. Mos Generator, Shadowlands

mos generator shadowlands
Released by Listenable Records. Reviewed May 11.

The return and rise to prominence of Washington pure heavy rockers Mos Generator might be the underground’s feelgood story of the decade, but it hasn’t by any means been easily won. In addition to rebuilding the band however many albums ago, guitarist/vocalist Tony Reed has put in innumerable hours on tour and worked to actually develop the group creatively in addition to in terms of stage presence. This is shown throughout some of the classic prog elements making their way onto Shadowlands, and perhaps some of the collection’s moodier aspects are born of the aforementioned road time as well. Hard for that kind of thing not to be a slog after a while, but at least they have killer tunes to play.

18a. Stoned Jesus, Pilgrims

STONED JESUS PILGRIMS

Released by Napalm Records. Reviewed Sept. 5.

The only safe bet about Stoned Jesus‘ fourth long-player, Pilgrims, was that it was going to sound different than the third. That 2015 outing, The Harvest (review here), preceded the band touring to celebrate the fifth anniversary and after-the-fact success of 2012’s Seven Thunders Roar (review here), but Pilgrims defied narrative in that instead of incorporating elements from the second record in more of a heavy psych or jam sound, Stoned Jesus instead showcased a tighter, more sureheaded sense of craft than they’ve ever displayed before, and arrived on Napalm Records with a collection of songs that demonstrated the growth and sense of creative will that drives them. While one can take a look at their moniker and think immediately they know what’s coming, Stoned Jesus have made themselves one of the least predictable bands in heavy rock.

18. Backwoods Payback, Future Slum

backwoods payback future slum

Self-released. Reviewed Aug. 15.

“Pirate Smile.” “Lines.” “Whatever.” “It Ain’t Right.” “Threes.” “Cinderella.” “Generals.” “Big Enough.” “Alone.” “Lucky. Mike Cummings, Jessica Baker, Erik Larson. Every player, every song, every minute. If you want to know what heart-on-sleeve sounds like, it fucking sounds like Backwoods Payback. In their line from hardcore punk to grunge to heavy rock, they encompass experiences and emotionalism that are both shown in raw form throughout Future Slum, and build all the while on the chemistry they set out in developing with 2016’s Fire Not Reason (review here), when they welcomed Larson to the lineup on drums and revitalized their mission. Also worth noting, they were the best live band I saw this year. Anywhere.

17. Corrosion of Conformity, No Cross No Crown

corrosion of conformity no cross no crown

Released by Nuclear Blast Records. Reviewed Jan. 3

No question the excitement of C.O.C. putting out their first record with frontman Pepper Keenan involved since 2005’s In the Arms of God was one of this year’s top stories in heavy. And No Cross No Crown tapped directly into the spirit of 1994’s Deliverance (discussed here) and 1996’s Wiseblood (discussed here) in terms of direction, while updating the band’s style with a four-part 2LP in mind. In some ways, it’ll be their next album that really gives listeners a sense of where they’re at and where they might be headed, but as welcome returns go, having Keenan alongside Mike DeanWoody Weatherman and Reed Mullin is in no way to be understated, and neither is the quality of their output together, then and now.

16. Naxatras, III

naxatras iii

Self-released. Reviewed Feb. 14.

It is no simple feat to hypnotize an audience and convey serenity while at the same time holding attention with songcraft, so that the listener isn’t actually so much unconscious as malleable of mood and spirit in such a direction as the band suggests. Greek trio Naxatras have worked quickly to become experts at this, and their third full-length fosters tonal warmth and jammy progressions with an overarching naturalism that finds them so committed to analog recording that one can buy direct transfers of the tape master of III. Some acts take classic-style practices as an aesthetic choice. With Naxatras, it seems to be the stuff of life, yet their sound is only vibrant and human in a way that, at least one hopes, is even more representative of the future than the past.

15. Clutch, Book of Bad Decisions

clutch book of bad decisions

Released by Weathermaker Music. Reviewed Aug. 27.

It was time for Clutch to make a change in producers, and the Maryland overlords of groove seemed to know it. Known as a live band, they went with Vance Powell, who’s known a live band producer. The results on Book of Bad Decisions might not have been so earth-shatteringly different from 2015’s Psychic Warfare (review here), which was the too-soon follow-up to 2013’s Earth Rocker (review here) — both helmed by Machine — but the inimitable four-piece indeed succeeded in capturing the electricity of their stage performance and, as ever, treated fans to a collection of songs bearing Clutch‘s unmistakable hallmarks of quirky lyrics, funky rhythms and heavy roll. They may always be a live band, but Clutch‘s studio work is in no way to be discounted, ever, as this record reaffirmed. Plus, crab cakes.

14. Ancestors, Suspended in Reflections

Ancestors Suspended in Reflections

Released by Pelagic Records. Reviewed Aug. 3.

After 2012’s In Dreams and Time (review here), I wasn’t sure Ancestors were going to put out another record. They kicked around word of one for a while, but it wasn’t until the end of last year that it really seemed to congeal into a possibility. And by then, who the hell knew what they might get up to on a full-length? With Suspended in Reflections, in some says, they picked up where they left off in terms of finding a niche for themselves in progressive and melodic heavy, but I think the time showed in the poise of their execution and the control of the material. Suspended in Reflections can’t help but be six years more mature than its predecessor, and that suits its contemplative feel. In tracks like “Gone,” and “The Warm Glow,” they tempered their expansive sound with an efficiency that can only be had with time.

13. High on Fire, Electric Messiah

high on fire electric messiah

Released by eOne Heavy. Reviewed Sept. 28.

The narrative here was hard to beat. Matt Pike spending an album cycle talking about Lemmy Kilmister and paying homage to his dirt-rock forebear and the gods of old? It doesn’t get much more perfect than that. Electric Messiah was the third collaboration between High on Fire and producer Kurt Ballou behind 2015’s Luminiferous (review here) and 2012’s De Vermiis Mysteriis (review here), and while it seemed after the last record that the formula might be getting stale, the band only sounded more and more lethal throughout the latest offering. Even putting aside their contributions to underground heavy, they’ve become one of the most essential metal bands of their generation. Metal, period. Doesn’t matter what subgenre you’re talking about it. If you’re listening to High on Fire, you know it. Usually because you’ve just been decapitated.

12. Yawning Man, The Revolt Against Tired Noises

yawning man the revolt against tired noises

Released by Heavy Psych Sounds. Reviewed July 2.

You know, if you take the time to separate Yawning Man from their 30-plus-year history and their legacy as one of the foundational acts of what later became desert rock, and you listen to The Revolt Against Tired Noises, you’re still left with basically a dream of an album. Mostly instrumental, as is their wont, they nonetheless had bassist Mario Lalli (also Fatso Jetson) sing this time around on a version of the previously-unreleased “Catamaran,” which Kyuss covered once upon a whenever although Yawning Man had never officially put it to tape. But really, that and all other novelty aside, guitarist Gary Arce, Lalli and drummer Bill Stinson are a chemistry unto themselves. I don’t know if they’ll ever be as huge as they should be, but every bit of acclaim they get, they’ve earned, and if The Revolt Against Tired Noises helps them get it, all the more so.

11. Greenleaf, Hear the Rivers

greenleaf hear the rivers

Released by Napalm Records. Reviewed Nov. 26.

Swedish heavy rock mavens Greenleaf have become an entirely different band than they once were. No longer a Dozer side-project from guitarist Tommi Holappa with a rotating cast of players, they’re a solidified, road-tested, powerhouse unit, and Hear the Rivers bleeds soul as a result. Holappa, frontman Arvid Hällagård, bassist Hans Fröhlich and drummer Sebastian Olsson sound like they’re absolutely on fire in the album’s tracks, and far from being staid or formulaic as one might expect a sixth long-player to be, Hear the Rivers built on what the band accomplished with 2016’s Rise Above the Meadow (review here) and came across as all the more vital and nearly frenetic in their energy. I won’t say Greenleaf has seen their last lineup change, because one never knows, but the band as they are today is the realization of potential I don’t think even Greenleaf knew was there.

10. Gozu, Equilibrium

gozu equilibrium

Released by Blacklight Media / Metal Blade Records. Reviewed April 4.

Five records deep into a career into its second decade, Gozu haven’t had a miss yet. Admittedly, some of their early work can seem formative considering where they are now, but still. And after the 2016 rager, Revival (review here), to have the band return to the same studio — Wild Arctic in Portsmouth, New Hampshire, where strides producer Dean Baltulonis — for the follow-up allows for the four-piece to directly show how their sound has grown more encompassing in the last couple years. And it has. Equilibrium is a rich and varied listen that holds true to Gozu‘s well-established penchant for soulful vibes and crunching, hard-hitting riffs and groove, but while it shares the directness of approach with Revival, it makes moves that a band could only make moving from one record to the next. I expect nothing less their next time out as well, because a decade later, that’s Gozu‘s proven track record.

9. Monster Magnet, Mindfucker

monster magnet mindfucker
Released by Napalm Records. Reviewed Feb. 23.

The battle for the best album title of 2018 ended early when New Jersey everything-rockers Monster Magnet announced the release of Mindfucker. And what else to call a Monster Magnet LP at this point? They’ve stopped writing to genre. They’re driven by the creative mania of frontman/founder Dave Wyndorf, and they’ve seen psychedelic expanses and commercial success the likes of which would serve the tenure of four lesser bands. What’s left to do but whatever the hell you want? So that’s what Monster Magnet are doing. It just so happens that while they’re doing it, they’re still basically outclassing the entirety of the former planet earth as songwriters. As Monster Magnet fan in 2018, there was nothing more I could’ve asked than what Mindfucker delivered. And if you’re still trying to get your brain around it however many months later, you’re not alone. I think that’s the idea.

8. Apostle of Solitude, From Gold to Ash

Apostle of Solitude From Gold to Ash

Released by Cruz del Sur Music. Reviewed Feb. 20.

Best doom album of 2018. The combination of craft and passion behind the delivery. The way the dark tones fed into the emotions so clearly on display and sheer presence of it in listening to songs like “Keeping the Lighthouse,” “Ruination by Thy Name” and “My Heart is Leaving Here.” Apostle of Solitude never seem to be the highest profile band out there, but their work seems never to be anything less than outstanding, and I refuse to accept them as anything less than among the most pivotal American acts out there making traditional doom. And not just making it, but making it their own, with a sense of new pursuits and individualism that extends to playing style as well as atmosphere. I know doom isn’t exactly in short supply these days — figuratively or literally — but if you miss out on what Apostle of Solitude are doing with it, you’ll only regret it later. I’ll say it one more time: Best doom album of 2018.

7. Holy Grove, Holy Grove II

holy grove ii
Released by Ripple Music. Reviewed Oct. 31.

Every now and again, anticipating the crap of an album really pays off, and such was the case with Holy Grove II, the Ripple Music debut from the Portland outfit whose 2016 self-titled (review here) seemed like such a herald of excellence to come while also, you know, being killer. Holy Grove II brought the four-piece of vocalist Andrea Vidal, guitarist Trent Jacobs, bassist Gregg Emley and drummer Eben Travis to entirely new levels of composition and execution. In songs like “Blade Born,” the shorter, sharper “Aurora,” the patiently rolling “Valley of the Mystics,” “Solaris” and closer “Cosmos,” which boasted a not-really-necessary-but-definitely-welcome guest vocal appearance from YOB‘s Mike Scheidt, — and oh wait, that’s all of the tracks — Holy Grove entered a different echelon. Anticipation will likewise be high for Holy Grove III, but it’ll be hard to complain with this record to keep company in the meantime.

6. All Them Witches, ATW

all them witches atw
Released by New West Records. Reviewed Sept. 18.

Over five All Them Witches albums, the Nashville four-piece have gone from a nascent heavy Americana jam band to one of the most distinct acts in the US underground. Their development in sound is chemistry-driven, so it was a risk when the founding trio of bassist/vocalist Charles Michael Parks, Jr., guitarist Ben McLeod (who also produced) and drummer Robby Staebler welcomed new keyboardist Jonathan Draper into the lineup to take the place of Allan van Cleave. Amid a more naturalist production than that of 2017’s Sleeping Through the War (review here), the revamped four-piece flourished in terms of songwriting and conveying their stage-born sonic personae. From the gleeful fuckery of opener “Fishbelly 86 Onions” to the memorable moodiness of “Diamond” and the back-end jam “Harvest Feast” en route to the stretched-out end of “Rob’s Dream,” All Them Witches essentially confirmed they could do whatever they wanted and make it work.

5. YOB, Our Raw Heart

yob our raw heart
Released by Relapse Records. Reviewed June 7.

Actually, if you want a sample of YOB‘s raw heart, the place to go is probably 2014’s Clearing the Path to Ascend (review here), but whatever the Eugene, Oregon, shapers of cosmic doom might’ve lacked in titular accuracy on their eighth long-player, they made up for in a new, statesman-like posture. Their approach was mature, hammered out to a professionalism working completely on its own terms, and they never sounded so sure of who they are as a band or as confident of their direction. In extended cuts “Beauty in Falling Leaves” and “Our Raw Heart,” they explored new and progressive textures and melodies, and managed to reaffirm their core aspects while finding room for conveying emotion that came across as nothing but ultimately sincere. They have been and still are one of a kind, and as they continue to move forward, they remain a band that makes one feel lucky to be alive to witness their work. Our Raw Heart was perhaps more refined than it let on, but the heart was there for sure, as always.

4. Brant Bjork, Mankind Woman

brant bjork mankind woman

Released by Heavy Psych Sounds. Reviewed Sept. 13.

I’m not going to say I wasn’t a fan of the (relatively) harder-hitting approach Brant Bjork and his Low Desert Punk Band took on 2014’s Black Power Flower (review here) and 2016’s Tao of the Devil (review here), but Mankind Woman brought in some more of his soul influences, and whether it was the subtly subversive funk of “Chocolatize” and “Brand New Old Times” or the callout “1968” and laid back vibes of the title-track and “Swagger and Sway,” Bjork — working with guitarist Bubba DuPree on songwriting and production — offered a definitive look at what has made his 20-year solo career so special and demonstrates not only his longevity and his legacy, but his will to continue to progress as an artist honing his craft. His discography is well populated by now to be sure, but Mankind Woman represents a turn from the last couple records, and if it’s in any way portentous of things to come, it bodes well. Bjork is right at home nestled into classic-style grooves, and his legacy as one of the principal architects of desert rock is continually reaffirmed.

3. Earthless, Black Heaven

earthless black heaven

Released by Nuclear Blast Records. Reviewed March 15.

They’ve been great, not just good, for a long time now, and as forerunners of the San Diego heavy scene, they’re godfathers to an up and coming generation of bands taking their influence — let alone acts from the rest of the world — but Black Heaven is a special moment for them because of its departure. No, it wasn’t not the first time guitarist Isaiah Mitchell sang on an Earthless recording, but it did represent a tip of the balance in that direction for the band on a studio full-length, and that resulted in a special moment. Album opener “Gifted by the Wind” was one of the best songs I heard this year, and while “End to End” and the all-thrust “Volt Rush” affirmed that more traditional songwriting was well within the grasp of Mitchell, bassist Mike Eginton and drummer Mario Rubalcaba, they still found space for a sprawling jam or two, keeping their claim on the instrumentalism that’s (largely) fueled their tenure to date. Earthless don’t want for acclaim, but every bit of it is earned, and while their primary impact has always been live, Black Heaven saw them construct a traditional-style LP that still bore the hallmarks of their collective personality. It was the best of all worlds.

2. King Buffalo, Longing to Be the Mountain

king buffalo longing to be the mountain
Self-released/released by Stickman Records. Reviewed Sept. 27.

In the dark early hours of 2018, the Rochester, New York, trio of guitarist/vocalist Sean McVay, bassist Dan Reynolds and drummer Scott Donaldson issued the Repeater EP (review here) as a follow-up to their 2016 debut, Orion (review here), so Longing to Be the Mountain didn’t exactly come out of nowhere, but even with Repeater preceding its arrival, I don’t think anyone necessary expected King Buffalo‘s second album to have such a scope or to be so engrossing with it. In its melody, patience, atmosphere and heft, it was an absolute joy to behold. Its songs were memorable at the same time they were far-reaching, and while Orion was already my pick for the best debut of 2016, Longing to Be the Mountain realized even more potential than that record had hinted toward. It could be intimate or majestic at its whim, and its dynamic set an individual characterization of heavy psychedelia and blues-style sprawl that the band wholly owned. With production by Ben McLeod of All Them Witches behind them, they worked to serve notice of a progression undertaken the results of which are already staggering and still seem to be looking ahead to the next stage, literally and figuratively. One of the principal standards I use in constructing this list every year is what I listen to most. That’s this record.

1. Sleep, The Sciences

sleep the sciences

Released by Third Man Records. Reviewed May 1.

Obviously, right? To some extent, when Sleep surprise-announced on April 19 they’d release their first album in 15 years the next day, and then did, they took ownership of 2018. Even with records still to come at that point from YOB and Sleep guitarist Matt Pike‘s own High on Fire, there was no way that when the end of the year came around, it wasn’t going to be defined by the advent of a new Sleep record. And even if it sucked, it would probably still be Album of the Year, but fortunately, as Pike, bassist/vocalist Al Cisneros (also Om) and drummer Jason Roeder (also Neurosis) took their long-running stage reunion to the studio, they brought material that highlighted the best elements from all players. Pike‘s wild soloing, Cisneros‘ meditative vocals and Roeder‘s intricate but smooth style of roll all came together in older pieces like “Antarcticans Thawed” and “Sonic Titan” and newer highlights “Giza Butler” and “Marijuanaut’s Theme,” and aside from the excitement at their existence, they showed the mastery of form that Sleep had been demonstrating live since 2009 and which they hinted toward in the 2014 single, The Clarity (review here). A new Sleep full-length was something long-discussed, long-rumored and long-considered, but when it finally happened, I think the results vaporized expectation in a way no one could’ve anticipated. There’s a reason Sleep are Sleep. Having The Sciences as a reminder of that brought about the defining moment of 2018.

The Next 20

Indeed, it wouldn’t be much of a Top 30 at all if it didn’t go to 50. Don’t try to make sense of it, just look at the records.

31. Atavismo, Valdeinfierno
32. Grayceon, IV
33. Clamfight, III
34. Seedy Jeezus, Polaris Oblique
35. Megaton Leviathan, Mage
36. Uncle Acid and the Deadbeats, Wasteland
37. Arcadian Child, Superfonica
38. Freedom Hawk, Beast Remains
39. The Machine, Faceshift
40. Messa, Feast for Water
41. Black Rainbows, Pandaemonium
42. Church of the Cosmic Skull, Science Fiction
43. Domkraft, Flood
44. Träden, Träden
45. Mythic Sunship, Another Shape of Psychedelic Music
46. Samavayo, Vatan
47. Foehammer, Second Sight
48. Bongripper, Terminal
49. Mansion, First Death of the Lutheran
50. Sunnata, Outlands
51. Chubby Thunderous Bad Kush Masters, Come and Chutney

Believe me when I tell you, I sweated over this section more than I did the actual top 30. Mansion should be higher. So should Chubby Thunderous, though something in me thought they might like being #50 on a list of 30. Church of the Cosmic Skull, Clamfight, Black Rainbows, Foehammer, Seedy Jeezus, Messa, Domkraft. All of these were fucking awesome. And there are more (we’ll get there). Eventually numbers add up. I won’t say a bad word about any of these. That’s it.

Honorable Mention

This section always winds up expanded as other people point out things I missed and so on, but here’s what I’ve got in the immediate, alphabetically:

  • Alms, Act One
  • Ape Machine, Darker Seas
  • Belzebong, Light the Dankness
  • Black Moon Circle, Psychedelic Spacelord
  • Blackwater Holylight, Blackwater Holylight
  • Bong, Thought and Existence
  • Carpet, About Rooms and Elephants
  • Churchburn, None Shall Live… The Hymns of Misery
  • Deadbird, III: The Forest Within the Tree
  • Dead Meadow, The Nothing They Need
  • Death Alley, Superbia
  • Drug Cult, Drug Cult
  • Dunbarrow, II
  • Electric Citizen, Helltown
  • Eagle Twin, The Thundering Heard: Songs of Hoof and Horn
  • Evoken, Hypnagogia
  • Funeral Horse, Psalms for the Mourning
  • Fuzz Evil, High on You
  • Graven, Heirs of Discord
  • Graveyard, Peace
  • Green Dragon, Green Dragon
  • Green Druid, Ashen Blood
  • Here Lies Man, You Will Know Nothing
  • High Priestess, High Priestess
  • Horehound, Holocene
  • IAH, II
  • JIRM, Surge ex Monumentis
  • Killer Boogie, Acid Cream
  • Lonely Kamel, Death’s Head Hawkmoth
  • MaidaVale, Madness is Too Pure
  • Moab, Trough
  • Mountain Dust, Seven Storms
  • Mouth, Floating
  • Mr. Plow, Maintain Radio Silence
  • T.G. Olson, Earthen Pyramid
  • Onségen Ensemble, Duel
  • Orango, Evergreen
  • Owl, Nights in Distortion
  • Pushy, Hard Wish
  • Rifflord, 7 Cremation Ground/Meditation
  • River Cult, Halcyon Daze
  • Rotor, Sechs
  • Somali Yacht Club, The Sea
  • Sumac, Love in Shadow
  • Sundrifter, Visitations
  • Svvamp, Svvamp II
  • Thou, Magus
  • Thunder Horse, Thunder Horse
  • Weedpecker, III

Special Note

Somehow it didn’t seem appropriate to include these in the list proper because they’re not really underground releases, but there were two more records I especially wanted to highlight for their quality:

  • Alice in Chains, Rainier Fog
  • Judas Priest, Firepower

Best Short Release of the Year

Normally I’d do this as a separate post, but as a result of being robbed earlier this year, I feel like my list is woefully incomplete. If you have any demos, EPs, splits, singles, etc., to add to it, please feel free to do so in the comments below. Still, the top pick was clear:

  • Mammoth Weed Wizard Bastard & Slomatics, Totems Split

Rarely do two bands work in such coherent tandem to their mutual benefit. Here are a few other essential short releases for 2018, alphabetically:

  • All Them Witches, Lost and Found
  • Alunah, Amber & Gold
  • Canyon, Mk II
  • Demon Head, The Resistence
  • Destroyer of Light, Hopeless
  • Ecstatic Vision, Under the Influence
  • Godmaker & Somnuri, Split
  • Holy Mushroom, Blood and Soul
  • King Buffalo, Repeater
  • Minsk & Zatokrev, Split
  • Sleep, Leagues Beneath
  • Stonus, Lunar Eclipse
  • Sundecay, Gale

Looking Forward

A good many albums have already been announced or hinted at for 2019. I in no way claim this to be a complete roundup of what’s coming, but here’s what I have in my notes so far, in absolutely no order:

Kings Destroy, Lo-Pan, Cities of Mars, Heavy Temple, Mr. Peter Hayden, Curse the Son, High Fighter, Destroyer of Light, Year of the Cobra, Buffalo Fuzz, Zaum, The Sonic Dawn, Alunah, Candlemass, Elepharmers, Grandier, Dorre, Abrahma, Mars Red Sky, Eternal Black, Elephant Tree, Atala, No Man’s Valley, Sun Blood Stories, Crypt Sermon, The Riven, Hibrido, Snail, Red Beard Wall, 11Paranoias, Dead Witches, Monte Luna, Captain Caravan (LP), Swallow the Sun, Oreyeon, Motorpsycho, Vokonis, Hexvessel, Saint Vitus, Mammoth Weed Wizard Bastard, Kind, Mastiff, Shadow Witch, Om.

Okay, That’s It

Yeah, no, I’m serious. List is done. Everybody go back to your lives. Your families miss you.

Really though, while this is by no means my last post of 2018, I can’t let it pass without saying thank you so much to everyone for checking out the site this year, or for just digging into this, or for sending me music, or hitting me up on social media, sharing a link, anything. Thank you. Thank you. I could never have imagined when it started out where it would be now. Or that I’d still be doing it. Your support means more to me than I can say, and I thank you so much for being a part of this with me.

So thanks.

If you have something to add to the list, please do so by leaving a comment below, but keep in mind as well the above note requesting civility. Please don’t make me feel stupid because I forgot your favorite record. I forgot a lot of people’s favorite records. I’m one dude. I’m doing my best.

And please keep in mind if you’ve got a list together that the Year-End Poll is open and results will be out Jan. 1.

Everybody have a great and safe 2019.

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The Obelisk Show on Gimme Radio Recap: Episode 06

Posted in Radio on December 18th, 2018 by JJ Koczan

gimme radio logo

Okay, so I guess the first thing you should know if you don’t know is I sort of have a radio show. It’s called The Obelisk Show. I’ve been in league with the good peoples at Gimme Radio for a couple months now, and it seems like it’s sticking, which is nice. They’ve been kind enough to give me a forum through which to share music, and I’m happy for the opportunity. I’ve guested with Diane Farris (also now on Gimme) on WFMU a few times over the years, but haven’t hosted a show since I was in college at WSOU in New Jersey, so it’s been a thrill to do so again. I had missed it more than I realized.

Since it doesn’t look like I’m about to be immediately shitcanned by Gimme on account of general suckdom — can’t help but feel like I’m getting away with something there — I wanted to get an archive going of playlists on here, basically so I can refer to it later and know what I’ve already played and when. Otherwise, I’ll just do the same stuff all the time, because I’m kind of a doof generally. So here we are.

The latest episode — the sixth — was a wrap-up of what I thought were some of the best tracks from 2018. You can see the playlist below in the kind oldschool-looking spreadsheet form. Ignore the asterisks by the album titles; they just mean something that came out this year. Which, in the case of this episode, was everything.

If you didn’t get to hear it the first time around or want to dig into other episodes, Gimme has an archive available on the cheap, and they reair the show as well. Thanks either way if you get to check it out.

I thought this was a decent one. Here’s the playlist:

The Obelisk Show Ep. 06 – 12.16.18

Gozu Ricky “The Dragon” Steamboat Equilibrium* 0:06:24
Mos Generator The Destroyer Shadowlands* 0:04:27
BREAK
Traden Hymn Traden* 0:07:20
Sandrider Hollowed Armada* 0:06:06
Grayceon Let it Go IV* 0:06:22
Sunnata Outlands Outlands* 0:07:37
BREAK
Monster Magnet When the Hammer Comes Down Mindfucker* 0:05:42
Fu Manchu Don’t Panic Clone of the Universe* 0:02:04
Foghound Known Wolves Awaken to Destroy* 0:03:59
Naxatras You Won’t be Left Alone III* 0:11:17
King Buffalo Morning Song Longing to be the Mountain* 0:09:49
Weedpecker Liquid Sky III* 0:06:33
Black Rainbows Riding Fast Till the End of Time Pandaemonium* 0:04:07
Witch Mountain Burn You Down Witch Mountain* 0:07:40
BREAK
Sleep Sonic Titan The Sciences* 0:12:27
YOB Ablaze Our Raw Heart* 0:10:13

The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Tuesday at 9AM. Next show is Jan. 13. Thanks for listening if you do.

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Friday Full-Length: Fu Manchu, Daredevil

Posted in Bootleg Theater on September 28th, 2018 by JJ Koczan

Fu Manchu, Daredevil (1995)

What’s most incredible about listening to the earliest Fu Manchu albums, whether that’s 1995’s Daredevil or their preceding 1994 debut, No One Rides for Free (reissue review here), is just how vividly the band knew even at that point what they wanted to do. Granted, guitarist/vocalist Scott Hill, bassist Mark Abshire and drummer Ruben Romano had worked together in the prior outfit, Virulence, whose work Southern Lord reissued in 2010 as the collection, If this isn’t a Dream… 1985-1989 (review here), but even so, for all of Fu Manchu‘s reputation as a bunch of aloof, laid back surfer dudes who, I don’t know, just happened to plug in their guitars and help define fuzz rock?, the coherence and the consciousness at work in No One Rides for Free and Daredevil, the sheer songcraft in cuts like “Trapeze Freak,” “Gathering Speed,” “Sleestak,” “Egor” and “Push Button Magic,” the structure of the album — CD era linearity, to be sure, but still vinyl-ready at 11 tracks/43 minutes, and indeed reissued by the band on LP in 2015 via their At the Dojo imprint; it’s up on their Bandcamp page — and the performances themselves leave no doubt that Fu Manchu were aware of the sound they were seeking out. The groove that would so much come to fruition on subsequent outings like 1996’s In Search Of… (discussed here) and 1997’s The Action is Go (discussed here), the Eatin’ Dust 10″ in ’99 and 2000’s King of the Road, was already embedded in their sound, and in its toneand overarching flow, Daredevil shows that without question. It emits that SoCal sense of cool born of skate and surf culture that still resonates nearly a quarter-century later, and not just because kids are walking around in flannels and boots again (hilarious though that is), but because it taps into the timeless notion of American self-determinism; the will and ability to look at what the masses are doing and say, “nah, not for me.” As long as there’s been cool, that’s been it, and listening back to Daredevil now, thinking of it in its world-just-getting-over-grunge-and-wondering-what’s-next context, Fu Manchu were doing precisely that.

As the band continued to evolve into the immediately-identifiable processes it continues to carry out to this day — their latest album, Clone of the Universe (review here), is a winner — so too did the lineup change. Daredevil marked the departure of Abshire from the four-piece with HillRomano and lead guitarist Eddie Glass, and the arrival of bassist Brad Davis, who remains in the lineup. One might then think of it as a bridge between the debut and In Search Of… to come, but that does something of a disservice to the chorus of “Coyote Duster,” the fu manchu daredevilstart-stop riff and Glass‘ solo there, or the shimmy in second cut “Tilt,” which backs “Trapeze Freak” at the outset and, like that track, tosses the name of the record into the lyrics. Certainly at the time Daredevil came out, no one knew Fu Manchu would be back the next year with a genre landmark, and while Daredevil still has its formative elements in terms of their approach, to listen to the semi-spaced push of “Travel Agent” and its ultra-stoned nodder compatriot “Sleestak” and its consciousness-drifting answer in “Space Farm,” the roots of what they’d become are right there in the depth of distortion, the weight of their rhythm and their seemingly endless supply of hooks. “Lug” has some elements of the Southern Cali punk scene that birthed them, and “Egor” and “Wurkin'” back-to-back are solid mid-paced groovers that are no less memorable than anything before them while retaining their edge as more than just exercises in songwriting. Top it off with “Push Button Magic” as a late highlight, and Daredevil winds up as a completely underrated inclusion in the Fu Manchu catalog. It may be the that the Hill/Glass/Davis/Romano lineup were getting their feet under them in these songs, but there’s no question they absolutely did so at some point before they hit the studio to record. Seriously, who’s gonna fight with Glass‘ watery solo in “Space Farm?” Jerks, that’s who.

There’s no denying — and I mean none — what Fu Manchu would go on to create, and I’m not taking anything away from those records. And as Glass and Romano departed in order to re-team with Abshire in Nebula, and a fresh-off-Kyuss Brant Bjork took over on drums and Bob Balch came in on lead guitar, Fu Manchu‘s delivery only continued to smooth itself out to a point of unmatched fuzzy refinement. One could argue that 2001’s California Crossing and 2004’s Start the Machine (the latter their lone release on DRT Records, which at that point was also handling Clutch) took them too far into a commercial direction, but that’s mostly a quibble with production value, since Fu Manchu have always been and remain an immediately accessible listen. Even unto their Century Media years with 2007’s We Must Obey (discussed here) and 2009’s Signs of Infinite Power (discussed here), which beefed up their fuzz considerably, they never had anything approaching pretense in their sound, and their latter-day work on 2014’s Gigantoid (review here) and the aforementioned Clone of the Universe, has found them reopening the conversation with their punk and hardcore roots with a rawer take while retaining an affinity for the heavier elements they helped make so essential in the first place. Classic band? Definitely.

And most importantly, the value of Daredevil extends beyond the academic to the songs themselves. 23 years after the fact, it’s still a gnarly listen, brimming with attitude and a quality of output that, yes, demonstrates clearly that Fu Manchu‘s vision of fuzzy heavy rock was not happenstance, but moreover, simply kicks ass. To my knowledge, they’ve never played it in its entirety live as they have The Action is GoIn Search Of… and (I believe) King of the Road, and I’m not sure they would, as it doesn’t have the same kind of profile as those records, but if any of these tracks made its way into a set, as “Push Button Magic” still does every now and then, I can only imagine feeling lucky to be there to see it.

As always, I hope you enjoy. Thanks for reading.

If you’re reading this, that at least means I made it to the end of the week enough to get it posted, so you’ll pardon me if I take a second to congratulate myself on that.

Before I get into anything else, I want to say thanks to everybody who listened to the first episode of The Obelisk Show on Gimme Radio. Can’t even begin to tell you how much that means to me. If you get the chance, it’s re-airing two more times over the next couple days:

Saturday, Sept 29 at 11am ET / 8am PT
Monday, October 1 at 11am ET / 8am PT

If you get to check it out, it’s hugely appreciated.

I’ve already turned in a playlist for a second episode — yes, it starts with YOB — but have to learn how to use their voice-recording dealy before it actually gets to air. We’ll see how it goes. Either way, my plan is to bring on The Patient Mrs. for a guest spot following up on the first episode’s cameo.

And next week I’m also traveling to Norway for the Høstsabbat festival, so I might try to chase down dudes in Asteroid or Elephant Tree, etc., and see if they want to record a couple minutes to air at a later time. That would probably be episode three. Look at me, thinking ahead.

I leave for that on Thursday, get into Oslo on Friday. Fest starts Friday evening, runs through Saturday, starting in the afternoon, and then I fly back on Sunday. Quick, efficient, in and out. My flights have a layover in Copenhagen, but nothing long enough to actually leave the airport. Still, I’ve never been to Denmark. Now at least I can say I was in and out. That’s more than I’ve ever been able to do with Sweden, much to my ongoing shame.

But I’m looking forward to Høstsabbat and incredibly grateful for the chance to get back there. It’s going to be good.

The Patient Mrs., The Pecan and I were in Connecticut last weekend, and it was good to get out of the house for a couple days and kind of reset the brain after having to put The Much-Missed Little Dog Dio down. At least not be somewhere where everything reminds me of her, which seems to be the case at home. It’s been rough. I know loss is universal, and everyone goes through it, and it always sucks, but some you feel more than you feel others. This one I’ll have with me for as long as I have anything.

What part of the week I didn’t spend writing or falling asleep against my will, I mostly spent taking care of the baby. Last semester, The Patient Mrs.’ schedule allowed her to come home between classes, feed him before she went back, and at least give me a couple minutes to get a post up or do something crazy like shower or go to the bathroom. The shifts (that is, mine) are longer now and her commitments outside of teaching classes are manifold. Lot of meetings, lot of favors done for colleagues. The Pecan is 11 months old as of earlier this week. He’s walking and babbling, climbing the furniture and getting into absolutely everything, but he’s also a lot, a lot, a lot of fun right now.

He’s had stretches where it’s been hard to take — those early teething stretches were not great — but (fingers always crossed) he’s sleeping through the night, which I know because I’m up for most of it and have the baby monitor on while I write, and he wants to play and read books and mash up blueberries and laugh and have a good time. Sure, we spent all day yesterday watching the Kavanaugh hearing, and that was probably the most screen-time he’s ever had, but even so, it’s a blast to chase him around the room, pick him up, give him his stuffed Porg to play with and so on. A lot of fun. Feels good. Money is super-tight — as in, The Patient Mrs. got paid last Friday and we were broke by the time I finished grocery shopping and buying gas this past Tuesday — but “daddy” is the best job I’ve ever had, hands down.

Emotions.

I’ve got a lot of stuff in the works for next week, including at some point a Wasted Theory video premiere that needs to get placed, but here’s where the notes are at right now ahead of the Norway trip:

Mon.: Megaton Leviathan interview and track premiere.
Tue.: The Exploding Eyes Orchestra album stream.
Wed.: Bourbon album stream.
Thu.: Probably Wasted Theory video premiere or otherwise Windhand review.
Fri.: King Buffalo interview… me.

A word about that last entry: Yes. Drummer Scott Donaldson from King Buffalo wanted to do an interview with me. He sent me questions and I answered them, and I’m going to post that on Friday. It was a fun, silly kind of thing, and it feels super-weird and self-glorifying in a way that makes me really, really uncomfortable, but it gives me another chance to talk about their new record, so whatever. I hate the thought of posting it like it’s some ego trip like who the fuck am I to think anyone gives a shit about anything I say other than “yo, riffs are cool,” but yeah. I’ve told myself I’m putting it up and in all likelihood, unless I can manage to talk myself out of it between now and then — as, rest assured, a big part of me is trying to do — it’ll be up sometime before the fest starts on Friday in Oslo.

Alright, that’s enough. It’s 5AM and time to put up the first of today’s six posts. Woof. Then maybe I’ll have some more coffee and read or go back upstairs and try to crash out for a bit until the baby gets up, which I expect he will within the hour. I was up a few times between when I first fell asleep at 9PM and 2:30AM when the alarm went off, so whether it’s during baby-nap or what, more sleep is probably going to happen today one way or another.

Have a great and safe weekend, and again, thank you for reading. Back Monday, and please check out the forum and the radio stream.

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