Posted in Reviews on October 28th, 2015 by H.P. Taskmaster
I kind of love it that I don’t know what to expect at shows these days. Acid King, sold out, on a Monday night, for example. Don’t get me wrong, Acid King are fucking incredible live, and everyone and their cousin should show up to see them, but it was like a great correction in the universe to see that actually happen at the Cambridge’s Middle East Upstairs where the no-pun-intended riff royalty showed up aided by local support from Gozu and Black Beach, plus a liquid light show on three projectors shot upward from the front row of the crowd for all three sets. The packed house was a generational mix, some of those who probably saw Acid King on tour their last time through — some nine years ago — and others turned on and tuned in by this year’s excellent Middle of Nowhere, Center of Everywhere (review here) studio comebacker on Svart, but the gig was enough of a draw that even The Patient Mrs. came out for it, and that’s even rarer than a Monday sellout.
Speaking of not knowing what to expect, this was my first exposure to local trio Black Beach. The Middleboro, MA, trio have been around long enough to belt out a series of EPs and short releases since 2013 and have a debut full-length, Shallow Creatures, reportedly due early next year, and while they were the youngest act on the bill, that only served to add vigor to their swinging blend of heavy punk and indie, leaning at times toward stoner riffing but probably drawing from cooler influences than stuff like Nick Oliveri-fueled Queens of the Stone Age, even if they were taking the longer road around to get there. They had a good early crowd on their side and made the most of it on cuts like “Rats” from last year’s Play Loud, Die Vol. 1 or “Future Failure” from the upcoming LP while geometric shapes and orange and blue oils colored the stage, winding up with enough grunge in their sound to be distinct from heavy rock but not entirely separate, their most intense moments satisfyingly cathartic but still thoroughly grooved.
It’s only been five months since I last saw Gozu play, but they’ve clearly spent the intervening time hammering out new material. The slower groove of “Bubble Time” was complemented well by also-new set-opener “Lorenzo Llamas” and “Mr. Riddle” from 2010’s sophomore outing and Small Stone debut, Locust Season (review here), and after “Meat Charger” from the same record, they hit into the nodding chug of “Oldie” and the unabashed throttle of “Nature Boy,” both new, and the latter of which might have to become their closer for sets, as once people get a grip on what they’re doing with its quick turns between the verse and chorus and its building fury, it will be a hard one to follow. The four-piece of drummer Mike Hubbard, bassist Joe Grotto, guitarist Doug Sherman and guitarist/vocalist Marc Gaffney were locked in as one would expect, but encouragingly, there was no hiccup in the switch between new material and old, and like Black Beach, they seemed readily comfortable on their home turf.
After “Nature Boy,” they wrapped with “Bald Bull,” the only inclusion in the set from 2013’s The Fury of a Patient Man (review here). That was somewhat surprising, but I guess time was limited, and the show moved along at a pretty solid clip. Between that, the simple fact that Acid King were touring at all, that Gozu were on the bill — Kings Destroy played with them as well over the weekend, but weren’t doing the Boston-area show; nothing against Black Beach, but it would’ve been nice to see them and a three-band night with Kings Destroy, Gozu and Acid King would be like the god Apollo doing me personal favors — and that in keeping it to three bands, the show seemed to acknowledge the fact that most people there probably had to go to work in the morning, the whole vibe of the night felt like getting away with something. Like the entire room full of people snuck out of their lives to show up, or maybe that was just me.
Nearly all of Acid King‘s set — from “Intro” to “Outro” — came from Middle of Nowhere, Center of Everywhere, and as I continue to be enthralled with that record, that was just fine by me. Through “Red River,” “Laser Headlights” and “Infinite Skies,” the San Francisco three-piece of guitarist/vocalist Lori S., bassist Mark Lamb (also of Fought upon Earth) and drummer Joey Osbourne unfurled tonal bliss and unmatched rhythmic roll, Osbourne‘s swinging snare work in “Laser Headlights” like a master class in how to do groove right. The nod? Infectious. The performance? Dead on. Acid King took the stage and melted the room. Philistines moshed, others nodded, still others disrobed. I’m pretty sure three people called into work and quit their jobs in the midst of “Infinite Skies.” It was fantastic. It may have taken them 10 years to get a record out, but watching them play to the full-to-the-brim Middle East, it was more like Acid King had just been waiting a decade for the rest of the world to catch up, which obviously it has begun to do.
They played two older songs, “Electric Machine” from 1999’s landmark Busse Woods was led into perfectly by “Coming down from Outer Space” off the new record, and “2-Wheel Nation” from 2005’s III, which was the encore. “Electric Machine” might have gotten the biggest response of the night, though I was even more stoked for “Coming down from Outer Space,” not that it’s worth quibbling one or the other in a reality that was kind enough to present both. Lori‘s guitar finished out “2-Wheel Nation” alone after Lamb‘s bass and Osbourne‘s drums dropped out, the fuzz imprinting itself in a last remaining mental cast on those there to hear it. I consider myself fortunate to have been in that number.
Posted in Reviews on August 24th, 2015 by H.P. Taskmaster
Even before you press play on Electric Ladyland [Redux] or its companion piece, The Best of James Marshall Hendrix, it’s hard not to admire the coordinating prowess of Magnetic Eye Records in making it all happen. Most people couldn’t corral three bands to put together a single show bill, and the label’s Mike Vitali has wrangled 20 acts from the US and European heavy rock underground to pay homage to Jimi Hendrix in time for what would’ve been the supra-legendary guitarist’s 75th birthday, topped it of with artwork by David Paul Seymour, whose piece for Electric Ladyland [Redux] easily stands among the best covers of 2015, and Caitlin Hackett, whose three-eyed-bird portraiture perfectly suits Hendrix‘s groundbreaking psychedelic blues. Packaged separately on 2CD and 2LP but clearly intended as complements, both tribute collections showcase staggering ambition on the part of the label putting them together, and the fact that Electric Ladyland [Redux] and The Best of James Marshall Hendrix materialized at all is an automatic, unqualified triumph. Here are the full tracklistings:
VA, Electric Ladyland [Redux]
1. Elephant Tree, “…And the Gods Made Love” 01:44
2. Open Hand, “Have You Ever Been (To Electric Ladyland)” 03:01
3. Superchief, “Crosstown Traffic” 03:32
4. All Them Witches, “Voodoo Chile” 14:59
5. Origami Horses, “Little Miss Strange” 03:52
6. The Heavy Eyes, “Long Hot Summer Night” 04:17
7. Earthless, “Come On (Let the Good Times Roll)” 05:03
8. Wo Fat, “Gypsy Eyes” 04:34
9. Mos Generator, “Burning of the Midnight Lamp” 03:34
10. Gozu, “Rainy Day, Dream Away” 08:07
11. Summoner, “1983… (A Merman I Should Turn to Be)” 12:56
12. Claymation, “Moon, Turn the Tides… Gently Gently Away” 01:24
13. Mothership, “Still Raining, Still Dreaming” 06:20
14. King Buffalo, “House Burning Down” 04:44
15. Tunga Moln, “All Along the Watchtower” 03:28
16. Elder, “Voodoo Child (Slight Return)” 07:08
VA, The Best of James Marshall Hendrix
1. Child, “In from the Storm” 04:57
2. Elephant Tree, “Manic Depression” 04:10
3. Wo Fat, “Machine Gun” 12:49
4. Stubb, “Little Wing” 04:18
5. Rosy Finch, “Foxy Lady” 05:17
6. Geezer, “Little Miss Lover” 04:50
7. Wo Fat, “Gypsy Eyes (Extended)” 07:13
As I said, staggering. Even more so in the case of Electric Ladyland [Redux], since not only do the usual comp and tribute album concerns apply of getting everything together and turning it into a cohesive listening experience, but also because in paying homage to a full-length album specifically, it’s also pivotal that Electric Ladyland [Redux] flows front to back whilebeing comprised of 16 separate recordings taking place in 16 separate studios with 16 separate performances andtreading on some of rock and roll’s most sacred, pivotal ground. Covering Hendrix? Unless you’re Stevie Ray Vaughan — and hell, even if you are — it’s a tricky proposition for one song, let alone a full record. It’s like someone asked Magnetic Eye if they wanted to go mountain biking and the label built a rocket, went to Mars, terraformed the planet and then decided to tackle Olympus Mons, on a Huffy.
Okay, an exaggeration, but you take my meaning. And Electric Ladyand [Redux] mostly succeeds in its decidedly Herculean mission. There are one or two changes that come across choppy — an early one in the jump from the groovy vibes of Elephant Tree and Open Hand into the burlier Superchief, who give an able showing of what they do but ultimately feel out of place — but on the whole, it’s hard to argue with the results as they’re presented throughout, whether it’s King Buffalo‘s dreamy “House Burning Down” or groups making the material their own, like Wo Fat‘s “Gypsy Eyes,” Summoner‘s re-envisioned “1983… (A Merman I Should Turn to Be)” and Gozu‘s adventurous “Rainy Day, Dream Away,” which leads off the second CD of the collection after Mos Generator‘s “Burning of the Midnight Lamp” finds the Washington-based act showing the roots of their own approach to landmark hooks, as do Mothership with their “Still Raining, Still Dreaming.”
Hearing Earthless with vocals is something of a surprise, and their take on “Come on (Let the Good Times Roll)” (an Earl King cover) not only is true to their Hendrix influence, but is a decided showcase of just how influential they’ve been on the West Coast underground — there are a good number of bands out there striving to sound like Earthless covering Jimi Hendrix — and having Swedish rockers Tunga Moln perform “All Along the Watchtower” in their native language puts an unexpected spin on arguably Electric Ladyland‘s most recognizable piece. All Them Witches are right in their element jamming on “Voodoo Chile,” and Elder do justice to the album’s closer in their “Voodoo Child (Slight Return),” capping the tribute with one last highlight to round out the many before it.
There are several acts who reappear on The Best of James Marshall Hendrix, including Wo Fat and Elephant Tree, but as the latter only had the intro “…And the Gods Made Love” to lead off Electric Ladyland [Redux], it seems fair enough. In the case of Texas fuzz forerunners Wo Fat, I’m not at all going to fight with their extended jam on “Gypsy Eyes” as it closes out The Best of James Marshall Hendrix, and their 12:49 run through “Machine Gun” suits just as well. Leading off the companion tribute are Australian blues rockers Child, who give “In from the Storm” due soul and sway, and after Elephant Tree‘s “Manic Depression” and Wo Fat‘s “Machine Gun,” hearing Stubb take on the sweet melodies of “Little Wing” couldn’t be more perfect, especially leading into Rosy Finch‘s stomping “Foxy Lady,” which in turn gives way to Geezer‘s “Little Miss Lover,” coated in wah and right in the New York band’s wheelhouse, even as it gives way to a deconstructing long-form fadeout.
Wo Fat‘s extended “Gypsy Eyes” picks up from that silence with a bonus track-style vibe, but really, both releases feel like a bonus the whole time through. There are some variances in sound and style and some bands are more suited to the source material than others, but the effort that has been put into Electric Ladyland [Redux] and The Best of James Marshall Hendrix and the passion that bleeds from every second of each of these tracks are simply inarguable. It may be preaching to the choir to have heavy rock and psych bands covering Hendrix tracks, but the vibe throughout both of these tribute comps is much more of a genre paying homage to one of its founders who, sadly, didn’t live long enough to see the generation-spanning impact of his work realized. Equally admirable in mission and execution.
Posted in Reviews on May 27th, 2015 by H.P. Taskmaster
Somehow, this one felt like it was for all the marbles. Over the course of the six nights prior, I’d been to three shows — Clutch (review here), Ufomammut (review here) and Conan (review here) — and with the addition of this one, it would be four shows in three different states. I don’t mind telling you I was dragging ass after driving from Brooklyn to Connecticut after the Conan show the night before, and tacking a drive home to Massachusetts onto that and then another 90 minutes north to Manchester, New Hampshire’s The Shaskeen Pub had some pretty stiff competition from, well, the couch, but ultimately the “gotta go” impulse won out. It had been an obscenely long time since I last caught Gozu — one full year and three days, to be exact — and I was likewise eager to check out newcomers Shatner, who feature two-thirds of We’re all Gonna Die in their lineup, as if the moniker wasn’t enough of a sell.
Put together with New Hampshire’s own Thunderhawk and American Burn, it was a four-band Saturday at the Shaskeen that easily warranted attendance. My first time at the Irish-style pub, I found it inviting for more than its lack of a cover charge. Bands played on a stage in the back room, which had its own bar for those inclined to imbibe — there were plenty of them around — and stools strewn about the place even aside from a dedicated merch area. Up front played hits from the ’90s and I guess in the back it was the metal version of the same idea, with your Panteras, Sepulturas, Megadeths, and so on. It was after 9:30 when the show got going, so I knew it would be a late one, but screw it. This was the final stage of my week-long blowout before starting a new job after Memorial Day, and if you can’t get up for that, you might as well already be at the office in your business casual.
Here’s how it went down:
My first time seeing the Boston trio felt overdue, though as guitarist/vocalist Jim Healey pointed out from the stage, it was only their third show, so I guess not that overdue. It will be a sad day for Beantown heavy rock and roll if Healey ever loses that chip on his shoulder — the aggressive edge he brings to his songwriting and delivery is a typifying staple of the city’s specific style. He and bassist/backing vocalist Jesse Sherman are veterans of We’re all Gonna Die, but Shatner are less metal on the whole, such that when they broke into a cover of Thin Lizzy‘s “Bad Reputation” amid a slew of yet-unfamiliar originals — their first recording session took place this past Feb. at Amps vs. Ohms in Cambridge, but the results have yet to hit public ears — the transition was natural and unforced. Their time was relatively brief and the set offered some symmetry in opening with “Dead in Your Eyes” and closing with “Death Reheated,” perhaps working on a theme, but the latter made a particularly resonant impression, Healey out front in a catchy, building chorus propelled forward by Cocked ‘n’ Loaded drummer Rob Davol. They’re experienced players searching out a new dynamic, but the songwriting seemed to be there, and the first impression was a positive one. I’m sure it won’t be the last time I see them and that’s completely cool by me.
I was surprised to find out that American Burn, who seemed to be no strangers to The Shaskeen, had only formed in 2013. They’ve obviously made an impression in that time with their dudely dual-guitar groove, rooted in metal but grown to border on heavy rock — the transition in influence from Pantera to Down, if you want to trace it so specifically. Not really my thing, but they were tighter than their two years would lead one to believe, and they absolutely packed the room out with the biggest crowd of the night. I didn’t do a head count, but if you told me it was upwards of 100 people, I wouldn’t argue. There was barely space to move in that back room while they played, and those who came out not only showed up, but were legitimately into it, singing along, headbanging and so on. Credit to the locals for filling the place up. I don’t know how much touring they’ll do or how they’d pull outside Manchester at this point, but seems safe to say they’ve got their hometown conquered, or at least they did this night.
Also native to Manchester, double-guitar four-piece Thunderhawk (also stylized with a capitalized second ‘h’) released their Do or Die debut full-length last October. Their style was less metal than American Burn‘s, more Easy Rider than Sons of Anarchy, and laced with a solid dose of modern stoner push, like The Sword if they’d binged on Motörhead or, if you prefer, High on Fire at their most rolling. Lead guitarist Logan Larocque was a quiet presence on the right side of the stage compared to guitarist/vocalist Bryan McCarthy, bassist/vocalist Christopher Shelton and drummer Jon Kirsch, but seemed content to let his leads to the talking, and that turned out to be fair enough. Shelton and McCarthy, the latter in an American flag t-shirt with the slogan “the best things in life are free,” kicked out weighted groove with punker’s abandon, and for a bonus round a the end of their set, they brought up Ichabod vocalist John Fadden — apparently local to the area — for a cover of Black Sabbath‘s “War Pigs.” It seemed they’d done it before, but either way, it was a bit of fun for the crowd to sing-along to (myself included), and did well to show Thunderhawk could both nail their own material while fostering swinging grooves and let loose and have a good time. I knew nothing about them going into the performance and came out on the other side feeling like I needed to check out that album.
Like I said, it had simply been too damn long since the last time I saw Gozu. The four-piece would be playing New Hampshire two weekends in a row, and the next week doing a tribute to Scissorfight on the occasion of Smuttynose Brewing‘s beer in homage to the Granite State Destroyers. That would’ve been cool to see, but even more than that, I was hoping to catch Gozu — the now-solidified lineup of guitarist/vocalist Marc Gaffney, guitarist/backing vocalist Doug Sherman, bassist Joe Grotto and drummer Mike Hubbard — playing something new, and along with the familiar swagger of “Disco Related Injury,” the thrust of “Meat Charger” and the mega-hook in “Ghost Wipe,” the band threw in two recent pieces. Titled “Bubble Time” and “Lorenzo Lamas” in their tradition of putting silly names onto killer tracks, both had a somewhat moodier vibe than, say, “Mr. Riddle” or the aforementioned “Ghost Wipe” — however grim the lyrical themes of either of those might be — but being the first to emerge from this incarnation of the band and more directly this rhythm section, they fit well in the set along with some of the faster, older songs. I know better than to try to suppose anything about the next Gozu record after one airing of two songs live, but nothing I heard sounded like a step backward. Informed they had 10 minutes left, they kicked into the eight-minute “Alone,” its peaks and valleys executed without any rush whatsoever, and then snuck in “Bald Bull” right after, giving the night a more raucous sendoff. How I let it go quite so long from one gig to the next, I’m not really sure, but as they continue to put ideas together for their next record, I’ll have my eye out to catch them again sooner than later. Maybe not this weekend, but soon.
I guess the Shaskeen had come pretty close to curfew by the time Gozu were done, because the lights came on quickly and those still hanging around were told in no uncertain terms to finish drinks, close tabs and get out. Fair enough. The ride back down south on I-93 was uneventful enough if one didn’t mind avoiding swerving drivers who’d started their holiday early, and I got home a couple minutes before 3AM, same as the night before, carried largely by the adrenaline at having pulled off this monumental week of travel and shows. I’d have called it a mini-tour if there were maybe one or two other gigs involved, but there was enough road-time even without, and I’m glad to say that in this case as in the others, it was well worth getting there and getting back.
Tickets go on sale March 6 for Eye of the Stoned Goat 5, set to take place June 12-13 at Amityville Music Hall, on Long Island. The Golden Grass and Mos Generator will headline, and the lineup has been finalized to include acts from the East Coast, the West Coast and in between — Lord Fowl, Wounded Giant and Brimstone Coven, if you need an example of each — in what’s without a doubt the most expansive Stoned Goat festival yet.
The poster for this year’s Stoned Goat is by Joe Mruk, and you can see the final version below (click to make it even larger) followed by the official lineup announcement from the fest:
‘Eye of the Stoned Goat 5’ announces official lineup for summer festival!
Snake Charmer Booking is pleased to announce the final artist lineup for the annual celebration of stoner-psychedelic rock and doom-heavy metal known as The Eye of the Stoned Goat Festival—now in its 5th year. The two-day fest, featuring some of the most exciting talent of the Mid-Atlantic, East and West Coast, will take place June 12th and 13th 2015 at the Amityville Music Hall in Long Island, New York.
Headlining the Friday night opener on June 12th are Brooklyn, New York trio The Golden Grass (Svart Records), whose catchy progressive psychedelic self-titled debut received numerous accolades as the “Best of 2014.” Another band that has received copious amounts of praise from rock blogs and music rags alike are none other than Long Island’s long-running rock outfit John Wilkes Booth, whose album ‘Useless Lucy’ was mentioned in many journalists “Best of 2014” lists. Also joining the bill from Long Island territory, those wildly eclectic heavy rockers Moon Tooth, who Metal Injection recently named one of “10 Awesome Underground Bands You Need in Your Life!”
Naturally, it wouldn’t be a ‘Stoned Goat’ show without giving attendees a healthy dose of band from the excellent Small Stone Records label. This year’s elite selection includes three bands that are simply a treat to bring to the stage: Boston’s master craftsmen and 2014 Desertfest alums, Gozu; local New York natives It’s Not Night: It’s Space; and returning ‘Stoned Goat’ retro rockers Lord Fowl, currently working on the follow-up to their 2012 riff encyclopedia, Moon Queen.
More contenders for total rock domination include Ripple Music stalwarts White Dynomite, composed of former members of such fine acts as Roadsaw, Lamont, and Wrecking Crew, to name a few. Also on the Ripple Music roster, from Frederick, Maryland: Weed is Weed, featuring Dave Sherman and Gary Isom of Pentagram, Earthride and Spirit Caravan fame. Additionally, hailing from Pittsburgh, Pennsylvania, fans will experience the infectious “sludge n’ space rock” vibe of Supervoid, who will be heading into the studio in February to record their follow-up to 2013’s Filaments.
For the first time, Seattle Washington’s own rising stars Wounded Giant will be bringing their blistering, monstrous, signature sound to this year’s festival. Also spearheading the volume-dealing campaign from STB Records is Connecticut’s Curse The Son, who’s latest offering Psychache (2014) was widely heralded as “the best of its kind in 2014” by The Sludgelord and other critics. Another band traveling a good distance to bring their doomy, occult craft to the east coast is Metal Blade Records’ newest acquisition, Brimstone Coven, who are currently working on their much anticipated next album for the label. Speaking of travelling a long distances, the festival will witness the U.S. debut of Toronto, Canada’s demonic stoner-blues rockers Ol’ Time Moonshine. Alongside this already hefty bill, ESG5 has decided to treat festival goers to the atmospheric retro-doom stylings of Totem Cat Records’ own Doctor Smoke.
One band that has been tenaciously trekking through the rock scene for over a decade now is Philadelphia’s working class groove dealers, Kingsnake. The four boys of Kingsnake have had the honor of performing alongside such acts as Clutch, The Sword, Scorpion Child, The Skull, and Vista Chino, to name a few. Also on board for the 5th installment of the festival, Long Island locals Borgo Pass—a popular act that has developed quite an impressive loyal following.
Last, but not least, officially closing out this year’s Eye of the Stoned Goat festival is none other than Port Orchard, Washington’s stoner rock torch-bearer’s Mos Generator. This marks the band’s first ever performance in New York. Mos Generator have released 5 studio albums, a retrospective album, numerous splits, and a live album, attracting such labels as Roadburn, Small Stone, Ripple, Nasoni, and Lay Bare. For charismatic singer/guitarist Tony Reed and crew, touring has been just as important to the profile of the band as making records. Over the years, Mos Generator has shared the stage with many great heavy rock bands, and in March of 2013 joined a 26-date European tour with Saint Vitus, earning a whole new fan base to their fuzzy, energetic sound. On stage, Mos Generator embodies the word “chemistry,” revolving their sound around swagger and groove, while improvising just enough to keep the songs feeling fresh from night to night—often with delightful results.
Tickets for ‘Eye of the Stoned Goat 5’ will officially go on sale on March 6th 2015. The Event will be 21+ with I.D. Tickets will be $15 per night, or $25 for a weekend pass. For more information on the Eye of the Stoned Goat festival, visitwww.TheEyeoftheStonedGoat.com
Posted in Whathaveyou on January 26th, 2015 by H.P. Taskmaster
Lineup announcements have started coming through for the previously revealed The Eye of the Stoned Goat 5festival, which will take place June 12 and 13 in Amityville, NY. It’s looking like a pretty tight assemblage of bands hitting Long Island for the fest, with Lord Fowl and John Wilkes Booth leading the charge as the first two announcements a couple weeks ago and Weed is Weed and White Dynomite just added last night to a bill that already also includes Kingsnake, Gozu, It’s Not Night: It’s Space, Brimstone Coven and Ol’ Time Moonshine.
If you’ll indulge me, I’ll get caught up on the announcements, including those for Weed is Weed and White Dynomite, just so we’re all on the same page going forward.
Here they are going all the way back:
Alright folks, it’s time to drop a couple heavy hitters on ya!
We are extremely proud to announce, appearing at this year’s festival is Massachusetts Rock n’ Roll time bomb White Dynomite!
Also, a band that truly needs no introduction, with former members of Pentagram, Spirit Caravan and Earthride… the almighty Weed is Weed!!!
We’ve been trying to get these guys on the ‘Stoned Goat for years, this year the planets all aligned in our favor.. Bringing their tough-as-nails, working class grooves to Long Island this year is none other than Philadelphia’s own Kingsnake!!!
Announcing the next two artists joining the Amityville Music Hall stage at ESG5 this June…. Small Stone Records and local New York Psych-Rock trio It’s Not Night: It’s Space!!!
Also, hailing from the depths of Toronto Canada, the demon-rock peddlers Ol’ Time Moonshine!!!
Alright folks, it’s time to kick things up a notch! Joining us on this year’s ESG5 installment is none other than Small Stone Records and Desertfest 2014 alums GOZU!!!
Next up…. We are thrilled to announce that appearing at ‘Eye of the Stoned Goat 5″ on June 12-13th is Long Island’s very own Moon Tooth and Metal Blade Records Occult Rock Dealers Brimstone Coven!!!
Eye of the Stoned Goat is proud to announce the first two bands appearing at ESG5 in Long Island, NY June 12-13th are none other than former ESG alums- LORD FOWL and John Wilkes Booth!
Posted in Features on January 21st, 2015 by H.P. Taskmaster
This is the longest list of anything I’ve ever done, and it might be the longest I ever do. The truth is, when I started keeping track of things coming out in 2015, back around October/November, I had no idea what I was getting into. More and more names just kept getting added to the list, and between solid release dates, bands entering the studio, writing sessions underway and the usual round of vague “they’re due”-type speculation, it kept growing. Even now, I’m quite sure that by the time I’m finished with this, I’ll add something else, and 90 will become 91, and then someone will point out something glaring I forgot and 91 will become 92, and so on.
I don’t think I could reasonably expect anyone to read 90 complete entries, so I’ve broken it down somewhat. There are 52 weeks in a year, so my thinking is that if you buy one record per week, I’ve got recommendations to carry through till December (with the acknowledgement that we’re already a couple weeks into 2015) and then more beyond that. Even asking you to skim 52 entries is a lot, but hell, we’ve got 12 months until 2016, so there’s plenty of time. We’ll do 52 entries and then list the others, both alphabetically.
Thank you in advance for reading.
1. Acid King, Middle of Nowhere, Center of Everywhere
If this was my year-end list instead of my year-start list, Acid King‘s Middle of Nowhere, Center of Everywhere would be my album of the year. Best album of 2015 about 20 days into it? Maybe. The Oakland trio’s first outing in nearly a decade is a joy of languid riffing and heavy spaceout, songs like “Coming down from Outer Space” and “Center of Everywhere” reminding of just what it is we’ve been missing about Acid King all these years. They’ve continued to play live all that time, of course, and Middle of Nowhere, Center of Everywhere, which is due April 14 on Svart, plainly demonstrates that they’ve lost none of the potency for years absent from studio work. More to come. Acid King on Thee Facebooks, Svart Records.
2. All Them Witches, TBA
The Nashville four-piece blew up following the 2013 digital release of their second album, Lightning at the Door, which saw a physical pressing last year (review here), and with a growing public at their heels and a salivating underground press anxious to hear what they come up with next, All Them Witches hit the studio this month to put together their third full-length. They’re on tour in Feb., and it seems reasonable to expect they’ll be trying out new material on the road, but as free-flowing as Lightning at the Door was, it’s hard not to consider the follow-up one of 2015’s most anticipated records, whenever it arrives and whatever shape(s) it takes. All Them Witches on Thee Facebooks, official website.
3. Anthroprophh, U.F.O.
Guitarist/vocalist PaulAllen, formerlyof TheHeads,teamed up with Jesse Webb and Gareth Turner of the duo Big Naturals as his rhythm section for 2014’s Outside the Circle (review here), and for his new release under the Anthroprophh moniker for Cardinal Fuzz, Allen centers around different U.F.O. abduction reports from the UK between 1954 and 1978, each of the eight tracks taking its name from the date and location of a reported incident. Sound fucking awesome? Yeah, I agree. Expect raw psychedelic experimentation, heavy swing and interpretive instrumentalism galore on the two-sided release when it gets declassified on Feb. 2, pressed in an edition of 500 copies. Anthroprophh on Thee Facebooks, Cardinal Fuzz.
4. Arenna, TBA
Spanish heavy psych outfit Arenna will release the follow-up to their 2011 Nasoni Records debut, Beats of Olarizu (review here), and they just this week posted the 10-minute opener “Butes” from their sophomore outing (listen here). The first album earned them a hearty following, and it’s been four years since it came out, but somehow I doubt Arenna will have much trouble picking up where they left off in their wide-open, jam-heavy sound. They mark a decade together in 2015, and they seem to just be getting started, so I’m particularly interested to learn how the European heavy underground takes to their second LP, which is due to be mastered next month and released sometime thereafter. Arenna on Thee Facebooks, on Bandcamp.
5. The Atomic Bitchwax, Gravitron
New Bitchwax? Sold. The stalwart New Jersey three-piece — now featuring two members of Monster Magnet — will release Gravitron on April 21 via Tee Pee Records, just in time to make a stop a few days later at Desertfest London 2015. They toured Europe last summer as well, and I think the fact that they’ll be over that way when they put Gravitron out speaks volumes to their priorities at this point, but who can blame them? Perpetually underappreciated in the US, they’ll follow-up 2011’s The Local Fuzz (review here) in grand form at Desertfest (they play Berlin as well), finally getting their due even if they have to get on a plane to get it. The Atomic Bitchwax on Thee Facebooks, Tee Pee Records.
6. Black Cobra, TBA
Hints were dropped back in November that raging two-piece Black Cobra were working on material for a new album. Whenever it arrives, this year or next, it will be their sixth and first since 2011’s Invernal (review here), which I don’t think I’m alone in counting as their finest moment to-date. They’ll also be at Desertfest for a return appearance, and wherever they go, devastation follows. They posted this week that their tour van has passed the 300,000-mile mark, which is emblematic of the workout they’ve given it over the last decade-plus, and I’d expect no slowdown, tempo or itinerary-wise, from them in 2015, regular oil changes notwithstanding. Black Cobra on Thee Facebooks, Southern Lord Recordings.
7. Black Rainbows, Hawkdope
There are 90-someodd bands included in this feature, all told. Might be over 100. I’m not sure anybody beats Italian trio Black Rainbows in the album-title department, however. Hawkdope, man. Hard to mess with that. Guitarist/vocalist Gabriele Fiori continues to keep his finger on the pulse of European heavy rock with his Heavy Psych Sounds imprint, and while I haven’t heard Hawkdope yet, it seems likely they’ll continue the push toward heavy psychedelia that 2013’s Holy Moon EP (discussed here) and their inclusions in last year’s four-way split (review here) spoke of, but of course, they can always throw down some top notch fuzz riffing as well. Black Rainbows on Thee Facebooks, on Bandcamp.
8. Brothers of the Sonic Cloth, Brothers of the Sonic Cloth
Six years after the arrival of their demo (review here), Brothers of the Sonic Cloth will make their self-titled debut through Neurot Recordings on Feb. 17. Immediately notable for being the brainchild of guitarist/vocalist Tad Doyle (ex-TAD), bassist Peggy “Pegadeth” Doyle and drummer Dave French, Brothers of the Sonic Cloth pushes plodding heavy into seething aggression with a lumber only made more potent by Billy Anderson‘s production. It’s been a while in the making, true, but the album’s execution leaves no room for argument in its lung-deflating tonal density. Justifies the wait and then some. Brothers of the Sonic Cloth on Thee Facebooks, Neurot Recordings.
9. Chiefs, Tomorrow’s Over
With vinyl to follow in May on Battleground Records, Arizona/SoCal heavy rockers Chiefs will release their debut LP, Tomorrow’s Over, via Roosevelt Row on Feb. 24. Its striking cover art by David Paul Seymour offers immediate intrigue, as did Chiefs‘ inclusion on their 2014 split 7″ with Fuzz Evil (streamed here). The song from that, “Stone Bull,” won’t be featured on the album, but all four cuts from Chiefs‘ 2013 Buffalo Roam demo will, which should give you some indication as to how much the trio got it right the first time around. The title-track of the demo opens, and the album takes its name from one of the demo tracks as well, so it all ties together. Chiefs on Thee Facebooks, Battleground Records, Roosevelt Row Records.
10. Clutch, TBA
Clutch‘s Earth Rocker (review here) was the undisputed high point of 2013, and the long-running Maryland four-piece have returned to the Machine Shop studio (now located in Texas) to record the follow-up to it. They’ve been playing new material live for a while now, as they’ll do, and while they always manage to change things up from album to album, the fact that they’ve going back to work with Machine again makes in plain that they’re where they want to be at this point sound-wise. As if there was ever any doubt. Their forever-tour will continue, but it’s good to know they’re taking a little break from the road to put together another slab for their always-expanding, always-frothing fanbase. Clutch on Thee Facebooks, Weathermaker Music.
11. Conan, TBA
I’m not sure if it will be out before the end of 2015, but whenever it arrives, the next Conan should be a much different affair than we’ve yet heard from the UK thunderplodders, whose 2014 Napalm Records debut, Blood Eagle (review here), further established their dominance among the heaviest bands in doom. Since that album hit, guitarist/vocalist Jon Davis has traded out two-thirds of the trio, bringing in producer Chris Fielding on bass/vocals and new drummer Rich Lewis. Davis‘ riffs have always been at the core of what makes Conan the beast they are, so I wouldn’t expect much fixing of what isn’t broken, but don’t be surprised if some different personalities emerge in Fielding and Lewis as well. Conan on Thee Facebooks, Conan’s webstore.
12. Colour Haze, To the Highest Gods We Know
Yeah, I’m sneaking this one in here. Sorry, but frankly, I think Colour Haze deserve more than a toss-it-out-there mid-December album release date, so instead of the CD release, which was last month, I’m choosing to think of the impending Feb./March vinyl issue as the official one for To the Highest Gods We Know (review here), which is both a fascinating and fitting answer to Colour Haze‘s 2012 outing, She Said (review here). Feels strange so early in the year to start calling out end-of-year highlights, but between this and Acid King, I feel like two of my top five are already set in stone, and that’s a pretty good start to any year. Colour Haze are one of the most important heavy rock bands of their generation, and they continue to expand their form and the genre as a whole. Colour Haze’s website, Elektrohasch Schallplatten.
13. Corrections House, TBA
Their totalitarian fetishizing well intact, the it’s-a-supergroup-but-don’t-call-it-a-supergroup Corrections House announced back in November that they’d have a sophomore effort out this year to follow their 2013 debut, Last City Zero. The returning lineup of guitarist Scott Kelly (Neurosis), vocalist Mike Williams (Eyehategod), saxophonist Bruce Lamont (Yakuza) and keyboardist/programmer Sanford Parker (Buried at Sea, etc.) is enough to warrant attention in itself, and while their industrial tinged output isn’t really my thing sound-wise, they’re not an assemblage easily ignored. Hopefully a recently canceled round of tour dates doesn’t derail the new release plams. Corrections House on Thee Facebooks, at Neurot Recordings.
14. Corsair, One Eyed Horse
Virginian dual-guitar classic heavy rock/metallers Corsair are now three years removed from their Shadow Kingdom Records self-titled debut (review here), and their new album, One Eyed Horse, arrives with a striking-almost-disturbing cover and a refined progressive edge. Their melodic sensibility has never been in question, and guitarists Marie Landragin and Paul Sebring, bassist Jordan Brunk (who, like the guitarists, contributes vocals) and drummer Michael Taylor will look to expand their reach even further with the eight new vinyl-ready tracks. One looks forward to the album and hopes for a tour in equal measure. Corsair’s website, Shadow Kingdom Records.
15. Crypt Sermon, Out of the Garden
Classic doom bleeds through the cover of Philly five-piece Crypt Sermon‘s debut full-length, Out of the Garden. Set to release Feb. 24 on Dark Descent Records, I’d expect Out of the Garden to be an early highlight for the year in doom despite being Crypt Sermon‘s first outing. Their Demo MMXIII (review here) found them well schooled in the tenets of the downtrodden, and while the record may end up a sleeper, it’s one that no doubt will find its way to the right ears; namely those of the old school doomers tired of psychedelic idolatry, who want something dark, beaten and grueling without concern for genre-melding or novelty. So, doom on. Crypt Sermon on Thee Facebooks, Dark Descent Records.
16. Ecstatic Vision, TBA
Also based in Philadelphia, heavy psych troupe Ecstatic Vision signed to Relapse on the strength of a demo and an apparent willingness to hit the road — they’ll do so this spring alongside YOB and Enslaved — and as just about any band who’s ever sent that label a rough recording will likely tell you, that’s no small feat. I was fortunate enough to catch them in Brooklyn last month (opening for YOB, as it happened), and the appeal was easy to see in their space rock jamming, lighting effects and propensity for deceptively quick rhythmic turns. A debut offering is reportedly due this year, and as it will come after they spend a month on the road, I expect it will be something to behold. Ecstatic Vision on Thee Facebooks, Relapse Records.
17. Elder, Lore
What to say about Elder? They’re a bright spot in the hope for the next generation of heavy rock, but they were that already. What really distinguishes their third album, Lore, is the fiercely progressive bent of the tracks, songs like “Compendium” (streamed here) taking the hypnotic rhythms of 2012’s Dead Roots Stirring (review here) and refining what Elder — the trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto — do with a newfound clarity of purpose and precision execution. They make well-thought-out songs sound exciting front to back, and if you’ve ever dug anything they’ve done, you’re going to shit a brick when you hear the title-track of Lore. Elder on Thee Facebooks, Armageddon Shop, Stickman Records.
18. Enslaved, In Times
I make no bones or apologies about being an Enslaved fan. The Norwegian progressive black metallers strip down their presentation with In Times, the follow-up to 2012’s Riitiir (review here), solidifying some aspects of their approach while nodding at the brutality of yore in a still-somehow-forward-thinking manner. They never fail to deliver, and they’ve long since hit a stride where they can deliver album after album and come up with ways to advance their sound each time out. Recording themselves has only made them bolder over their last couple records, and In Times benefits from this in its brought-to-fruition experiments as well. It would take a lot for these guys to do wrong in my eyes. Enslaved on Thee Facebooks, Nuclear Blast Records.
19. Eye, TBA
They’re the Midwest’s inadvertent answer to the West Coast’s Moog-prog vibing, and Ohio’s Eye want for nothing in comparison to any of their coastal contemporaries. The photo above was taken recently in the studio — I’ll just assume the room is actually that color when they record and that that is not, in fact, an Instagram filter — tracking their third record and follow-up to 2013’s brilliant-yes-brilliant Second Sight (review here), which rightfully garnered attention far and wide. No release date yet for the new one from what I’ve seen, but the album is reportedly done, so hopefully it won’t be too long before it sees release, most likely on vinyl since that seems to be where the band’s heart lies. Eye on Thee Facebooks, on Bandcamp.
20. Freedom Hawk, TBA
After an appearance last year at Roadburn and confirmation of a return trip to Europe this spring for Freak Valley in Germany, Virginia’s Freedom Hawk would seem to have considerably expanded their reach. Last year saw them lose guitarist Matt Cave and transition from a four-piece to a trio, and they were in the studio in the fall to record their second album for Small Stone behind their 2011 label debut, Holding On (review here), and while I’m not sure if it’s finished or if it will be out in time for the band’s sojourn abroad, one assumes it will be out sooner or later. Their late-2013 Live at the Jewish Mother download makes a decent stopgap if you’ve got a hankering, but they’re due for a new one for sure. Freedom Hawk on Thee Facebooks, Small Stone Records.
21. Glowsun, Glowsun
In a recent discussion about finally picking up Glowsun‘s 2012 outing, Eternal Season, I said I wasn’t going to miss their next record, so I guess you could call this me holding myself to that task. The French heavy psych outfit have a new one, apparently self-titled — though of course I could be wrong; I’m just going by the album art — due out for release this Spring. I haven’t seen an official date from Napalm for when it’s due, but it’s not one I’m going to let slip by one way or another as I did for far too long with Eternal Season. Some mistakes don’t bear repeating, and Glowsun‘s output is of a quality that demands immediacy. At least now I know it. Ha. Glowsun on Thee Facebooks, Napalm Records.
22. Goatsnake, TBA
Rumors abound about a new Goatsnake. They’re in the studio, this is done, that isn’t done, they’re over here, over there. They’re headlining Freak Valley and playing Psycho California, and they headlined Southwest Terror Fest III last fall, but the last official word I saw about a new album — it would be their first since their 2004 Trampled Under Hoof EP — was last Sept., when word came down that it was happening at all and that Southern Lord would put it out. A timetable on when would be convenient, but maybe that’s asking too much and I should be grateful it’s even being discussed. They remain on my bucket list of bands to see before I die. One of these days I’ll get there. Southern Lord Recordings, Southern Lord on Thee Facebooks.
23. Gozu, TBA
Probably the biggest change for Boston’s Gozu since the 2013 release of their second album for Small Stone, The Fury of a Patient Man (review here), is the solidification of their lineup. As they enter into the process for their third Small Stone outing, they’ll do so with bassist Joe Grotto and drummer Mike Hubbard. Grotto played on part of Fury, but Hubbard (ex-Warhorse) is a new presence entirely in the band. They’ve also experimented with a third guitarist, so they might not be so solidified, but they’ve got a monster of a core four-piece to work with in Grotto, Hubbard, guitarist/vocalist Marc Gaffney and guitarist Doug Sherman, and they seem poised to get the most out of the chemistry they’ve busted their collective ass to develop. Gozu on Thee Facebooks, Small Stone Records.
24. High on Fire, TBA
I feel like a new High on Fire record isn’t even just an event for heavy rock at this point but for metal as a whole. The Matt Pike-fronted three-piece hit the studio this month (this week?) after a quick tour up the East Coast, returning to Massachusetts to work with Converge‘s Kurt Ballou at his Godcity Studios, where they also busted out 2012’s De Vermis Mysteriis (review here). For anyone who heard that record, it should be plain why they’d want to work with Ballou again — even enough to go to Massachusetts in January — and whenever their next one shows up, no doubt it will do so as one of 2015’s most anticipated offerings. I’m not sure what to expect other than “heavy,” but that’s enough to go on for now. High on Fire on Thee Facebooks, eOne Metal.
25. Hollow Leg, TBA
My interest was piqued early last year when Floridian sludgers Hollow Leg issued their God-Eater single and spoke of it as the beginning of a change in direction. The change? More melody, a less outright aggressive style, more of an emphasis on thickness rather than rawness. As a starting point, the song “God-Eater” seemed to bode well, and I’m hoping in 2015 that Hollow Leg follow through at least partially on its promise. Not that the viciousness of 2013’s second LP, Abysmal (review here), left me particularly wanting, just that they seemed to be following a fulfilling new-ish path, and I thought the sound was one worth pursuing. They’ve said their third will be out this year, so I’ll take it. Hollow Leg on Thee Facebooks, on Bandcamp.
26. Horsehunter, Caged in Flesh
Australian four-piece Horsehunter made an impression a few weeks back with the 16-minute “Stoned to Death,” the opening track from their Magnetic Eye Records debut LP, Caged in Flesh, and it stands to reason why. Crushing tones, brutal vibes and hints of psychedelic wash abounded on what was a gripping sample of the album, which the band had recorded, scapped because it wasn’t heavy enough and then recorded again. There are four songs on Caged in Flesh, so “Stoned to Death” is literally just the beginning for Horsehunter, whose foreboding atmospherics come across no less punishing than their most weighted of tones. Horsehunter on Thee Facebooks, Magnetic Eye Records.
27. Kind, TBA
I’ve been lucky enough to see Boston four-piece Kind play twice, the lineup of vocalist Craig Riggs (also Roadsaw), guitarist Darryl Shepard (also Black Pyramid, Blackwolfgoat, etc.), bassist Tom Corino (also Rozamov) and drummer Matt Couto (also Elder) taking shape visibly from one show to the next. Their debut full-length is in progress now at the Riggs-owned Mad Oak Studios in Allston, and while I don’t think I can say yet what label it’s coming out on (it’s not Small Stone), the latest word I’ve gotten is that a summer release is booked. Definitely interested to hear how the jams I’ve seen live translate to a studio recording, and how Corino‘s tone comes through Mad Oak‘s board. Kind on Thee Facebooks, on Soundcloud.
28. Kings Destroy, Kings Destroy
So, you’d think the pic of Kings Destroy bassist Aaron Bumpus above is from some recent studio shot while they’re tracking their third album, right? Nope. The self-titled’s been in the can for months. It’s out in April on War Crime Recordings. What Kings Destroy are doing now is working on album number four, and I bet before it comes out, they’ll be on number five. Fiercely creative. I’ve had the KD record for I don’t know how long at this point, and it’s the best thing they’ve done yet. I can’t even pretend to feign impartiality after being asked to tour with them twice last year — a fucking blessing both times — but it’s the closest they’ve come to their live sound so far and that progress suits them remarkably well. Kings Destroy on Thee Facebooks, War Crime Recordings.
29. Lamprey, TBA
The two-bass Portland trio Lamprey‘s recent stop-motion video for “Iron Awake” served due notice of their impending album, as yet untitled, and while it’s the shortest track on there by a considerable margin, it nonetheless represents the big-crash, big-impact severity of the outing as a whole. Not sure through what label it will surface if one at all or on what media it will be pressed — the word burning above, which I hope is the album cover, may or may not be — but the full-length seems poised to establish them as a force after 2012’s The Burden of Beasts EP (review here) brought their sometimes-plodding, sometimes-sprinting heavy rock into focus. Also, one of the songs is called “Lament of the Deathworm,” and that just rules. Lamprey on Thee Facebooks, on Bandcamp.
30. Lord Dying, Poisoned Altars
The hard-touring Portlanders teamed up with Dark Castle drummer Rob Shaffer for their sophomore outing for Relapse Records, Poisoned Altars (review here), and though he’s since out of the band, his presence bolsters the songs in Lord Dying‘s blend of High on Fire-style thrash and Crowbar-loyal sludge. A pervasive sense of simplicity helps the material achieve maximum force, but the hard-won nature of Lord Dying‘s cohesion isn’t to be understated or underappreciated — they did about 18 months of touring in support of their first effort, Summon the Faithless. At least they know their time wasn’t misspent. Seems likely they’ll continue to pound the pavement throughout 2015, so keep an eye open. Lord Dying on Thee Facebooks, Relapse Records.
31. Magic Circle, TBA
Rest assured, I’ve seen zero confirmation that a new Magic Circle album is under way. There’s been no word from the by-now-notoriously secretive Massachusetts-based band or their label, Armageddon Shop, on the subject of a follow-up to their 2013 self-titled debut (review here). This is rampant speculation. Their first 7″ was recently re-pressed, though, so there’s activity in their camp one way or another. They also made their way out to Seattle in October to open for Satan, which only emphasizes the fact that you never really know when they’re going to show up until they do. Ditto that their next album, I suppose. Hopefully this year it happens. Armageddom Shop website, on Thee Facebooks.
32. The Midnight Ghost Train, Cold was the Ground
Riotous Southern heavy rockers The Midnight Ghost Train have outdone themselves with their Napalm Records debut, Cold was the Ground, taking the rager blues of 2012’s Buffalo (review here) to new heights of manic push. After several years of steady touring, the Kansas-based trio of guitarist/vocalist Steve Moss, drummer Brandon Burghart and bassist Mike Boyne are an explosive live act, and as the recent video premiere for “Gladstone” showcased, their third album reaps the rewards of their labors. It’s due to release March 10 in North America, but I really don’t need to note the date, because you’ll hear it coming a mile away like the freight train that it is. The Midnight Ghost Train on Thee Facebooks, Napalm Records.
33. Minsk, TBA
A new Minsk full-length is an utterly fascinating thought. Sorry if that sounds cold or overly clinical, but it’s true. Consider that it’s been six years since the Chicago post-metallers last released an album. That record, 2009’s With Echoes in the Movement of Stone (review here), hit at what was arguably the pinnacle of post-metal’s stylistic movement, the waters having since receded in no small part because Minsk wasn’t around to push forward creatively. Now, with slots booked at Roadburn and Desertfest, they’ll make a return to the studio as well, and I have absolutely zero idea of what to expect from them. A partially-revamped, Sanford Parker-less lineup only adds further intrigue. Minsk on Thee Facebooks, on Bandcamp.
34. Mondo Drag, Mondo Drag
This is one of I think two or three releases on this list that’s already out. The self-titled Mondo Drag (review here) nonetheless warrants inclusion for its heavy psych boogie concoctions and natural-toned spirit, not full-on retro but still well-indebted to the heavy ’70s in its use of organ and guitar and the swing of its rhythm section. That rhythm section? Zack Anderson and Cory Berry, who, fresh out of Radio Moscow, stepped in to record with fellow Iowans Mondo Drag in 2012 before founding Blues Pills. A shortlived moment in Mondo Drag‘s history, perhaps, but they got a killer record out of it, and while the recordings are already three years old, they’re well worth the time to appreciate. Mondo Drag on Thee Facebooks, Bilocation Records.
35. Monolord, Vaenir
Swedish trio Monolord won over hearts and minds bigtime with their 2014 RidingEasy Records debut, Empress Rising, earning a spot on the 2014 Readers Poll right between Eyehategod and Mastodon. That’s rather significant company to keep — and all the more so for a band’s first record — and with Vaenir, we’ll get to hear how the intervening year has seen them progress. They’ve already proven a favorite among the converted, and they’ll tour in Feb./March with Salem’s Pot ahead of an appearance at Roadburn prior to Vaenir‘s April 28 arrival date, so it looks like they’ll keep their momentum moving forward through the release and most likely beyond. Monolord on Thee Facebooks, RidingEasy Records.
36. Neurosis, TBA
Okay. I don’t know that Neurosis‘ next album will be out in 2015. It’s just not a thing I know. What I know is that the ultra-seminal five-piece are getting together to write in Feb., and that they’re a no-bullshit band when it comes to writing and recording, so the timing works that, if they make new songs happen this winter, their record would probably be ready for release sometime in the summer or early fall. That’s what I’m going on. It might be that they write half the album now and half in 2016, but from what I hear they’re planning on doing some more significant touring this year, so it would stand to reason they’d want to do it with a follow-up to 2012’s Honor Found in Decay (review here) under their collective belt. We’ll see what we get. Neurosis on Thee Facebooks, Neurot Recordings.
37. Pentagram, TBA
I saw Pentagram play 20 shows last year. Believe me when I say the pairing of frontman Bobby Liebling and guitarist Victor Griffin has never seemed stronger musically, and with bassist Greg Turley and drummer Sean Saley, Pentagram head into the making of their next album firing on all proverbial cylinders. Metal Blade, who also issued their 2011 comeback album, Last Rites (review here), seems the likely outlet for the yet-untitled offering, which the band will herald with a headlining performance at Psycho California alongside Sleep and Cult of Luna on May 15-17, and which will no doubt dig deep into Pentagram‘s long history of doom for a trove of classic-style riffs. Pentagram on Thee Facebooks, Metal Blade Records.
38. Ruby the Hatchet, Valley of the Snake
A not-so-subtle Uncle Acid and the Deadbeats influence permeates Ruby the Hatchet‘s Tee Pee Records debut, Valley of the Snake, which is something the Philly-based band seems to acknowledge willfully on “Vast Acid,” frontwoman Jillian Taylor crooning “I’ll cut you down” toward the end of the song in a call-out of one of the UK outfit’s most resonant hooks. Otherwise, the organ-laced five-piece get down on more psychedelic vibes, though the heavy ’70s swing in the drums could be taken as another common factor, if you really wanted to stretch it. Either way, a laid back, less murderous atmosphere persists, and that suits me just fine. Out Feb. 24. Bonus points for the gorgeous Adam Burke cover art. Ruby the Hatchet on Thee Facebooks, Tee Pee Records.
39. Saturnalia Temple, To the Other
The entire meaning of being a “cult” band has changed since Sweden’s Saturnalia Temple released their UR demo in 2007, but after their 2011 debut, Aion of Drakon, hit with such a low-end wash of psychedelic obscurity, I’m intrigued to hear what they’ve come up with on To the Other, the cover’s foreboding darkness, consuming swirl and bizarre patterning seeming a fit for their sonic methodology. To the Other is out April 7 on The Ajna Offensive, and features Tim Call of The Howling Wind and Aldebaran on drums alongside Saturnalia Temple guitarist/vocalist Tommie Ericksson and bassist Peter. Saturnalia Temple on Thee Facebooks, The Ajna Offensive.
40. Six Organs of Admittance, Hexadic
I’ll make no claims toward understanding the theoretical basis driving the latest outing from the Ben Chasny-helmed project Six Organs of Admittance, which in its 17-year history has gone from bedroom folk and avant electronics to the far-ranging heavy psych jamming of 2012’s Ascent (review here). Chasny, joined by members of Assemble Head in Sunburst Sound and Deerhoof on the album — which is due out Feb. 17 on Drag City — seems to have developed a compositional method based around a system involving playing cards and varying tonal intensities. No idea what the hell any of it means, but it sounds like a freakout to me, so I’m in. Six Organs of Admittance website, Drag City Records.
41. Snail, Feral
Come on, Snail. Even if Feral‘s not coming out until later in the year, you can send it to me. I won’t tell anybody if you don’t want me to. I can keep it to myself. Hell, I won’t even review it until I get word that it’s cool to do so, I just want to hear the damn thing. Alright, Snail, have it your way. I’ll just sit here and remember how awesome Terminus (review here) was when that came out in 2012, and Blood (review here) before that in 2009 back when I did snarky headlines for reviews. That’s cool. I’ve waited this long for your Small Stone debut to make its way into my ears, I guess I’ll just keep waiting until it shows up. Which it would be awfully nice if it did as soon as possible. Today works. Now works. Snail on Thee Facebooks, Small Stone Records.
42. Sourvein, Aquatic Fanatic
At the risk of being sincere, I’ll say it warms my cold, doomed heart to know that Sourvein‘s next album is going to be released by Metal Blade Records. After trudging the Southern sludge underground for, what, 20 years?, the Cape Fear-based outfit led by T-Roy Medlin (whose lineage goes back to Buzzov*en, lest we forget their role in establishing the sound) are finally poised to get their due, and I think it’s fucking awesome. Mike Dean‘s producing the thing, and you know Sourvein are going to tour the hell out of it because that’s what they do whether they’ve got a new record or not. I’m calling it the feelgood story of the year, which is perfect since the music will most likely be utterly scathing. Sourvein on Thee Facebooks, Metal Blade Records.
43. Spidergawd, II
Just stop reading and go fucking listen to Spidergawd. Here, I did a track premiere a little bit ago for the song “Tourniquet.” It rules. Go listen to that. For the life of me I have no idea why this band’s name isn’t on the lips of every boogie-loving heavy rocker in the universe. Stickman has the new album, Spidergawd II, sold out in the special edition preorders, but there’s a regular version still available and apparently en route from the plant, and for the love of all things riffed, it’s glorious. So get on it. I implore you. And no, I don’t have any idea what’s going on with the album cover, so don’t ask. No time for questions anyway. Get listening. Spidergawd on Thee Facebooks, Stickman Records.
44. Stoned Jesus, The Harvest
Ukrainian heavy rockers Stoned Jesus posted the opening track from their third album, The Harvest, a while back on their Bandcamp page, and my goodness it does swing. They’ll make their way to the US for the first time in support of The Harvest, appearing at the Psycho California fest and hopefully elsewhere, and they do so having built up a steady following with their first two long-players, 2010’s First Communion (noted here) and 2012’s Seven Thunders Roar (review here), their most stonerly of names spread far and wide ahead of the latest offering’s early March arrival following 2013’s jams collection, The Seeds, Vol. 1. Stoned Jesus on Thee Facebooks, on Bandcamp.
45. Torche, Restarter
I haven’t heard it yet, but Torche‘s awaited Relapse Records debut, Restarter, is due out Feb. 24 and the band are kicking into gear once again to mark its coming. They’ve already announced US and European tours to carry them through June, and I don’t imagine there are many markets they’ll leave un-hit by the time they’re through. Their last album, 2012’s Harmonicraft (review here), was a solid showing of what’s come to be expected of them in terms of hooks, upbeat heaviness and melodies, but especially with the ambitious title, the new label and the energized-seeming schedule, I’m hoping that Restarter gives the band the same kind of boot to the ass they’ve been to delivering the heavy underground for the last decade. Torche on Thee Facebooks, Relapse Records.
46. Ufomammut, Ecate
Very, very much looking forward to hearing Ecate, the newest outing from Ufomammut and their “second” album for Neurot Recordings behind the 2012 two-parter Oro (reviews here and here). Why is kind of a silly question — new Ufomammut is its own excuse for anticipation — but truth be told, they’ve always managed to get bigger-sounding and more expansive with each LP, and after having to break their last album in half and release the two pieces months apart from each other, I’m dying to know where they go with Ecate, what shifts in their sound the last couple years — including last year, which was their 15th anniversary — have brought and where in the cosmos they might be headed now. Ufomammut on Thee Facebooks, Neurot Recordings.
47. Valkyrie, TBA
During what I guess we’ll call Valkyrie‘s original run, the Virginia two-guitar four-piece released a pair of albums, 2006’s Valkyrie and 2008’s Man of Two Visions — both of which were reissued through MeteorCity in 2010 — before guitarist Peter Adams, who founded the band with his brother, guitarist/vocalist Jake Adams, got signed to Relapse with his other group, Baroness. Now back with Earthling‘s Alan Fary on bass and drummer Warren Hawkins, they’ve got their new LP recorded with Sanford Parker and reportedly in the can for an early 2015 release, also through Relapse. They’ll no doubt be greeted as heroes when they play the Maryland Doom Fest in June, and understandably so. Valkyrie on Thee Facebooks, Relapse Records.
48. VA, Electric Ladyland Redux & The Best of James Marshall Hendrix
Magnetic Eye Records launched a Kickstarter campaign last fall with the ambitious aim of paying homage to Jimi Hendrix by having current heavy rock artists (Elder, Earthless, Wo Fat, Gozu and more; full list here) re-record Electric Ladyland in its entirety. The project, on track to be released this year to coincide with what would’ve been Hendrix‘s 73rd birthday in November, expanded to include a tribute best-of collection as well, and has grown in repute ahead of its actually being issued to stand as a gathering of some of the finest the underground has to offer playing some of the best rock and roll ever crafted. From the idea to the impending reality of it, there’s really no arguing with this one. Magnetic Eye Records on Thee Facebooks, Magnetic Eye webstore.
49. Wino & Conny Ochs, Freedom Conspiracy
When Scott “Wino” Weinrich entered rehab late last fall, he mentioned in a public statement several projects in the works. Spirit Caravan‘s reunion is ongoing. Saint Vitus are due for a next album, but he also noted the second release for his collaboration with German singer-songwriter Conny Ochs, Freedom Conspiracy, as being in early 2015. Particularly after the ultra-intimate, solo feel of Wino‘s 2010 acoustic debut, Adrift (review here), the first collaboration with Ochs, 2012’s Heavy Kingdom (review here), was an unexpected expansion of the form that paid sonic dividends in both the songwriting and performance of both players. A second installment should benefit from the chemistry they built on the road for the debut. Conny Ochs on Thee Facebooks, Exile on Mainstream.
50. Wizard Eye, TBA
Heard it. Slays. Actually, I’m not sure if the version of Wizard Eye‘s sophomore full-length I got was final, but the songs were killer either way, and the Philly stoner-toner three-piece will have the album out on vinyl later this year through a newcomer label that I don’t think I’m supposed to mention yet so I won’t. Either way, they’re included here because the more heads they reach the better, their blend of rolling grooves, sludged out vocals and the occasional bout of theremin is just right for the riff-loving purist in all of us. Their recent live outing, Riff Occult Live (review here) says it better than I could, so make a note to yourself to dig into that at your next convenience. It’s name-your-price on Bandcamp. Wizard Eye on Thee Facebooks, on Bandcamp.
51. Wretch, TBA
Listed as the “bastard spawn” of The Gates of Slumber, Wretch finds that band’s guitarist/vocalist Karl Simon teamed with bassist Bryce Clark and drummer Chris Gordon, the prior outfit having been laid to rest in 2013 after what seemed like an excellent return to form in 2011’s The Wretch (review here) and subsequent Scion-sponsored EP. I haven’t heard the new band yet, but some demos have made their way out thus far, and you’d have to figure it won’t be too long before Simon, Clark and Gordon make their proper debut as Wretch and start a new chapter in one of modern traditional doom’s most pivotal legacies. Wretch on Thee Facebooks, Tone Deaf Touring.
52. Zun, TBA
Early in 2013, a song called “Come through the Water” (review here) appeared as the first audio from a new project helmed by guitarist Gary Arce of Yawning Man called Zun. It was to be used as Zun‘s portion of a split with Fatso Jetson and while I’m not sure that ever materialized, it drew immediate attention for the collaboration between Arce and vocalist Sera Timms of Ides of Gemini and Black Mare, also formerly of Black Math Horseman. A significant duo for sure. With Bill Stinson (also Yawning Man) on drums, they’re set to debut later this year on Small Stone with their first album, and if Timms and Arce aren’t enough to draw your attention so late in the feature — the hazards of alphabetics — the one and only John Garcia is set for a guest appearance on the record. Dig that, desert rockers. Yawning Man on Thee Facebooks, Small Stone Records.
Going Into Overload…
So, okay. At this point, you could literally buy a different record each week of this year and hear something that, unless there’s some disaster between the idea of the album and the actual thing itself, is most likely worth your time. That’s not too bad. But we’re not at 88 yet, so with those 52 already set, I’ve got 36 more that you might want to keep on your radar.
Some of these are solidly lined up, some are slated to be recorded, etc., so the same rule of “things don’t always work out the way they’re supposed to” applies. With that caveat:
53. Abrahma, TBA — Their second album for Small Stone is due sometime this year.
54. Bedroom Rehab Corporation, Fortunate Some — From what I hear, the Connecticut twosome have their second record in the can.
55. Black Black Black, TBA — Brooklyn outfit featuring former members of Disengage should have a sophomore album out in 2015.
56. Black Pyramid, New 7″ — The trio will release a new single to coincide with their Euro tour that includes a stop at Desertfest.
57. Bright Curse, New 10″ EP — It was mentioned the new lineup would record an EP before taking on their next album.
58. Camel of Doom, TBA — Was announced in December there’d be a new Camel of Doom along with a vinyl of their last album.
59. Cherry Choke, Raising the Waters — Should be out this month on Elektrohasch.
60. La Chinga, TBA — Vancouver group’s Small Stone debut is reportedly being mixed.
61. Curse the Son, TBA — I’m hoping this one gets out by the end of the year. It will be the CT trio’s first with their new bassist.
62. Egypt, Endless Flight — North Dakota’s favored sons will return with a new full-length this summer. Album trailer posted with a clip of the new song “Tres Madres.”
63. Enos, TBA — Not sure where they’re at with it, but worth keeping an eye out.
64. Foghound, TBA — The Maryland rockers have finished tracking their new album with Mike Dean of Corrosion of Conformity at the helm.
65. Funeral Horse, TBA — They’ve been full of surprises on their first two releases and they work quick, so I wouldn’t be surprised if something new showed up.
66. Fuzz Evil, TBA — Interested to see where they go on an LP after their split with Chiefs.
67. The Glasspack, Moon Patrol — A snippet clip has been posted that bodes well. Supposed to be done recording in the spring. They’re currently sorting out label whatnots.
68. Graves at Sea, TBA — Yeah, it’s been more than a decade since their demo, but a split and an EP into their reunion, they just signed to Relapse, so now might be the time a debut album shows up.
69. House of Broken Promises, TBA — Should be a change from the first album after swapping out bassist/vocalists. They killed live last I saw.
70. Ice Dragon, TBA — No solid word of a new release from the Boston garage doom forerunners, but they’re always up to something.
71. Killer Boogie, Detroit — The debut from this Black Rainbows offshoot is out this month on Heavy Psych Sounds.
72. Krautzone, TBA — German synth-heavy prog-jammers have hit a groove and hopefully they continue to ride it as well as they have thus far.
73. Leeches of Lore, TBA — Wishful thinking on my part? Maybe. Got my fingers crossed, though.
74. Legion of Andromeda, Iron Scorn — They’re about as extreme as extreme doom gets. Album out next month.
75. Lord Fowl, TBA — I think they’re writing. Might be 2016 before it gets here, but I’ll take it whenever it comes. They’re worth a mention either way.
76. The Machine, TBA — Been a minute since we last heard from the Dutch heavy psych jammers. They were on this list last year as well.
77. Mirror Queen, Scaffolds of the Sky — Should be out in April on Tee Pee, and that suits me just fine. Choice grooves for springtime.
78. Mountain God, Forest of the Lost — A single-song EP from the Brooklyn post-sludgers is out in Feb. with a release show booked.
79. Om, TBA — I’ve yet to see solid evidence that a new Om is in the pipeline, but no one knew that Sleep single was coming last year either.
80. Planes of Satori, Planes of Satori — Dug their single, hope the full-length follows suit.
81. Pombagira, Flesh Throne Press— Their sixth album and Svart debut is due on March 23 as per this week’s announcement.
82. Righteous Bloom, TBA — My understanding was the Beelzefuzz offshoot are writing. Would be good if they can pick up where the prior act left off.
83. Royal Thunder, Crooked Doors— The Atlanta outfit’s second album for Relapse is due out April 7.
84. Sandrider/Kinski, Split — Don’t know much about Kinski, but new Sandrider is enough to sell me on it. Out Feb. 17 on Good to Die.
85. SardoniS, TBA — Expect big lumbering riffs from this Belgian duo, always. A new album is en route, last I heard.
86. Sun Voyager, TBA — Didn’t get to hear their last tape, but a five-song EP is due out sometime soon.
87. Sweat Lodge, Talismana — Not much word since they signed to Ripple, but they said this year, so until I hear otherwise…
88. Throttlerod, TBA — A teaser clip of new riffage came out over this past weekend. New Throttlerod is never something to complain about.
89. Venomous Maximus, Firewalker — When they signed to Shadow Kingdom in November, they gave it the ol’ “sometime in 2015.”
90. Weedeater, TBA — After a whole series of reissues, their Season of Mist debut is due.
91. Wight, Love is Not Only What You Know — Alphabetically last but not at all last in my heart, Germany’s Wight have their third record in progress. More in the comments.
92. Wo Fat, Live Juju at Freak Valley— Wo Fat‘s live set from the 2014 Freak Valley fest in Germany is due to release on vinyl March 17 in an edition of 500 copies.
Others to Keep an Eye On…
Guitarist Ian Gerber of Indianapolis’ The Heavy Co. has a couple side-projects going, but new stuff from his main band doesn’t seem unlikely either. New York’s Geezer might also have something new before December in addition to Ripple‘s CD version of their Gage release, and labelmates King Buffalo are continuing their relationship with STB Records via a new spit next month, so hopefully a debut LP follows that. Let it Breathe should make their debut on the label too in 2015.
Recently streamed trio Wake up Lucid release their EP on March 31. Last I heard The Body had a new one coming too in collaboration with Thou. Sixty Watt Shaman have plans to record tracks for a split due out later this year, and they’ll reissue their first album, 1998’s Ultra Electric, as well. Look out for Godhunter‘s split/collaboration with Amigo the Devil, and the second offering from Black Moon Circle is on the way. Balam‘s full-length should also be out sometime this year, and I anxiously await news of a solid release date for the third Clamfight record.
Murmurings abound also for new ones from Graveyard, Greenleaf, The Sword, Vhöl and others.
Plus, Sleep still exist and that simple fact probably makes them worth more of a mention than this quick aside. Their 2014 single The Clarity was an offering of pure Iommic idolatry. A sign of things to come? Who the hell knows.
If you don’t have enough to go by yet, labels like Sulatron, Tee Pee, El Paraiso, Ripple, Small Stone, STB, Napalm and so on are always worth a keen watch what’s next. There’s always something.
Which I guess is the point of this whole thing. I’m sure, even as huge as this list is, someone is going to drop a comment immediately that will make me slap my forehead and wonder how I ever forgot whatever it is. It’s always something. It looks like it’s going to be a tremendous year, so if you’ll pardon me, I’ll cut out quick and get started making my way through it.
No doubt I’ll add to this post over the next couple days, so if the numbers change, don’t be surprised. In any case, if you made it this far, thanks again for reading. May your 2015 be filled with excellent music and even better times.
Posted in Whathaveyou on January 5th, 2015 by H.P. Taskmaster
It’ll be a riffy couple days in March when Doctor Smoke and Wasted Theory combine forces for a weekender to close out the month. For Wasted Theory, who reside in Delaware, they’ll be making their way more or less around their stomping ground of Philly, York, and Brooklyn, but Doctor Smoke are making the trek east from Ohio for the occasion, and upon doing so, they’ll meet up not only with D.C. heavy rockers Borracho, but Boston’s Gozu as well, who’ll help close out the three-date run with Wasted Theory, Doctor Smoke and Reign of Zaius at Bar Matchless in Brooklyn.
Both Wasted Theory and Doctor Smoke are supporting albums released last year. Doctor Smoke‘s The Witching Hour is the more recent of the two, and while they toured the east coast in 2014 on the heels of their prior demo, this will be the first time they’re on the coast since their debut hit. Again, for Wasted Theory, they’re on familiar turf, but since their own full-length debut, Death and Taxes (review here), came out last Spring, I wouldn’t be surprised if they have a new cut or two to work into their set, and I’ve yet to see them that they haven’t delivered live.
Dates and info follow for the tour, which kicks off March 26:
Ohio Occult-Rockers Doctor Smoke team up with Delaware Riff Slingers Wasted Theory for a 3-day run in March 2015.
Thursday, March 26th 2015 Philadelphia, PA @ Kung Fu Necktie*
Friday, March 27th 2015 York, Pennsylvania @ The Depot* *With support from Washington DC Heavy Groove Dealers and Desertfest 2014 alums Borracho!
Saturday, March 28th 2015 Brooklyn, New York @ Bar Matchless* *With support from Small Stone Records and Desertfest 2014’s very own GOZU!
Posted in Whathaveyou on November 17th, 2014 by H.P. Taskmaster
Some of today’s finest heavy bands covering some of the best rock and roll ever crafted, the Electric Ladyland [Redux] tribute to Jimi Hendrix from Magnetic Eye Records was going to be a hard one to beat from the start, but at this point what started out as a Kickstarter presale with a $5,000 goal has surpassed five times that. As of this post, it’s over $26,000. Today, Nov. 17, was to be the end of the presale. 500 copies sold, a bonus Best of Jimi Hendrix covers LP (the cover below) included as a thanks to those who contributed enough to get it, done and done. Well, the announcement just came through to the backers that Magnetic Eye is continuing the push.
The new goal? $30,000. That ups the pressing from 500 copies to 1,000. Less than $4,000 to go, and given the scale of the project at this point, that seems infinitely doable. Kudos to the label on coordinating such a powerful assemblage. It’s rare to see the heavy rock scene so universally agree on anything, but I’ve yet to hear any dissent when it comes to this, and the amount of money put in speaks for itself.
Here’s the announcement and the tracklisting for who’s covering what:
Electric Ladyland [Redux] by Magnetic Eye Records: Smashed Right Thru SOLD OUT Status! 2nd Stretch Goal, $30,000.00!
Being that we are smashing thru 500 backers and a pressing of 500 LPs we are deciding to put the pedal to the metal and go for 1,000. There will only be a 1 and only first pressing of Electric Ladyland [Redux] so the time to act is now. Tell your friends, your neighbors, etc…. EARTHLESS, ALL THEM WITCHES, THE BUDOS BAND, SUMMONER, ELDER, OPEN HAND, KING BUFFALO, TUNGA MOLN, CLAYMATION, ELEPHANT TREE, GOZU, MOTHERSHIP, WO FAT, MOS GENERATOR, SUPERCHIEF, THE PHUSS covering Electric Ladyland in full with cover art by David Paul Seymour, COME ON!
And if that is not enough, a ‘Best Of’ including Child, Ironweed, Geezer, Stubb, Rosy Finch, Elephant Tree, etc! with cover art by Caitlin Hackett. Out of control. So we made a final stretch goal. Here is the info:
FINAL STRETCH GOAL: $30,000.00 = 1,000 Electric Ladyland [Redux] LPs Pressed
Clearly, we are thrilled with the support and interest this project and these releases are receiving. We are creating a $30,000.00 stretch goal to allow us to increase the amount of records pressed 1,000 to accommodate additional backers. We planned to hit $25K and press 500 copies, as we pass 500 backers we will continue to adjust our plan based on the number of backers and amount pledged. We are already so humbled and grateful. Thank you!
the Electric Ladyland [REDUX] track list: Elephant Tree “…And the Gods Made Love” Open Hand “Have You Ever Been (To Electric Ladyland)” Superchief “Crosstown Traffic” All Them Witches “Voodoo Child” The Phuss “Little Miss Strange” The Budos Band “Long Hot Summer Night” Earthless “Come On (Let the Good Times Roll) Wo Fat “Gypsy Eyes” Mos Generator “Burning of the Midnight Lamp” Gozu “Rainy Day, Dream Away” Summoner “1983… (A Merman I Should Turn to Be) Claymation “Moon, Turn the Tides… Gently Gently Away” Mothership “Still Raining, Still Dreaming” King Buffalo “House Burning Down” Tunga Moln “All Along the Watchtower” Elder “Voodoo Child (Slight Return)”