I honestly can’t remember the last time I was so tired. Pure physical and mental exhaustion. By the end of the day I could barely stand up, keep my head up, or down one last cup of coffee while watching Mars Red Sky close out the show. It’s been three days. I’m still not sure I have the mental faculties to write this post.
I hereby dub the first-ever The Obelisk All-Dayer a success.
The day started with The Patient Mrs.’ car breaking down on I-95 in Connecticut on the way south to Brooklyn and continued through flash floods, the first two bands running late (both got there on time, but my nerves were already frayed from being late myself), my camera breaking – again – during Funeral Horse, Death Alley blowing a tire on their way up from Philly, and so on, but there were tacos, the day ultimately ran on time, and everybody killed.
Absolutely killed. I mean it. Front to back. What a show.
From Heavy Temple bringing it for an early 2:30 start through Mars Red Sky dipping back to their first record for a rendition of “Strong Reflection” that nearly brought a tear to my eye, and everything in between. King Buffalo? Funeral Horse? Fucking EYE? Kings Destroy? Snail? Death Alley’s absolute ownership of the room? There wasn’t a dud in the bunch.
Most importantly, it seemed like everybody there had a good time. The tacos went. We wound up with about 170 people in the door, not counting bands and guests, and with the professionalism of the Saint Vitus Bar staff, the show ran smoothly the whole time, changeovers were easy, and my sincere hope is that everyone who came felt welcome, because they absolutely were.
On that note, I’ll say that I’m not going to review the show. Just doesn’t feel right. But I did want to say thank you to a few people who helped make the day so incredibly special.
First to The Patient Mrs., who not only handled money at the end of the night, but sold posters and patches, kept me sane as we stood on the side of the highway and waited for the tow truck, reminded me to eat, and got me that aforementioned last cup of coffee to get me through the last part of the show. She was there (almost) the whole day and it was deeply meaningful to me to have her around.
Thanks to Walter Roadburn, who left the comforts of home to come and co-DJ the afterparty, sat in traffic with The Patient Mrs. and I on the trip from Boston to Connecticut, Connecticut to Brooklyn, and back again. The time we got to spend talking about music, about what he does with his festival, and his insights on the show are memories that I imagine I will continue to treasure for as long as I can remember anything at all. Highlight of the weekend, without question. And thanks to Esther, who convinced him to come.
Thanks to David Castillo, George Souleidis, Sound Guy Jeff and the staff at the Saint Vitus Bar, which leaves absolutely nothing to question as to why it has the reputation it has. The generosity they showed in welcoming the All-Dayer into their rightly-hallowed space, the accommodation of the weird schedule, and just the sheer slog of the hours put in – all handled with professionalism beyond enviable. Other venues should aspire to run such a ship. It was staggering to see it from the end of someone organizing a show. Thank you so much.
Thank you to Steve Murphy for the endless, thoroughly unjustified belief in my being able to pull this whole thing off, for the tacos and for the support across the board. Thank you for your friendship, your kindness, and for your threat to print up bootleg Obelisk t-shirts to give away at random. I hope that works out.
Thanks to the bands. Mars Red Sky coming from France to play, Death Alley from the Netherlands, Snail from the West Coast, Kings Destroy giving New York due representation with a special set – “Planet XXY?” who knew? – EYE from Ohio, Funeral Horse from Houston, King Buffalo from Rochester and Heavy Temple from Philly. And to Walter and Adam Otracina for helming the afterparty. Whether they were coming from near or far, it really felt like everybody put something extra into the show and I was continually humbled and blown away by what I saw and heard all day and into the night. People loaning each other gear, making adjustments on the fly, starting and ending on time, everything came together better than I could’ve hoped, and it was just wonderful to see. I am deeply grateful.
Thanks to Jaime Traba for recording the audio of the sets. More on that hopefully soon. Thanks to Frank Huang for capturing video. Steve Truglio, Randy Blood, Harry Booth and others for getting photos. Like I said, my camera died, so knowing that there were plenty of others around was a great comfort.
Thanks to Skillit for the amazing poster and logo design, and to Dave from Made in Brooklyn for printing the patches. Thanks to my family, Suze Wright, Andy Wright and Rob Jones, for coming and helping sell merch. Thanks to Slevin and Ralph. Thanks to Liz and Dave from Earsplit and Becky Laverty for the plugs. Thanks to Postman Dan for buying tickets even though he couldn’t make it. Thanks to Randy and Laura Blood, Juan Lopez, Jen Hendrix-Johnson, Kenny Sehgal, Phil Moon, Adam Sawford, Nico Liengme and Laurel Jane May, Earl Walker Lundy, Seibert Lowe, Paul John Shaft, Lisa Hass, Melanie Streko, Ron, Jill Lavilette, Brian Schmidt, Ross Colombo, Alex Jakstas, Natasha Padilla, Tad Proshansky, Zack Kurland, Greg Aramini, and many, many others who came out, everyone who had a kind word about the site, the band selection, my book, everything. I’m quite sure I’ll add to this list as I regain even my usual limited use of my mental faculties, but this is for starters and please know that whether you were there in-person or if you shared a link or saw a post about it and liked it or bought tickets in advance or just read the site generally. Thank you. Thank you all so much. Thank you.
I’m going to take a couple weeks and really think about whether this is something I want to do again, but if I do, I know it won’t be an annual thing. Whatever happens moving forward, I want you to know how unbelievable this night was for me and I hope for everyone who attended as well. One more time, thank you.
I don’t have photos of my own, Steve Truglio was kind enough to send me shots of each band who played, and you’ll find them after the jump.
I’m gonna need you to take my word for it on this one. Really. You don’t want to miss Heavy Temple as they kick off The Obelisk All-Dayer this Saturday at Saint Vitus Bar in Brooklyn. You just don’t. They start the show at 2:30PM, and whether or not you caught onto their first, self-titled EP (review here), it doesn’t even matter because their new stuff blows it out of the water. Bassist/vocalist High Priestess Nighthawk — who needs real names, anyway? — has assembled a lineup of righteous compatriots and as a hard-fuzz power trio, they’re absolutely scalding on stage. Heavy nod, psych flourish, rhythmic density, memorable hooks and the occasional soaring moment that is absolutely bound to leave an impression.
Part of the reason I ask you to take my word for it is that the teaser below doesn’t actually give much of a taste of their upcoming next release, Chassit. The Philly three-piece will have a tape out via Tridroid by November, and presumably some more audio will precede before then, but the bit of noise and feedback proffered by Nighthawk, guitarist Arch Bishop Barghest and Siren Tempestas — who leads the march kicking into the track “Ursa” shortly hereafter — is the first audio to come from Heavy Temple since the self-titled and at very least it lets you know the kind of filthy tonality they’re getting down with these days. Way down.
Rest assured, there will be more to come on Chassit as we get closer to and through the release of the tape, but in the meantime, catch Heavy Temple this Saturday at The Obelisk All-Dayer with Mars Red Sky, Death Alley, Snail, Kings Destroy, EYE, Funeral Horse and King Buffalo. If you haven’t gotten tickets yet, get them here.
Gaze upon its countenance and realize just how fucking awesome this show is going to be.
Aug. 20 at Saint Vitus Bar in Brooklyn marks the first-ever The Obelisk All-Dayer, a one-of-a-kind celebration of things heavy, noisy, psychedelic, progressive, and weird. In addition to being the first New York appearances for French heavy psych mavens Mars Red Sky, Amsterdam-based motor-rockers Death Alley, West Coast riff-rollers Snail and bizarro Texas punks Funeral Horse, The Obelisk All-Dayer will feature food on-hand, full and recorded sets, limited-edition posters and other merch, and an afterparty with DJ Adzo (aka Adam Kriney of Brooklyn’s The Golden Grass) and Walter Roadburn (the man behind the internationally renowned Roadburn festival).
Today the official poster, which will be available at the Vitus Bar in a limited and one-time run of 50, has been revealed. Art is by Los Angeles-based designer Sean “Skillit” McEleny, who has worked with numerous acts across both coasts as well as the header for this site and perfectly captures the strange awe and wonder that the show is certain to elicit front-to-back.
Following the revelation earlier this month of the complete lineup, the set runtimes are now also available:
Mars Red Sky* 10:10-11:40
Death Alley* 8:50-9:50
Kings Destroy 6:30-7:10
Funeral Horse* 4:30-5:10
King Buffalo 3:30-4:10
Heavy Temple 2:30-3:10
(Afterparty with DJ Adzo & Walter Roadburn* 12-2AM)
* Debut appearance in NYC
Set times are firm. The Obelisk All-Dayer is proud to be giving these bands enough time to flesh out their performances, as opposed to rushing one into the next in a festival. The intent is that the day will be a laid-back party more than a festival, from the start of Heavy Temple‘s cult-worthy riffing through the psych-blues bliss of King Buffalo, the possibly-cape-inclusive doings of Funeral Horse, EYE‘s lush progressive rock, locals Kings Destroy‘s aggro noise push and the one-two-three punch of Snail, Death Alley and Mars Red Sky, none of whom has ever played New York before.
The first-ever The Obelisk All-Dayer is set for Aug. 20, 2016, at Saint Vitus Bar in Brooklyn, NY. So far the announced lineup includes Mars Red Sky for their first East Coast appearance, Snail for their first East Coast appearance, Ohio’s EYE supporting their new album, Funeral Horse for their first East Coast appearance and King Buffalo, who’ll be playing the last night of their release tour.
I’m proud and thrilled today to add Kings Destroy and Heavy Temple to the bill.
I can’t say enough about what each of these bands brings to the show, and I couldn’t be more stoked to have them involved. One thing I’ve been trying to do all along is build a genuine flow to the day that I think will make sense as one set leads to the next. It’ll make sense once the full running order is posted, but for the time being, let me just say that both these bands hold a special place in the lineup.
Here’s more on each:
There isn’t a band today I feel closer to than Brooklyn’s Kings Destroy. If you read this site at all, you probably already know that. I’ve been a nerd for these cats since their first 7″ and I’m fortunate today to consider them as friends and the bottom line is there’s just no way in hell I’d put on this show and not have them involved. They were out on tour earlier this year with Black Cobra, Lo-Pan and Bongzilla supporting their 2015 self-titled third album, for which they’ve already started writing the follow-up. They have a new 15-minute song that last I heard was about half done and they don’t know it yet, but I’m calling them out to play it at this show. The gauntlet is thrown down, gentlemen.
Oh my god, the new Heavy Temple is so good. Don’t get me wrong, I knew before I heard it that I wanted them on this bill — I’ve known it since Vultures of Volume last year, but the Philly trio have a new EP in the can and it’s absolutely stellar. They’ll open the show hopefully playing tracks from it and I expect by the time August comes around, there will be some official announcement as to the release, but even if you don’t know it yet, you’re in for a treat as they kick things off at The Obelisk All-Dayer. I shouldn’t have to tell you to get there early — looking like a 2:30PM start — but I will anyway, just to reinforce the importance of the issue. Get there early.
The Obelisk All-Dayer is Aug. 20, 2016, at Saint Vitus Bar in Brooklyn, New York, and will feature full sets, after-show DJs, food truck on-hand, live recordings, limited edition merch and much more. One more band to be announced in June, along with DJs and the running order.
Posted in Whathaveyou on February 15th, 2016 by H.P. Taskmaster
A quick story if you’ll indulge me. One of the best t-shirts I’ve ever owned (and I’ve owned a few) was a Type O Negative shirt in the era of 1996’s October Rust. It was red and for the song “Wolf Moon” — image here; not my picture — and on the back in big block letters was “LET US PREY.” I was in high school at the time, and for years, that was just about the only thing I wore that wasn’t black. Gradually, the shirt was retired, and gradually, I dug into more underground fare, but as a misunderstood angry boy from New Jersey, I had a deep affinity for Type O Negative‘s blend of fuckall and gothic theatricality — I still have “Kill all the White People” stuck in my head not irregularly — and that has remained on more than a nostalgic level. Even up to 2007’s Dead Again, their final album, I counted myself a fan, and I remember where I was when I heard Peter Steele, who was always an entertaining interview, died in April 2010.
All of this means that when Philadelphia trio Heavy Temple take on October Rust opener “Love You to Death,” I come in predisposed in favor of it. Still, the three-piece whose to-be-released-sometime-this-year EP is eagerly anticipated have done well to make the song their own, playing off the established, deeply remembered original version while throwing in a sonic twist. I won’t spoil that, but it’s an impressive turn on expectation as well as a vocal showcase to which the band lives up encouragingly. I continue to look forward to that EP.
If you’re wondering, I still have that shirt as well. Some things you just don’t throw out.
Some words from the band, and of course, the audio:
High Priestess Nighthawk (bass/vocals) on “Love You to Death”:
It started as a Valentine’s gift for Will Mellor from Hivelords. I’d never really sunk my teeth into Type O til I met him. He also did the final mix. But then i figured why not share it with everyone? It’s one of their best songs. I considered putting it as a secret track on the forthcoming EP (release TBA), but figure Valentines day was as good a time as any to release it. I recorded pretty much everything in one day, But the song is well written so it wasn’t hard.
Posted in Features on January 25th, 2016 by H.P. Taskmaster
If 135-plus releases sounds like a lot, you’re right, it is. I must be out of my god damn mind. To put it to scale though, last year, I did a feature every couple of months called the Quarterly Review that throughout the course of 2015 resulted in no fewer than 200 separate album writeups. 135 is a lot, but it’s not everything. It’s still January. It couldn’t possibly be everything.
The basic fact of the matter is there’s so much out there right now that anyone claiming to even hint at totality of coverage is either clueless or lying. I don’t come close to catching it all. I do the best I can to do as much as I can. I know you’ve heard this all before.
Over the last seven or eight months, I’ve been keeping track of albums, EPs, singles, etc., slated for 2016 release. Some of these are independent, some through labels, some names familiar, some names new. I’ve tried to mix it up as much as possible, and I reserve the right to add to the list over the next couple days anything anyone might suggest in the comments. Last year’s list turned out to be a resource I used throughout the entire time, so, fingers crossed, I’ll be doing the same this go around. Thanks in advance for your participation in making it more complete by leaving a comment.
Ordered Alphabetically by Artist
1. Alunah, TBA
The Birmingham doom-rollers seem to be on this list every year, but I have it on good authority — namely, Alunah posted about it on the social medias — that they’re writing and entering the studio with an eye toward a late-2016 release for the follow-up to their 2014’s excellent Awakening the Forest (review here), their third full-length and debut on Napalm Records. Alunah on Thee Facebooks, at Napalm Records.
Since their late-2015 reunion (announced here), Swedish trio Asteroid have been added to the lineup for Desertfest in Berlin and just this past week re-signed to Fuzzorama Records — which also released their last full-length, 2010’s II (review here) — for an upcoming release they’ve appropriately-enough dubbed III. Much more to come. Asteroid on Thee Facebooks, Fuzzorama Records.
4. Atavismo, TBA
Not much more to go on here than the band alluding to a forthcoming LP being put together, but frankly, I was so enthralled with the Spanish group’s late-2014 debut, Desintegración (review here), that that’s enough to make me excited at the prospect of a next installment from them. Keeping my hopes up it gets here before December. Atavismo on Thee Facebooks, on Bandcamp.
5. Banquet, Jupiter Rose
Picked up last fall by Heavy Psych Sounds as part of a torrent of signings from the label, San Francisco’s Banquet make their debut next month with Jupiter Rose, following their 2015 single, Run to You / Mother Road, which was released by Who Can You Trust? Records and boasts soulful West Coast heavy ’10s thrust. Banquet on Thee Facebooks, Heavy Psych Sounds.
6. Beelzefuzz, Beelzefuzz II: The Righteous Bloom
When I starting keeping notes for this list, this album was pegged as the debut from Beelzefuzz-offshoot Righteous Bloom, but word came down in December that band had reassumed its former moniker and that Beelzefuzz II: The Righteous Bloom would be issued in the early part of 2016 via The Church Within as the follow-up their 2013 self-titled debut (review here). Whatever name the progressive doomers release it under, I can’t wait to hear it. Beelzefuzz on Thee Facebooks, The Church Within Records.
7. Bellringer, TBA
There hasn’t been any sort of official announcement of a debut LP from the Mark Deutrom-led Bellringer, but over the course of the last year, the Austin-based former Melvins/Clown Alley bassist has unveiled a number of singles (posted here), and if he keeps it up long enough, he’ll get to an album one way or another. As a fan of creative weirdo heavy rock, I’m looking forward. Bellringer on Thee Facebooks, on Bandcamp.
8. Blaak Heat Shujaa, TBA
As of this past April, L.A. desert psych rockers Blaak Heat Shujaa (aka Blaak Heat) were in pre-production for their third full-length and second for Tee Pee Records behind 2013’s expansive The Edge of an Era (review here). The album may or may not be done, but whenever it arrives, it’ll do so with extra interest due to the inclusion of Tom Davis (ex-Nebula) on bass. Blaak Heat Shujaa on Thee Facebooks, Tee Pee Records.
9. Black Black Black, TBA
I feel like Brooklyn post-hardcore heavy rockers Black Black Black caught a bum rap because of their name, but the band’s blend of melody and intensity was not to be ignored on account of moniker or anything else. No solid release date yet, but last I heard, Aqualamb Records, which issued the artbook version of their 2012 self-titled debut (review here) would have a sophomore album released in similar style in the first half of this year. Black Black Black on Thee Facebooks, Aqualamb Records.
10. Black Cobra, Imperium Simulacra
You’ll note several records on this list have a release date of Feb. 26, and it would seem only fair to put Black Cobra‘s fifth outing and first for Season of Mist, Imperium Simulacra (review here), at the head of the bunch even if it didn’t wind up there by alphabetical happenstance. Not by any means the San Francisco duo’s rawest outing, but definitely their most stylistically expansive, and with plenty of their trademark destructive gallop to boot. One you probably don’t need me to tell you that you should hear. Black Cobra on Thee Facebooks, Season of Mist.
11. Black Cowgirl, TBA
Last time Pennsylvania heavy rockers Black Cowgirl were heard from, they said one simple thing: “2016.” That was October. Well, it’s 2016 now, and if we’re talking new releases, an LP from them would just about be their debut. Their 2012 self-titled (discussed here) on Kozmik Artifactz paired newer songs with material from their 2010 demo (discussed here), so a straight-up album feels due. Maybe this is the year. Black Cowgirl on Thee Facebooks, on Bandcamp.
12. Black Rainbows, Stellar Prophecy
If this one’s fresh in mind, that’s because it was just announced last week that Rome trio Black Rainbows would release their new album, Stellar Prophecy in April on Heavy Psych Sounds. It’s a quick turnaround for them from 2015’s Hawkdope (review here), but as that album was a marked step forward in their sound, I’m even more eager to hear where they go next. Black Rainbows on Thee Facebooks, Heavy Psych Sounds.
13. Black Shape of Nexus, Carrier
It’s an establish Spring release date for the new Black Shape of Nexus, whose brand of sludge crosses a threshold of thoughtfulness without falling into post-metal cliche. The German outfit’s last record, 2012’s Negative Black (streamed here), was plenty punishing, and I’d expect only creative progression on Carrier, though wouldn’t dare guess at the form in will take. Black Shape of Nexus on Thee Facebooks, Exile on Mainstream.
14. Blood Ceremony, Lord of Misrule
Toronto’s Blood Ceremony enter into their recently-announced fourth full-length, Lord of Misrule in something of a stately position. Since 2013’s The Eldritch Dark, their influence has only spread further across North America and beyond, so the question as the new LP makes its way out via Rise Above on March 25 is how they can stand out from the crowd formed at least partly in their wake. Blood Ceremony on Thee Facebooks, Rise Above Records.
15. Boris with Merzbow, Gensho
So you get your Boris record, then you get your Merzbow record, then you play both at the same time, and that’s your collaborative release. The intermittent pairings from Boris with Merzbow have always been unflinchingly creative and bold in their experimentalism, and going by the teaser posted last week, Gensho will be no different when it arrives March 18 on Relapse. Expect who the hell knows what. Boris on Thee Facebooks, Merzbow website, at Relapse Records.
16. Borracho, TBA
In mid-2015, Washington D.C.’s Borracho took part in a Ripple Music split with Geezer called The Second Coming of Heavy – Chapter One (review here). A bolt title, but it found them continuing to refine their sound as a power trio following 2013’s sophomore LP, Oculus (review here). No solid word of something due as yet, but a recent update from the band said they’d be hitting the studio next month. Borracho on Thee Facebooks, on Bandcamp.
17. Brimstone Coven, Black Magic
Out this week on Metal Blade, Brimstone Coven‘s debut album follows a well-received self-titled EP compilation (track stream here) that came out last year, and should prove interesting to see how the West Virginian doomers have grown since that material was recorded in 2013, just a year after they formed. I can’t claim to have heard it yet, but it seems like one that the doom converted should be all over. Brimstone Coven on Thee Facebooks, at Metal Blade Records.
18. Causa Sui, Return to Sky
Danish heavy psych instrumentalists Causa Sui posted an album teaser late last week for Return to Sky, and though it only showcased two tracks, it showed their tonal warmth intact and their will to explore as vibrant as ever. To be released through their own El Paraiso Records, my only hope is they don’t get saddled with pressing delays in the Spring, because really, the sooner it gets here, the better off we’ll all be. Causa Sui on Thee Facebooks, El Paraiso Records.
19. La Chinga, Freewheelin’
An awaited follow-up and Small Stone debut brings Freewheelin’ (review here) from Vancouver heavy rockers La Chinga on March 20. The new album reignites the hard-driving, classic-minded methods of their 2013 self-titled (discussed here), but refines the songwriting as well to affect a more memorable impression. The beginning of a big return year for Small Stone. La Chinga on Thee Faceboks, Small Stone on Bandcamp.
20. Church of Misery, …And Then There Were None
Unquestionably one of the most anticipated albums of the year. And Then There Were None brings Church of Misery founder Tatsu Mikami to the US from his native Japan and finds him teamed up with members of Blood Farmers, Earthride and Repulsion in a completely revamped lineup from that which appeared on 2013’s Thy Kingdom Scum (review here). Rise Aboverecently announced a March 4 release. Church of Misery on Thee Facebooks, Rise Above Records.
21. Cities of Mars, TBA
Swedish trio Cities of Mars caught attention with the big riffs and steady swing of their debut single (review here), and announced back in October that they’d have a new EP out in March via Suicide Records. Still somewhat in their formative stages, they’ve presented a sci-fi thematic and it will be interesting to see if they stick with it or move toward something else. Cities of Mars on Thee Facebooks, Suicide Records.
22. Cloud Catcher, TBA
The progressive Denver newcomers are set to hit the studio in Spring to record their sophomore LP and the follow-up to 2015’s Enlightened Beyond Existence (discussed here), so it might be summer or even fall by the time it gets issued, depending on timing of the recording, what label picks them up, etc., but it’s one to keep an eye out for anyway. They’ve shown a willingness to hit the road as well, and I wouldn’t be surprised if they did so again sometime after their Spring tour in Feb./March. Cloud Catcher on Thee Facebooks, on Bandcamp.
23. Comacozer, Astra Planeta
When Sydney trio Comacozer signed with HeadSpin Records last July, it was announced they’d be recording in October for a debut full-length to be titled Astra Planeta that would be due this Spring on the label. That process has been delayed somewhat, but there’s still no reason to think they can’t get the record out this year. Their 2015 EP, Deloun Sessions, found them pushing more into tense, moody atmospherics, and it was a shift that suited them well. Comacozer on Thee Facebooks, HeadSpin Records.
24. Conan, Revengeance
Out this week on Napalm Records, the third album from UK destroyers Conan, Revengeance (review here), finds the trio revamped around founding guitarist/vocalist Jon Davis, with longtime producer Chris Fielding adding a striking, effective counterpoint on bass and vocals and drummer Rich Lewis adding to the tectonic roll on drums. Happy to report, it still sounds like Conan, only perhaps even deadlier. Conan on Thee Facebooks, at Napalm Records.
25. Conclave, TBA
I don’t think Massachusetts four-piece Conclave — whose members trace their pedigree back to outfits like Warhorse and Grief — are ready to make the name of their full-length debut public yet, so I’m not going to say it, but I’ve heard the album and it’s full-on death-doom punishment that should bring a satisfied grin to even the most discerning of purists. Their debut EP, Breaking Ground (review here), was grim and brutal in kind, and the album only pushes further into the dark. Conclave on Thee Facebooks, on Bandcamp.
26. Corrosion of Conformity, TBA
Since the North Carolinian legends first announced they were reuniting with guitarist/vocalist Pepper Keenan, the question has been whether or not a new album would surface. Last October, they signed to Nuclear Blast while on tour with Clutch and The Shrine (review here), and followed that tour with a headlining run in December. I expect we’ll hear from them a lot in 2016 as they record the first outing with this full four-piece since 2000, and that’s just fine by me. Corrosion of Conformity on Thee Facebooks, Nuclear Blast.
27. Cough, TBA
Richmond doomers Cough entered the studio last August to begin tracking their first full-length since 2010’s Ritual Abuse (review here). I haven’t seen any announcement as to when it will be released, but it was finished in September, and we’ll see if it winds up coming out through Relapse, which would be expected, or if part of the delay has been in finding it a new home. That’s sub-speculation, mind you. I’m figuring on release news any minute now. Will let you know how that goes.Cough on Thee Facebooks, Relapse Records.
28. Curse the Son, Isolator
I was very glad I got to see Connecticut’s Curse the Son this past fall (review here), both because I dig what they do and because it gave me a sneak peak at the songs that will show up on their new album, Isolator, when it surfaces in March via Snake Charmer Coalition. Expect big, tone-led vibes a la 2012’s Psychache (review here), but with some new edge thanks to the addition of bassist/backing vocalist Brendan Keefe alongside guitarist/vocalist Ron Vanacore and drummer Michael Petrucci. Curse the Son on Thee Facebooks, Snake Charmer Coalition.
29. Dali’s Llama, Dying in the Sun
Perpetually underrated CA desert rockers Dali’s Llama will release their new album, Dying in the Sun, early this year. I’m not precisely sure when, but sooner or later it will come out, and when it does, I have full faith it will be a stirring reminder of just how overlooked the band continues to be as they’re now well past their 20th anniversary. The upcoming full-length was mastered as of December, so look out for an update hopefully sooner than later. Dali’s Llama on Thee Facebooks, Dali’s Llama Records.
30. Darsombra, TBA
Drone/noise/visual two-piece Darsombra toured across the US in 2015 across 109 different cities. That is no easy feat, and I can’t even imagine how an experience like that might play into the writing from Brian Daniloski and Ann Everton on the band’s next full-length, which, when they finished the last leg of that massive and ambitious run, they said was in the works. I’d like to find out, though, as Darsombra continue to aspire to inner peace through cosmic noisemaking. Darsombra on Thee Facebooks, on Bandcamp.
31. Dead Feathers, Dead Feathers 10″
Expected out Feb. 19 via HeviSike Records, the self-titled debut EP from Chicago heavy psych rockers Dead Feathers has been subject to some considerable pressing delays. The band was signed last Spring initially for an Aug. 2015 release that has continued to be pushed back, presumably as a result of so much interest in pressing vinyl at the moment. Still, the tracks have been streaming for a while now, so anyone looking to quench their thirst can do so readily on their Bandcamp. Dead Feathers on Thee Facebooks, HeviSike Records.
32. Deadsmoke, Deadsmoke
As announced a couple weeks ago, Duna Jam veterans Deadsmoke will issue their self-titled debut via Heavy Psych Sounds on March 25. The Italian sludgers have plans to tour Europe in May as well, and should they happen to pop on a late-spring or summer festival or two along the way, I wouldn’t necessarily be surprised. Heavy Psych Sounds‘ spree continues. Deadsmoke on Thee Facebooks, Heavy Psych Sounds.
33. Deamon’s Child, Scherben Müssen Sein
The German title of Deamon’s Child‘s second album, Scherben Müssen Sein, translates to “shards must be.” I’m not sure what it means, but I am sure that the trio’s 2014 self-titled debut (review here) was an intriguing and offbeat brand of noise rock-plus, so I’ve no problem getting down with the idea of another outing from them, though given their breadth I wouldn’t necessarily expect the second LP to be a carbon copy of the first. Deamon’s Child on Thee Facebooks, on Bandcamp.
34. Deathkings, All that is Beautiful
Hailing from what I’ll assume is the darkest underbelly of Los Angeles, Deathkings issue their sophomore LP, All that is Beautiful, on March 18 as the follow-up to a 2015 split with Boston’s Rozamov (review here). I’ve got a track stream slated for this week from these guys, so I’ll save more for that, but suffice it to say that it’s surprising music so grueling can come from a place where it never rains. Deathkings on Thee Facebooks, on Bandcamp.
35. Devil to Pay, A Bend Through Space and Time
Indianapolis heavy rockers Devil to Pay and their label, Ripple Music, have set a tentative “Summer” release date for the band’s fifth album, A Bend Through Space and Time, but as the recently unveiled “Your Inner Lemmy” showcased, the songwriting that has long served as their chief appeal is ready to roll on the new collection. That song surfaced early as a timely tribute to Lemmy Kilmister of Motörhead, so it might be a while before more solid details come down the wire, but whenever it shows, it’ll be welcome. Devil to Pay on Thee Facebooks, Ripple Music.
36. Dream Death, Dissemination
A second post-reunion album is always a tricky prospect. A band wants to continue to acknowledge what they were when they started out, progress from their last outing, and get over that hump of songs that may or may not have been written years prior and onto something fresh. How will Pennsylvania’s Dream Death tackle this issue on their forthcoming Dissemination, due out March 4 via Rise Above? Probably by being heavy as hell and sounding completely fucking miserable. Just a guess. More info here. Dream Death on Thee Facebooks, Rise Above Records.
37. Droids Attack, Sci-Fi or Die
Another Feb. 26 release, Sci-Fi or Die, the fourth long-player from Madison, Wisconsin’s Droids Attack, has been in the works for at least the last three years. I’ll be hosting a full-stream of it sometime between now and the release (which I’m stoked for), so keep an eye out for that, but these guys have deserved more attention for a while now one way or another, and the follow-up to 2010’s Must Destroy! (review here) might be the record that gets it for them. Droids Attack on Thee Facebooks, Droids Attack website.
38. Drug Honkey, TBA
Various announcements have floated around over the last year and a half or more from Chicago death-churners Drug Honkey, and I’m not sure at this point whether their next release will be an EP of or a complete album or what. Their last full-length was 2012’s Ghost in the Fire (review here), which was inhumane in its onslaught, abrasive in loud or quiet parts, and swirled out an otherworldly sense of terror. So yeah, something to look forward to in a new one. Drug Honkey on Thee Facebooks, Transcending Obscurity on Bandcamp.
39. Duel, Fears of the Dead
In addition to boasting a cover that has immediately made my list of the year’s best, look for hard-driving heavy rock swing on Duel‘s debut LP, Fears of the Dead, due out Feb. 12 on Heavy Psych Sounds. The Austin, Texas, four-piece have newly announced European tour dates that will start March 9 and run through April 2, and I’ve little doubt their brash ways will find favor among the beer-soaked good-timers abroad. Over here, I’m just looking forward to hearing the album. Duel on Thee Facebooks, Heavy Psych Sounds.
40. Egypt, Endless Flight
We know it’s awesome. It was streamed here last month in its entirety. The real question with Egypt‘s sophomore outing is whether it’s a 2015 or a 2016 release. Vinyl’s still forthcoming last I heard, but the CD hit in December. What counts? For what it’s worth, I’m clearly thinking of it as a 2016 outing, but whatever format you might prefer, think of this as a note to remind you that you should check out. Because it’s awesome. We knew that. Egypt on Thee Facebooks, Egypt on Bandcamp.
41. Eight Bells, Landless
Out Feb. 12 on respected purveyor Battleground Records with tapes through Tartarus, Landless casts a severe and progressive glance at the scope of atmospheric heavy and offers an individualized take developed even from what the Portland, Oregon, trio brought to their 2013 debut, The Captain’s Daughter. Doom, black metal and a stately sort of psychedelia intertwine over the album’s span, and it seems all the more likely the band will turn heads with their approach on tour with Voivod (dates here) starting Feb. 6. Eight Bells on Thee Facebooks, Battleground Records.
42. Electric Citizen, Higher Time
Before Electric Citizen posted the new track “Evil” in a RidingEasy Records sampler last month, word on the street was the Ohio heavy ’10s rockers were looking to add a full-time keyboardist. That search doesn’t seem to have panned out, but their Higher Time is hotly anticipated anyway as the answer to their 2014 debut, Sateen (review here), which showed the Sabbath worshipers how Sabbath worship is done. Electric Citizen on Thee Facebooks, RidingEasy Records.
43. Elephant Tree, TBA
Full disclosure: I know way more about Elephant Tree‘s upcoming Magnetic Eye Records debut LP than I’m putting in this post. Like that it rules. And why! Stick around. Later this week, I’ll have a track premiere from the album up with a review, but the follow-up to their 2014 debut EP, Theia (review here), has already made it into my best-of-2016 consideration and my best-debuts-of-2016 consideration, and I know it’s only January, but right now it’s the one to beat in the latter category. More to come. Elephant Tree on Thee Facebooks, Magnetic Eye Records.
44. Elevators to the Grateful Sky, Cape Yawn
Sicilian four-piece Elevators to the Grateful Sky signed to HeviSike Recordslast month, and while a March 11 release date for the band’s second album, Cape Yawn seems like a quick turnaround, until I hear otherwise it’s what I’m going with. The band released their debut, Cloud Eye, on Transubstans in 2013, but should fit well with HeviSike‘s growing and diverse roster, being growing and sonically diverse themselves. Elevators to the Grateful Sky on Thee Facebooks, HeviSike Records.
45. Faith in Jane, TBA
I have it on zero authority that Maryland heavy rockers Faith in Jane are working on a new release — I know they jammed with Wino earlier this month, and that’s cool — but having had the chance to see the trio play last September at Vultures of Volume II (review here), I’m including them on this list anyway just because they’re one to watch out for. Deep blues vibes roughing up some of the West Coast’s ’70s fetishizing; way heavy and way swinging. Not technical, but intricate, and thoroughly grooved. Lots of potential there.Faith in Jane on Thee Facebooks, on Bandcamp.
46. Fatso Jetson, TBA
They’re due, right? Sure, the last couple years have brought splits with Farflung (review here), Herba Mate (review here) and Yawning Man, but we’re coming up on six years since Archaic Volumes (review here) was released in 2010, and I’m dying to hear what a new Fatso Jetson album would sound like with Mario Lalli and son Dino, who’s joined the band in the interim, going head-to-head on guitar. Whenever it’s ready, so am I. Fatso Jetson on Thee Facebooks, Fatso Jetson website.
47. Fever Dog, TBA
Could be later in the hear, could be in 2017 that it shows up, but the next offering from Californian desert psych rockers Fever Dog is reportedly now in the writing stage, and given the effectiveness with which 2014’s Second Wind (review here) demonstrated their willingness to mess around with structure and sound alike, their third outing should find them at an important stage in their development. Still young and significantly underrated. Fever Dog on Thee Facebooks, on Bandcamp.
48. The Flying Eyes, Poison the Well / 1969 7″
It’s another year for me and you. Another year with nothin’ to do. Baltimore’s The Flying Eyes are covering The Stooges‘ “1969” (baby) on their new single from H42 Records, mashing it up with “Poison the Well” from their 2011 second album, Done so Wrong (review here). Might be a stopgap on the way to whatever’s next, but should be an interesting listen anyway. The Flying Eyes on Thee Facebooks, H42 Records.
49. Foehammer, TBA
Virginia soul-bashers Foehammer released my favorite EP of 2015 in the form of their Grimoire/Australopithecus self-titled (review here), and I’m eager to know how they’ll expand on the outright brutality of that offering over the course of a full-length, or if they will at all. Entirely possible they’ll just kill, kill, kill the whole way through, and that’s also something I’d like to see them pull off. Either way they go, count me in. Foehammer on Thee Facebooks, Grimoire Records, Australopithecus Records.
50. Fog Cult, The Dying Sun
Initially self-released by the band last year, The Dying Sun is the second full-length by Bethlehem, Pennsylvania, weedian rockers Fog Cult, and it’s set for a vinyl issue via Black Farm Records sometime this year. Not much fixing what isn’t broken about large-scale nod riffs and sludge vibing, but a track like “Altars of the Night” manages to evoke early Alice in Chains-type harmonies without falling into post-Creed cliche, and that in itself is something remarkable. Streaming in full now on their Bandcamp. Fog Cult on Thee Facebooks, Black Farm Records.
51. Foghound, The World Unseen
Might be May before it shows up, but The World Unseen will serve as Maryland heavy rockers Foghound‘s debut on Ripple Music. It’s their second offering behind 2013’s Quick, Dirty and High (review here) and a meaner, leaner take on their sound. The turns are tighter and the groove is more aggressive, but they still sound like they’re having a complete blast. More to come this Spring. Foghound on Thee Facebooks, Ripple Music.
52. Fuzz Evil, TBA
They’ll be playing the Borderland Fuzz Fiesta next month, which I’m proud to say I’ll be attending, and I hope to have a better picture of the debut album by Fuzz Evil‘s arrival date by the end of that if not before. The Arizona band, which shares brothers Wayne and Joseph Rudell with Powered Wig Machine, offered up a split with Chiefs in late 2014 (streamed here) and has piecemealed a track or two since, but the full-length was sent off to mastering in November, so it seems like it’s just a matter of time before it shows up. Fuzz Evil on Thee Facebooks, Fuzz Evil on Bandcamp.
53. John Garcia, TBA
Among the several Garcia-related releases that 2016 might have on offer — he appears no fewer than in three separate entries on this list — the former Kyuss, Slo Born, Unida, Vista Chino, Hermano, etc., vocalist has announced intentions toward a follow-up for his 2014 Napalm Records self-titled solo debut (review here) and an acoustic record, the second of which he reportedly began recording this month. The more the merrier, quite frankly. John Garcia on Thee Facebooks, Napalm Records.
54. Geezer, TBA
According to The Obelisk’s deep-running investigative team — by which I mean I looked at their Thee Facebooks page — New York heavy blues trio Geezer are heading into the studio in a couple weeks to record their next full-length. In 2015, the band offered up the already-noted split with Borracho, The Second Coming of Heavy – Chapter One (review here), via Ripple Music, and they’ve set about refining their chemistry on-stage as they hone their fluid mix of languid vibes and smoked-out shuffle. Looking forward to this one. Geezer on Thee Facebooks, STB Records.
55. Goatess, Purgatory Under New Management
First announced here with a track stream in November, the second album from Chritus Linderson-fronted doomers Goatess, titled Purgatory Under New Management, is due out this March of Svart, which also released the Swedish outfit’s 2013 self-titled debut (review here). I haven’t heard much about it since that track stream, so it may or may not be pushed back, but whatever, I’m just glad they did a second record either way. It’ll be out when it’s out. Goatess on Thee Facebooks, Svart Records.
56. The Golden Grass, TBA
Bring on the good vibes. The sophomore LP from sweet ’70s-style rockers The Golden Grass will be the band’s first for Listenable Records after releasing their self-titled debut (review here) via Svart in 2014. They finished mixing earlier this month, so once it’s mastered it seems like it’s really up to the label’s schedule as to when it will be out. Spring or summer would be my guess, which suits the warmth of their harmonies just fine. The Golden Grass on Thee Facebooks, Listenable Records.
57. Gozu, Revival
After issuing two albums through Small Stone in 2010’s Locust Season (review here) and 2013’s The Fury of a Patient Man (review here), Boston four-piece Gozu have aligned themselves to Ripple Music for the release of Revival, their LP overall. Recorded this past fall, it is easily the band’s tightest and most aggressive outing to-date, but their soulful, melodic core remains, and it is all the more identifiable as their own for that. More to come. Gozu on Thee Facebooks, Ripple Music.
58. Graves at Sea, TBA
I know I’ve used the phrase “More to come” several times already in this post — like right now, in the last entry — but while the full-length debut from reactivated West Coast sludge-doomers Graves at Sea was announced as being completed and ready for release by Relapseback in October, legitimately, more info on that prospect is coming up, so keep an eye out. That’s all I’m at liberty to say at the moment. I may have already said too much. Graves at Sea on Thee Facebooks, Relapse Records.
59. Greenleaf, Rise Above the Meadow
Oh fuck yes. How good is the new Greenleaf? So good. You know how 2014’s Trails and Passes (review here) kind of reset the band and gave a more stripped-down, stage-ready take? Rise Above the Meadow takes that, pushes it forward exponentially, adds some Dozer-style edge to the mix and presents it all with ferocious energy more common to bands on their second album rather than their sixth. Out Feb. 26. Will be a top 10 record in December, no question. Greenleaf on Thee Facebooks, Napalm Records.
60. Heavy Temple, TBA
There have been many changes in Philadelphia trio Heavy Temple since they offered up their self-titled debut EP (review here), or at least a couple involving the lineup of the band. Either way, it’s a revamped trio that last summer discussed a second extended-player for 2016. So far as I know, record label is still to be determined so far as I know — the first EP came out on Ván, which is an immediate endorsement — but they’ve been gaining traction in Philly and they seem to have ambitions beyond that city’s limits, so I can’t imagine someone won’t get on board with it, if they haven’t yet. Heavy Temple on Thee Facebooks, on Bandcamp.
61. Hermano, TBA
In addition to taking part in Hellfest 2016 in Clisson, France, this June, Hermano have put out word of an impending full-length to be released at some point this year. The John Garcia-fronted outfit also featuring bassist Dandy Brown (who will also play the Borderland Fuzz Fiesta solo) last released an album in 2007, which was Into the Exam Room, a striking, mature, engaging heavy rocker that not only showcased Garcia‘s vocals in creative arrangements, but them memorable songs to top and a variety of moods in which to work. Even nine years later, that record was enough to make me look forward to a follow-up. John Garcia on Thee Facebooks, Borderland Fuzz Fiesta.
62. Hexvessel, When We are Death
Out this week as their first release for Century Media, Hexvessel‘s When We are Death pushes beyond the confines of psychedelic folk rock (not that there were so many, particularly as regards their prior output) and into more solidified rock territory, an edge of gothic theatricality making itself felt alongside a stylistically amorphous late-’60s cultistry that doesn’t want to be defined nearly so much as to enthrall. I’ll have a review up one of these days soon, but I feel like I’m still getting to know the record, and that may be a permanent condition. Hexvessel on Thee Facebooks, Century Media.
63. High Priest of Saturn, Son of Earth and Sky
Here is yet another of Feb. 26’s many releases. I haven’t heard it yet, but given the traditionalism of the Norwegian outfit’s first LP and the fact that there are only five tracks on Son of Earth and Sky, it seems fair to expect High Priest of Saturn are letting their material flesh out a bit on their sophomore offering through Svart. Announced just a couple weeks ago, it’s been in the can since 2014, so it may not be all that long before a follow-up makes an appearance as well. High Priest of Saturn on Thee Facebooks, Svart Records.
64. Hijo de la Tormenta, El Manto de la Especie
I dug Argentinian heavy psych trio Hijo de la Tormenta‘s 2014 self-titled debut (review here), and last year, they followed it up with a quick live two-songer called En Vivo en Buenos Aires that found their sound no less engaging on stage than on record. The upcoming El Manto de la Especie was recently announced here, and should hopefully be together and out sometime in the first half of this year. Hijo de la Tormenta on Thee Facebooks, on Bandcamp.
There’s been a buzz around the Pacific Northwest’s fertile ground over the last couple years for Portland, Oregon’s Holy Grove, and on March 18, the soul-rock four-piece will make their full-length debut via Heavy Psych Sounds. The only other release from them I know about to-date is 2014’s Live at Joonior’s (review here), a two-track sampler, so for a lot of listeners outside the band’s regional homebase, this will really be their first experience hearing them. Holy Grove on Thee Facebooks, Heavy Psych Sounds.
67. Holy Serpent, TBA
The hot tip is look for it in August on RidingEasy. Melbourne, Australia’s Holy Serpent shroom-doomed their self-titled debut (review here) last year, and they’ll be going for a fast turnaround on the follow-up in 2016. No audio, info or art or anything like that yet, but I’m told it’ll be late summer, so that’s what I’m going on. Holy Serpent on Thee Facebooks, RidingEasy Records.
68. Inter Arma, TBA
So far, both Inter Arma and Relapse Records have been pretty tight-lipped on specifics when it comes to the Virginian genre-melders’ second LP for the label (third overall), but we know it was recorded by Mikey Allred, that it’s done and due out this summer, and that they’re starting their touring cycle for it even before it comes out. That’s not nothing. Given the laudatory response to 2014’s single-song EP The Cavern, I’d expect this one to get considerable attention both in the pre-release hype and the post-release exclamatory stages. Inter Arma on Thee Facebooks, Relapse Records.
69. Joy, Ride Along!
Announced just last week, Ride Along! will be West Coast jammers Joy‘s second album out through Tee Pee, following the psych spellcasting of 2014’s Under the Spell of… (review here). A few notable guests show up, but I’m looking for the band to distinguish themselves further this time around, find their niche within the post-Earthless sphere of instrumental Cali heavy. They showed some genuine personality on the last one, hope they keep it up. Out April 29. Joy on Thee Facebooks, Tee Pee Records.
70. King Dead, Woe and Judgment
Brooding atmospheres, a kind of post-metallic anxiety and moments of outright physical exertion are spread across Woe and Judgment (review here), the first LP from Pennsylvanian trio King Dead. The band released the album digitally last year on the sly in order to self-finance a vinyl pressing, and after succeeding in that endeavor, they’ll have the record out officially in April or thereabouts. King Dead on Thee Facebooks, on Bandcamp.
71. Lightsabres, TBA
Swedish one-man outfit Lightsabres began its association with HeviSike Records with a tape release for 2014’s sophomore album Spitting Blood (review here). The genre-spanning garage psych project linked up with STB for 2015’s Beheaded, but returns to HeviSike for the follow-up fourth long-player, which is due out March 4 with preorders starting this week. Lightsabres on Thee Facebooks, HeviSike Records.
72. The Linus Pauling Quartet, Ampalanche
Unlike most offerings on this list, Ampalanche by Texas noise rock weirdos the Linus Pauling Quartet is actually out now. Vincebus Eruptum released the vinyl on Jan. 15. It’ll be out digitally in April as well though, and there’s a big ol’ zip file on my desktop waiting to be reviewed — several, actually but bear with me — so sometime between now and then expect to hear more about the album, which is the band’s first full-length since 2012’s Bag of Hammers (review here), despite a slew of singles between. Linus Pauling Quartet on Thee Facebooks, Vincebus Eruptum Recordings.
73. Lo-Pan, TBA
I don’t know what Lo-Pan‘s secret plan is, but I know they were in the studio last week, so whether it’s a new album, a single, an EP, split or whatever, they’ve got something going. It would be a relatively quick turnaround from 2014’s Colossus (review here), but they’ve since added guitarist Adrian Zambrano (also Brujas del Sol) to the lineup, so a burst of creativity isn’t necessarily out of the question. Whatever they’re up to, they’ll be on the road as ever this year, touring with Black Cobra and Bongzilla this spring. Lo-Pan on Thee Facebooks, Small Stone Records.
74. Lord, Awake
As of last September, chaotic Virginian five-piece Lord were mastering their Awake album with an eye on a 2016 release. I’ve been keeping a relatively close eye, and I haven’t heard anything about a meteor crashing into the final tapes (or hard drive) or anything, so I’m just going to assume and hope that it gets out this year. Lord‘s last full-length, Chief (review here), came out in 2011 and they also issued the Alive in Golgotha EP (review here) in 2014. Lord on Thee Faceboks, Heavy Hound Records.
75. Lord Fowl, TBA
More wishful thinking than nailed-down guarantee, perhaps, but Connecticut’s Lord Fowl are due to give an answer to their 2012 Small Stone debut and second album overall, Moon Queen (review here). Last I spoke to the band was the middle of last year and they were writing, but in October, they entered the studio to begin the recording process, so hopefully that means it’ll be out sooner than later. Lord Fowl on Thee Facebooks, Small Stone Records.
76. Low Flying Hawks, Kofuku
Not exactly out of nowhere — apparently out of Los Angeles, or somewhere thereabouts — but Low Flying Hawks‘ forthcoming Magnetic Eye debut, Kofuku, did seem to show up as a sudden blip on the radar. Notable for working with such Melvins-related characters as producer Toshi Kasai, drummer Dale Crover, and bassist Trevor Dunn, the band effectively blends moody post-rock atmospheres with weighted, hypnotic grunge, keeping things dark as seen in their recent video for “Ruins.” Low Flying Hawks on Thee Facebooks, Magnetic Eye Records.
77. Mantar, Ode to the Flame
I’ll admit to being somewhat surprised when Germany’s Mantar signed to Nuclear Blast late last year. Their sound is so raw, so unabashedly extreme in its intent on their 2014 debut, Death by Burning (review here) — which was released by Brutal Panda and Svart both — and something tells me that with a title like Ode to the Flame, their second LP won’t offer much letup in intensity, but having seen the band live (review here), they are unmistakably a force. Mantar on Thee Facebooks, Nuclear Blast Records.
78. Mars Red Sky, Apex III (Praise for the Burning Soul)
The third album from Bordeaux-based heavy psych rockers Mars Red Sky feels like a logical step forward from 2014’s Stranded in Arcadia (review here), but it is very definitely a step forward, in its atmospheric complexity, in the depths of its arrangements and the breadth of its tones. Songs like “Mindreader” and “Under the Hood” exemplify how much the band has progressed since their 2011 self-titled debut (review here), and though it comes preceded by the newly-released Providence EP (review here), that’s really just the beginning of the story about to be told. Mars Red Sky on Thee Facebooks, Listenable Records.
79. Merchant, Suzerain
Finished recording as of Jan. 11, Suzerain will serve as the debut full-length from aggro tone-bearers Merchant, who announced their coming with a 10-minute single called Seismic (review here). Their principal task will be to distinguish themselves from the pack of Melbourne’s crowded heavy underground, but I’m looking forward to finding out how they go about it and where their apparent potential will take them. Merchant on Thee Facebooks, on Bandcamp.
80. Merlin, Electric Children
Kansas City doom rockers Merlin gave a taste of Electric Children back in November with a track premiere for “Bad Trip” and the album itself will see release on March 11 through 4One8 Records on CD. Vinyl will be through Poisoned Mind, who also issued the band’s Christkiller LP (review here) in 2014. To say they have a flair for the dramatic might be understating it, but Merlin do well to keep a reliable core of songwriting underneath. Merlin on Thee Facebooks, 4One8 Records, Poisoned Mind Records.
81. Mondo Drag, The Occultation of Light
Ready for release on — you guessed it — Feb. 26, The Occultation of Light is the third full-length from psych-prog traditionalists Mondo Drag, second via RidingEasy, and it gives a more updated take on their sound than did last year’s self-titled (review here), which was recorded in 2012 with a different lineup. They seem poised to really establish themselves with this record, which was announced in November, and from where I sit, the record is strong enough to do it. Mondo Drag on Thee Facebooks, RidingEasy Records.
82. Mondo Generator, TBA
Nick Oliveri oversaw some lineup changes last fall for Mondo Generator, but to go with that and their European tour, it was announced that the band was working — as a trio now — on their fifth full-length for an eventual 2016 release. That’s not to say it’s showing up tomorrow, but if they were writing in the fall, it doesn’t seem outside the realm of possibility that they could have something out before the year is done. Oliveri‘s last release was the 2014 solo album, Leave Me Alone (streamed here). Mondo Generator on Thee Facebooks, Mondo Generator webstore.
83. Monkey3, TBA
For Swiss instrumentalists Monkey3‘s Nov. 2015 European tour, the band specifically noted they would be playing out new material as a “preview.” I don’t know if that means their next album is recorded or if they were trying stuff out on stage before they went into the studio, but, now signed to Napalm, the band will hopefully in 2016 have a follow-up out for 2013’s The 5th Sun, which was their fourth long-player. Monkey3 on Thee Facebooks, Napalm Records.
84. Monobrow, TBA
Last time Ottawa’s Monobrow mentioned their new LP was Nov. 24. They said, “new album slowly coming together.” So there you go. They reportedly took more time after a Dec. 5 show with Public Animal to work on it, but there’s been no solid word of a release date or even recording date as yet. It’s in progress. Their 2015 single, A Handwritten Letter from the Moon (review here), presented a less bombastic feel than, say, 2014’s Big Sky, Black Horse (review here). We’ll see which impulse ultimately wins out in their sound. Monobrow on Thee Facebooks, on Bandcamp.
85. Mos Generator, TBA
Among the safest bets one might place this year is that Washington’s Mos Generator will release something, but the band, led of course by workaholic guitarist/vocalist Tony Reed, premiered an acoustic take on Easy Evil” back in September that was to be included on an unplugged release through H42 Records, and their last album, Electric Mountain Majesty (review here), came out in 2014, so I wouldn’t be surprised if in addition to continuing to road-dog across the US and likely beyond, they didn’t also find time to punch out a new studio LP. Mos Generator on Thee Facebooks, Listenable Records.
86. Mothership, Live over Freak Valley
True, Mothership released Live over Freak Valley on Jan. 15. You got me. The reason I’ve still got them on this list, however, is because I’m wondering if the Texas heavy rockers might keep the momentum they’ve got on their side after their recent tour with C.O.C., Saviours and Brant Bjork going by jumping back in the studio and belting out a follow-up to 2014’s Mothership II (review here). Even if it’s later in the year, crazier things have happened. Mothership on Thee Facebooks, Ripple Music.
87. Mountain God, TBA
Early last year, bleak Brooklyn atmosludge extremists Mountain God offered their single-song EP, Forest of the Lost (review here), which followed their prior 2013 demo tape, Experimentation on the Unwilling (review here). They’ve been writing all the while, and it seems likely they’ll manage a release of some sort this year as well. Whether that’s their debut full-length, which I’m hoping creeps as much as it shrieks — or at least a little — or something else, I don’t know. Mountain God on Thee Facebooks, on Bandcamp.
Sold out in numerous CD and cassette editions following its release in April, the live-recorded self-titled debut from Greek heavy psych rockers Naxatras continued to earn praise throughout the rest of last year. The Thessaloniki-based trio will reportedly release a single as a 10″ before their second long-player surfaces, but both have been recorded and seem like they’re ready to roll out as soon as they’re pressed. I wouldn’t mind if they did a CD re-press of the first album either, but no word on that as of yet. Naxatras on Thee Facebooks, on Bandcamp.
90. Neurosis, TBA
It’s done, it’s in the can, it’s mastered, and it pains me that a new Neurosis album exists somewhere on this planet and I haven’t heard it yet. It’s a downright tragedy. The post-metal progenitors also recently announced a deluxe anniversary boxed set of all their albums to-date (not including the new one) called Strength and Vision, but as ever, their eyes are forward even as they’re celebrating their 30 years as a band. But seriously, if I don’t hear that record soon, I’m gonna cry. Actual tears. Neurosis on Thee Facebooks, Neurot Recordings.
91. Om, TBA
The Al Cisneros-led trio Om were recently in the studio, and while I can’t say for certain it was for a new album to follow-up 2012’s brilliant Advaitic Songs (review here), I sure as hell hope so. Om are another band who were on last year’s list too, so take this for what it is, but I think it’s safe to say Advaitic Songs is one of the strongest albums of the decade so far, and a subsequent outing feels due. Om on Thee Facebooks, Drag City.
92. Oranssi Pazuzu, Värähtelijä
Effective, trance-inducing psychedelic black metal isn’t easily done, and when someone does it as well as Oranssi Pazuzu on Värähtelijä or as Deathspell Omega on Fas – Ite Maledicti, in Ignem Aeternum, it tends to get noticed by a very specific subset of the heavy metal literati. No doubt the same has been and will continue to be the case for the Finnish blackened hypnotists leading up to the Feb. 26 Svart/20 Buck Spin release of Värähtelijä, their fourth album, but the hype is legitimate, and the record crosses vast expanses over the course of an encompassing 69 minutes. Sometimes it’s hard to argue with consensus. Oranssi Pazuzu on Thee Facebooks, 20 Buck Spin, Svart Records.
93. Pale Divine, TBA
Pennsylvanian doomers Pale Divine take their time. Nothing wrong with that, and anyway, it’s only been four years since their last album, Painted Windows Black (review here), came out a full five after 2007’s Cemetery Earth, so, you know, no rush. In 2016, however, they’re coming closer to marking 20 years since the release of their first demo, 1997’s Crimson Tears, which in many ways established the course of their sound, so if a new full-length were to happen this or next year, it would seem only appropriate. Would also be their first since adding Ron McGinnis (Admiral Browning, Bailjack, etc.) on bass several years ago now. Pale Divine on Thee Facebooks, Shadow Kingdom Records.
94. Picaporters, TBA
Buenos Aires-based trio Picaporters posted a new track called “War is Over” on their Bandcamp a while back that will feature on their upcoming album, which is listed on that page as being released on Aug. 1, 2016. Last I heard it was due to be ready in January, so I’m not actually sure when the follow-up to their 2013 debut, Elefantes (review here), will actually be out, but the doomers have leaked a couple songs from it at this point and it sounds right on. Best I can say is keep an eye out. Picaporters on Thee Facebooks, on Bandcamp.
95. Iggy Pop, Post Pop Depression
The immortal badassery of Iggy Pop notwithstanding, his Post Pop Depression probably wouldn’t be in this site’s field of vision were it not for the involvement of Queens of the Stone Age frontman Joshua Homme as guitarist and songwriting collaborator. Announced to much fanfare on The Late Show with Stephen Colbert as being released March 18, the record is intended as a sequel to the Pop/David Bowie collaboration Lust for Life, and since Homme does a pretty mean Bowie I’m sure it’ll be just fine. I thought it was hilarious that the first song released from the album was called “Gardenia.” Iggy Pop website, Queens of the Stone Age on Thee Facebooks.
96. Psychedelic Witchcraft, The Vision
Though they’re still in the process as well of overseeing reissues of their 2015 Black Magic Man EP (review here) — the latest is vinyl through Taxi Driver Records with a bonus Sam Gopal cover that follows a CD through Twin Earth Records — Italian cult rockers Psychedelic Witchcraft have signed to Soulseller Records for the release of their debut long-player, The Vision. It’s due in Spring and can be reasonably expected to generate much fanfare, at least if the response to the prior EP is anything to go by. Psychedelic Witchcraft on Thee Facebooks, Soulseller Records.
97. Radio Moscow, TBA Live Album
Freshly returned from a South American tour, Radio Moscow will head to Australia for a run next month with Kings Destroy and Holy Serpent before they get around to issuing the double-live album they recorded last month in Los Angeles. And then after that, they’ll probably go tour somewhere else, because that’s how they do. The live record arrives at a particularly choice moment, though, since the material from their fourth LP, 2014’s Magical Dirt (review here) translates particularly well to the stage. Also they’re one of the best live bands in the world. That helps too. Radio Moscow on Thee Facebooks, Alive Naturalsound.
98. Red Fang, TBA
I’m twofold intrigued at the recently-announced prospect of Red Fang‘s fourth full-length. Maybe even threefold. First, automatic interest on the basis of their prior work. They’ve certainly earned that. Second, though it would be a mistake to call 2013’s Whales and Leeches (review here) anything other than a marked success, it was put together in a hurry and it sounded like it, so I’m wondering if they’ll be able to stretch out this process more. Third, it’s Ross Robinson producing, and given the commercial breadth of his work across genres, I’m eager to hear what he brings to a genuine heavy rock band. Could be a whole new take on the sound, one way or another. Red Fang on Thee Facebooks, Relapse Records.
99. Rozamov, TBA
Now veterans of Psycho California and tours across the US, having opened for Slayer in their hometown and spread their darkened gospel along the Eastern Seaboard, don’t you think it’s time Boston’s Rozamov put out an album? I know I do. I was in the studio with them for a check-in last August, and what I heard in progress sounded utterly punishing as a follow-up to their split with Deathkings (review here), and that holds true on the five tracks of the finished product as well, but it’s high time it came out. Side note, they recently announced the arrival of new drummer Tranxidis. Pretty sure that’s more recent than the recording though. Rozamov on Thee Facebooks, Rozamov on Bandcamp.
100. Salem’s Pot, TBA
Bizarro riff worshipers Salem’s Pot will have a new full-length out, reportedly, in June 2016. It will be their sophomore LP behind 2014’s …Lurar ut dig på prärien (discussed here), which garnered praise for its atmosphere and riff-rolling methods alike, stoner for stoners and all that. I was fortunate enough to catch the band’s set last year at Roadburn (review here), and they offered thrills in bulk, unabashedly basking in pill-popper groove but keeping a spirit of underlying violence in the material as well, as much drug as droog. A new 7″ titled The Vampire Strikes Back is also due Feb. 15. Salem’s Pot on Thee Facebooks, RidingEasy Records.
101. Samavayo, TBA
Not certain of the timing on the new full-length from Samavayo, who will also play Desertfest Berlin this April, but their 2015 Setalight Records split 10″ with The Grand Astoria (review here) was much-dug around these parts and efficiently presented a diverse take from the Berlin natives, between instrumental stretch-out and more traditional hooks and structure. Their last full-length, Soul Invictus, came out in 2012 as the third in a series of three albums each year (it was their fourth overall), so maybe they needed to catch their breath. Samavayo on Thee Facebooks, Setalight Records.
102. Serpents of Secrecy, TBA
This West Virginia/Virginia/Maryland collaboration between former members of Sixty Watt Shaman — drummer Chuck Dukehart and bassist Rev. Jim Forrester (both also of Foghound) — and King Giant guitarist Todd Ingram did right last summer in picking Ontario-based vocalist Al “Yeti” Bones as the singer for their debut record. Maybe not so much geographically, but no question Bones (formerly of Mister Bones and The Mighty Nimbus) has all the burl their riffs could ask for, and I haven’t heard the album yet, but I’m sure they’re asking for plenty. Serpents of Secrecy on Thee Facebooks, their website.
103. Sinister Haze, Laid Low in the Dust of Death
After issuing their Betrayed by Time EP (review here) via Heavy Slab Records last year, Virginian doombringers Sinister Haze have signed on with STB to issue their debut full-length, Laid Low in the Dust of Death. The trio played Psycho California this May, touring out and back, and also had a two-song self-titled cassette out in 2015 that they took with them on the road, but no word as to whether any of that material will make it onto the album. In fact, no word on if the album is an album. I’m just kind of going by what STB says they have coming up in the next few months. Presumably more info will surface before the release arrives. Sinister Haze on Thee Facebooks, STB Records.
104. -(16)-, TBA
Blunt as ever, Los Angeles/San Diego sludge metallers -(16)- pulled no punches on Dec. 31 when they rang in the New Year by saying, “We will be releasing a new album in 2016.” They finished recording in December, and I’m relatively sure that whatever the new album is called, it’ll be released by Relapse — using the logic of, if you were the label, why wouldn’t you want to put out a new -(16)- album? — but other than that, there’s no info. They said it’s coming this year. Seems like they’d be the ones to know. -(16)- on Thee Facebooks, Relapse Records.
105. Skuggsjá, A Piece for Mind and Mirror
If you know, then you know. I was pleasantly surprised that the Skuggsjá collaboration between Enslaved‘s Ivar Bjørnson and Wardruna‘s Einar Selvik was doing anything at all, let alone putting out a studio release of their commissioned work for the 200th anniversary of Norway’s constitution. A Piece for Mind and Mirror was recently given a March 11 release date through Season of Mist, and while it may be a few who latch on to the combined vision of Bjørnson and Selvik, that’s going to be a lucky few indeed. Skuggsjá on Thee Facebooks, Season of Mist.
106. Slabdragger, Rise of the Dawncrusher
If I’m not mistaken — and to be sure, I probably am — this is the last release on this list coming out on Feb. 26. Slabdragger‘s sophomore LP, Rise of the Dawncrusher is being delivered via Holy Roar, and it comes some six years after their debut, Regress. I remember being at Desertfest in London circa 2012-2013 and hearing people talk up Slabdragger as having significant boot-to-ass potential. Listening to Rise of the Dawncrusher, it’s pretty easy to hear what might’ve given them that impression. Slabdragger on Thee Facebooks, Holy Roar Records.
107. Slomatics, TBA
Yes. Bring on new Slomatics. The sooner the better, the louder the better. The riff-bashing Belfast trio signed to Jon Davis of Conan‘s Black Bow Recordslast November, and quickly set about reissuing their first two albums, 2005’s Flooding the Weir and 2007’s Kalceanna, and that’s super, but as someone who caught on relatively late to the glories of the band’s 2014 album, Estron (review here), there’s no way I’m letting the next one get by me. Slomatics on Thee Facebooks, Black Bow Records.
108. Snowy Dunes, Atlantis
Stockholm heavy rockers Snowy Dunes left a resonant impression with their 2015 self-titled debut, and on Jan. 13, they unveiled a completely improvised 19-minute track called “Atlantis, Part I” digitally as a precursor to their second LP, Atlantis, which is reportedly set to release next month as they head out on tour with countrymen riffers Skraeckoedlan. The extended piece is impressive in building on the boogie rock of the debut, but how much its atmosphere will ultimately play into the record itself remains to be seen. In any case, a good band who don’t seem like they’ll be under the radar of Europe’s heavy rock scene for much longer. Snowy Dunes on Thee Facebooks, on Bandcamp.
109. Soon, Vol. I
I’ll readily admit my ignorance when it comes to indie rock, so I haven’t heard of The Love Language, Bitter Resolve or Grohg, which are the bands from whose lineups the ungooglable Soon draw, but after checking out a couple demos when the March 4 release of Vol. Iwas announced, I dug the sound anyway. Someone else might have a completely different context for hearing it, but to me it just sounds like interesting, wide-ranging excursions into sonic heft. It’s pretty rare something like that isn’t going to find welcome, as far as I’m concerned. Soon on Thee Facebooks, Temple of Torturous.
110. Spidergawd, III
For the last two years, Norwegian four-piece Spidergawd have been churning out high-grade heavy rock and roll with a vitality that few could come close to matching. 2015’s Spidergawd II (review here) fleshed out elements of psychedelia from their 2014 self-titled debut (review here), and with Spidergawd III, the approach continues to be refined and honed to an even finer point on hooks like “El Corason del Sol” and “The Funeral.” Reportedly out now, so go get it. Spidergawd on Thee Facebooks, Stickman Records, Crispin Glover Records.
111. Spirit Caravan, TBA
By now I’m sure they’ve played “Be the Night” (live video here) at more than just the Vultures of Volume II fest, which was where I saw it, but either way, the first new material from a reunited Spirit Caravan — also kind of a The Obsessed hybrid with Ed Gulli on drums — reignites the collaboration between bassist/vocalist Dave Sherman and guitarist/vocalist Scott “Wino” Weinrich, who since they got back together in 2014 have been reminding audiences of just how vital that one-two punch of tone is to what heavy rock has become over the last decade and a half, in Maryland and beyond. Hope they get a record together, hope it gets out in 2016. Spirit Caravan on Thee Facebooks, Tone Deaf Touring.
112. Spiritual Beggars, Sunrise to Sundown
Back to business for Swedish heavy rockers Spiritual Beggars. The Michael Amott-led troupe recently revealed that they will offer their ninth long-player, Sunrise to Sundown on March 18 (March 25 North America) through InsideOut Music. Turns out they’ll also have a 7″ out concurrently via H42 Records, and they’re set to tour in Europe beginning the week after the album comes out, hitting Desertfest Berlin and more. This will be their third album with vocalist Apollo Papathanasio, but for me, the band is even more about the blend of Amott‘s guitar and the keys of Per Wiberg (ex-Opeth, Candlemass). Doesn’t get much more classic than that. Spiritual Beggars on Thee Facebooks, InsideOut Music.
113. Stone Machine Electric, TBA
The recently-released jammer EP, The Amazing Terror (review here), was intended as a precursor to the next full-length from Stone Machine Electric, which is reportedly now in the process of being recorded. On Jan. 11, they also asked their audience if they’d get behind a crowdfunding campaign to support a vinyl release, so it might be a while before the album actually shows up, but given the response they received, it seems fair to expect a pressing on wax. Stone Machine Electric on Thee Facebooks, on Bandcamp.
114. Suma, The Order of Things
2016 makes it 15 years since Swedish aural devastators Suma got their start, and it’s been six years since their last album, Ashes, was released, but that album continues to gain a following, having been snagged for a re-release on Argonauta Records just a couple weeks ago. The Malmö four-piece were on the US West Coast this month to record The Order of Things with the venerable Billy Anderson — who also helmed Ashes and 2006’s Let the Churches Burn — and they managed to sneak in a couple shows playing with, among others, Brothers of the Sonic Cloth. Now that is a fucking bill. Suma on Thee Facebooks, Suma on Bandcamp.
115. Summoner, TBA
Been a quick three years since Boston neo-prog heavy riffers Summoner released their second album, Atlantian (discussed here), and pushed ahead of the already sprawling, richly arranged approach of their 2012 debut, Phoenix. Well, I saw the band last month, and I’m happy to report they haven’t fallen apart or anything in the interim. I have it on good authority — by which I mean they told me — that they’ll be recording later this year, and while that may or may not mean a 2017 release, I thought it better to serve early notice of their impending third LP. So heads up on that. Summoner on Thee Facebooks, Magnetic Eye Records.
116. Sunnata, Zorya
Announced just after the New Year for an April arrival, Zorya will serve as the second album from Warsaw-based Sunnata, who delivered their debut in 2014 with Climbing the Colossus. I haven’t heard it yet, but the band effectively blended heavy rock groove with progressive ideals on the first outing, and I see no reason to expect anything but a step forward along the same lines this time around. I’ll take it. Sunnata on Thee Facebooks, on Bandcamp.
Sometimes it’s too easy to be greedy. Since getting back together at the start of the decade, Swans have released three albums — 2010’s My Father Will Guide Me up a Rope to the Sky (review here), 2012’s The Seer and 2014’s To be Kind (review here) — as well as older LP reissues, limited-edition live recording, and so on. They’ve toured the world over and have a fourth post-reunion album due out this year, but even so, when Michael Gira said last summer that the next Swans would be the last Swans for the time being — he didn’t even say forever — it was hard not to feel sad. Enjoy yourself, it’s later than you think. Swans on Thee Facebooks, Young God Records.
119. Teacher, TBA
It took Seattle duo Teacher about 49 seconds to get me interested in hearing their forthcoming debut LP. Really less than that, because by the time the vocals kicked in on the recently-posted teaser clip, I was already on board. Whenever it comes out, the album will be released by Devil’s Child Records, which is quickly making a name for itself in the Pacific Northwest with offerings by Mos Generator/Sower and Year of the Cobra. No release date yet, but it sounds like the band are sneaking into a niche of natural, unpretentious swing, and I hope that’s exactly how the record goes. Teacher on Thee Facebooks, Devil’s Child Records.
120. Ulver, ATGCLVLSSCAP
Ulver‘s good-luck-making-a-word-of-this-acronym new album ATGCLVLSSCAP came out last week. Doesn’t mean it wasn’t one of 2016’s most anticipated. Really, anytime this Norwegian post-genre leviathan breathes, it’s an event, and as ATGCLVLSSCAP draws on live-recorded improvisations and explorations, but I’m not sure it’s proper to call it a live record in the is-everybody-having-a-good-time-tonight sense of the phrase. Info is plentiful and descriptive, but vague on the actual nuts and bolts of the makings, and that’s likely not an accident. Mystery is part of the fun. Is everybody having a good time tonight? Ulver on Thee Facebooks, House of Mythology Records.
121. Uzala, TBA
I know, I know. Uzala just put out Live at Roadburn MMXV (review here). Hell, I know that. And that vinyl is reportedly coming soon, but I’ve got the Boise trio on this list because I’m holding out for a studio follow-up to 2013’s Tales of Blood and Fire. I’m not saying it has to happen immediately, or really at all. I’m just saying I’d greatly prefer it if it did. That last album still gets fairly regular plays around here, so it only seems reasonable to call it haunting, and the live record had two new songs on it, so maybe there’s more in progress. Uzala on Thee Facebooks, on Bandcamp.
122. VA, Brown Acid: The Second Trip
How could RidingEasy Records not do a second Brown Acid compilation of lost heavy ’70s freakout and heavy singles, how could they not call it Brown Acid: The Second Trip, and how could they not release it on April 20? The whole thing seems so inevitable it’s astounding. Look for forgotten cuts by Sonny Hugg, Buck, Glass Sun, Ash, the awesomely-monikered Iron Knowledge and a whole host of others you can pretend you knew about beforehand. RidingEasy Records website, on Thee Facebooks.
123. Venomous Maximus, TBA
Like several others on this list, Texas’ Venomous Maximus will take part in the Obelisk-presented Heavy Metal Parking Lot 3 at SXSW (info here). They’re no strangers to awesome bills, having toured this past fall alongside High on Fire to support the release of their second album, Firewalker (review here), which was released on Shadow Kingdom. Looking back on my notes, I’m not sure where I heard they had a new release in the offing, but it would be awesome to see them recapture the momentum they had coming out of their first album, 2012’s raging Beg upon the Light (review here), and a quick turnaround certainly wouldn’t hurt that. Venomous Maximus on Thee Facebooks, Shadow Kingdom Records.
124. Vista Chino, TBA
Maybe most of all the entries posted today, this one is wishful thinking. I saw a couple months back that Vista Chino — the John Garcia and Brant Bjork post-Kyuss Lives! incarnation that wound up with Mike Dean of C.O.C. on bass in a lineup rounded out by guitarist Bruno Fevery — were confirmed for Hellfest in France this summer, and couldn’t help but think about the possibility of a follow-up to their 2013 debut, Peace (review here). Doesn’t seem likely with everyone working on their respective projects, but I’m still hoping those guys get back in the studio someday. Cool they’re playing out at all, if nothing else. Vista Chino on Thee Facebooks, Napalm Records.
125. Vodun, Possession
Preorders are up now for the debut album from London ritual-psych purveyors Vodun, and the Possession vinyl will also mark the first physical offering from Riff Rock Records, the new label spearheaded by Groan bassist Leigh Jones. Clearly someone who knows how to make an entry, Jones brought Vodun on board and issued a digital single last year for “Minos Army” (video here), the band tearing through influences in the metallic, heavy, Afrobeat, psychedelic and beyond. I haven’t heard the full-length yet, but it’s out March 25 and I feel safe guaranteeing that nothing else in 2016 will sound quite like it. Vodun on Thee Facebooks, Riff Rock Records.
German trio-turned-foursome Wight make a bold shift with their upcoming third full-length, Love is Not Only What You Know, digging deep into full-on psychedelic funk on tracks like “Kelele,” “The Love for Life Leads to Reincarnation,” and the opener “Helicopter Mama,” which came out last year as a 7″ single (review here) to herald the change in direction from their jammy 2012 LP, Through the Woods into Deep Water (review here). It’s a fine line to walk, but Wight do right by dancing all over it instead. They’ve also got a limited tape, Live in Athens, due March 7, on which a good portion of the new album is played. Wight on Thee Facebooks, Wight on Bandcamp.
128. Witchskull, The Vast Electric Dark
Word came out last month that Canberra three-piece Witchskull had inked a deal with STB Records. The Aussie band check in with a particularly classically metallic take on heavy rock and doom, as evidenced by their 2015 debut full-length, The Vast Electric Dark, which will serve as their debut vinyl on the NJ-based imprint. Haven’t heard a solid release date for it yet, but “early 2016” was the ballpark figure given, so I guess anytime between now and summer would be a possibility. Witchskull on Thee Facebooks, STB Records.
129. Wo Fat, Midnight Cometh
If Wo Fat‘s Midnight Cometh is not near the top of your most wanted list, you are fucking up. Unless you’re going alphabetically with your list, as I am with mine, in which case their position at #129 makes sense. In whatever organizational method, the coming sixth long-player from these Texan fuzz forerunners deserves the utmost consideration. Their first for Ripple Music after two on Small Stone (info here), Midnight Cometh boasts all the riffy jamming and heavy grooves we’ve come to love from the three-piece, but refines the vocal approach markedly, giving the band even more of a sense of command of the material. Sure to be a highlight of the year. Expect it this summer. Wo Fat on Thee Facebooks, Ripple Music.
130. Worm Ouroboros, TBA
Sorry to say I missed out completely on Worm Ouroboros‘ second album, Come the Thaw, when it was released by Profound Lore in 2012. I’d dug their 2010 self-titled debut (review here), but the next one, yeah, just kind of got by me. Never to late, you might say, and I’d have to agree. Maybe I can sneak in a purchase before the band are finished in the studio for their third record, which they were set to begin recording this month. In any case, will do my best to see that the same doesn’t happen with the new LP as happened with the last one. Hence putting them on this list. What, you thought it was for you? Worm Ouroboros on Thee Facebooks, Profound Lore Records.
131. The Wounded Kings, Visions in Bone
Always fascinating, always changing, UK progressive doomers The Wounded Kings have managed to deliver high-quality material seemingly no matter who is in the lineup. For the forthcoming Visions in Bone, founding guitarist Steve Mills reunites with former/founding vocalist George Birch, who hasn’t been in the band since their 2010 second album, The Shadow over Atlantis (review here). Haven’t seen an official release date yet, but they’re touring in March to support the record, so one might reason a Spring arrival. Not saying I’ve heard it, but the record kills. The Wounded Kings on Thee Facebooks, Candlelight Records.
132. Wretch, TBA
By the last update, The Gates of Slumber offshoot Wretch were starting to record their debut album in December. I don’t know whether that was a long-term process or a couple days in and out of the studio, but I’m betting that at some point in 2016 we’ll find out. Having had the opportunity to see the Indianapolis trio last fall at Vultures of Volume II (review here), I’m glad to report that the ultra-downer vibes that pervaded The Gates of Slumber’s final album, 2011’s The Wretch (review here), have found a new home and that frontman Karl Simon seemed as soulfully, Sabbathly miserable as ever. Wretch on Thee Facebooks.
133. Yawning Man, Live at Maximum Fest
The last couple years of these lists have featured Yawning Man, more specifically the perpetually-in-the-making next studio offering, Gravity is Good for You, but as that may or may not get out this year, it seemed fair to include them for the Go Down Records live outing, Live at Maximum Fest anyway. Put up for preorder in Nov., it was recorded back in 2013 and features the founding lineup of guitarist Gary Arce, bassist Mario Lalli and drummer Alfredo Hernandez; an allstar roster of desert rockers if ever there was one. Yawning Man on Thee Facebooks, Go Down Records.
134. Year of the Cobra, TBA
Somehow, I think it probably won’t be out until later in the year, but if you caught onto Seattle duo Year of the Cobra‘s 2015 EP, The Black Sun (review here) when it was released by Devil’s Child or DHU Records, then you’re probably already hip to the fact that the follow-up LP will be released by STB Records and is set to be recorded by a certain legendary West Coast producer of heavy who used to be based in the Bay Area but has since set up shop in Portland, Oregon. Not naming names or anything, but as you already know, it should rule. Year of the Cobra on Thee Facebooks, STB Records.
135. Young Hunter, TBA
I have been dying to hear the next full-length from Portland-by-way-of-Arizona mood rockers Young Hunter since long before I hosted the premiere of the track “Nothing Shakes the Void” (posted here) back in Oct., and I’m going to continue to be dying to hear it until I actually do, so there. Very, very much looking forward to it, hoping the stars align and whatever else needs to happen happens so it can get out in the early part of the year. We’ll see how it pans out, but last I heard they beat their crowdfunding goal to press it, so something should show up from that. Not soon enough, in any case. Young Hunter on Thee Facebooks, on Bandcamp.
136. Zaum, TBA
The mystical, Eastern-influenced doom trafficked longform by Canadian outfit Zaum has offered immersive vibes across the band’s debut LP, 2014’s Oracles (review here), and their 2015 split with Shooting Guns (review here) and that’s enough to make me look forward to their second album without reservations. The New Brunswick duo started out with a firm idea of what they wanted their sound to do, and I’m hoping they continue to follow that vision where it takes them on the next offering. Summer release expected. Zaum on Thee Facebooks, I Hate Records.
137. Zun, Burial Sunrise
First made public three years ago via the track “Come Through the Water” (posted here), which will also appear on the album, Zun began as a collaboration between guitarist Gary Arce of Yawning Man and vocalist Sera Timms of Ides of Gemini, the album Burial Sunrise also brings in John Garcia as a lead vocal contributor, Mario Lalli, Harper Hug and a host of others (detailed here) for an atmosphere of subdued desert rock that’s unmatched in recent memory, in the desert or out of it. I mean that. This one is essential. Out March 25. Zun on Thee Facebooks, Small Stone Records.
What’s that you say, 137 releases isn’t enough? You want more? Okay.
Well, I’m pretty sure I just put up news about a new album from Iron Man vocalist Dee Calhoun due in Spring. That’s one. And fucking King Buffalo. Their record will be out not at all soon enough.
And while you’re hawkishly keeping an eye out for the stuff listed above, why not also watch for word from Bongzilla, whose reunion is now well underway, as well as The Body, who have a new collaborative release with Full of Hell coming out, Ice Dragon, who spent the better part of last year curiously silent, and All Them Witches, who probably won’t have a new LP out but are always putting together singles, jams and so on for those aching for a digital fix?
There is a “slim but real” chance of a new Clamfight record in the fall. I’ve heard murmurings indicating Elder are working on a follow-up to 2015’s glorious Lore, and since Baby Woodrose are playing Freak Valley, is it possible they could blow our minds with a new album as well? Conny Ochs has a new one on Exile on Mainstream, Mount Desert could easily follow-up their 2015 two-songer that made such a splash, and EYE — oh EYE! — I’ve been waiting for their new one since last year, so hopes are high it’s out soon. And I didn’t include them because the album already came out in Europe, but The Shrine make their Century Media debut with Rare Breed this week in North America.
Other names to watch for in no particular order or likelihood: Argus, Serpent Throne, Them Bulls, War Drum, Black Lung, Worshipper, The Exploding Eyes Orchestra, 3rd Eye Experience, Switchblade Jesus, Seedy Jeezus, Horsehunter, Bright Curse, It’s Not Night: It’s Space, Black Moon Circle, Bison Machine, Fogg, Electric Moon, Arc of Ascent, Beastwars, Thera Roya, Svartanatt (late Spring), Red Wizard (on STB), and Ripple Music‘s second chapter of The Second Coming of Heavy split series with Supervoid and Red Desert.
Still not enough? Check back soon. Just in the time I was putting this list together, I got emails about new releases from Nicklas Sørensen of Papir, Mr. Bison, Instant Boner, Duckhunters, Lord Summerisle and Sonic Mass — and others. Point is there’s always more to come.
Posted in Whathaveyou on September 14th, 2015 by H.P. Taskmaster
Acts are traveling from as far as Colorado to play, but even more than the geographic pull, the stylistic breadth of the inaugural Shadow Woods Metal Fest and the concept of the event are what really stun. Set to take place Sept. 25, 26 and 26 in White Hall, Maryland, the festival brings together bands from black metal, various incarnations of dark folk, psychedelia and doom for a three-day camp-out that’s as much an experiment in form as in style. Midnight headline — and if the thought of watching Midnight in the woods doesn’t appeal to you, you’ve probably never heard the band — and the likes of Iron Man, Heavy Temple, The Flight of Sleipnir, Occultation, Hercyn and Hivelords will play, among many others, on two stages that come complemented by workshops of various kinds, food and even yoga sessions.
Tickets are only being sold in advance, and if the thought of doing ritual black metal yoga in the forest isn’t enough for you, the whole thing is BYOB, so you can basically roll up with a cooler in your trunk and fantasize about an underground metal utopia where everything’s off the grid and everyone who sucks lives somewhere else. There are only 350 spots available, and I have no idea how many are left.
There is a lot of information below. If you take away anything from this, though, take away how fucking impressive I think the scope of this whole thing is and how deeply I hope they pull it off with no snags and it becomes an annual event. Also take away the ticket link, or, you know, click it.
SHADOW WOODS METAL FEST: Inaugural East Coast US Open Air/Camping Metal Fest
In just two weeks, the inaugural installation of SHADOW WOODS METAL FEST — the new mid-Atlantic, open-air, camping-based metal fest — kicks off, the gathering running from September 25th – 27th, 2015, in White Hall, Maryland, about thirty minutes north of Baltimore.
At the debut SHADOW WOODS METAL FEST, thirty-six bands will perform over Friday and Saturday, with lead performances from Midnight, Falls of Rauros, Occultation, Velnias, Iron Man, The Flight of Sleipnir, Dweller In The Valley, Dreadlords, Stone Breath, and many more. SHADOW WOODS METAL FEST will also be the first live performance for the surviving members of Wormreich since their tragic vehicle crash in April. The gathering showcases underground black, doom, death, and noise and experimental metal bands on three alternating stages all day Friday and Saturday. Camping and workshops on topics such as runes, guitar maintenance, yoga and more will be offered and are included in the ticket price. Artists and record labels will be vending alongside several onsite food stands.
Ticket purchasers will be given the exact street address. There will be ZERO ticket sales at the gate for SHADOW WOODS METAL FEST — advance presales to those 21 years of age and older is the only way into the fest, which is also BYOB. Tickets go off sale at 9 am on Friday, September 25th, the official time the gates open. There are only 350 tickets in total to be sold, and three-quarters have already been snapped up. For complete details and links to tickets and the fest merch store with exclusive art prints and t-shirt designs, go to www.shadowwoodsmetalfest.com
The bands chosen to perform SHADOW WOODS METAL FEST reflect the diversity of the underground music scene in the mid-Atlantic region plus a few from across the country. Official sponsors for the fest include Grimoire Records and MusicfortheDead.com.
SHADOW WOODS METAL FEST is a production of Metallomusikum.com of Baltimore, with promotional support from Lokvlt Productions in Philadelphia, WinterForge Promotions in Pittsburgh, Leftover Pizza Productions in Frederick, Maryland and Slimehole/Strange Matter in Richmond, Virginia.
Posted in Reviews on September 9th, 2015 by H.P. Taskmaster
The hotel breakfast — not so much. I woke up pretty early after Day One of Vultures of Volume II, drawn by the allure of free scrambled eggs or at very least some carbs to start the day, but some lumpy-looking sausage and a weird egg/potato/cheese combo deal scared me off. A cup of coffee and a rigid search of the interwebs later, I found a cafe up the road a little ways.
A quick lunch would turn out to be my only meal of the day, because once it got going, Vultures of Volume II Day Two simply did not stop. First band, on at 1PM. Last band, off a little before 2AM. It was 13 acts and very nearly 13 hours of front-to-back performances, and by the time the day was a quarter over, the Delmar Inn in Hagerstown had developed full-on as a festival ecosystem. Just about everyone knew everyone else, and the vibe was thick throughout. Some were dragging after getting down a little too hard the night before, or at least hard enough, but the only thing to do was keep going. This festival, in the fine tradition of gatherings like Emissions from the Monolith, Stoner Hands of Doom, Days of the Doomed and the Eye of the Stoned Goat, would brook no absence.
Yeah, I was beat, but fuck it. It was rock and roll and I drove a long way to be there. The lineup for Day Two was Elder, Dorthia Cottrell of Windhand playing a solo set, Wretch, Weed is Weed, Carousel, Righteous Bloom, Foghound, Witch Hazel, Thousand Vision Mist, Wizard Eye, Wasted Theory, Buzzard Canyon and Heavy Temple, and the latter had the illustrious task of getting things rolling:
It had been more than two years since the last time I saw Philadelphia’s Heavy Temple, which was also the first time, and in between, bassist/vocalist High Priestess Nighthawk has completely revamped the trio’s lineup — she’s now joined by drummer Siren Tempestas and guitarist Archbishop Barghest — and has moved forward following the release through Ván Records of the band’s self-titled debut EP (review here), which by my estimation was one of last year’s finest short releases. They played four songs, all of them new, and I was glad for the glimpse at what’s to come, finding creative progression evident in how smoothly Heavy Temple seemed to weave in and out of parts, the fluidness with which they utilized classic stoner riffing without necessarily being beholden to it, and the dynamic between Nighthawk and her newcomer cohorts, Barghest an almost shoegazing presence on stage while Tempestas seemed to throw her whole body at the kit while she played. Some presentation nuances to be ironed out between the three of them — that is, I think at this point the band could do away with the stage names, and Nighthawk is the only one in a ritual robe, though that was the case last time as well — but past those crucial decisions to be made between robes and denim shorts, they were sonically more than dead on, rounding out their set with well-timed starts and stops and off-mic screams that were effective in adding drama to a set that showed Heavy Temple as a band well on their way. Looking forward to their next EP, which is reportedly already recorded.
There was little one might reasonably ask of a hard rock act that Buzzard Canyon didn’t offer, whether it was the soul behind the dual vocals of Amber Leigh and guitarist Aaron Lewis, or the straight-ahead but still weighted grooves of bassist Randall Dumas and drummer Matt Raftery. Actually, there was one thing one probably could’ve asked of them: the second guitar they left behind in Connecticut when they departed for Maryland early in the morning on Saturday in time to make their slot at Vultures of Volume II. Pretty much everything else they had covered. There was just about no way I was going to go into their set thinking of them as something other than Lewis‘ band — I’ve just known that dude for simply too long, been a part of projects with him, done shows with his other band, When the Deadbolt Breaks, etc. — but it was not only great to see him play after what’s been too long, but likewise great to see him explore the more upbeat, rocking side. Buzzard Canyon‘s debut, which they decided on stage was eight tracks, maybe nine, probably 11 by the time it’s done, is apparently in the works, and though they were down a guitar, they did well as a four-piece, playing both songs from the two-songer CDR they brought with them to give away, “Wyoming” and “Not My Cross,” the former of which seemed a long-enough time to wait to break out the cowbell and the latter of which closed their set in reinforcement of the active feel of the material, not at all afraid to have a good time or encourage the crowd to do the same.
You know, I do dig Wasted Theory. The Delaware four-piece have come a long, long way since the first time I saw them, and they’ve done a couple tours and weekenders since they put out their 2014 full-length, Death and Taxes (review here), and that has only furthered their cause in both the tightness of their execution and their confidence on stage. Sometimes though, I feel like I’m just not quite dudely enough for it. Here’s these guys, and they’re killing it, singing songs about running ‘shine through the southland and this and that, and I’m standing there watching them feeling like I should probably call up my primary care physician and see if I can get some testosterone supplements or something so as to properly appreciate what’s going down on stage. As has been the case the last couple times I’ve seen them — and I’ll see them again before the month is out, if all goes according to plan — “Hellfire Ritual” and “Black Widow Liquor Run” were highlights, guitarist Larry Jackson, Jr. having his “whiskey-soaked” in full effect while on either side, bassist Jonathan Charles and guitarist Dave McMahon followed a hairpin course of riffs propelled by Brendan Burns‘ drums. They would not be the day’s last kick in the ass, but they were a vehement one all the same, even for one so apparently hormonally imbalanced as I. In all seriousness, Wasted Theory are scary tight for being still-recently off their first record, and by all appearances they’re only continuing to nail down what they do. Not trying to tell anyone their business, but Ripple Music, keep an eye out.
We’re just about a month out from the release date of Wizard Eye‘s much-awaited self-titled second album on Black Monk Records, and the Philadelphia three-piece — Erik on guitar/vocals/theremin, Dave on bass/vocals, Mike on drums — seemed very much to be in good spirits ahead of the release. It was, as it was the last time I saw them, an absolute pleasure to watch them play. What they do isn’t overly complex or painstakingly crafted for nuance, but it’s impeccably well done and deceptively individualized. Most of what they played was culled from the impending Wizard Eye, which finds their semi-crusted rolling grooves firmly intact on songs like “Flying/Falling,” “Thunderbird” and “Eye of the Deep,” but there was one inclusion on the setlist I didn’t recognize — “Revenant” — which isn’t from the tracklisting I’ve seen for the new record, or from their 2010 debut, Orbital Rites, so I’m not sure if maybe it’s new or was left off the new album or what. Doesn’t seem unreasonable to think that after five years between outings they might have more material than just what’s showing up on the new LP. Either way, I’ll take their fuzz-overdosed nod any time I can. They were locked in tight at Vultures of Volume II, and remain a much better band than people seem to know, which is something that the new album will hopefully work to correct. Erik went to the theremin just once, earlier in the set — was it “Gravebreath” or “Flying/Falling?” — but even so, they were a blast to see again and offered stone-baked groove in plenty for their afternoon set.
Thousand Vision Mist
Given that they take their moniker from the name of Life Beyond‘s 2002 debut/swansong full-length, and given that they share guitarist/vocalist Danny Kenyon with that defunct MD trio, I guess I just assumed that when they got started, Thousand Vision Mist would essentially be an incarnation of the same kind of straight-ahead, post-The Obsessed/Revelation Maryland-style doom. That was not the case. Together with be-chapeaued bassist/vocalist Tony Comulada and drummer Chris Sebastian, Kenyon led the charge through a set of fiery but progressive metal. Doom was definitely a part of it, and listening to the studio versions on their 2015 debut demo of cuts like “Garden of Ghosts,” “Drifter” and “Tears of the Moon” — which was particularly proggy coming from the Delmar stage — that holds up, but by no means was it the sum-total of what they had to offer. Instead, they pulled off quick turns and shifts while also having a heavy sensibility, and the technical intricacies came across fluidly as the crowd clearly loved on a hometown act. As a power trio, the dynamic looked to be more the guitar and bass, then the drums, rather than the standard guitar/rhythm section divide, but I’d by no means consider the matter settled considering they just have the five-song demo out, and for what it’s worth, they played a new song “Skybound and Beyond,” which they said had been written on Thursday, just two days prior, and though it seemed like it was about to come flying apart at any moment, it never actually did, and Thousand Vision Mist‘s impressive control over their sound can only continue to suit them as they move forward.
It might have been enough for York, Pennsylvania, four-piece Witch Hazel to earn sympathy points for the recent loss of their hometown venue, The Depot, and it might have been enough that they broke out the weekend’s first tambourine to go along with their post-Pentagram ’70s-ish shuffle, but they also featured some especially passionate cowbell/headbang action in the last song (when else?) from frontman Nate Tyson, and dedicated a song to Iron Man, so if there were bases to cover, they were duly covered. Some of it was a little over-the-top — as intended — with the eyeliner, elaborate pants, and so on, but hard to fault Witch Hazel for keeping an eye toward presentation. Their new album, Nocturnity, is available now, and is a 28-minute concept piece that seems to be about a family with a bloodline that cures vampires, but though I don’t think “Moon People Unite” comes from that record, the crowd started to make its way back in to get a glimpse at what Witch Hazel — Tyson, guitarist Andy Craven, high-cymbal drummer Nick Zinn and bassist Seibert Lowe, who was playing his first show with the band — had to offer with their shuffling style and weirdo neo-classic edge. They closed with “Secret Door” from their 2013 debut, Forsaken Remedies, which only furthered their boogie cred.
No sooner did Baltimore’s Foghound walk on the stage than they owned it. Seriously. Before they even started playing, the entire room was theirs. Last time I saw the band was Eye of the Stoned Goat IV in Worcester, MA (review here), and they killed then, but this was a different league entirely. No doubt part of that stems from relatively-new bassist Rev. Jim Forrester, who, like Foghound drummer Chuck Dukehart III, is a Sixty Watt Shaman expat. Forrester was kinetic on stage — and off it, as he hopped down on the regular throughout — and seemed to pull the rest of the band along with him, Dukehart sharing vocal duties with guitarists Bob Sipes and Dee Settar all the while, the three of them switching back and forth here, coming together there, racing through material from their upcoming second album. They were a shot of life just when I was feeling like I needed it most, and while the locals, who obviously have more occasion to see them than I do, weren’t necessarily surprised by what they delivered, I was utterly blown away. Their new stuff was faster, meaner and tighter than 2013’s Quick, Dirty and High (review here), and I liked that CD plenty. The tempo of the songs, the stomp and the energy they brought made them the band of the day up to that point, and cuts like “Serpentine” and “Rockin’ and Rollin'” were absolutely propulsive alongside the other “Dragon’s Tooth” and “Resurrect the Throwaways,” which remains almost insidiously catchy. That song was a bit of a slowdown comparatively, but the momentum held up anyway to the end of the set, and if Foghound brought even half of that level of vitality to the studio, their second record’s going to be a stunner.
Whatever unfortunate drama brought about the change in the first place, I have to think particularly after seeing them play at Vultures of Volume II that the changeover from Beelzefuzz to Righteous Bloom will be a positive in the longterm for the band. Not even because Bert Hall — speaking of chapeaus; his deserves its own Facebook page just so I can like it, unlike it, then like it again — is such a monster player, though rest assured he is, as he’s proved over the years in Revelation and Against Nature, but just for how much easier it is to take them seriously with the new name. I never saw Beelzefuzz as a four-piece after they added Pale Divine frontman Greg Diener as a lead guitarist, but he serves in that capacity well in Righteous Bloom, Hall is indeed a master of groove, and Darin McCloskey‘s fluid drumming is every bit as effective in the new band as it was in the old, adding classic style to underscore the eerie progressivism in frontman Dana Ortt‘s effects-heavy guitar work and live-multitracked vocals. Some of what they played came from Beelzefuzz‘s 2013 self-titled debut (review here) — “All the Feeling Returns,” “Lotus,” “Hypnotize” and “Reborn” garnering knowing appreciation from the crowd, myself included — but newer songs like “Within Trance” (posted here) and “Nazz Riff” went over with no trouble, as well as older demo cuts “Peace Mind,” which opened, “The Soulless” and “Hard Luck Melody,” Ortt‘s wide-eyed delivery throughout playing off a quiet “hey man” hippie routine between the songs that was Akerfeldtine in its entertainment value. Fact of the matter is that he could easily become the kind of dude who, years from now, people will talk about the first time they saw him play and try to compare notes for who got in lowest on the ground floor. I can’t make any such claim, but watching Righteous Bloom for the first time post-Beelzefuzz sure felt like a landmark anyway. Hall fit in perfectly, Diener‘s soloing was tasteful, McCloskey‘s timing and swing are as close to a sure thing as life has to offer and Ortt was the madman front and center. There was nothing — and I mean nothing — not to dig. Their album can’t get here fast enough.
If you’re having a good time, Carousel want to be the reason why. The Pittsburgh natives’ sophomore LP, 2113, was still pretty fresh in my head after its recent stream and review, so I was glad to have the chance to catch the four-piece live and experience the songs first-hand. They played the first three of them in a row — “Trouble,” “Photograph” and the unrepentantly hooky “Buried Alive in Your Arms” — and guitarist/vocalist Dave Wheeler took the time to note between the second and third that the band is very well known for their expert sequencing. That was something I mentioned in my review, but I wouldn’t flatter myself to think they had any idea who I was other than drummer Jake Leger, who also plays in reactivated ’70s rockers Bang, who toured with Kings Destroy last year for a run on which I tagged along. I’m sure it was a happy coincidence. Still, Wheeler was right, 2113 was a well put together album, and I’m not really sure what might be wrong with that. Either way, their boozy classic-heavy good times carried over remarkably well live — turns out they know how to structure a set as well, dipping back to the title-track from their 2013 debut, Jeweler’s Daughter (review here), after “Buried Alive in Your Arms” — and their cardiovascular-style delivery felt like an all-around win. Wheeler took the time to introduce the band, starting with bassist Jim Wheeler before getting to Leger and guitarist/backing vocalist Matt Goldsborough, who he noted handles guitar as well in Pentagram from time to time and in Trouble offshoot The Skull, and ending with himself: “And I’m Dave,” the band playing behind him all the while in classic showman fashion. They slowed down the set and brought the energy level back up effectively with the 2113 title-track, and their catchy songcraft, ’70s vibes and, yes, sequencing, found much welcome.
Weed is Weed
You could give me a pad and paper and two full weeks to brainstorm ideas, but I’m not sure I could come up with anything more stoner rock than Dave Sherman fronting Weed is Weed while singing through a mic on a custom stand made to look like a bong. It even had incense burning near the bottom so there was smoke coming out. That, my friends, is charm, and Weed is Weed have plenty of it to go around between Sherm clearly having a blast with the entire thing and the riffery provided by three — three! — guitarists: Gary Isom (ex-Spirit Caravan), Russ Strahan (ex-Pentagram) and Rob Portillo. With Darren Waters holding down yet more low end on bass throughout such family-friendly hits as “Cleptus Butanus” — a song about stealing lighters that featured a line about having enough in your pocket to build a butane rocket — and “The Bong Remains the Same,” Weed is Weed also introduced their new drummer, Tyler Lee, age 18. Gotta start ’em young. Worth noting that “The Bong Remains the Same” will also be the title of the six-piece’s next EP, and it must have been a hard call between that and “Reign in Bud,” which closed out, Lee teasing a Slayer drum thud reference at the beginning before they took off on another stoner-for-stoner onslaught, their groove as undeniable as their central theme was dank. Does anyone say dank anymore? I don’t even know. In any case, Weed is Weed‘s particular brand of fun was infectious, and even as a non-smoker, their puns were second to none. Not a stem in the nugget.
In much the same way that Righteous Bloom is a continuation of Beelzefuzz, so too does Wretch feel born directly from the demise of The Gates of Slumber. The Indianapolis three-piece had traveled the farthest to get to Hagerstown — headliners Elder would be no slouch in that department either — and they were heavy enough that the head sitting on top of guitarist/vocalist Karl Simon‘s full-stack of cabinets was at several points very close to vibrating off and falling to the floor. It didn’t, thankfully, and Simon, drummer J. Clyde Paradis — who, like Simon, is a The Gates of Slumber alum — and bassist Bryce Clark held down some of the weekend’s most thoroughly doomed vibes, morose plod and downer tones emanating at max volume. “R.I.P.” was a highlight, which feels strange to even say, and a couple of songs from the final The Gates of Slumber album, 2011’s The Wretch (review here), were aired, among them “Bastards Born” and “The Wretch” itself. They finished out with “The Jury,” which originally appeared on 2004’s …The Awakening debut from the defunct outfit, their set having been cut short on account of the usual running late, but ending on a faster note somehow suited them. From what I’ve seen, Wretch have a few studio tracks floating around, but I’ve yet to hear of anything recorded being due for public consumption. Seems like a no brainer that they’re one to watch given their pedigree and Simon‘s established post-Vitus doom supremacy, but it’ll be even more interesting to see how they manage to stand themselves out from The Gates of Slumber and how much of what that band was will ultimately carry forward into the new one.
Only one problem with putting Windhand vocalist Dorthia Cottrell on so late in the day for a solo acoustic set — everyone’s sloshed. Much to the room’s credit, people actually did really well policing themselves to keep conversation to a minimum as Cottrell ran through a set of dark neofolk accompanied only by the Delmar‘s fog machine and laser lights, the response to which was mixed but which I thought worked well. Anyone can play a sad twanger like “Maybe it’s True” from Cottrell‘s 2015 self-titled solo debut in the dark, but to do it with a lightshow going? That’s impressive. Those committed to being loud either moved to the back bar or went outside, but everyone who stayed was treated to Cottrell‘s quiet, alternately traditional and minimalist atmospherics, her breathy delivery calling to mind any number of blues singers who earned the first name “Mama” while keeping consistent in its downtrodden feel to work with her main outfit. Influences were worn on her sleeve in covering Townes Van Zandt‘s “Rake,” a song both Wino and Scott Kelly have taken on previously, and the traditional “Wayfaring Stranger” — the mere mention of which immediately sends my mind reeling back to David Eugene Edwards and 16 Horsepower‘s version on 2000’s Secret South full-length, though everyone from Burl Ives to Neil Young has given it a shot — was slowed-down and given due melancholy to comport with the rest of the set. A marked change in sound from the rest of the day, but more consistent in overall mood with Wretch than one might initially think, Cottrell offered a moment of clarity as Vultures of Volume II made ready to round out its journey on a sea of riffs.
“Dead Roots Stirring” made for an especially righteous opener. I hadn’t seen Massachusetts trio Elder since the release show for their 2015 third album, Lore (review here), which continues to rightly garner praise from all corners of the globe and has positioned the three-piece as headliners for the first time both on tour and at fests like this one. They are quite possibly the East Coast’s most pivotal up and coming act at this point — the great heavy hope of an entire seaboard’s next-gen scene — and with Lore, they’ve moved into a progressive style that’s entirely their own without giving up the sonic impact of their earlier work. And where the turns of “Compendium” were somewhat choppy back in March, two full tours (US and EU) later, they’re no less fluid than was “Dead Roots Stirring” at the start or “Release” from their 2012 Spires Burn/Release EP (streamed here), guitarist/vocalist Nick DiSalvo having apparently long since mastered the complex notations of his own design while bassist Jack Donovan and drummer Matt Couto held together the tight turns of that song and “Spirit at Aphelion,” also from the new album. Between songs, DiSalvo apologized to anyone who might’ve run into the band the night before, and that got a laugh from the crowd who had very clearly stuck around to see them specifically. They’ve grown not just tighter on the more recent songs, but in terms of their stage presence as well, and particularly with Donovan and Couto, they were so locked in that they didn’t even really have to look at each other to know where they were and where they were going. That kind of chemistry only really develops with touring acts, which of course Elder have become, and and they continue to move forward with Lore and beyond, it will continue to serve them well. They are distinct sonic personalities, between Couto‘s swing, Donovan‘s smooth, warm-toned basslines and DiSalvo‘s penchant for exploring progressive psychedelic passages, but the way they’ve come to work together is truly something special, and they showed that in top form at Vultures of Volume II, building and releasing tension throughout “Spirit at Aphelion” and closing out their set and the fest as a whole with “Gemini” from Dead Roots Stirring(review here), which seemed tailor made to be suited to the task. They’re still growing. They’re not done. But still, don’t be surprised a couple years from now when new bands are coming out and noodling like you hear on Lore, because people have picked up in a serious way to what Elder are doing. They’ll get no argument from me.
In the back of my mind I’d had the thought of starting to drive home directly after the fest ended, getting in my car and pushing through all night on the highways of Maryland, Pennsylvania, New Jersey, maybe beyond. Didn’t happen. Instead, I not only went back to the hotel to crash out, but overslept and wound up making my return home even later than I’d intended. After 13 bands, the extra two hours of sleep might well have enabled my survival.
Before I wrap this up, I have to note the hard work of Kathy Reeves in putting Vultures of Volume together. No way a two-dayer like this is easy to make happen, but she pulled it off and made it look that way anyhow. Job well done, and thanks for having me down for the reminder of just how unique and welcoming the Maryland heavy scene is.
Thanks also to Darin McCloskey, Matt Dayton, Mike Smith, Fanny Shamer, Ron McGinnis, Jaki Cunha, Dustin Davis, Chris Wolfe, Don Welch, Lisa Hass, Melanie Streko, Jon Pacella, Jim Forrester, Håkan Nyman, Kesha Atwood Nyman, Elyse Mitchell, Ron, Andrew Thornhill, Nick DiSalvo, Jack Donovan, Matt Couto (though, man, those are some fierce looks in those shots), and everyone else whose names I’ll hope to add over the next however long.
Most of all, thanks again to you for reading. More pics after the jump.