Posted in Reviews on April 11th, 2017 by JJ Koczan
Trondheim, Norway’s Spidergawd remain one of the best and worst kept secrets in Europe’s heavy underground. “Worst” because they do such a terrible job at it themselves, what with constantly touring and putting out new material. That’s no way to keep a secret. “Best” because no matter what they’ve done up to this point in their time together, they still seem underappreciated. Spidergawd IV is their fourth album in four years.
Released by Crispin Glover Records and Stickman Records, it continues a run of nigh-on-unparalleled consistency in songcraft that ran through 2016’s Spidergawd III (review here), 2015’s Spidergawd II (review here) and 2014’s Spidergawd (review here), and even as drummer Kenneth Kapstad (also Motorpsycho), saxophonist Rolf Martin Snustad and guitarist/vocalist Per Borten welcome new bassist Hallvard Gaardløs in place of Bent Sæther (also recording engineer), they weather the change smoothly and push their sound forward, playing toward elements of classic heavy metal in songs like “I am the Night,” “LouCille” and the insistent “What Have You Become,” among others, while maintaining their penchant for Borten leading the way through righteous, unabashedly accessible hooks on opener “Is this Love…?,” the ultra-swaggering “Heaven Comes Tomorrow” and “Ballad of Millionaire (Song for Elina).” As they turn and twist mindfully through this readjusted balance of influences, Spidergawd also hold fast to the underlying progressive sensibility that has always been at root in their songwriting, so that not only do they reimagine arena rock choruses with a more intense edge than ever before, but they do so with the same level of thoughtfulness they’ve brought to everything they’ve done up to this point.
In this, they have become one of the most immediately identifiable acts in underground heavy rock, and their signature is writ large over the eight tracks/41 minutes of Spidergawd IV no matter what pursuits individual pieces undertake, be it the deceptively pop-minded launch the album gets via “Is this Love…?” or the eight-minute semi-psychedelic nod of “What Must Come to Pass” on side B. Spidergawd sound like Spidergawd, and while one can pick out a riff like the gallop of “I am the Night” and say Iron Maiden or “Heaven Comes Tomorrow” and say Dio and/or Motörhead, or “Ballad of a Millionaire (Song for Elina)” and relate it more to the heavy rock side of their approach — think later Queens of the Stone Age, and no, I don’t just say that because the word “millionaire” is in the title — the sonic territory they claim they work to make their own, and though it may seem like they just bang albums out one after they other because on a basic level of timing that’s kind of how it happens, Spidergawd have never failed to offer a work of marked depth and nuance.
Spidergawd IV is no exception to that, whether it’s the forward charge of “LouCille” shifting slightly down from the rush of “Is this Love…?” and “I am the Night” at the outset as the band makes ready to move into “Ballad of a Millionaire (Song for Elina)” or the fluidity within that song itself, of Snustad‘s sax layered smoothly alongside the bass of the midpaced verse set to Kapstad‘s steady march to one of the album’s most melodically engaging hooks. After the crisp execution of the first three cuts and the likes of “What Have You Become” and “Heaven Comes Tomorrow” to follow, “Ballad of a Millionaire (Song for Elina)” is a standout for its looser rhythmic feel, but its structure is no less resilient than anything before or after, and its fade into a wash of noise at the end only adds a layer of hypnosis to foreshadow “What Must Come to Pass.”
If the sides of the vinyl split evenly in terms of having four tracks on each, “What Have You Become” is the leadoff for side B, and it’s certainly up to the task, reviving the thrust of “I am the Night” at an even higher level, Kapstad‘s snare jabbing and punctuating the careening verse groove. At 3:44, it is the shortest inclusion on Spidergawd IV, and arguably the most straightforward in its intent, so it’s fitting that the sax should open languidly to start “What Must Come to Pass” and immediately throw off the listener’s expectation. The intent at conveying a moment of arrival couldn’t be clearer, and “What Must Come to Pass” earns all eight of its minutes in a graceful unfolding process that builds through a structured start and moves outward shortly after its halfway point, Borten delivering the title line (or sort-of-title-line, anyhow) just ahead of a reverb-soaked classic guitar solo that begins the instrumental course the rest of the song will follow. In their willful abandonment of structure — i.e., not going back to the chorus before the end of “What Must Come to Pass” — Spidergawd remain dynamic.
This isn’t the first time they’ve broken their own rules, and the transition between the noise-fadeout ending of “What Must Come to Pass” and the initial crash-in of “Heaven Comes Tomorrow” nonetheless serves the greater purposes of the album overall. The penultimate song is duly raucous and swinging, marked out by the guitar solo in its second half and more choice interplay from the sax and bass amid a push that comes across perhaps as a grownup version of some of their earlier riotousness. This gives way to the ’80s metal riffing — one hears Mötley Crüe‘s “Looks that Kill” as much as anything from Judas Priest — and rougher vocal from Borten on closer “Stranglehold.” While its hook is representative of the quality of their work overall, the finale of Spidergawd IV is less a summary of the album as a whole than it is a reinforcement of and last bit of fun with the metallic side that’s been present all along. They strut out on layered soloing and the central start-stop riff à la Tipton/Downing, and do not linger, in part no doubt because it’s already time to start work on their next full-length.
When they put out Spidergawd III, I wondered how long they could keep up their pace of releases without losing their grip on either songcraft or presentation, and they answered that question with a decisively forward progression in style while also making a significant lineup change, not losing a step in the process, and still touring their collective ass off. Listening to Spidergawd IV, one isn’t so much tempted to imagine what could possibly derail the band at this point as to be thankful that nothing has, and whether or not they turn out Spidergawd V on schedule in the first half of 2018, they’ve added significant intrigue and accomplishment to a catalog that’s known little else with this latest collection.
Posted in Features on January 23rd, 2017 by JJ Koczan
Looks like it’s going to be another busy 12 months ahead. It’s been a busy better-part-of-a-month already, so that stands to reason, but you should know that of the several years now that I’ve done these ‘Tomorrow’s Dream’ posts, this is the biggest one yet, with over 150 upcoming releases that — one hopes — will be out between today and the end of 2017.
Actually, at last count, the list tops 180. Do I really expect you to listen to all of them? Nope. Will I? Well, it would be nice. But what I’ve done is gone through and highlighted 35 picks and then built lists off that in order of likelihood of arrival. You’ll note the categories are ‘Gonna Happen and/or Likely Candidates,’ ‘Definitely Could Happen’ and ‘Would be Awfully Nice.’
Beyond that last one, anything else just seems like speculation — one might as well go “new Sabbath this year!” with zero info backing it up. The idea here is that no matter where a given band is placed, there has been some talk of a new release. In some cases, it’s been years, but I think they’re still worth keeping in mind.
Another caveat: You can expect additions to this list over the next week — probably album titles, band names people (fingers crossed) suggest in the comments, and so on — so it will grow. It always does. The idea is to build as complete a document as possible, not to get it all nailed down immediately, so please, if you have something to contribute and you’re able to do so in a non-prickish, “You didn’t include Band X and therefore don’t deserve to breathe the same air as me,” kind of way, please contribute.
Other than that, I think it’s pretty straightforward what’s going on here and I’ll explain the category parameters as we go, so by all means, let’s jump in.
— Tomorrow’s Dream 2017 —
1. Abrahma, TBA
Late last year, Paris heavy progressives Abrahma announced a new lineup and third full-length in progress. No reason to think it won’t come to fruition, and a follow-up to 2015’s Reflections in the Bowels of a Bird (review here) is an easy pick to look forward to. Even with the shift in personnel, it seems likely the band will continue their creative development, driven as they are by founding guitarist Seb Bismuth.
2. All Them Witches, Sleeping Through the War
If 2017 ended today, Sleeping Through the War would be my Album of the Year. Of course, there’s a lot of year to go, but for now, Nashville’s All Them Witches have set the standard with their second album for New West Records behind 2015’s Dying Surfer Meets His Maker (review here) and fourth overall outing. They’ve got videos up so far for “3-5-7” (posted here) and “Bruce Lee” (posted here). Both are most definitely worth your time. Out Feb. 24. Full review should be later this week.
3. Alunah, Solennial
Seems like UK forest riffers Alunah are on this list every year. Wishful thinking on my part. Nonetheless, their fourth LP and Svart Records debut, Solennial, is out March 17, and if the tease they gave already with the clip for “Fire of Thornborough Henge” (posted here) is anything to go from, its Chris Fielding-produced expanses might just be Alunah‘s most immersive yet.
4. Arbouretum, TBA
I asked the Baltimore folk fuzzers a while back on Thee Facebooks if they had a new record coming in 2017 and they said yes, so that’s what I’m going on here. The last Arbouretum album was 2013’s Coming out of the Fog (review here), and even with frontman Dave Heumann‘s 2015 solo outing, Here in the Deep (review here), factored in, you’d have to say they’re due. Keep an eye on Thrill Jockey for word and I’ll do the same.
5. Atavismo, Inerte
This is another one that already has a spot reserved for it on my Best-of-2017 year-end list. Spanish heavy psych rockers Atavismo up the progressive bliss level with their second full-length, Inerte, without losing the depth of style that made 2014’s Desintegración (review here) so utterly glorious. It probably won’t have the biggest marketing budget of 2017, but if you let Atavismo fly under your radar, you are 100 percent missing out on something special.
6. Bison Machine, TBA
In addition to the video for new track “Cloak and Bones” that premiered here, when Michigan raucousness-purveyors Bison Machine put out the dates for their fall 2016 tour, they included further hints of new material in progress. As much as I dug their earlier-2016 split with SLO and Wild Savages (review here) and 2015’s Hoarfrost (review here), that’s more than enough for me to include them on this list. Killer next-gen heavy rock.
7. Brothers of the Sonic Cloth, TBA
News of a follow-up to Brothers of the Sonic Cloth‘s 2015 Neurot Recordings self-titled debut (review here) came through in October, and it remains some of the best news I’ve heard about 2017 doings. Took them a while to get the first record out, so we’ll see what happens, but it kind of feels like looking forward to a comet about to smash into the planet and cause a mass extinction, and by that I mean awesome. Can’t get here soon enough.
8. Cloud Catcher, Trails of Kosmic Dust
Okay, so maybe I jumped the gun and did a super-early review of Denver trio Cloud Catcher‘s second long-player and Totem Cat Records debut, Trails of Kosmic Dust, but hell, no regrets. Some albums require an early-warning system. Their 2015 debut, Enlightened Beyond Existence (discussed here), was a gem as well, but this is a band in the process of upping their game on every level, and the songwriting and momentum they hone isn’t to be missed.
9. Colour Haze, TBA
I’ve gotten some details on the upcoming full-length from Colour Haze. They do not include a title, artwork, audio, song titles or general direction. Less details, I guess, than word that the CD version of this answer to 2015’s To the Highest Gods We Know (review here) is set to come out next month, as ever, on Elektrohasch. That puts it out in time for Colour Haze‘s upcoming tour with My Sleeping Karma (announced here). Fingers crossed it happens. Colour Haze are perpetual top-albums candidates in my book.
10. Corrosion of Conformity, TBA
Signed to Nuclear Blast after being rejoined by guitarist/vocalist Pepper Keenan, North Carolina’s C.O.C. have been in the studio since last year. The lineup of Keenan, bassist/vocalist Mike Dean and guitarist Woody Weatherman and Reed Mullin on drums is the stuff of legend and last worked together on 2000’s America’s Volume Dealer, so no question this reunion makes for one of 2017’s most anticipated heavy rock records. They nailed the nostalgia factor on tour. Can they now add to their legacy?
11. Elder, TBA
I was incredibly fortunate about a month ago to visit progressive heavy rockers Elder at Sonelab in Easthampton, MA, during the recording process for their upcoming fourth album. I heard a couple of the tracks, and of course it was all raw form, but the movement forward from 2015’s Lore (review here) was palpable. That LP (on Stickman) brought them to a wider audience, and I expect no less from this one as well, since the farther out Elder go sound-wise, the deeper the level of connection with their listeners they seem to engage.
12. Electric Wizard, TBA
Could happen, could not happen. That’s how it goes. Announced for last Halloween. That date came and went. Word of trouble building their own studio surfaced somewhere along the line. That was the last I heard. Frankly, I wouldn’t be surprised if it showed up tomorrow, if it showed up in 2018, or if the band broke up and never put it out. They’re Electric Wizard. Anything’s possible.
13. John Garcia, The Coyote Who Spoke in Tongues
Out Jan. 28 on Napalm, The Coyote Who Spoke in Tongues (review here) is the first-ever acoustic album from former Kyuss frontman John Garcia, also of Unida, the reunited Slo Burn, Hermano, Vista Chino, Zun, etc. — basically the voice of desert rock. He does a couple Kyuss classics for good measure, but shines as well on the new/original tracks, and while it’s a piece for fans more than newcomers — that is, it helps if you know the original version of “Green Machine” — his presence remains as powerful as ever despite this new context.
14. Goya, Harvester of Bongloads
Riffs, dude. Goya seem to have them to spare. The Arizona-based wizard doomers have set a pretty prolific clip for themselves at this point, with at least two short releases out in 2016, one a 7″ of Nirvana covers (review here), and the The Enemy EP (review here). Set for a March 3 release through their own Opoponax Records imprint, Harvester of Bongloads continues the march into the abyss that 2015’s Obelisk (review here) and 2013’s 777 set in motion, finding the band coming more into their own as well. Creative growth — and bongloads! The best of both worlds.
15. Ides of Gemini, TBA
Ides of Gemini are set to record their yet-untitled third album with Sanford Parker early this year, and it will also mark their debut on Rise Above Records upon its release. They’ve also got a new lineup around vocalist Sera Timms and guitarist J. Bennett, so as they look to move forward from 2014’s Old World New Wave (review here), one can’t help but wonder what to expect, but to be honest, not knowing is part of the appeal, especially from a band who so readily specialize in the ethereal.
16. Kind, TBA
Three-fourths of Kind feature elsewhere on this list. Bassist Tom Corino plays in Rozamov. Drummer Matt Couto is in Elder. Vocalist Craig Riggs is in Roadsaw. And for what it’s worth, guitarist Darryl Shepherd has a new band coming together called Test Meat. How likely does that make Kind to release a second LP in 2017? I don’t know, but their 2015 Ripple Music debut, Rocket Science (review here), deserves a follow-up, and I know they’ve demoed some new songs. If it happens, great. If it’s 2018, at least these dudes will be plenty busy besides.
17. Lo-Pan, In Tensions
Yes, Lo-Pan‘s In Tensions (review here) has already been released — CD/LP with an artbook on Aqualamb. It’s out. Limited numbers. You can get it now. Why include it on a list of most anticipated releases? Because that’s how strongly I feel about your need to hear it. The fruit of a shortlived lineup with guitarist Adrian Zambrano, it distinguishes itself from everything they’ve done before in style while still keeping to the core righteousness that one hopes the Ohio outfit will continue to carry forward. It’s more than a stopgap between albums. Listen to it.
18. The Midnight Ghost Train, TBA
It seems to have been a rough ride for hard-boogie specialists The Midnight Ghost Train since their 2015 Napalm debut and third album overall, Cold was the Ground (review here). They’ve never taken it easy on the road or in terms of physicality on stage, and between injuries and who knows what else, their intensity at this point veers toward the directly confrontational. Nonetheless, they’ve been writing for album number four, may or may not have started the recording process, and I expect that confrontationalism to suit them well in their new material.
19. Monster Magnet, TBA
I have it on decent authority that NJ heavy psych innovators Monster Magnet were in the studio this past autumn. I’ve seen no concrete word of a new album in progress from Dave Wyndorf and company, and I wouldn’t necessarily expect to until it was time to start hyping the release, but after their two redux releases, 2015’s Cobras and Fire (review here) and 2014’s Milking the Stars (review here), their range feels broader than ever and I can’t wait to hear what they come up with next.
20. Mothership, High Strangeness
A pivotal moment for Mothership arrives with High Strangeness, and the heavy-touring, heavy-riffing Texas power trio seem to know it. Their third record on Ripple Music pushes into new avenues of expression and keeps the energy of 2014’s Mothership II (review here) and 2012’s Mothership (review here), but thus far into their career, it’s been about their potential and what they might accomplish going forward. 2017 might be the year for Mothership to declare a definitive place in the sphere of American heavy rock.
21. The Obsessed, Sacred
On Halloween 2016, founding The Obsessed guitarist/vocalist and doom icon Scott “Wino” Weinrich announced a new lineup for the band, with his former The Hidden Hand bandmate Bruce Falkinburg on bass/vocals, Sara Seraphim on guitar and Brian Costantino continuing on drums. A genuine surprise. Their first album since 1994, Sacred (due on Relapse) was tracked as the trio of Weinrich, Costantino and bassist/vocalist Dave Sherman, but clearly they’ve moved into a new era already. Wouldn’t even guess what the future holds, but hopefully Sacred still comes out.
22. Orange Goblin, TBA
When it was announced that London’s Orange Goblin were picked up by Spinefarm as part of that label’s acquisition of Candlelight Records last Spring, the subheadline from the PR wire was “Working on Ninth Studio Album.” I haven’t heard much since then, but even as 2014’s Back from the Abyss (review here) pushed them deeper into metallic territory than ever before, their songs retained the character that’s made the band the institution they are. Always look forward to new Orange Goblin.
23. Pallbearer, Heartless
Doomers, this is your whole year right here. I haven’t heard Pallbearer‘s third album, Heartless (out March 24 on Profound Lore), but I have to think even those who haven’t yet been won over by the Arkansas four-piece’s emotive, deep-running style have to be curious about what they’ve come up with this time around. I know I am. These guys have been making a mark on the genre since their 2012 debut, Sorrow and Extinction (review here), and there’s little doubt Heartless will continue that thread upon its arrival.
24. Radio Moscow, TBA
Fact: Radio Moscow stand among the best classic heavy rock live acts in the US. They’re the kind of band you can watch upwards of 15 gigs in a row — I’ve done it — and find them putting on a better show night after night, in defiance of science, logic and sobriety. Word of their signing to Century Media came just this past week and brought with it confirmation of a follow-up to 2014’s stellar Magical Dirt (review here), and for me to say hell yes, I’m absolutely on board, seems like the no-brainer to end all no-brainers. Can’t wait.
25. Roadsaw, TBA
Nearly six full years later, it’s only fair to call Boston scene godfathers Roadsaw due for a follow-up to their 2011 self-titled (review here). Granted, members have been busy in Kind, White Dynomite, and other projects, but still. Their upcoming outing finds them on Ripple Music after years under the banner of Small Stone Records, and though I haven’t seen a solid release date yet, my understanding is they hit Mad Oak Studio in Allston, MA, this past fall to track it, so seems likely for sooner or later. Sooner, preferably.
26. Rozamov, This Mortal Road
Speaking of albums by Boston bands a while in the making, This Mortal Road (out March 3 on Battleground Records and Dullest Records) is the debut full-length from Boston atmospheric extremists Rozamov. Haven’t heard it yet, but I got a taste of some of the material when I visited the band at New Alliance Audio in Aug. 2015, and the bleak expanses of what I heard seem primed to turn heads. I’m a fan of these guys, but in addition, they’ve found a niche for themselves sound-wise and I’m curious to hear how they bring it to fruition.
27. Samsara Blues Experiment, TBA
It’s been a pleasure over the last couple months to watch a resurgence of Berlin heavy psych trio Samsara Blues Experiment take shape, first with the announcement of a fourth album in October, then with subsequent confirmations for Desertfest, Riff Ritual in Barcelona, and a South American tour. Reportedly due in Spring, which fits with the timing on shows, etc., the record will follow 2013’s righteous Waiting for the Flood (review here) and as much as I’m looking forward to hearing it, I’m kind of just glad to have these guys back.
28. Seedy Jeezus, TBA
Work finished earlier this month on Melbourne trio Seedy Jeezus‘ second full-length. As with their 2015 self-titled debut, the band brought Tony Reed of Mos Generator to Australia to produce, and after their blissed-out 2016 collaboration with Earthless guitarist Isaiah Mitchell, Tranquonauts (review here), it’s hard not to wonder what experimentalist tendencies might show in the trio’s style this time out, and likewise difficult not to anticipate what guitarist Lex “Mr. Frumpy” Wattereus comes up with for the cover art.
29. Shroud Eater, Strike the Sun
Not to spoil the surprise, but Feb. 1 I’ll host a track premiere from Florida’s Shroud Eater that finds them working in a different context from everything we’ve heard from them to this point in their rightly-celebrated tenure. They also recently had a split out with Dead Hand, and their second long-player, Strike the Sun, will be their debut through STB Records. It’s been since 2011’s ThunderNoise (review here) that we last got a Shroud Eater album, so you bet your ass I’m dying to know what the last six years have wrought.
30. Sleep, TBA
If Sleep were any other band, they’d probably be in the “Would be Awfully Nice” category. But they’re Sleep, so even the thought of a new record is enough to put them here. The lords of all things coated in THC are reissuing their 2014 single, The Clarity (review here), on Southern Lord next month, but rumors have been swirling about a proper album, which of course would be their first since the now-legendary Dopesmoker. If it happens, it’ll automatically be a heavy underground landmark for 2017, but it’s one I’m going to have in my ears before I really believe it.
31. Stoned Jesus, TBA
Even as they tour playing their second album, 2012’s Seven Thunders Roar (review here), to mark its fifth anniversary and continued impact, Ukrainian trio Stoned Jesus are forging ahead with a fourth record behind 2015’s The Harvest (review here). The capital-‘q’ Question is whether or not looking back at Seven Thunders Roar and engaging that big-riffing side of their sound will have an impact on the new material, and if so, how it will meld with the push of The Harvest. Won’t speculate, but look forward to finding out.
32. Stubb, TBA
Since reveling in the soul of 2015’s Cry of the Ocean (review here) on Ripple, London trio Stubb have swapped out bassists, and they were in Skyhammer Studio this month recording a single that may be an extended psychedelic jam. I’ll take that happily, but I’m even more intrigued at the prospect of a third LP and what guitarist/vocalist Jack Dickinson, bassist/vocalist Tom Hobson and drummer Tom Fyfe might have in store as the band moves forward on multiple levels. Might be 2017, might not.
33. Sun Blood Stories, It Runs Around the Room with Us
It Runs around the Room with Us seems to find peace in its resonant experimentalist drones, loops, open, subdued spaces, but there’s always some underlying sense of foreboding to its drift, as if Boise’s Sun Blood Stories could anticipate the moment before it happened. Toward the end of the follow-up to 2015’s Twilight Midnight Morning (review here), they execute the 90-second assault “Burn” and turn serenity to ash. Look for it in April and look for it again on my best of 2017 list in December.
34. Ufomammut, TBA
Any new offering from the Italian cosmic doom magnates is worth looking forward to, and while Ufomammut have left the 15-year mark behind, they’ve never stopped progressing in style and form. To wit, 2015’s Ecate (review here) was a stunner after 2012’s two-part LP, Oro (review here and review here), tightening the approach but assuring the vibe was no less expansive than ever. They started recording last summer, finished mixing in November, so I’m hoping for word of a release date soon.
35. Vokonis, The Sunken Djinn
Born out of Creedsmen Arise, whose 2015 demo, Temple (review here), offered formative thrills, Swedish trio Vokonis debuted with last year’s Olde One Ascending (review here) and proved there’s still life in post-Sleep riffing when it’s wielded properly. They signed to Ripple in November and confirmed the title of their sophomore effort as The Sunken Djinn, as well as a reissue for the first album, which will probably arrive first. I don’t know how that will affect the timing on this one, but keep an eye out anyway.
Gonna Happen and/or Likely Candidates
Obviously some of these are more likely than others. Some have solidified, announced release dates — Dopelord‘s out this month, Demon Head‘s out in April, etc. — and others come from social media posts of bands in studios and hints at upcoming releases and so on. A big tell is whether or not a band has an album title with their listing, but even some of those without have their new albums done, like Atala and Royal Thunder, so it’s not necessarily absolute.
Either way, while I’m spending your money, you might want to look into:
36. Against the Grain
39. Attalla, Glacial Rule
40. Ayahuasca Dark Trip, II
42. Beaten Back to Pure
45. Buried Feather, Mind of the Swarm
46. The Clamps
47. Cold Stares
48. Coltsblood, Ascending into the Shimmering Darkness
49. Come to Grief, The Worst of Times EP
51. Cruthu, The Angle of Eternity
52. The Dead-End Alley Band, Storms
53. Dead Witches, Dead Witches
55. Death Alley, Live at Roadburn
56. Demon Head, Thunder on the Fields
57. The Devil and the Almighty Blues, II
58. Devil Electric
59. Doctor Cyclops, Local Dogs
60. Dool, Here Now There Then
61. Dopelord, Children of the Haze
62. Doublestone, Devil’s Own/Djævlens Egn
63. Dread Sovereign, For Doom the Bell Tolls
64. Drive by Wire
65. Elbrus, Elbrus
66. Electric Age
67. Electric Moon, Stardust Rituals
68. Endless Floods, II
69. Five Horse Johnson
70. Forming the Void, Relic
71. Funeral Horse
73. Green Desert Water
75. Grifter / Suns of Thunder, Split
76. Hair of the Dog, This World Turns
77. Heavy Temple, Chassit
78. Here Lies Man, Here Lies Man
79. Hollow Leg, Murder EP
80. Holy Mount, The Drought
81. Hooded Menace
82. Horisont, About Time
83. Hymn, Perish
84. Lecherous Gaze
85. Magnet, Feel Your Fire
87. Merlin, The Wizard
89. Mindkult, Lucifer’s Dream
90. Mirror Queen
91. Moonbow, War Bear
92. Mos Generator
93. The Moth
95. Mouth, Vortex
96. My Sleeping Karma, Mela Ananda – Live
99. PH, Eternal Hayden
100. Psychedelic Witchcraft, Magick Rites and Spells
101. Royal Thunder
102. Saturn, Beyond Spectra
103. Season of Arrows, Give it to the Mountain
104. Siena Root
105. Six Organs of Admittance, Burning the Threshold
106. Six Sigma, Tuxedo Brown
108. The Sonic Dawn, Into the Long Night
110. Spidergawd, IV
112. Stinking Lizaveta, Journey to the Underworld
113. Sula Bassana, Organ Accumulator
115. Sun Voyager, Sun Voyager
116. Sweat Lodge, Tokens for Hell EP
117. Thera Roya, Stone and Skin
119. Troubled Horse, Revelation on Repeat
120. VA, Brown Acid The Third Trip
122. Youngblood Supercult, The Great American Death Rattle
Definitely Could Happen
Maybe a recording process is upcoming (Gozu, Cities of Mars, YOB), or a band is looking for a label (The Flying Eyes), or they’ve said new stuff is in the works but the circumstances of an actual release aren’t known (Arc of Ascent, Dead Meadow, High on Fire), or I’ve just seen rumors of their hitting the studio (Freedom Hawk, La Chinga, Ruby the Hatchet). We’ve entered the realm of the entirely possible but not 100 percent.
So, you know, life.
123. The Age of Truth
124. Ape Machine
125. Arc of Ascent
126. At Devil Dirt
131. La Chinga
132. Chubby Thunderous Bad Kush Masters
133. Cities of Mars
134. Crypt Sermon
135. Dead Meadow
136. Death Alley (Studio LP)
137. Dee Calhoun
138. Destroyer of Light
140. Devil Worshipper
144. Electric Moon
145. Elephant Tree
147. The Flying Eyes
148. Freedom Hawk
150. The Great Electric Quest
151. Green Meteor, Consumed by a Dying Sun
152. High on Fire
154. Insect Ark
155. In the Company of Serpents
156. Iron Monkey
157. Jeremy Irons and the Ratgang Malibus
158. The Judge
159. Killer Boogie
160. King Dead
161. The Kings of Frog Island
162. Lords of Beacon House, Recreational Sorcery
164. Mondo Drag
166. Mountain God
167. The Munsens
169. Never Got Caught
175. Purple Hill Witch
176. Ruby the Hatchet
178. Satan’s Satyrs
179. Serpents of Secrecy
181. Shooting Guns
182. Sleepy Sun
183. Slow Season
184. Snowy Dunes, Atlantis
185. Spectral Haze
186. The Sweet Heat
187. Switchblade Jesus
191. Zone Six
Would be Awfully Nice
This last category is basically as close as I’m willing to come to rampant speculation. Endless Boogie have hinted at new material, and Queens of the Stone Age have talked about hitting the studio for the last two years. There were rumors about Om, and though Kings Destroy just put out an EP, they have new songs as well, though I doubt we’ll hear them before the end of 2017. I’ll admit that Across Tundras, Fever Dog, Lord Fowl, Lowrider and Hour of 13 are just wishful thinking on my part. A boy can hope:
192. Across Tundras
194. Elephant Tree
195. Endless Boogie
196. Fever Dog
197. Fu Manchu
198. Halfway to Gone
199. Hour of 13
201. Kings Destroy
202. Lord Fowl
204. Masters of Reality
207. Queens of the Stone Age
If you’ve made it this far, thanks for reading. Whatever this year brings, I hope it’s been great so far for you and I hope it continues to be so as we proceed inexorably to 2018 and all the also-futuristic-sounding numbers thereafter. At least we know we’ll have plenty of good music to keep us company on that voyage.
As always, comments section is open if there’s anything I’ve left out. I’m happy to add, adjust, etc., as need be, so really, have at it, and thanks in advance.
Posted in Whathaveyou on December 21st, 2016 by JJ Koczan
It’s become a winter tradition over the last several years to look for word of a new release from Norway’s Spidergawd. Since surfacing in 2014 with their self-titled debut (review here), the Trondheim four-piece heavy rock magnates have issued 2015’s II (review here) and 2016’s III (review here) through Stickman and Crispin Glover Records both as bright spots in their respective years’ dark early hours, quickly refining a songwriting process that’s never failed either to move forward from where it was just months before or to deliver catchy, classic-feeling material with a modern production bent. Their reputation has grown over these releases, to be sure, but it’s hard not to feel like they’re still underrated compared to the quality of work they do, let alone how often they do it.
I’ll admit I’m behind the times on this announcement. They were mixing Spidergawd IV this fall, so I’ll just go ahead and presume the album is done by now. Likewise, the March tour dates through Europe were previously made public, but the Italian run in April is new, so having seen that and then found the rest, it seemed only fair to include everything in case I wasn’t the only one needing to get caught up.
Either way, it’s the season for it, so I’ll very much look forward to hearing where Spidergawd IV takes the band.
Finally we can let you in on some of the countries, cities and venues we are coming to on the Spidergawd IV tour! And, we are happy to say that we are bringing our friends in Woodland as support for all these tour dates below. Please do check them out!
We’re currently mixing our fourth album, which is turning out to be even better than the other three – we sure hope your think so too when you hear it – meanwhile tickets will appear on the venues homepages, bandsintown etc. within a couple of days, if its not out already.
And; HEAR! HEAR! We do have two more weeks of european shows and a norwegian tour to announce, and of course a lot more summer festivals, so keep on sleeping with your eyes and ears open.
TOUR DATES 08.03 Amsterdam / Paradiso Noord – Tolhuistuin (NL) 09.03 Deventer / Het Burgerweeshuis (NL) 10.03 Eindhoven / De Effenaar (NL) 11.03 Diksmuide / Muziekclub 4AD (BE) 14.03 Dortmund / FZW (DE) 15.03 Köln / Gebäude 9 (DE) 16.03 Bielefeld / Forum Bielefeld (DE) 17.03 Bremen / Tower Musikclub (DE) 18.03 Hamburg / Knust Hamburg (DE) 19.03 Berlin / Lido Berlin (DE) 20.03 Leipzig / Moritzbastei (DE) 21.03 Dresden / Beatpol (DE) 22.03 Frankfurt / Nachtleben Frankfurt (DE) 23.03 München / Hansa 39 (DE) 24.03 Nürnberg / club stereo (DE) 25.03 Winterthür/ Gaswerk (CH) 26.03 Pratteln / Konzertfabrik Z7 Bleibt (CH) 31.03 Oslo / Rockefeller Music Hall (NO)
ITALY!!! April it is! 24.04 TORINO / BLAH BLAH (IT) 25.04 SAVONA / Raindogs House (IT) 26.04 BOLOGNA / Freakout Club (IT) 27.04 CAGLIARI / FABRIK (IT) 28.04 SASSARI / The Hor – The House of Rock (IT) 29.04 NAPLES / CellarTheory Live (IT) 30.04 GIAVERA DEL MONTELLO / Benicio Live Gigs (TV)
SUMMER FESTIVALS 22-24.06 Tons Of Rock / Halden (NO) 22.07 Malakoff Rockfestival / Nordfjordeid (NO)
Posted in Whathaveyou on September 6th, 2016 by JJ Koczan
Long live the Kings! UK heavy psych rockers The Kings of Frog Island have secured an awaited vinyl release for their 2013 album, IV (review here), through Bilocation Records, and preorders are up now. This will mark the first time IV has received a physical pressing, and to be frank I’ll say it’s one well earned for the flowing psychedelia the band brought to it, as you can hear in the video for album highlight “Long Live the King” below. Some records are just a joy. This is one of those.
The Kings of Frog Island followed IV in 2014 with V (review here), another self-release, but this one pressed to a platter on their own. If the photos and vague posts on Thee Facebooks are anything to go by, work may or may not be underway on what I assume will be called VI when it’s done (if, you know, it exists), so I’ll be interested to find out in the weeks and months ahead what might be up in Amphibia these days.
For now, here’s the new cover for the record, the info on the vinyl and that video, ready for the digging:
IV now available on vinyl. Exclusive.
THE KINGS OF FROG ISLAND draw on a collective passion for cult movie soundtracks, mammoth riffs and high times. Stashed full of heavy psych rock and fragile laments to love, life and the eternal sleep. Journey across the mountains of madness, beyond the big black to the shores of Frog Island and on to the gates of Amphibia. Come take a trip …
After three successful releases on Elektrohasch Records The Kings Of Frog Island from Leicester, UK recorded their fourth effort – but unfortunately never released it until this day. The album shows the band in best form: tight stoner rock combined with amazing psychedelic touches, but never loosing their unique tone and style. A great blend, very refreshing in these days.
VINYL FACTZ – Plated & pressed on high performance vinyl in Germany – 111x green black white marbled (Exclusive mailorder edition, hand numbered) – 200x transparent green – 100x black – matte laquered 300gsm gatefold cover – special vinyl mastering
Posted in Features on December 16th, 2013 by JJ Koczan
Please note: These are my picks, not the results of the Readers Poll, which is still going on. If you haven’t added your list yet, please do.
It’s always strange to think of something so utterly arbitrary as also being really, really difficult, but I think 2013 posed the biggest challenge yet in terms of getting together a final list of my favorite records. As ever, I had a post-it note on my office wall (when I moved, it moved with me) and I did my best to keep track of everything that resonated throughout the year. I wound up with over 40 picks and had to start putting them in order to whittle the list down.
I wound up with a top 20 that, even though it feels somewhat incomplete, I’ve found that I can at very least live with. That’s what I’ve done for the last week: Just lived with it. Even up to this morning, I was making changes, but in general, I think this gives some scope about what hit me hard in 2013. Of course, these are just my picks, and while things like my own critical appreciation factor in because that affects how I ultimately listen to a record, sometimes it just comes down to what was stuck in my head most often or what I kept putting on over and over.
That’s a simple formula to apply, but still, 2013 didn’t make it easy. Please note as you go through that there are some real gems in the honorable mentions. I thought about expanding the list to 30 this year, but the thought made my skull start to cave in, so I reconsidered.
Anyway, it only comes around once a year, so let’s do this thing. Thanks in advance for reading:
20. All Them Witches, Lightning at the Door
Traditionally, I’ve reserved #20 for a sentimental pick. An album that’s hard to place numerically because of some personal or emotional connection. This year wasn’t short on those, but when it came to it, I knew I couldn’t make this list without Lightning at the Door included, and since it was released just last month as the follow-up to the earlier-2013 Elektrohasch reissue of the Nashville, Tennessee, outfit’s 2012 debut, Our Mother Electricity (review here), I didn’t feel like I’ve had enough time with it to really put it anywhere else. It needed to be here, and so it is, and though I’ve listened to it plenty in the month since its release, I still feel like I’m getting to know Lightning at the Door, and exploring its open-spaced blues rocking grooves. All Them Witches are hands down one of the best bands I heard for the first time this year, and I’m looking forward to following their work as they continue to progress.
For a while after I first heard …Like Clockwork and around the time I reviewed it, I sweated it pretty hard. By mid-June, I had it as one of the year’s best without a doubt in my mind. Then I put it away. I don’t know if I burnt myself out on it or what, but I still haven’t really gone back to it, and while the brilliance of cuts like “Kalopsia” and “Fairweather Friends” and “I Appear Missing” still stands out and puts Josh Homme‘s songwriting as some of the most accomplished I encountered in 2013, that hasn’t been enough to make me take it off the shelf. I doubt Queens of the Stone Age will cry about it as they tour arenas and get nominated for Grammy awards, but there it is. I wouldn’t have expected …Like Clockworkto be so low on the list, certainly not when I was listening to “My God is the Sun” six times in a row just to try and get my head around the chorus.
Gorgeously produced and impeccably textured, The Winter Ward by Stockholm-based I are Droid aren’t generally the kind of thing I’d reach for, but the quality of the craft in songs like “Constrict Contract” and “Feathers and Dust” made it essential. Bits and pieces within harkened back to frontman Peder Bergstrand‘s tenure in Lowrider, but ultimately The Winter Wardemerged with a varied and rich personality all its own, and that became the basis for the appeal. As the weather has gotten colder and it’s gotten dark earlier, I’ve returned to The Winter Wardfor repeat visits, and as much as I’ve got my fingers crossed for another Lowrider album in 2014, I hope I are Droid continue to run parallel, since the progressive take on alternative influences they managed to concoct was carried across with proportionate accessibility. It was as audience friendly and satisfying a listen as it was complex and ripe for active engagement.
There was just nothing to argue about when it came to the self-titled debut from Massachusetts-based doomers Magic Circle, but what worked best about the album was that although the songs were strong on their own and seemed to have lurching hooks to spare, everything throughout fed into an overarching atmosphere that was denser than the straightforwardness of the structures might lead the listener to initially believe. It was a record worth going back to, worth getting lost in the nod of, and as the members are experienced players in a variety of New England acts from The Rival Mob to Doomriders, it should be interesting to find out what demons they may conjure in following-up Magic Circle, if they’ll continue down the path of deceptively subversive “traditionalism” or expand their sound into more progressive reaches. Either way they may choose, the material on their first outing showed an ability to craft an enigmatic, individualized sonic persona that never veered into cultish caricature.
If you’re into doom and you have a soul, I don’t know how you could not be rooting for Iron Man in 2013. Produced by Frank Marchand and the first full-length from the long-running Maryland doomers to feature vocalist Dee Calhoun and drummer Jason “Mot” Waldmann alongside guitarist/founder “Iron” Al Morris III (interview here) and longtime bassist Louis Strachan. The difference in South of the Earthwas palpable even in comparison to 2009’s I Have Returned(review here). With more professional production, excellent performances all around in the lineup, memorable songs like “Hail to the Haze” and “The Worst and Longest Day,” and the considerable endorsement of a release through Rise Above/Metal Blade behind them, the four-piece sounded like the statesmen they are in the Maryland scene and showed themselves every bit worthy of inclusion in the discussion of America’s finest in traditional, Sabbathian doom. May they continue to get their due.
Whether it was what the lyrics were talking about or not, the message of “The Message” was clear: Never count out a catchy chorus. Now in operation for a decade, Sasquatch practice an arcane artistry with their songwriting. Void of pretense, heavy on boogie, they are as genuine a modern extension of classic heavy rock as you’re likely to find. The Los Angeles power trio outdid themselves with IV, veering boldly into psychedelia on “Smoke Signal” and honing their craft over various moods and themes on “Sweet Lady,” “Me and You” and “Eye of the Storm.” They remain one of American heavy rock’s key and consistently underestimated components, and the three years since the release of their third album, III(review here), seemed like an eternity once the quality grooves of “Money” and “Drawing Flies” got moving, the former an insistent rush and the latter open, dreamy and atmospheric, but both executed with precision and confidence born of Sasquatch‘s familiarity with the methods and means of kicking ass.
It was hard to know what to expect from Black Pyramid‘s Adversarial, their first release with guitarist/vocalist Darryl Shepard at the fore with bassist Dave Gein and drummer/engineer Clay Neely, but the Massachusetts outfit flourished on tracks like “Swing the Scimitar,” incorporating a heavy jamming sensibility with marauding riffs and grooves carried over from the style of their first two albums. Adversarial took the band to Hellfest in France this past summer, where they shared a stage with Neurosis and Sleep, and whether it was the raging chorus of “Bleed Out” or the clarion guitar line of “Aphelion,” the band showed their war ensemble could not be stopped. Their future is uncertain with Neely having relocated and Gein having an impending move of his own, but if Adversarialis to stand as the final Black Pyramid outing, they will at very least have claimed enough heads in their time to line fence-posts for miles. Still, hopefully they can find some way to continue to make it work.
Even the interlude “Seasick Serenade,” just over a minute and a half long, was haunting. Electric Relicsmarked the first full-length from Nashville’s Across Tundras to be released on their own label and the first since they issued Sage through Neurot in 2011 (review here), and as rolling and exploratory as its vibe was, songs like “Solar Ark,” “Pining for the Gravel Roads” and “Den of Poison Snakes” also represented a solidification of Across Tundras‘ sound, another step in their development that refined their blend of rural landscapes and heavy tones. Issued in April, it’s been an album that throughout the course of the year I’ve returned to time and again, and the more I’ve sat with it and the more comfortable it’s become, the more its songs have come to feel like home, which it’s easy to read as being their intent all along. Guitarist/vocalist Tanner Olson (read his questionnaire answers here), bassist/vocalist Mikey Allred and drummer Casey Perry hit on something special in these tracks, and one gets the sense their influence is just beginning to be felt.
Initially a digital self-release by the Washington, D.C. riff purveyors, Oculus just this month got a tri-color, tri-label and tri-continental vinyl issue, and the fanfare with which it arrived was well earned by the five songs contained on the two sides. Borracho‘s second album behind 2011’s Splitting Sky(review here) also marked a lineup shift in the band that saw them go from a four-piece to a trio, with guitarist Steve Fisher (interview here) stepping to the fore as vocalist in the new incarnation with Tim Martin on bass and Mario Trubiano on drums. The results in songs like “Know the Score” and closer “I’ve Come for it All” were in line stylistically with the straightforward approach they showed on their first offering, but tighter overall in their presentation, and Fisher‘s voice was a natural fit with the band’s stated ethic of “repetitive heavy grooves” — a neat summary, if perhaps underselling their appeal somewhat. Oculusshowed both that the appeal of Splitting Skywas no fluke and that Borracho with four members or three was not a band to be taken lightly.
Like the bulk of Ice Dragon‘s work to date, Born a Heavy Morning was put out first digitally, for free or pay-what-you-want download. A CD version would follow soon enough on Navalorama, with intricate packaging to match the album’s understated achievements, taking the Boston genre-crossers into and through heavy psychedelic atmospheres added to and played off in longer pieces like “The Past Plus the Future is Present” and the gorgeously ethereal “Square Triangle” by thematic slice-of-life set-pieces like “In Which a Man Daydreams about a Girl from His Youth” and “In Which a Man Ends His Workweek with a Great Carouse” that only enriched the listening experience and furthered Ice Dragon‘s experimental appeal. Ever-prolific, Born a Heavy Morningwasn’t the only Ice Dragon outing this year, physical or digital, but it stood in a place of its own within their constantly-expanding catalog and showcased a stylistic fearlessness that can only be an asset in their favor as they continue to chase down whatever the hell it is they’re after in their songs and make genuine originality sound so natural.
It seemed like no matter where I turned in 2013, Devil to Pay‘s Fate is Your Musewas there. Not that it was the highest-profile release of the year or bolstered by some consciousness-invading viral campaign or anything, just that once the songs locked into my head, there was no removing them, and whether it was straightforward rockers like “This Train Won’t Stop,” “Savonarola” and “Tie One On,” the moodier “Black Black Heart” or the charm-soaked “Ten Lizardmen and One Pocketknife” — which might also be the best song title I came across this year — it was a pretty safe bet that something from the Indianapolis four-piece was going to make a showing on the mental jukebox if not in the actual player (it showed up plenty there as well). Devil to Pay‘s first album since 2009, first for Ripple and fourth overall, Fate is Your Musewas a grower listen whose appeal only deepened over the months after its release, the layered vocals of guitarist Steve Janiak (interview here) adaptable to the varying vibes of “Wearin’ You Down” and “Already Dead” and soulful in classic fashion. They’ve been underrated as a live act for some time, and Fate is Your Musetranslated well their light-on-frills, heavy-on-riffs appeal to a studio setting.
9. Beast in the Field, The Sacred Above, the Sacred Below
Such devastation. Even now, every time I put on Beast in the Field‘s The Sacred Above, the Sacred Below, it makes me want to hang my head and wonder at the horror of it all like Marlon Brando hiding out in a cave. If anything at all, there wasn’t much I heard in 2013 that hit harder than the Michigan duo’s fifth long-player, released on CD in March through Saw Her Ghost with vinyl reportedly on the way now. Toward the middle of the year, it got to the point where I wanted to go door to door and say to people, “Uh excuse me, but this is absurdly heavy and you should check it out.” I settled for streaming the album in full and it still feels like a compromise. I tried to interview the band, to no avail — sometimes instrumental acts just don’t want to talk about it — but what guitarist Jordan Pries and drummer Jamie Jahr were able to accomplish tonally, atmospherically and bombastically in expansive and overwhelmingly heavy cuts like the 22-minute “Oncoming Avalanche” or the noise-soaked riffing of “Hollow Horn” put The Sacred Above, the Sacred Belowinto a weight class that it had pretty much to itself this year. It’s a good thing they had no trouble filling that space. I still feel like I haven’t recommended the album enough and that more people need to be made aware of its existence.
When I finally listened to Beelzefuzz‘s self-titled debut, I was really, really glad I had seen the three-piece — its members based in Maryland, Delaware and Pennsylvania — play some of the material live. I don’t know if otherwise I’d have been able to distinguish between the progress elements of effects and looping and the live creation of layers and organ sounds through the guitar of Dana Ortt (interview here) and the simple humdrum of studio layering one finds all the time. I almost think for their next record they should track it live, just the three of them, and heavily advertise that fact to help get the point across that it’s actually just three players — Ortt, bassist Pug Kirby and drummer Darin McCloskey (also of PaleDivine) — creating the richness of sound on “All the Feeling Returns” and the eerie, gleefully weird progressive stomp on “Lonely Creatures.” The album became a morning go-to for me, and I don’t know how many times I’ve been through it at this point, but “Reborn” and “Hypnotize” and “Lotus Jam” continue to echo in my head even when it’s been a few days. That said, it’s rarely been a few days, because while I appreciate what the trio accomplish on their first record on an analytical level, the reason it is where it is on this list is because I can’t stop listening to the damn thing. Another one that more people should hear than have heard.
7. Samsara Blues Experiment, Waiting for the Flood
One of the aspects of Samsara Blues Experiment‘s third offering that I most enjoyed was that it wasn’t the album I expected German four-piece to make. After their 2011 sophomore album, Revelation and Mystery (review here), shifted its focus away from the jam-minded heavy psychedelia of their 2009 debut, Long Distance Trip (review here), my thinking was that they would continue down that path and coalesce into a more straightforward brand of heavy rock. Instead, when the four extended tracks of Waiting for the Floodshowed up with no shortage of swirl or sitar or open-ended expansion in their midst, it was a legitimate surprise. Repeat visits to “Shringara” and “Don’t Belong” show that actually it’s not so much that Samsara Blues Experiment turned around and were hell-bent on jamming out all the time, but that rather for their third, they took elements of what worked on their first two LPs and built lush movements on top of those ideas. As a happy bonus, this having grown more and more into their sound has helped push the band — guitarist/vocalist Christian Peters, guitarist Hans Eiselt, bassist Richard Behrens and drummer Thomas Vedder — into their own niche within the wider European heavy psych scene, and they’ve begun to emerge as one of its most enjoyable and consistent acts.
Kind of inevitable that there would be a lot of comparisons made between Mind Controland the preceding Uncle Acid album, Blood Lust. Certainly the newer outing — their third and first for Rise Above/Metal Blade — is more psychedelic, more tripped out and less obscure feeling than its predecessor. It didn’t have the same kind of crunch to the guitar tone, or the same kind of horror-film atmosphere or psychosexual foreboding, but the thing was, it wasn’t supposed to. The UK outfit continue to prod cult mentality even as their own cult grows, and as I see it, Mind Control made a lot of sense coming off Blood Lustin terms of the band not wanting to repeat the same ideas over again, but grow from them and expand their sound. Of course, with the strut at the end of opener “Mt. Abraxas,” they’ve set a high standard on their albums for leadoff tracks, but where Mind Controlreally made its impression was in the hypnosis of cuts like the Beatlesian “Follow the Leader,” the lysergic “Valley of the Dolls” or the maddening “Devil’s Work.” The deeper you went into side B, the more the band had you in their grasp. It was a different kind of accomplishment than the preceding effort — though “Mind Crawler” kept a lot of that vibe alive — and it showed Uncle Acid had more in their arsenal than VHS ambience and garage doom malevolence while keeping the infectiousness that helped Blood Lustmake such an impression.
Of the ones reviewed, Lumbar‘s The First and Last Days of Unwelcomewas the most recent inclusion on this list. Having worked with Lumbar multi-instrumentalist/vocalist Aaron Edge (interview here) in the past with his band Roareth releasing what would be their only album on The Maple Forum, this was a project to which I felt an immediate connection given the circumstances of its creation: Being written almost in its entirety and recorded in everything but vocals during a bedridden period following Edge‘s diagnosis of multiple sclerosis. The contributions of YOB/Vhöl frontman Mike Scheidt and Tad Doyle of TAD and Brothers of the Sonic Cloth were what got a lot of people’s attention for Lumbar‘s The First and Last Days of Unwelcome, but with the situation are the core of the seven tracks named “Day One” through “Day Seven,” what stood out to me even more than those performances was the utter lack of distance and the level of rawness in the album’s presentation. It puts you there. What you get with Lumbar is the direct translation of a range of emotions from hopeful to hopeless, angry, sad, beaten down and wanting answers, wanting more. There’s no shield from it, and as much in concept as in its execution, there’s no other word for it than “heavy.” The intensity Edge packed into just 24 minutes — and not all of it loud or over the top doomed or anything more than atmospherics — was unmatched by anything else I heard this year.
From just about any angle you want to view it, the situation that turned Kyuss Lives! into Vista Chino was unfortunate. However — and I know I’ve said this before — I really do believe that becoming Vista Chino, that furthering the distance from the Kyuss moniker, brand, legacy, and so on, was for the better of the band creatively. And not because the songs don’t stand up. I doubt it helped their draw much, but for vocalist John Garcia and drummer Brant Bjork (interview here), working as Vista Chino for the creation of Peace, and especially or Bjork working with guitarist Bruno Fevery for the first time in the writing process, it allowed them to step outside of what would’ve been insurmountable expectations for a “fifth Kyuss album” and create something honest, new, and ultimately, more true to the spirit of that now-legendary band. Let’s face it, you hear John Garcia, Brant Bjork and Nick Oliveri are working on a project together, you’re immediately comparing it to Kyuss anyway. At least with Vista Chino, they’ve given themselves the potential for growth beyond a preconceived idea of what Kyuss should sound like. Well what does Vista Chino sound like? It sounds like whatever the hell they want. On Peace, though many of the lyrics dealt with their legal battles over the Kyuss name, the vibe stayed true to a desert rock ethic of laid back heavy, and the round-out jam in “Acidize/The Gambling Moose” left Peacewith the feeling that maybe that’s where they’ve ended up after all. Fingers crossed Mike Dean (of C.O.C. and the latest live incarnation of Vista Chino) winds up playing bass on the record, but other than that, wherever they want to go with it, as a fan, I’m happy to follow along.
The second outing from Gozu on Small Stone, The Fury of a Patient Man tapped into so much of what made the Boston band’s 2010 Locust Season label debut (review here) work so right on and just did it better. Don’t get me wrong, I still dig on “Meat Charger,” but with tracks like “Snake Plissken,” “Bald Bull,” “Signed, Epstein’s Mom” (note: it was “signed, Epstein’s mother” on Welcome Back Kotter) and the thrashing “Charles Bronson Pinchot,” Gozu put forth a collection of some of 2013’s finest heavy rock and did so with not only their own soulful spin on the tropes of the genre, but a mature and varied approach that was no less comfortable giving High on Fire a run for their money than reveling in the grandiose chorus of “Ghost Wipe,” which was also one of the best hooks of the year, guitarist/vocalist Marc Gaffney (interview here) delivering lines in crisp, confident layers, perfectly mixed by Benny Grotto at Mad Oak Studios and cutting through the fray of his own and Doug Sherman‘s guitars, the bass of Paul Dallaire (who split duties with J. Canava; Joe Grotto has since taken over the position) and Barry Spillberg‘s drumming. What the future might hold for Gozu with the recent shift in lineup that replaced Spillberg with drummer Mike Hubbard (ex-Warhorse) and added third guitarist Jeff Fultz (Mellow Bravo) remains to be seen, but with European touring on the horizon for 2014 and appearances slated for Roadburn and Desertfest, the band seem to be looking only to expand their reach, and with the material from The Fury of a Patient Man as a foundation, they’ve got some major considerations acting in their favor. Another album from which I simply could not escape this year, and from which I didn’t want to.
Billed largely and at least in-part accurately as a return to the group’s psychedelic roots, Last Patrol was Monster Magnet‘s ninth full-length, their first in three years and their second for Napalm. The New Jersey outfit led by guitarist, vocalist, songwriter, founder and, in this case, co-producer Dave Wyndorf (interview here) did indeed delve into the space rock side of their sound more than they have in over a decade, and the effect that doing so had was like a great shaking-off of dust, as though the Bullgod in the John Sumrow cover art just woke up after a long slumber. Perhaps even more than tripping on the Donovan cover “Three Kingfishers” or on the more extended freakouts “Last Patrol” and “End of Time,” what really made Last Patrolsuch a complete experience was the depth of emotion. Wyndorf wasn’t just standing above an overproduced wall of distortion talking about how he’s the best lay in the galaxy or whatever — fun though that kind of stuff is and has been in the past — but songs like “I Live behind the Clouds,” “The Duke (of Supernature),” “Paradise” and “Stay Tuned” offered a humbler take, a spirit of melancholy that rested well alongside the unmitigated stomp of “Hallelujah” or the driving heavy rock of “Mindless Ones.” Even in its most riotous stretches, Last Patrolwas a humbler affair, with a more honest vibe than their last four, maybe five albums. A Monster Magnet release would’ve been noteworthy no matter what it actually sounded like, because that’s the level of impact they’ve had on heavy psych and underground rock over the last two decades-plus. The difference with Last Patrolwas that it was a refreshing change from what had started to sound like a formula going stale, and it was just so damn good to have them be weird again.
Finally, an album that asked the question, “What it was I’m going to do I haven’t done?” I knew at the year’s halfway point that Clutch‘s Earth Rockerwas going to be the one to beat, and that it wasn’t going to be easy for anyone else to top the Maryland kings of groove, who sounded so reinvigorated on songs like “Crucial Velocity,” “Book, Saddle and Go,” “Unto the Breach,” and “Cyborg Bette,” and on funkfied pushers like “D.C. Sound Attack!,” “The Wolfman Kindly Requests…” and “The Face.” They’d hardly been in hibernation since 2009’s Strange Cousins from the West, but four years was the longest they’d ever gone between albums, and it was past time for a new one. To have it arrive as such a boot to the ass just made it that much better, the band shifting away from some of the blues/jam influences that emerged over the course of 2005’s Robot Hive/Exodusand 2007’s From Beale Street to Oblivion — though those certainly showed up as well in the subdued “Gone Cold” and elsewhere — but thanks in no small part to the production of Machine, with whom the band last worked for 2004’s Blast Tyrant, Earth Rockerwas huge where it wanted to be and that gave Clutch‘s faster, more active material all the more urgency, where although the songwriting was quality as always, Strange Cousins from the West languished a bit at a more relaxed pace. The difference made all the difference. Whether it was the hellhounds on your trail (what a pity!) in “D.C. Sound Attack!” or the Jazzmasters erupting from the bottom of the sea to take flight, Clutch‘s 10th album was brimming with live, vibrant, heavy on action and heavy on groove, and on a sheer song-by-song level, a classic in the making from a band who’ve already had a few. At very least, it’s a landmark in their discography, and though vocalist Neil Fallon (interview here), guitarist Tim Sult, bassist Dan Maines and drummer Jean-Paul Gaster always change from record, but it’s the unmistakable stamp they put on all their outings that have earned them such a loyal following, and that stamp is all over Earth Rocker. Front to back, it is a pure Clutch record, and while I’ll happily acknowledge that it’s an obvious pick for album of the year, I don’t see how I possibly could’ve chosen anything else. Like the best of the best, Earth Rockerwill deliver for years to come.
The Next 10 and Honorable Mentions
I said at the outset I had 40 picks. The reality was more than that, but here’s the next 10 anyway:
21. Blaak Heat Shujaa, The Edge of an Era
22. The Freeks, Full On
23. Luder, Adelphophagia
24. The Flying Eyes, Lowlands
25. Black Skies, Circadian Meditations
26. At Devil Dirt, Plan B: Sin Revolucion No Hay Evolucion
27. Kadavar, Abra Kadavar
28. Naam, Vow
29. Mühr, Messiah
30. Uzala, Tales of Blood and Fire
Further honorable mention has to go to Pelican, Endless Boogie, Earthless, Phantom Glue, Goatess, Windhand, Gonga, TonerLow, Jesuand Sandrider.
Two More Special Records
I’d be unforgivably remiss if I didn’t note the release in 2013 of two albums that wound up being incredibly special to me personally: I vs. the Glacierby Clamfight and A Time of Hunting by Kings Destroy. Since it came out on this site’s in-house label, I didn’t consider the Clamfight eligible for list consideration and while I didn’t help put it out, the Kings Destroy I also felt very, very close to — probably as close as I’ve felt to a record I didn’t actually perform on — so it didn’t seem fair on a critical level, but I consider both of these to be records that in a large part helped define my year, as well as being exceptional in and of themselves, and they needed very much to be singled out as such. These are people whom I feel whatever-the-godless-heathen-equivalent-of-blessed-is to know.
Before I end this post, I want to say thank you for reading, this, anything else you may have caught this year, whatever it might be. To say it means a lot to me personally is understating it, but it’s true all the same. I’m not quite done wrapping up the year — I’ll have a list of the best album covers, another for EPs and singles and demos, and of course the albums I didn’t hear — so please stay tuned over the next couple weeks, but it seemed only fair to show my appreciation now as well. Thank you.
Posted in Reviews on September 16th, 2013 by JJ Koczan
As bluesy, soulful and classically rocking as ever, Sasquatch return with their aptly-titled fourth album, IV, on Small Stone. Three years doesn’t seem like an especially long time for a band to take between outings — it’s roughly consistent for the Los Angeles trio with their 2004 self-titled debut, 2006’s IIand 2010’s III(review here) — but still, IVfeels like it’s been a while in arriving. Recorded earlier this year at Mad Oak (guitar and vocals) in Boston and Rustbelt in Detroit (drums and bass), one might expect the three-piece to sound fractured or cobbled together somehow, but though the nine-tracks of IVare professionally crisp, there’s nothing lacking in natural feel throughout, and Sasquatch‘s latest finds itself basking in the fullest fuzz since the first record. Taking the larger production sensibility that showed up their last time out after II‘s more stripped-down classic power trio feel and meshing it with gorgeous tonality from guitarist/vocalist Keith Gibbs, IVcalls to mind some of the best aspects of heavy rock — timelessness achieved by means of modernizing classic methods and structures, and updating heavy swing and swagger to sound not like a put-on, but like the inheritor of an expressive mode that’s dug underground to hide like mammals while the dinosaurs get taken out by an asteroid of bullshit — and proves over its vinyl-ready 43-plus minutes that Sasquatch deserve mention among the foremost of modern American practitioners of the form. Whether it’s the ultra-catchy opener “The Message” or more sonically spacious “Smoke Signal” or closer “Drawing Flies,” Gibbs, bassist Jason Casanova and drummer Rick Ferrante proffer exceptional songwriting, hitting all the marks along the way for gotta-groove fuzz rock supremacy while maintaining a stamp and personality of their own, characterized by Gibbs‘s belt-it-out vocals on “Sweet Lady” or the bevvy of solos he seems to just exude as Casanova and Ferrante maintain progressions behind, keeping the songs tight, purposeful and never overly indulgent. It’s beering music that makes little effort toward class but winds up there anyway, and while IIIoffered a host of memorable cuts, each piece on IVboth provides a standout and feeds into the larger, overarching flow.
There are moments particularly on side B where IVborders on too perfect — thinking of songs like “Wolves at My Door” and the shorter “Corner” — but, 12 minutes shorter than its predecessor, there’s no filler on Sasquatch‘s fourth, and even where their songwriting modus is most laid bare with a, “Let’s make this into a verse and chorus,” mentality, the quality of the material stands up to the familiarity of the intent. In addition, Gibbs has dialed back some of the Chris Cornell-style vocals that came out on IIIcuts like “Pull Me Under,” so that even in slower, more-open tempo stretches like that early into “Smoke Signal,” he sounds more like his own singer, giving IVall the more a sense of accomplishment. That song, “Smoke Signal,” is one of two included that top seven minutes long — the other is “Drawing Flies” — and both are used to close out their respective sides, underlining the classic album structure of IVoverall as a collection of high-quality individual pieces set to the best working order to bring out a dynamic feeling of movement between them. The earlier “Eye of the Storm” (5:12) reaches for some of the same ground, but ultimately finds itself distinguished more for the strength of its hook in following ultra-catchy opener “The Message” — simply one of the finest choruses the band has ever written — despite also slowing the tempo from that track. Built around motor riffing and straight-ahead uptempo groove, “The Message” arrives at its chorus to find Gibbs‘ double-tracked and singalong-ready with a cadence and lyrics that are simple enough to leave an immediate first impression that lasts through the rest of the album and of course the first of many stellar solos layered in atop rhythm tracks in a way that’s professional but not overdone, a long feedback outro adding to the edge en route to the guitar opening of “Eye of the Storm,” which has a more melodic riff and makes itself felt with a wash of crash from Ferrante and glorious bed of low end from Casanova. Vocal harmonies distinguish the chorus further, leading to second-half stomp that recalls some of the last album’s more weighted stretches, an Ozzy reference tossed in (“…the white horse it’s symbolic of course”) tossed in for good measure in a deceptively intense ending. Seems surprising they don’t go back to the original chorus at the end, but that’s likely the point.
Either next week — or more likely the week after, with the pace I’m working at these days — I’m going to do a full review of IV, the voluminous and aptly-titled fourth album from L.A. power trio Sasquatch, so I guess I’ll save whatever deep analysis I might make about it for that, but suffice it to say that if you were looking forward to this one, you were right. It’s the songs. Sasquatch toss of rock classics like they were empty bottles — downed another one, on to the next — and IV is silly with them, and also pushes the duly heralded outfit into new sonic territory with the psychedelic sprawl of “Smoke Signal” (more a suggestion to begin than a linguistic communication; though maybe it winds up the same), which features a guest appearance by Marc Gaffney of cross-country labelmates Gozu.
So not only is it Sasquatch doing what they do best, but also taking steps forward with their sound. I’ve been through it a couple times, but I’m looking forward to getting to know it better for a review. Not sure when the CD is due, but a stream/download in the meantime isn’t exactly a hardship, my general disdain for non-physical media notwithstanding. And by that I mean I can’t stand it.
There were two or three other posts I wanted to get up today, but I just ran out of day to do it. I ran into town (which, yes, is what I now call driving to Boston; it’s friggin’ awesome to not have to take 70 minutes to get to an urban center) in the afternoon and then had to play catchup with work for what’s now my only job. Yup, got completely shitcanned from the other job at NECA this week; won’t even be getting the it-was-a-quarter-of-my-former-salary freelance rate. One email and poof. I worked there longer than both my supervisors. Put together. It doesn’t matter.
I’m here with The Patient Mrs. and the little dog Dio, we had a good dinner, watched the ball game, had a good night. All told, the week ended on an up. Job shit, work drama. I don’t want any part of it. I’ve got only the vaguest of prospects and everyone I’ve hit up for potential writing work has blown me off. The other day I was looking up $10 an hour night security work for the fucking Pinkertons — hey, it’s a job — but it doesn’t matter. That will all get sorted. I’m going to keep plugging away, keep doing my best, try to laugh, remember to smile.
I didn’t get out this week to that Nightstick show — to either of them — and that was a bummer. Sunday though I’m going to do an in-studio with Darryl Shepard as he records the new Blackwolfgoat, so expect pics and a writeup on that on Monday, and next week I’ll also have reviews of Windhand and maybe the new Monster Magnet. I’ve got an interview with Red Fang in the can that I’d like to get posted as well, but maybe closer to the album release. Depends on time, basically.
Until then, I’m looking forward to the weekend, to a bit of running around tomorrow morning and chores followed by a quiet evening. Saturday stuff. Maybe I’ll take a nap.
Whatever you’ve got going, I hope you have a great and safe couple days. I might post some stuff tomorrow, but if I do or don’t I’ll see you back here Monday either way as well. All the best from me and mine to you and yours.
Los Angeles trio Sasquatch have been proffering high-grade fuzz boogie for over a decade now. Having made their recorded debut in 2004 with the immediately-to-be-reckoned-with riffery of Sasquatch, the trio went on to refine a more classic heavy rock approach over the course of their subsequent two outings, 2006’s IIand 2010’s III(review here), finding a niche for themselves somewhere between the present and the past while at the same time continuing to distinguish themselves from their peers and furthering the chemistry between founders Keith Gibbs (guitar/vocals) and Rick Ferrante (drums) and bassist Jason Casanova, who joined in 2007 following the departure of Clayton Charles.
On Sept. 24, Sasquatch will issue IV through Small Stone as the latest step in these ongoing processes. What’s remained consistent throughout Sasquatch‘s work since the start is the band’s unhindered ability to craft a chorus that’s crisp, anthemic and forward-thinking all at once, and in that regard, IVis no different. Progress is evident in the band’s maturity of approach and the clarity with which they present their ideas — they know what they’re doing in other words — but even as they seem to have their sound nailed down, splitting the recording between Detroit and Massachusetts (both very far away from Los Angeles) and bringing in guest work from Gozu‘s Marc Gaffney and Small Stone honcho Scott Hamilton on vocals and guitar, respectively, Sasquatch are clearly making some effort to branch out beyond the reaches of their comfort zone.
Even the striking and futuristic cover artwork, courtesy of Casanova, speaks to the band looking forward more than ever before. Nonetheless, whether it’s the psychedelic explorations of “Smoke Signal,” on which Gaffney and Hamilton appear, the fervent Soundgarden-style stomp of “Sweet Lady,” the check-out-what-I-can-make-this-do lead work on “Me and You” or the rush of opener “The Message” that’s bound to carry you along with it, you’d be hard pressed to say Sasquatch aren’t in full command.
Today I have the extreme pleasure of premiering “The Message” from IV as a precursor to the album’s release next month. Please find it on the player below and enjoy:
Here is the Music Player. You need to installl flash player to show this cool thing!
Sasquatch‘s IV is due out Sept. 24, 2013 on Small Stone Records. More to come.