Wolftooth Sign to Cursed Tongue Records; Debut LP out in 2018

Posted in Whathaveyou on November 17th, 2017 by JJ Koczan

wolftooth

Classic metal and heavy rock crash headfirst in Wolftooth‘s ‘The Huntress,’ which is just one of the eight tracks on the band’s self-titled debut LP that makes it easy to understand what Cursed Tongue Records was thinking in signing the four-piece to release the album on vinyl. They were thinking it ruled. I’m enjoying how hard it’s becoming to argue with their taste, and as Wolftooth join choice snags like Sumokem, Earth WitchNeon WarshipDevil’s WitchesGreen Yeti and Mental Tremors, a significant reliability factor is coming together. Trust is a good thing. Trust that someone is going to back cool riffs is even better.

You can hear “The Huntress” as well as two other cuts from Wolftooth‘s Wolftooth now via the band’s Bandcamp, streaming at the bottom of this post. The LP itself will arrive early next year with preorders up sometime between now and then. In the meanwhile, here’s the announcement from Cursed Tongue to make the alliance official:

wolftooth cursed tongue

WOLFTOOTH SIGNS TO CURSED TONGUE RECORDS FOR WORLD WIDE RELEASE OF THEIR DEBUT FULL LENGTH ALBUM.

We are extremely happy to announce the rabid new signing from Cursed Tongue Records

Hailing from the Midwest via Richmond IN comes the “Stoner Metal Riff Worshipers” Wolftooth consisting of a pack of well seasoned musicians (all 20+ yr metal scene veterans) determined to raise the bar of the almighty riff. Wolftooth combines influences from the 70’s and early 80’s NWOBHM with Bay Area Thrash and doom laden riffery. Meanwhile the vocals soar over blues drenched solos that add a stoner sensibility to the Wolftooth sound.

Wolftooth, despite having just existed for a short period of time, have already released an EP of three songs on Bandcamp in August 2017 that secured them a place at #12 on the September edition of Doom Charts and general acclaim amidst reviewers across the heavy underground scene. It brings evidence of a band that’s aiming high and is willing to put the muscle and mind behind.

Some bands need a whole career to make an impression. Wolftooth only needed three tracks to impress on an epic scale and after listening to their EP we just instantly knew that this band are going places. So it is a natural thing to add Wolftooth to the Cursed Tongue Records roster as we feel the music the band purveys is an extension of our love for metal and rock. We are stoked to be putting thier debut full length album out in the first half of 2018. Official release date and preorder details to be revealed in due time.

Wolftooth hits hard with a unique blend of stoner, 90’s alternative rock, hintes of 80’s glory and some goddamned heavy riffs that makes this band worth your full attention. So lookout cause Wolftooth is on a mission to bring the “Power of the Riff” to the masses.

CTR-007, Wolftooth – ‘Wolftooth’, official release date: first half 2018

Wolftooth is:
Chris Sullivan – Guitar and Vocals
Jeff Cole – Guitar
Terry McDaniel Jr – Bass
Johnny Harrod – Drums

Recorded at Led Fields studio Connersvile IN
Engineered and mixed by Jeremy Lovins
Assistant Engineer: Skylar Nichols
Produced by Wolftooth and Jeremy Lovins
All music composed and arranged by Wolftooth
*Keyboard arrangements by Jeremy Lovins

Track listing:
Side A
1. Blackbirds Call
2. Aegaeon
3. Sword Of My Father
4. White Mountain

Side B
5. Frost Lord
6. The Huntress
7. Season Of The Witch
8. Forged In Fire

http://wolftooth.bandcamp.com/releases
http://www.facebook.com/wolftoothmetal/
https://www.instagram.com/wolftooth_metal/
https://www.facebook.com/CursedTongueRecords/
https://www.instagram.com/cursedtongue
http://cursedtonguerecords.bigcartel.com/

Wolftooth, Wolftooth EP (2017)

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Void King and Boudain Touring Europe this Month

Posted in Whathaveyou on October 3rd, 2017 by JJ Koczan

You’re just going to have to take my word for it when I say I don’t mean this as condescendingly as it might sound: but I think it’s fucking awesome that Void King and Boudain are teaming up for European tour dates. Seriously. If either band winds up seeing this post, good for you guys. Way to live the fucking dream, get off your asses and make it happen.

The Indiana and Louisiana-based acts will head out beginning in Den Haag on Oct. 26 and make their way around Belgium and Germany en route to Kampen, back in the Netherlands, for the Off the Record Festival on Nov. 4. No question the fest is the occasion/impetus behind the tour, since both bands head abroad supporting 2016 releases that came out through Off the Record Label, and while it’s not the longest run, and they’re not the biggest bands in the world, for every US-based group I’ve ever had talk to me about how perfect life would be if only they could get over to Europe and do shows, it’s awesome to see two bands actually putting it together like this. Warms my heart. I mean it.

Info from the PR wire:

void-king-boudain-tour-poster

VOID KING / BOUDAIN to Launch European Tour in October

Indiana’s VOID KING and Louisiana’s BOUDAIN will embark on a European Tour in late October. The Stoner Rock Double Threat will perform in The Netherlands, Germany, and Belgium, including Kampen’s (NL) Off The Record Festival. Tour dates are below.

Oct. 26 – The Hague, Netherlands @ Vereniging de vinger
Oct. 27 – Wommelgem, Belgium @ JH Wommel
Oct. 28 – Antwerp, Belgium @ Kid’s Rhythm ‘n Blues Kaffee
Oct. 29 – Osnabrük, Germany @ Dirty Dancing
Nov. 2 – Gouda, Netherlands @ StudioGonz
Nov. 3 – Arnhem, Netherlands @ Brigant
Nov. 4 – Kampen, Netherlands @ Off The Record Festival

If there is nothing, as we have long suspected, then let the Void take us there. Let the volume of the oncoming storm compel us forward, into what can only be considered to be our one true calling; to praise the riff.

Void King is:
Derek Felix – drums
Chris Carroll – bass guitar.
Jason Kindred – voice.
Tommy Miller – electric guitar.

BOUDAIN’s Way of the Hoof is a storm of Space, Pork, and Riffs! Recorded at SpaceLab 420 studios, the follow-up to the band’s 2013 EP is perfect for anyone who enjoys the kind of groove that makes you want to smoke out, grill out, and chill with the swine.

Boudain is:
Brian Lenard – guitar
Chris Porter – bass/vocals
David Karakash – guitars
Stephen Jester – drums

http://voidking.bandcamp.com/
https://www.facebook.com/voidkingband/
twitter.com/_VoidKing
https://boudain.bandcamp.com/
https://www.facebook.com/boudainla/
https://twitter.com/Boudainmusic

Void King, There is Nothing (2016)

Boudain, Way of the Hoof (2016)

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Wretch Release New EP Bastards Born

Posted in Whathaveyou on July 18th, 2017 by JJ Koczan

wretch

Indianapolis trio Wretch released arguably last year’s best debut of pure, unadulterated doom in their self-titled first full-length (review here), and their new follow-up EP finds them well within their rights in directly acknowledging the band’s lineage in guitarist/vocalist Karl Simon‘s prior outfit, The Gates of Slumber, from whose 2011 swansong, The Wretch (review here), they take their moniker.

They do so across the three tracks of Bastards Born, which was recorded by James Atkinson of Gentlemans Pistols this Spring concurrent to a UK tour with Iron Void that followed Wretch‘s appearance in the Netherlands for Roadburn 2017 (review here), and across the two covers “The Wretch” and “Bastards Born,” Simon, drummer Chris Gordon and bassist Bryce Clark tie the two outfits together in morose fashion, leaving room for a low-end-led jam at the close called “Bassment Dweller” that’s both shorter and more uptempo than either of the plodders before it, but serves effectively to emphasize that even as Wretch look to their roots, they’re committed to moving forward in developing their own identity as well.

Issued through Bad Omen Records in memoriam to former The Gates of Slumber bassist Jason McCash and drummer J. “Cool Clyde” ParadisBastards Born is up now on Bandcamp as a name-your-price download with proceeds going to the organizations listed below. Dig it:

wretch bastards born

Wretch – Bastards Born EP

Those familiar with the history of Wretch will know that the band is born out or the ashes of vocalist / guitarist Karl Simon’s previous outfit The Gates of Slumber, even taking its name from the title track of their final release ‘The Wretch’.

Sadly, of the three band members who played on ‘The Wretch’ album only Simon is still with us, with both Jason McCash & J. “Cool” Clyde Paradis losing the battle to overcome their demons in 2014 & 2016 respectively.

This E.P. contains two compositions from ‘The Wretch’ (“Bastards Born” & “The Wretch” itself) re-worked by Wretch at sessions that took place in April 2017 in Leeds, England, with engineer James Atkinson (he of Gentlemans Pistols fame) behind the desk. The third cut “Bassment Dweller” is an instrumental, which shows the dexterity of Bryce Clarke on the four string motherfucker.

You can pay what you want for ‘Bastards Born’ and we will pay though all money received from your purchase to the US arm of the Amy Whitehouse Foundation, set up to prevent drug and alcohol misuse among young people and help the most vulnerable to reach their full potential, and the Indiana Addictions Issues Coalition.

1. The Wretch 08:23
2. Bastards Born 06:41
3. Bassment Dweller 03:21

Released July 12, 2017.

Recorded by James Atkinson. Mastered by Terry Waker at Tonalex Mastering. Artwork by Branca Studio.

https://www.facebook.com/Wretch-469537983166326/
https://wretchdoom.bandcamp.com/
https://badomenrecords.bandcamp.com/

Wretch, Bastards Born EP (2017)

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Devil to Pay Premiere “The Demons Come Home to Roost” Video and Announce Tour Dates

Posted in Bootleg Theater on March 29th, 2017 by JJ Koczan

devil to pay

I was curious to know how long it’d been since the last time Devil to Pay premiered a video around here. The date? Feb. 7. So, almost two months ago. That was “Kobold in the Breadbasket” (posted here), and I know I’ve said this before — because I went back and looked at the post where I said it; ha — but when it comes to the Indianapolis four-piece, I’ve got no regrets whatsoever. They keep making them I’m glad to keep posting them. I wasn’t too into the cover art for their latest album for Ripple Music, 2016’s A Bend Through Space and Time (review here), but beyond that (and it certainly wasn’t a technique issue), Devil to Pay remain a band for whom I’ve got tremendous respect.

To wit, ace songwriters who hit the road on the regular and put out record after record of air-tight heavy rock and roll? Oh, and they’ve been doing it for 15 years. I ask you, what’s not to dig about that?

This time around, it’s “The Demons Come Home to Roost” premiering a new video. It’s the last track on A Bend Through Space and Time, so after the hooks of “On and On (In Your Mind),” the brooding sleek of the aforementioned “Kobold in the Breadbasket,” the thrust and sharp turns of “Recommended Daily Dosage” and the worthy homage of “Your Inner Lemmy,” the four-piece of guitarist/vocalist Steve Janiak, guitarist Rob Hough, bassist/backing vocalist Matt Stokes and drummer Chad Profigle dig into the seven-plus minutes of their finale. As a standout closer, “The Demons Come Home to Roost” has a bit of all of that going on, as well as a gallop all its own that starts early and arrives again late, the band smoothly nestling into a slower groove at around the halfway point only to finish at full boar with a crisp edge worthy of the craftsmanship on display throughout the album preceding.

Devil to Pay head out next month on a West Coast tour playing with some killer acts along the way — House of Broken Promises, Ripple labelmates Zed and Mothership, etc. — and you can find those dates under the video below, the weirdo combination of old movie and live footage of which already has me looking forward to the next one.

As always, I hope you enjoy:

Devil to Pay, “The Demons Come Home to Roost” official video

DEVIL TO PAY’S “DON’T GIVE AWAY THE WEST TOUR 2017”
devil to pay tour poster4/13 – Indianapolis, IN – 5th Quarter Lounge w Mothership, Astral Mass
4/20 – Chicago, IL – Reggies w Blunt, Sacred Monster
4/21 – Omaha, NE – Lookout Lounge for Stormfest 2017
4/22 – Denver, CO – Bar Bar w Chieftian, Green Druid, Never Kenezzard
4/24 – Spokane, WA – The Pin w tba
4/25 – Seattle, WA – Tim’s Tavern w KLAW, Skypenis
4/26 – Portland, OR – High Water Mark w Sleer, Heavy Baang Staang, Skulldozer
4/28 – Sacramento, CA – On the Y w Crimson Eye, Zed
4/29 – San Francisco, CA – Neck of the Woods w Zed, Lowcaster
4/30 – West Hollywood, CA – Viper Room w House of Broken Promises, High Priestess
5/01 – Las Vegas, NV – Beauty Bar w Spiritual Shepherd, Plague Doctor
5/04 – Tempe, AZ – Yucca Tap Room w Malo De Dentro, Dead Canyon
5/05 – San Angelo, TX – The Deadhorse w tba
5/06 – Oklahoma City, OK – Blue Note Lounge w Crobone, Get Fired

Devil to Pay’s music video for “the Demons Come Home to Roost.” Live performance video filmed at: the 5th Quarter Lounge, Indianapolis, IN, Radio Radio, Indianapolis, IN, the Melody Inn, Indianapolis, IN, the Pond, Franklin, TN, the Nick, Birmingham, AL. From the album “A Bend Through Space and Time” on the Ripple Music label www.ripple-music.com

Recorded & Mixed by Mike Bridavsky at Russian Recording, Bloomington IN August 2015.
Mastered by Mike Bridavsky at Russian Recording.

Devil to Pay is:
Steve Janiak – guitars/vocals
Matt Stokes – bass
Chad Prifogle – drums
Rob Hough – guitars

Devil to Pay on Thee Facebooks

Devil to Pay BigCartel store

Devil to Pay website

Ripple Music on Bandcamp

Ripple Music on Thee Facebooks

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Wretch & Iron Void to Tour the UK; Playing Desertfest London 2017 Preshow and More

Posted in Whathaveyou on March 6th, 2017 by JJ Koczan

Indianapolis doomers Wretch head overseas next month, and after taking part in Roadburn 2017 in the Netherlands, they’ll hook up with UK outfit Iron Void for a run through England and Scotland that begins at the warm-up gig for Desertfest London 2017 at the righteous digs of The Black Heart in Camden Town. From there, the two acts will make their way north toward and past Iron Void‘s hometown in Wakefield, and round out in Newcastle on May 2.

Wretch go, of course, supporting their 2016 self-titled LP (review here), which was among the year’s finest debuts, to be sure. Iron Void, meanwhile, released their second album, Doomsday, in 2015 on Doomanoid Records, and you can hear it, as well as a new Motörhead cover by Wretch from a Bad Omen Records label compilation, at the bottom of this post.

Do I even need to tell you to doom on? Nah, you already know:

wretch iron void uk tour

Wretch / Iron Void UK tour

Lest we forget, doom metal stands for much more than merely a collection of Sabbathian riffs, funereal tempos and enormous amp-stacks. It’s a form of music that issues forth from the heart, the soul, and the gut. It can be an alchemical force that functions as a process of catharsis in times of need. What’s more, few know more about the power of this music than Karl Simon, formerly of the titanic and much-respected The Gates Of Slumber, and now of WRETCH, whose debut carries on valiantly with the mission he began some eighteen years ago.

The making of this self-titled album marked both a renaissance and a crucial tonic for Simon himself – in the wake of the death of his close friend and The Gates Of Slumber bandmate Jason McCash, he was forced to make sense of a profound loss, and the making of this debut formed a crucial part of this process.

The new power-trio he formed with drummer Chris Gordon and bassist Bryce Clarke rose above their circumstances to issue forth a fearsome salvo of cast-iron riffage and heartfelt traditional metal heraldry, shot through with a steely conviction instilled by the experiences of recent days. “It is a new beginning, but I am what I am. I don’t set out to write a style of music.” notes Simon, “This is what happens when I pick up a guitar.”

IRON VOID was originally formed by Sealey way back in November 1998 in order to create an old-school Doom Metal band. The band reformed in 2007 and released their Debut EP, entitled ‘Spell of Ruin’, in 2010. Their self-titled debut album was released on CD in 2014 on the Barbarian Wrath label. Their second album ‘Doomsday’ is out now on Doomanoid Records.

Wretch & Iron Void UK Tour – April / May 2017
Thursday 27th April – The Black Heart, London (Desertfest Warm Up)
Friday 28th April – The Gryphon, Bristol
Saturday 29th April – The Lughole, Sheffield
Sunday 30th April – The Snooty Fox Club, Wakefield w/ Earthen Ritual
Monday 1st May – Bannerman’s Bar, Edinburgh w/ Skeleton Gong & Psychotic Depression
Tuesday 2nd May – Trillians Rock Bar, Newcastle

Official tour poster designed by Pol Abran of Branca Studio.

https://www.facebook.com/Wretch-469537983166326/
https://badomenrecords.bandcamp.com/

https://www.facebook.com/ironvoid/
https://ironvoid.bandcamp.com/

Wretch, “Sweet Revenge”

Iron Void, Doomsday (2015)

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Devil to Pay Premiere “Kobold in the Breadbasket” Video; Tour Dates Forthcoming

Posted in Bootleg Theater on February 9th, 2017 by JJ Koczan

devil to pay

By my admittedly fallible count, this is the third premiere I’ve done for a video from Indianapolis heavy rockers Devil to Pay‘s latest album. And if the band’s plans for the next couple months pan out as intended, it might not be the last. No regrets. The four-piece issued their fifth full-length, A Bend Through Space and Time (review here), last year via Ripple Music, and in following up clips for “Your Inner Lemmy” (premiered here) and “On and On (In Your Mind)” (premiered here), they take to the woods for the moody “Kobold in the Breadbasket,” a somewhat slower, more languid and ultimately darker track that was nonetheless a standout from the record.

Guitarist/vocalist Steve Janiak — joined in the band by guitarist Rob Hough, bassist/backing vocalist Matt Stokes and drummer Chad Profigle — calls it Sabbath-esque, and I’m not inclined to argue, but it is distinctly Devil to Pay‘s own as well, as one can hear in the brooding sensibility of his own singing and in the impression left by its chorus. The overarching groove is a nodder — as opposed to the all-out thrust of “Your Inner Lemmy,” say — but as ever, the songwriting chops ring through Devil to Pay‘s work as the defining element. It’s the nodder you’ll have stuck in your head for the rest of the day, in other words. And that’s only going to make your day better.

Devil to Pay are currently solidifying a tour set to start April 20 which Janiak notes in a quote under the video itself below. I’ll hope to have follow-up info on that — and more videos — as it and they come together, but in the meantime, if you haven’t yet checked out A Bend Through Space and Time, “Kobold in the Breadbasket” makes a considerable argument in the album’s favor and the band’s more generally, their approach to heavy rock/doom remaining underappreciated for its unwavering quality as well as its longevity — they mark their 15th anniversary as a group this month.

Bottom line? More to come from Devil to Pay in 2017, so stay tuned.

And please, enjoy:

Devil to Pay, “Kobold in the Breadbasket” official video

Steve Janiak on “Kobold in the Breadbasket”:

‘Kobold in the Breadbasket’ is our little mythological lament, a fairy tale where a farmer in another time and place inadvertently curses himself and his family. It was intended as a metaphor for mankind’s disregard for nature and penchant for ecological disaster. In keeping with the nature theme, we filmed the video in Brown County, Indiana, at the edge of a man-made lake with our good friend Jay Rich.

Our upcoming West Coast tour is currently in the works. It starts 4/20 and will be our first trip back to the coast since 2006.

Devil to Pay on Thee Facebooks

Devil to Pay BigCartel store

Devil to Pay website

Ripple Music on Bandcamp

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The Obelisk Presents: THE TOP 30 ALBUMS OF 2016

Posted in Features on December 20th, 2016 by JJ Koczan

the obelisk top 30

Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2016 to that, please do.

I say this every year: These are my picks. If you’re unfamiliar with this site, or you don’t come here that often, or if you do and just normally don’t give a crap — all of which is cool — you should know it’s all run by one person. One human being. Me. My name is JJ, and this is a list of what I think are the best albums that were released in 2016.

Since before 2016 began, I’ve kept a running list of releases. My criteria for what gets included in this list is largely unchanged — it’s a balance between what I feel are important records on the level of what they achieve, what I listened to most, what held some other personal appeal, and what I think did the best job of meeting the goals it set for itself. Pretty vague, right? That’s the idea.

The nature of worldwide heavy has become so broad that to encompass it all under some universal standard is laughable. Judging psychedelia, garage rock, heavy psych, doom, sludge and so on by the same measure makes no sense, and as genres continue to splinter and remake themselves as we’ve seen them doing all year and over the last several years, one must be malleable in one’s own taste. We’ve seen a new generation of heavy rock bands emerge in the last three-plus years. It’s been amazing, and there are a few pivotal second and third records that came out in 2016 to affirm that movement underway. Look for it to continue into 2017 and beyond.

This year more than any other seemed to want to bring the different sides together. A laudable goal. Thick riffing marked with flourish of psychedelia. Spacious doom bred against folk impulses. There’s been experimentation around melds that have led to considerable triumphs, and it just doesn’t seem to me that rigid standards can apply. It’s why I don’t grade reviews and never did.

Sound is evolving now as it always has been and as it will keep doing, but like any year, 2016 had a full share of landmarks to offer as a part of that process. As universal development hopefully remains ongoing, it’s only right that we celebrate the accomplishments helping to push it along its winding and sometimes divergent-seeming paths.

I have no doubt you know what I mean. Let’s get to the list:

30. Talmud Beach, Chief

talmud beach chief

Released by Svart Records. Reviewed Feb. 10.

Seems only fair to start with a record I couldn’t put down. Finnish trio Talmud Beach‘s second album and Svart debut, Chief, hit on just the right blend of laid back, semi-acoustic groove-blues, psychedelia and classic progressive folk rock, but with the exception of its sprawling dreamscape title-track (a welcome arrival at the finale), it also kept the songwriting simple, resulting in a natural, pastoral feel that only highlighted their melodic range in songs like “Mountain Man” and “Snow Snow Snow.” I think it flew under a lot of people’s radar, but I’ve kept going back to it over the course of the year and I see no reason to stop.

29. Comet Control, Center of the Maze

comet control center of the maze

Released by Tee Pee Records. Reviewed June 22.

Space is still the place. I’ve already highlighted closer “Artificial Light” from Comet Control‘s sophomore LP, Center of the Maze as my favorite song of 2016, so I’ll spare you the longwinded treatise on its languid cosmic glories — this time — but consider this a reminder that that song was by no means the limit of what the eight-track release had to offer in terms of breadth. From the opening push of “Dig out Your Head” to the dream-drift of “Sick in Space,” it unfolded tonal presence and a melodic depth that engaged a gorgeous, multifaceted sonic wash as it moved onward toward that landmark conclusion.

28. Droids Attack, Sci-Fi or Die

droids attack sci-fi or die

Self-released. Reviewed Feb. 17.

There was not a level on which Madison, Wisconsin’s Droids Attack didn’t make it clear they were going all-out, all-in on Sci-Fi or Die. Even the title speaks to the stakes involved. And sure enough, the trio executed their fourth album with a sense of urgency and professionalism in songcraft, production, artwork (discussed here) and nuance of presentation that managed to make even a song called “Clawhammer Suicide” a classy affair. As guitarist/vocalist Brad Van said on the hidden title-track, “Death to false stoner thrash.” Droids Attack brought that ethic and more to life across the entire record.

27. Beelzefuzz, The Righteous Bloom

beelzefuzz the righteous bloom

Released by Restricted Release and The Church Within. Reviewed Aug. 2.

A winding road brought Beelzefuzz around to following up their 2013 self-titled debut (review here), and as The Righteous Bloom brought guitarist/vocalist Dana Ortt and drummer Darin McCloskey together with bassist Bert Hall and lead guitarist Greg Diener, it found their songwriting more expansive, more progressive and dug further into their own particular oddball sense of grandeur. I’ve said on multiple occasions that no one out there is doing what Beelzefuzz are doing and that continues to be true. Even as a first offering from a new lineup of the band, The Righteous Bloom took bold and exciting forward steps.

26. Foghound, The World Unseen

foghound the world unseen

Released by Ripple Music. Reviewed July 6.

Down to business. Immediately. Not a moment to spare. Taking part in what can only be considered a landmark year for Ripple Music, Baltimore’s Foghound issued The World Unseen as an answer to their 2013 debut, Quick, Dirty and High (review here), and upped their game across the board. From the intensity in the hooks of “Message in the Sky” and Rockin’ and Rollin'” to the quiet interlude of “Bridge of Stonebows” and the mid-paced heavy rock nod of “Never Return,” they made a strong case for themselves among their label’s foremost acts and found individualism in the growth of their songwriting. It was a kick in the ass you weren’t going to forget.

25a. Egypt, Endless Flight

egypt endless flight

Released by Doomentia Records. Reviewed Dec. 11, 2015.

Put out by the band digitally in Dec. 2015 and issued on vinyl in 2016, Egypt‘s second LP, Endless Flight may be somewhat debatable in terms of when it actually landed (hence “25a.,” above), but the quality of the six-tracker more than warrants inclusion anyway. Rolling dense, massively-fuzzed groove, its nine-minute opening title-track set the course for the Fargo, North Dakota, three-piece, and they only grew the heavy revelry from there, as heard on the penultimate “Black Words,” which seemed to be chewing on rocks even as it played back and forth in tempo, build and push. The converted never had it so good.

25. 1000mods, Repeated Exposure To…

1000mods repeated exposure to

Released by Ouga Booga and the Mighty Oug Recordings. Reviewed Sept. 20.

There seems to be no stopping the Chiliomodi-based 1000mods, who with their third album have stepped to the forefront of Greece’s populous and vibrant heavy rock underground. Progressed well beyond where even 2014’s impressive Vultures (review here) found them, they seemed to hit a stride with Repeated Exposure To… thanks in part to road time and the ability to bring that energy directly into songs like the eight-minute roller “Loose” and the sizable crashes of “Groundhog Day.” Momentum working in their favor could be heard front-to-back from “Above 179” to “Into the Spell,” moving them toward something ever-more crucial and marking a considerable achievement along that path. 2017 might be a good time for them to test the waters with initial US shows.

24. Black Rainbows, Stellar Prophecy

black rainbows stellar prophecy

Released by Heavy Psych Sounds. Reviewed April 11.

Quick turnaround from Roman heavy psych magnate Gabriele Fiori (guitar/vocals) and company, but though it hit just about 13 months after their fourth full-length, Hawkdope (review here), Black Rainbows, Stellar Prophecy wholly succeeded in making an impact of its own, cuts like the oozing, organ-laced “Woman” and 11-minute jam-out triumph “Golden Widow” showcasing an approach in a continuous state of refinement that seems to get rawer as it goes, shifting like a rogue planetoid toward some maddening cosmic realization. How something can seem both so frenetic and so blissful is still a mystery, and perhaps that’s part of what makes Stellar Prophecy resonate as it does, but either way, Black Rainbows brought together some of the year’s most efficient psychedelic immersion.

23. Borracho, Atacama

borracho atacama

Released by Kozmik Artifactz. Reviewed Nov. 14.

Borracho don’t seem to release an album until they have something to say. That was to their credit on Atacama, their third LP and label debut for Kozmik Artifactz debut. Also their second collection issued as a trio behind 2013’s Oculus (review here), it distinguished itself from its predecessor in its sense of overarching flow, shifting between the ahead-thrust of “Gold from Sand” into the 10-minute sample-laden jam “Overload” to start out with such ease that the listener had little choice but to follow along. With an expanded scope on “Drifted away from the Sun” and the lightly-strummed memento mori “Flower,” Borracho found new avenues of expression to complement their well established dense, heavy riffing, and took obvious care in crafting their most realized LP yet.

22. The Golden Grass, Coming Back Again

the golden grass coming back again

Released by Listenable Records. Reviewed April 26.

Nothing Brooklyn’s The Golden Grass does feels like happenstance, and though their classic-styled boogie is imbued with a vibrant, friendly positive energy, there’s an underlying meticulousness in their arrangements and in their songwriting that came further into focus on Coming Back Again, their sophomore release 2014’s self-titled debut (review here). A more progressive take showed itself in “Reflections” and “Down the Line,” and taken in combination with the bookends “Get it Together” and “See it Through,” the three-piece stood on ground that was even more their own than on the first record, striking a careful balance between the willful exploration of new elements and the outright need for tracks to directly engage their listeners with catchy hooks and upbeat vibes. They did it. Expect continued growth.

21. Curse the Son, Isolator

curse the son isolator

Released by Snake Charmer Coalition and The Company Records. Reviewed March 1.

For something so awash in fuzz, so nodding in its rhythms, so let’s-push-the-vocals-back-under-this-huge-awesome-fucking-riff, Curse the Son‘s Isolator was also remarkably clearheaded in its purposes. With the added vocal harmonies of “Callous Unemotional Traits,” the far-off spaces of “Hull Crush Depth” and the stoner metal despair of “Aislamiento,” the Connecticut three-piece of guitarist/vocalist Ron Vanacore, capital-‘d’ Drummer Michael Petrucci and newcomer bassist Brendan Keefe drew a direct, intentional line to sometimes-grueling (hello, “Sleepwalker Wakes”) weighted tonality and found justification for their largesse in its own being. Like 2012’s Psychache (review here), I expect to be returning to Isolator over a longer term than this single year of release.

20. Neurosis, Fires Within Fires

neurosis fires within fires

Released by Neurot Recordings. Reviewed Sept. 21.

I feel like I need to explain myself here. Make no mistake, NeurosisFires Within Fires is among the year’s most accomplished offerings. There’s just about no way it wouldn’t be. So why not top 10? Top five? It’s a question of timing. With the long-running post-metal progenitors, it’s always a longer digestion period. It was about two years before 2012’s Honor Found in Decay (review here) really sunk in, and I expect Fires Within Fires will work similarly over the greater term. Maybe a little guilt on my part for the disparity between its quality and its placement, but rest assured, Neurosis remain among the most imperative bands walking the earth, and as they took on the full brunt of 30 years of unmitigated progression through Fires Within Fires, they were no less brazen in pushing themselves creatively than they’ve ever been.

19. Conan, Revengeance

conan revengeance

Released by Napalm Records. Reviewed Jan. 19.

Though the narrative of Conan has remained largely unchanged since their inception — hack, slash, kill, riff — and they still bask in nigh-on-unmatched tonal slaughter, their third full-length brings a few key developments. Perhaps most notable from opener “Throne of Fire” onward is the vocal interplay between guitarist/founder Jon Davis and bassist/longtime-engineer Chris Fielding, who joined after 2014’s Blood Eagle (review here). Adding Fielding‘s deeper growls allowed Davis to subtly move into a cleaner shout, and the emergent dynamic between them made Revengeance a decidedly expanded affair compared to Conan‘s past work. Adding drummer Rich Lewis to the mix was no minor shift either, and as much as Conan had already established their sheer dominance, they also sounded refreshed and set themselves up to keep growing.

18. Baby Woodrose, Freedom

baby woodrose freedom

Released by Bad Afro Records. Reviewed Aug. 18.

Some records just feel like gifts, and though many of its lyrical positions were cynical — “Reality,” “21st Century Slave,” “Mind Control Machine,” “Red the Sign Post,” etc. — Freedom marked the 15th anniversary of Danish garage-psych rockers Baby Woodrose with dripping lysergic aplomb, reminding some four years after their last LP, 2012’s Third Eye Surgery (review here), that bandleader Lorenzo Woodrose is unparalleled when it comes to manifesting his take on the psychedelic victories of 13th Floor Elevators and classic-era Hawkwind — firmly at home levitating on the edge of time. Its swirl and underlying foundation of songwriting, its Richie Havens cover title-track, and its sprawling interstellar “Termination” were like a welcome check-in from another dimension, and I only hope it’s not four years before Woodrose sends the next signal. Earth needs this band.

17. Geezer, Geezer

geezer geezer

Released by Ripple Music and STB Records. Reviewed Nov. 10.

I’m not going to discount the shuffle of “Sunday Speed Demon” or sleeze of “Sunday Speed Demon,” but where Geezer‘s self-titled third full-length really showed how far the New York heavy blues-psych trio have come was in its extended midsection jams, “Sun Gods,” “Bi-Polar Vortex” and “Dust,” each of which showed a distinct approach while feeding into an engaging flow between them, offering a blend of trailmarker hooks as they drifted into realms of organic chemistry previously uncharted by the band. The slow-motion swing of “Hangnail Crisis,” raucous push of “Superjam Maximus” and concluding bounce of “Stoney Pony” brought them back down to earth to finish out with a symmetry to the album’s opening, but Geezer kept a collective hand on the controls the whole voyage and when they landed, it was an arrival indeed, and very much what their two previous records were building toward.

16. EYE, Vision and the Ageless Light

eye vision and the ageless light

Released by The Laser’s Edge. Reviewed Nov. 17.

Beautifully experimental with its 27-minute finisher “As Sure as the Sun,” EYE‘s Vision and the Ageless Light seemed throughout its whole 46-minute run to be executing a cohesive vision in its synth-soaked progressive textures. Between the intro “Book of the Dead” and the subsequent “Kill the Slavemaster,” “Searching,” “Dweller of the Twilight Void” and the already-noted closer, each piece had something different to offer that added to the full impact of the whole, and with guitarist Jon Finely and bassist Michael Sliclen joining founding drummer/vocalist Brandon Smith and synth/Mellotron/Moog-ist Lisa Bella Donna (also vocals and acoustic guitar), EYE added to the scope of 2013’s Second Sight (review here) and found a place for themselves where prog complexity didn’t need to come at the expense of memorable songwriting and spaced-out vibes. An absolute joy, front to back.

15. Fatso Jetson, Idle Hands

fatso jetson idle hands

Released by Heavy Psych Sounds. Reviewed Oct. 3.

Even Fatso Jetson themselves would probably have to admit that six years — even a six years that saw several splits, singles, etc. — was too long between albums. Fortunately, Idle Hands saw the desert rock forebears in top form as regards their quirk-fueled songwriting, angular approach to punk and inimitable groove. Following 2010’s Archaic Volumes (review here) was no easy task, but with additional depth to the material from the contributions of guitarist Dino von Lalli — son of founding guitarist/vocalist Mario Lalli and nephew of founding bassist Larry Lalli — guest spots from his sister Olive Lalli as well as Sean Wheeler (the latter moves second cut “Portuguese Dream” into high-echelon strangeness) and the ever-propulsive drumming of Tony Tornay, Fatso Jetson were both all over the place and right at the core of where they most ought to be sonically. At 56 minutes, it hardly seemed long enough.

14. Hexvessel, When We are Death

hexvessel when we are death

Released by Century Media. Reviewed Feb. 5.

Each song was like a different persona the band adopted momentarily, whether it was the Bowie-goes-proto-goth-prog of organ-ic opener “Transparent Eyeball” or the grim pastoralia of “Mirror Boy” and the condemnations/proclamations of “Drugged up on the Universe,” but wherever Hexvessel went on their third full-length and Century Media debut, When We are Death, that unifying theme went with them. Death. It was everywhere in the Finland-based genre-benders’ deeply varied approach, though its presence made their material in no way off-putting, and in the case of cuts like “Cosmic Truth” or the later “Mushroom Spirit Doors,” not even dark, and as it drew the tracks together despite working in different sounds and style, it became apparent that When We are Death worked because of a universal quality in songwriting and presentation allowing for such drastic shifts without any risk of losing the audience.

13. Zun, Burial Sunrise

zun burial sunrise

Released by Small Stone Records. Reviewed Feb. 16.

Yawning Man guitarist Gary Arce — a key figure in the development of desert rock and a player of unmatched tone, period — had quite a year, between Zun‘s Burial Sunrise, his main outfit and his collaboration with Fatso Jetson vs. HifiKlub, but it was the dreamscape drift of songs like “Come Through the Water” and “All that You Say I Am” as well as the subtle hooks of “Into the Wasteland” and “All for Nothing” that, for me, made this the highlight. Sure, bringing in vocalists Sera Timms (Ides of Gemini, Black Mare) and John Garcia (ex-Kyuss, Slo Burn, Vista Chino, etc.) and having them swap back and forth between the tracks didn’t hurt either, but the wash of ethereal presence in Arce‘s guitar was an excellent showcase for his patience and improvisational sensibilities, and the spaces Burial Sunrise covered seemed to have an infinite horizon all their own. Will hope for a follow-up, will hope Garcia and Timms return, and will hope for a duet.

12. Elephant Tree, Elephant Tree

elephant tree elephant tree

Released by Magnetic Eye Records. Reviewed Jan. 29.

One had reasonably high expectations for the debut full-length from London’s Elephant Tree after their 2014 EP Theia (review here) so deftly blended spacious, sitar-laced heavy psychedelic rock with more visceral sludge impulses — a difficult mix to pull off — but I think it would’ve been impossible to see the quality of this self-titled outing coming in any substantive way. Gone were the screams, in was a depth of tone and nigh-on-perfect tempo — see “Dawn” and “Aphotic Blues,” as well as the acoustic “Circles” between them — and where some first albums have a kind of tentative, feeling-it-out vibe, guitarist/vocalist Jack Townley (interview here), bassist/vocalist Peter Holland, drummer Sam Hart and sitarist/vocalist/engineer Riley MacIntyre took utter command of the proceedings. They won’t have the element of surprise working for them next time, but as Elephant Tree made perfectly clear in its biggest surprise of all, neither do they need it.

11. Mos Generator, Abyssinia

mos generator abyssinia

Released by Listenable Records. Reviewed July 12.

If you were to ask me to summarize in one word the last four-plus years of Mos Generator‘s tenure, since their reactivation with 2012’s Nomads (review here) and the subsequent lineup changes and hard-touring that followed 2014’s Electric Mountain Majesty (review here), I’d say “go.” I might say it three times: Go-go-go. One of three LP-ish offerings out this year, the studio album Abyssinia embodied this ethic as it started with immediate momentum on “Strangest Times” and “You’ve Got a Right” and seemed to push itself into new ground as it went. Guitarist/vocalist/founder Tony Reed brought heavy boogie to bear at a frenetic clip, but Abyssinia offset its early mania with later progressive stylization on “There’s No Return from Nowhere,” “Time and Other Thieves” and harmonized closer “Outlander,” so that in addition to representing their furious creativity, it also brought them to places they’ve never been before in sound.

10. Slomatics, Future Echo Returns

slomatics future echo returns

Released by Black Bow Records. Reviewed June 29.

In some ways, Future Echo Returns was simply picking up where Belfast’s Slomatics left off with 2014’s Estron (review here), as heard on the riff of lead-in track “Estronomicon,” but as the third in a purported trilogy following that record and 2012’s A Hocht, it also brought the tonecrushing three-piece to Skyhammer Studio to work with producer Chris Fielding (Conan) and presented a linear storyline that, while rife with standout moments in cuts like “Electric Breath,” the ambient “Ritual Beginnings” and ultra-catchy “Supernothing,” found a genuine sense of resolution in the finale “Into the Eternal” that spoke to the scope the entire work was meant to represent — not just itself, but an entirety spanning three albums. Not a minor feat, but what also made Future Echo Returns so resonant was how well the material stood on its own, so that even without the narrative context, it was immersive, hypnotic and unbridled in its heft.

9. Wo Fat, Midnight Cometh

wo fat midnight cometh

Released by Ripple Music. Reviewed April 21.

After two landmarks issued by Small Stone in 2014’s The Conjuring (review here) and 2012’s The Black Code (reviews here and here), Texas forerunners of riff Wo Fat gave a concise rundown of their appeal in the six-track Ripple debut and sixth LP overall, Midnight Cometh. Their ongoing development as found them bringing together a two-sided personality of memorable songs and open, fluid jams, and cuts like “There’s Something Sinister in the Wind,” “Of Smoke and Fog,” “Three Minutes to Midnight” and “Nightcomer” emphasized the next stage of this process, while the shuffling “Riffborn” and swaggering blues rock of “La Dilleme de Detenu” gave listeners a chance to touch ground every now and again. Over the last two-plus years, Wo Fat have become a point of influence for other, particularly American, acts — see labelmates Geezer — and Midnight Cometh assured that will be the case going forward too; a status well-earned.

8. King Buffalo, Orion

king buffalo orion

Released by Stickman Records. Reviewed July 29.

Offered up this summer as a limited self-release and picked up by no less than Stickman Records (Motorpsycho, Elder), Orion might be the most molten inclusion on this list. It’s also my pick for 2016 Debut of the Year, and to hear cuts like “She Sleeps on a Vine,” “Kerosene,” the sprawling closer “Drinking from the River Rising,” or even just to take the whole record front-to-back, which was clearly how the band intended it be experienced, there’s just about no competition in that regard that stands up. The Rochester, NY, three-piece showed marked promise on their 2013 demo (review here) and 2015 split with Lé Betre (review here), but the listenability of Orion — which earned every single one of its repeat visits — made it a triumph on a different level entirely, and distinguished King Buffalo as a formidable presence in the sphere of US heavy psychedelia, fostering a sound no less soulful for its outward cosmic reach and to-be-measured-in-lightyears scale of potential.

7. Wight, Love is Not Only What You Know

wight love is not only what you know

Released by Fat and Holy Records, Kozmik Artifactz, Import Export Music and SPV. Reviewed Sept. 7.

German outfit Wight answered significant anticipation on their third album, Love is Not Only What You Know, some four years after 2012’s Through the Woods into Deep Water (review here) and undertook a significant evolution in sound. A transition from a trio to a four-piece and adding a strong current of funk to their heavy psych groove and boogie resulted in cuts like “The Muse and the Mule,” the jammed-out “Kelele” and “The Love for Life Leads to Reincarnation,” which were as danceable as they were nod-ready, and when complemented by shorter classic rockers like “Helicopter Mama” and “I Wanna Know What You Feel” (still plenty funky) and the Eastern-tinged interlude “Three Quarters,” gave Love is Not Only What You Know scope to match its ass-shaking encouragement. It was a spirit unto itself among 2016 releases, but ultimately, the key to understanding the record was right there in the title: It was all about love, and wherever Wight went in a given track, they never lost sight of that.

6. Greenleaf, Rise Above the Meadow

greenleaf rise above the meadow

Released by Napalm Records. Reviewed Feb. 18.

A decade and a half after 2001’s Revolution Rock (discussed here), Sweden’s Greenleaf most embodied that ethic with Rise Above the Meadow, their sixth long-player and Napalm Records debut. 2014’s Trails and Passes (review here) represented the key step of founding guitarist Tommi Holappa (interview here) bringing vocalist Arvid Johnsson into the lineup, but Rise Above the Meadow built exponentially on what that album achieved, bolstered by work as a touring band and a revitalized songwriting process heard in “Howl,” “A Million Fireflies,” “You’re Gonna be My Ruin,” the stomping “Golden Throne” and “Tyrants Tongue,” among others. I refuse to discount the quality of Trails and Passes, 2012’s Nest of Vipers (review here) or 2007’s landmark Agents of Ahriman (review here), but as Greenleaf shifted toward a style more reminiscent of Holappa‘s later output with Dozer, they also seemed to stake their claim on the forefront of European heavy rock and roll, which was just waiting for them to do so.

5. Brant Bjork, Tao of the Devil

brant bjork tao of the devil

Released by Napalm Records. Reviewed Sept. 15.

Perhaps the most believable lyric of 2016 was the opening line of leadoff cut “The Gree Heen” from Brant Bjork‘s Tao of the Devil: “I got all that I need. I got the gree-heen.” From the prominent pot leaf on the cover to that single clause — which set the tone for that song’s mega-nod as much as everything that followed in the boogie of “Humble Pie” and “Stackt,” the so-laid-back-it’s-almost-unconscious title-track and the longer-form explorations of “Dave’s War” and the wah’ed-out “Evening Jam” — the inimitable Bjork seems to have embraced the role of stoner guru and the Godfather of Desert Rock. Tao of the Devil was his second release through Napalm behind 2014’s Black Power Flower (review here), which introduced the Low Desert Punk Band, and far from hanging its hat on the man’s historical accomplishments from his days in KyussFu ManchuCheVista Chino, etc., the 50-minute eight-tracker came fueled by the soul most typified in Bjork‘s solo catalog, which it’s increasingly easy to argue is his greatest contribution to the desert aesthetic. Definitely in his wheelhouse, but what a wheelhouse.

4. Asteroid, III

asteroid iii

Released by Fuzzorama Records. Reviewed Oct. 21.

What a relief it was to have Asteroid back, and what a relief it was to have III arrive some six years after II (review here) and find the Örebro, Sweden, trio’s certified-organic chemistry undulled by that long stretch. The songs — “Pale Moon,” “Last Days,” “Til Dawn,” “Wolf and Snake,” “Silver and Gold,” “Them Calling,” “Mr. Strange” — there wasn’t a miss in the bunch, and in addition to the reignited craftsmanship, III made clear a progression as players and the intent to move forward from guitarist/vocalist Robin Hirse, bassist/vocalist Johannes Nilsson and drummer Elvis Campbell (since replaced by Jimmi Kolscheen), so that the material didn’t just let listeners know Asteroid was a band again after having unceremoniously faded out for a half-decade, but gave a signal that perhaps they were just getting started. One can only hope that turns out to be the case, but either way, III felt like a reward dolled out to their fanbase after a long absent stretch, and one that, like II and their 2007 self-titled debut (discussed here) before it, will reverberate its echoes for years to come. Hands down 2016’s most welcome return.

3. Gozu, Revival

gozu revival

Released by Ripple Music. Reviewed May 19.

Though it would carry the context of its scorching opener “Nature Boy” with it for the duration and, accordingly, hit with a more intense feel than its 2013 predecessor, The Fury of a Patient Man (review here), Gozu‘s fourth album overall and Ripple label debut was a kick in the ass on more than just that one level. It found the Boston foursome with the finally-solidified lineup of vocalist/guitarist Marc Gaffney, guitarist Doug Sherman, bassist Joe Grotto and drummer Mike Hubbard, and while one could argue they still wound up under the banner of a heavy rock band, that became happenstance to the songs themselves. That is, even more than The Fury of a Patient Man or 2010’s Locust Season (review here), Gozu came across as writing not to style, but to their own impulses, as demonstrated in “Big Casino,” the echoing soul of “Tin Chicken” and shuffle-thrust of “Oldie,” and as they moved beyond their initial swath of influence into this individualized sonic persona, they reaped the benefits of the locked-in lineup and a process of craft that never sounded so purposeful. Revival was indeed typified by its vitality, but it was also the sound of a band maturing as a unit, becoming who they were meant to be, and there is almost nothing more exciting than that for a single album to represent. Plus, it had a song called “By Mennen,” and, you know, references.

2. Mars Red Sky, Apex III (Praise for the Burning Soul)

mars red sky apex iii praise for the burning soul

Released by Listenable Records. Reviewed Feb. 24.

It was unreasonable to expect the third full-length from Bordeaux, France, trio Mars Red Sky to surpass 2014’s Stranded in Arcadia (review here) and the progressive crux that album brought to the warm tones and sweet melodicism of their 2011 self-titled debut (review here), but Apex III (Praise for the Burning Soul) reinforced the elements that worked so well on previous outings while pushing inarguably onto what the band seemed to know was “Alien Ground” if the title of their intro was anything to go by. More over, it did so with a natural fluidity and poise that were as striking as they were encompassing in sound. Tying to earlier 2016’s Providence EP (review here) in concept and execution through that intro and the title-track following it, Apex III presented the to-date pinnacle of Mars Red Sky‘s growth in songs like “The Whinery,” “Mindreader,” the tear-inducing “Under the Hood,” the swing-happy “Friendly Fire,” the willful atmospheric crash of closer “Prodigal Sun” — each one a crucial advancing step from the trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Mathieu “Matgaz” Gazeau — and brilliantly fed them one into the other, so that in addition to the standout impressions of each, there developed a personality to the whole span of the album; a world of Mars Red Sky‘s own creation, where they dwelt for what seemed too short a time before returning to earth and on from here to who knows where next.

1. SubRosa, For this We Fought the Battle of Ages

subrosa for this we fought the battle of ages

Released by Profound Lore. Reviewed Aug. 26.

Most of all, For this We Fought the Battle of Ages was fearless. For their fourth album, Salt Lake City’s SubRosa adapted themes from 1924’s We by Yevgeny Zamyatin, which laid out a futuristic dystopia wherein all identity is subsumed to the state and even love is outlawed when not properly sanctioned. This framework, obscure if influential, gave guitarist/vocalist Rebecca Vernon, violinist/vocalist Sarah Pendleton, violinist/backing vocalist Kim Pack, bassist/vocalist Levi Hanna, drummer/engineer Andy Patterson (formerly of Iota, among others), and a range of other contributors, a space in which to explore gender and LGBT issues across the six included tracks, and from the opening build and crush of the chorus to “Despair is a Siren” through the depiction of privilege in “Wound of the Warden,” the 97-second Italian-language ballad “Il Cappio” (translated: “the noose”) and into the gut-wrenching finale of “Troubled Cells,” their musical accomplishment was no less stunning than lyrics like, “Isn’t it good to be acquainted with darkness?/To caress it gently/To slit its throat,” from “Black Majesty.” Tense in its quiet stretches, harmonized vocally, given orchestral presence through its use of strings, flute, French horn, and so on, For this We Fought the Battle of Ages worked fluidly in what for most acts would be a contradictory modus of careful, meticulous arrangements and raw, emotional realism. No matter how deep it dove — and by the time identity was being erased and the state was taking control of the body on “Killing Rapture,” it was diving pretty deep — SubRosa never lost their sense of poise, so that the defiance in the last movement of “Troubled Cells” in which Heaven itself is rejected with the clearest of justifications, “Paradise is a lie if you’re not by my side,” the band seemed to stand as straight and tall as their multi-tiered righteousness would warrant. But even if one took For this We Fought the Battle of Ages with politics aside, its achievement in marrying post-metallic structures, gothic texture and progressive atmospherics was on a plane of its own making, operating under its own rules and in its own definitive space. Albums like it do not happen every year, and forward motion for genre as a whole is rarely so visible as it was in this special offering, which seems only fair to regard as a landmark for the band and anyone whose ears and hearts it touched.

The Next 20

Like any good Top 30, mine goes to 50. Here is the next batch:

31. Blaak Heat, Shifting Mirrors
32. Truckfighters, V
33. West, Space & Love, Vol. II
34. Seedy Jeezus with Isaiah Mitchell, Tranquonauts
35. Yawning Man, Historical Graffiti
36. Causa Sui, Return to Sky
37. Vokonis, Olde One Ascending
38. Hotel Wrecking City Traders, Phantomonium
39. The Wounded Kings, Visions in Bone
40. It’s Not Night: It’s Space, Our Birth is but a Sleep and a Forgetting
41. Beastwars, The Death of all Things
42. Naxatras, II
43. Holy Grove, Holy Grove
44. Worshipper, Shadow Hymns
45. Wretch, Wretch
46. Colour Haze, Live Vol. I: Europa Tournee 2015
47. Zaum, Eidolon
48. Bellringer, Jettison
49. Young Hunter, Young Hunter
50. Mammoth Weed Wizard Bastard, Y Proffwyd Dwyll

From the kinetic desert artistry of Blaak Heat to Mammoth Weed Wizard Bastard’s ethereal synth-laden doom, there are more than a few essentials here. I’ve never before done a year-end list that had so many releases on it, but my motivation in doing so this time around couldn’t have been simpler: They were simply too good and had too much to offer to leave out. It would’ve been an oversight to do so.

Honorable Mentions

Even a Top 50 fails to grasp the full scope of what 2016 brought about musically, so here are even more, alphabetically:

Ancient Warlocks, II
Black Moon Circle, Sea of Clouds
Sergio Ch., Aurora
Lamp of the Universe, Hidden Knowledge
Mondo Drag, The Occultation of Light
Øresund Space Collective, Visions Of…
-(16)-, Lifespan of a Moth
Spidergawd, III
The Well, Pagan Science
Wovenhand, Star Treatment

And if that’s still not enough, here are 60-plus more names who shouldn’t be left out of the discussion, also alphabetically:

Akris, Atala, Atomikylä, Backwoods Payback, Beastmaker, BigPig, Black Cobra, Black Lung, Blood Ceremony, Blues Pills, Bright Curse, Bus, Dee Calhoun, Captain Crimson, Child, La Chinga, Church of Misery, Conclave, Cough, Devil to Pay, Domkraft, Dot Legacy, Electric Citizen, Estoner, Eternal Elysium, Fatso Jetson & Gary Arce vs. Hifiklub, Fox 45, Goatess, Goblin Cock, Graves at Sea, Heavy Temple (they’ll be back on next year’s list), High Fighter, Holy Serpent, Hotel Wrecking City Traders, Inter Arma, Joy, Kaleidobolt, Khemmis, King Dead, Lord, Lord Vicar, Merchant, Mirrors for Psychic Warfare, Helen Money, Monkey3, Moon Coven, Mother Mooch, Necro, New Keepers of the Water Towers, T.G. Olson, Oranssi Pazuzu, Pooty Owldom, Russian Circles, Salem’s Pot, Samavayo, Seremonia, Skuggsjá, Sourvein, Spirit Adrift, Stone Machine Electric, Suma, Surya Kris Peters, Swans, Throttlerod, Virus, Wasted Theory, Wretch, and Zaum.

Thank You

In case none of the above has made it clear, I’ll just say flat out that 2016 has been an amazing year for music, and that every time I feel like maybe underground heavy has hit a wall and there’s nowhere left for it to go, sure enough about three minutes later another record shows up that slaps me in the face with a reminder of just how wrong that notion is.

If you’re still reading — how could you be? — thank you so much for your incredible support throughout 2016 and all the years The Obelisk has been in progress. I already know that 2017 is going to bring some incredible music as well, but that’s another list for another time, so I’ll just say again how much I appreciate your being a part of this ongoing project, how much it means to me to have you here. Thank you, thank you, and thank you.

And please, if there’s anything I forgot, got wrong, misspelled, or if you just think I used the word “breadth” too many times, please let me know about it in the comments.

One more time: Thank you.

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The Obelisk Presents: The Top 20 Debut Albums of 2016

Posted in Features on December 15th, 2016 by JJ Koczan

the obelisk top 20 debut albums of 2016

Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2016 to that, please do.

Of all the lists I do to wrap up or start any given year, this is the hardest. As someone obviously more concerned with first impressions than I am and thus probably better-dressed once said, you only get one chance at them. For bands, that can be a vicious bite in the ass on multiple levels.

To wit, you put out a great debut, fine, but there’s a whole segment of your listeners who’re bound to think you’ll never live up to it again. You put out a meh debut, you sell yourself short. Or maybe your debut is awesome but doesn’t really represent where you want to be as a band, so it’s a really good first impression, but a mistaken one. There are so many things that can go wrong or go right with any LP, but with debuts, the stakes are that much higher because it’s the only time you’ll get the chance to engage your audience for the first time. That matters.

And when it comes to putting together a list of the best debuts of the year, how does one begin to judge? True, some of these acts have done EPs and singles and splits and things like that before, and that’s at least something to go on, but can one really be expected to measure an act’s potential based on a single collection of songs? Is that fair to anyone involved? Or on the other side, is it even possible to take a debut entirely on its own merits, without any consideration for where it might lead the band in question going forward? I know that’s not something I’ve ever been able to do, certainly. Or particularly interested in doing. I like context.

Still, one presses on. I guess the point is that, like picking any kind of prospects, some will pan out and some won’t. I’ve done this for enough years now that I’ve seen groups flame or fade out while others have risen to new heights with each subsequent release. It’s always a mix. But at the same time, it’s important to step back and say that, as of today, this is where it’s at.

And so it is:

KING BUFFALO ORION

The Obelisk Presents: The Top 20 Debut Albums of 2016

1. King Buffalo, Orion
2. Elephant Tree, Elephant Tree
3. Heavy Temple, Chassit
4. Holy Grove, Holy Grove
5. Worshipper, Shadow Hymns
6. Vokonis, Olde One Ascending
7. Wretch, Wretch
8. Year of the Cobra, In the Shadows Below
9. BigPig, Grande Puerco
10. Fuzz Evil, Fuzz Evil
11. Bright Curse, Before the Shore
12. Conclave, Sins of the Elders
13. Pale Grey Lore, Pale Grey Lore
14. High Fighter, Scars and Crosses
15. Spirit Adrift, Chained to Oblivion
16. Bellringer, Jettison
17. Church of the Cosmic Skull, Is Satan Real?
18. Merchant, Suzerain
19. Beastmaker, Lusus Naturae
20. King Dead, Woe and Judgment

Honorable Mention

There are many. First, the self-titled from Pooty Owldom, which had so much weirdo charm it made my head want to explode. And Iron Man frontman Dee Calhoun‘s acoustic solo record was technically a debut. And Atala‘s record. And Horehound. And Mother Mooch. And Domkraft. And Spaceslug. And Graves at Sea? Shit. More than a decade after their demo, they finally put out a debut album. And Second Grave‘s full-length would turn out to be their swansong, but that doesn’t take away from the quality of the thing. There were a lot of records to consider in putting this list together. As always, it could’ve been a much longer list.

For example, here are 20 more: Swan Valley Heights, Arctic, Blues Funeral, Teacher, Psychedelic Witchcraft, Nonsun, Duel, Banquet, Floodlore, Mindkult‘s EP, Mountain Dust, Red LamaRed Wizard, Limestone Whale, Dunbarrow, Comacozer, Sinister Haze, Pants Exploder, Akasava, Katla and No Man’s Valley. That’s not even the end of it. I could go on.

Notes

It was a fight to the finish. There’s always one, and as late as yesterday I could be found kicking back and forth between King Buffalo and Elephant Tree in the top spot. What was it that finally put King Buffalo‘s Orion over Elephant Tree‘s self-titled? I don’t know. Ask me tomorrow and the answer might be completely different.

They had a lot in common. Not necessarily in terms of style — King Buffalo basked in spacious Americana-infused heavy psych jams while Elephant Tree proffered more earthbound riffing and melodies — but each executed memorable songs across its span in a way that would be unfair to ask of a debut. The potential for what both bands can turn into down the line played a part in the picks, but something else they share between them is that the quality of the work they’re doing now warrants the top spots. Orion and Elephant Tree were great albums, not just great first albums.

From there, we see a wide swath of next-generation encouragement for the future of heavy rock, whether it’s coming from Sweden’s Vokonis or Philadelphia’s Heavy Temple, or London’s Bright Curse, or Los Angeles duo BigPig. The latter act’s punkish fuzz definitely benefited from guitarist/vocalist Dino von Lalli‘s experience playing in Fatso Jetson, but one hopes that as the years go on his own multifaceted songwriting style will continue to grow as well.

A few offerings weren’t necessarily unexpected but still lived up to the anticipation. High Fighter‘s EP prefaced their aggro sludgecore well. Ditto that for the grueling death-sludge of Massachusetts natives Conclave. The aforementioned Bright Curse, Merchant, Fuzz Evil, Atala, Bellringer, Holy Grove, Wretch and Worshipper all had offerings of one sort or another prior to their full-length debuts — in the case of Bellringer, it was just a series of videos, while Wretch had the entire The Gates of Slumber catalog to fall back on — but each of those albums offered surprises nonetheless.

It would’ve been hard not to be taken by the songwriting on display from the likes of Holy Grove, Year of the Cobra, Pale Grey Lore and Beastmaker, who between them covered a pretty broad variety of atmosphere but found ways to deliver high-quality crafted material in that. Those albums were a pleasure to hear. Put Boston’s Worshipper in that category as well, though they were just as much a standout from the pack in terms of their performance as what they were performing. Speaking of performance, the lush melodies from Church of the Cosmic Skull and classic progressive flourish were enough to make me a believer. Simply gorgeous. And one-man outfit Spirit Adrift shined, if in that matte-black doom kind of way, on an encouraging collection of modern melancholic heavy that seemed to hint at sprawl to come.

As we get down to the bottom of the list we find Pennsylvania ambient heavy post-rockers King Dead. Their Woe and Judgment was released digitally last year (2015) but the LP came out earlier this year, so I wasn’t quite sure where to place them ultimately. I know they got some mention on the 2015 lists somewhere, but while they’re an act who’ve flown under a lot of people’s radar as yet, I have good feelings about how they might continue to dig into their sound and the balance of bleakness and psychedelic color they bring to their material. They’re slated for a follow-up in 2017, so this won’t be the last list on which they appear in the next few weeks.

Like I said at the outset, putting out a debut album is a special moment for any band. Not everyone gets to that point and not everyone gets beyond it, so while a list like this is inherently bound to have some element of speculation, it’s still a worthy endeavor to celebrate the accomplishments of those who hit that crucial moment in their creative development. Hopefully these acts continue to grow, flourish, and build on what they’ve thus far been able to realize sonically. That’s the ideal.

And before I go, once again, let me reinforce the notion that I recognize this is just a fraction of the whole. I’d like it to be the start of a conversation. If there was a debut album that kicked your ass this year and you don’t see it here, please drop a note in the comments below. I’m sure I’ll be adding more honorable mentions and whatnot over the next couple days, so if you see glaring omissions, let’s have ’em.

Thanks for reading.

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