Posted in Whathaveyou on November 15th, 2022 by JJ Koczan
Usually for a fest lineup, I post one band’s player at the bottom of the post. Usually it’s a headliner, sometimes it’s a newer band on purpose, sometimes it’s just someone I check out who I haven’t heard before, etc. There are three players at the bottom of this post, and that’s probably too few. Take it as a sign of the uncommonly packed bill of Majestic Mountain Fest Oslo and the quality both of the work the imprint has been doing and its taste in general. Over the last two years, Majestic Mountain has emerged as a significant contributor to the underground sphere in Europe, especially Northern Europe, with a roster of talent varied in much but united in their ability to connect with their audience. One imagines it will be no different when so many of the label’s acts take the stage at the upcoming three-day festival next month.
This was originally supposed to happen in June, which, hey, sometimes a thing gets pushed back. Cool it’s coming together at all, given the scope of the lineup and the sheer logistics of getting so many schedules to align for three days (plus a pre-show) without the infrastructure of having already done so in the past. That is to say, I expect that if they do another fest like this, it’ll be easier the second time around.
Oh, and if you haven’t actually heard any of those records at the bottom of this post, you’re gonna want to do that.
The time has come, Majestic Crew- After what seems like an eternity of delays and silence, we are finally able to announce the rescheduled details and final lineup for Majestic Mountain Fest // Oslo 2022.
The festival will take place on December 1-3rd at the (in)famous Blitz Hus.
We will have a killer kick-off party on Wednesday 30th of November at our favourite chill spot Brewgata with a live gig and a rad tap takeover from the mighty Nøgne Ø
We will also have a beautiful appearance from a very special guest, Mika Häkki. More details on that to come!
Visit the event page for ticket links! There has been a bit of shifting to the lineup due to the new logistics so any previously scheduled bands you do not see on this year’s roster will appear in the next edition.
Thank you so much, from the bottom of our hearts for your continued support and excitement for this event.
Despite the challenges presented to us, we keep charging forward. This festival is truly a labour of love and will be one for the books.
We are absolutely psyched to see you all in Oslo next month and can’t wait to celebrate our incredible roster and you, our fantastic fans!
Majestic Mountain Records is psyched to invite you to the first edition of Majestic Fest Oslo 2022!
When & Where:
Pre-Party Gig & Nøgne-Ø Tap Takeover at Brewgata Oslo 30 November
Festival at Blitz, Oslo 1-3 Decmber
After a challenging year of what seemed like endless delays, we are finally able to let loose and run full steam ahead on a three-day riff fest of gargantuan proportions to commence the 1-3 December at Blitz.
PLUS a killer pre-party gig and tap takeover with the mighty Nøgne-Ø on Wednesday the 30th of November at Brewgata!
This is going to be a very special event with the best community vibes and killer performances by Majestic Mountain Records Roster bands.
We’re also proud to welcome a very special guest, Mika Häkki.
Join us in on the last day of November and the first weekend of December for heavy riffs, mega fuzz and all of the good times!
The MMR crew cannot wait to bang our heads and hang with you in Oslo!
Posted in Whathaveyou on February 18th, 2022 by JJ Koczan
That’s a lot of name for a festival, the Majestic Mountain Records Festival, Oslo 2022 Think we can get away with calling it the MMR Fest for short? MMR Fest Oslo 2022? Maybe. I’ll work on it, seems like we’ll have a bit of time before June and there are more announcements to come.
Nothing like unveiling acts, though, for a first-annual festival, as Sweden’s Majestic Mountain Records follows suit behind Heavy Psych Sounds in establishing itself as a festival brand. And the fact that — like HPS fests and like Desertfest — there’s a city in the name of this festival right from the outset tells me that Majestic Mountain Records is already planning or at least considering branching out to other cities.
Perhaps, then, this inaugural edition in Oslo, Norway, might be a proving ground for the whole idea. All the more occasion for the label to do it up right, which seems to be the start they’re giving it. In the first batch of five bands announced for the lineup could be found MaMa Doom making the trip from the USA, recent-signees Old Horn Tooth doing likewise from the UK, and native Norwegian thunderbringers Jointhugger representing the home team alongside Saint Karloff and the just-nominated-for-a-Spellmann Prize Kal-El, to whom congratulations are due. The second round, also five acts, boasts Häxmästaren, The King’s Pistol, Electric Hydra, Bogwife and Grand Cadaver.
Fest is June 18 with a pre-show June 17. Poster, announcements and many, many links follow:
Majestic Mountain Records is pleased to announce the first annual MAJESTIC MOUNTAIN RECORDS FESTIVAL, OSLO
A two-day riff-fest of gargantuan proportions to commence the 17-18 of June at Blitz, Oslo PLUS a killer pre-party on Thursday the 16th at the coolest basement venue around, Revolver.
This is going to be a very special event with some incredibly cool details and exclusive performances by Majestic Mountain bands from all over with exclusive performances and super killer surprises along the way.
The MMR crew cannot wait to celebrate the Majestic roster and the return of live music with you!
Join us in June for heavy riffs, infinite headbangs, mega fuzz and good times.
Without further ado, we present you with in no certain order:
MaMa Doom (US) Jointhugger (NO) Old Horn Tooth (UK) Kal-El (NO) Saint Karloff (NO) Electric Hydra (SE) The King’s Pistol (UK) Häxmästaren (SE) Bogwife (DK) Grand Cadaver (SE)
Early Bird tickets will go up for sale on Sunday!
Majestic Mountain Records Fest Oslo is a two-day label showcase, riff-fest of gargantuan proportions to commence the 17-18 of June plus a killer pre-party on Thursday the 16th at our favourite basement venue, Revolver.
This is going to be a very special event with some incredibly cool details and exclusive performances by Majestic Mountain bands from all over and some killer surprises thrown in the mix. Announcements are flowing with more bands to come so keep those eyes peeled for all the juicy details!
The MMR crew cannot wait to bang our heads and celebrate our roster and the return of live music with you!
Thanks so much for reading and for all your excitement about this event, we’re so looking forward to seeing all of you beautiful people in June!
Still playing catchup with some of the best stuff from 2021, and considering it’s been 2022 for all of a week, that’s not actually that bad. To say I vouch for this playlist is moot. You’ve seen my best of 2021 post — or if you haven’t, here it is — and when it comes to the Gimme Metal show generally, my position is I’m not going to play it if I don’t think it’s cool, so yeah, I’m on board with what’s happening here.
I’ll spare you grand reflections on the year that was, musically or otherwise, and just note that there’s some good variety of stuff going on here, between the likes of Lammping, Apostle of Solitude, Black Willows and Comet Control. I dig that. I hope you do too. Pretty simple, right?
If you didn’t hear the Kadabra record — yeah, I know their name is similar to Kadavar; they’re a different band — check that track out. Ditto, uh, everything, but I know not everyone has or is willing to make the time. Life is what it is. I feel lucky Gimme still lets me do this.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.
Full playlist:
The Obelisk Show – 01.07.22
Yawning Sons
Cigarette Footsteps
Sky Island
Comet Control
Heavy Moments
Inside the Sun
Lammping
Intercessor
Flashjacks
VT
Apostle of Solitude
Apathy in Isolation
Until the Darkness Goes
Delving
Delving
Hirschbrunnen
LLNN
Desecrator
Unmaker
Kadabra
Graveyard
Ultra
Alastor
Death Cult
Onwards and Downwards
King Buffalo
Locusts
The Burden of Restlessness
Jointhugger
Midnight
Surrounded by Vultures
The Age of Truth
A Promise of Nothing
Resolute
High Desert Queen
Skyscraper
Secrets of the Black Moon
Stoner
Nothin’
Stoners Rule
The Kings of Frog Island
Beyond the Void
VII
Elder & Kadavar
From Deep Within
Eldovar: A Story of Darkness and Light
VT
Black Willows
Ascent
Shemurah
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Jan. 21 (subject to change). Thanks for listening if you do.
Posted in Features on December 22nd, 2021 by JJ Koczan
[PLEASE NOTE: These are not the results of the year-end poll, which is ongoing. If you haven’t contributed your picks yet, please do so here.]
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Maybe 2021 was your breakout, or your hunker-down. Your recovery from trauma or more of the same. Maybe you got six shots, maybe you didn’t get any. Maybe you got sick or lost somebody. I don’t know. Whatever else this year was, though, and whatever else it continues to be, it was busy.
In terms of the heavy underground, the ‘aftermath’ of the covid-19 pandemic resulted in a creative movement that will continue to pan out for years to come. Bands, locked down in 2020, found new directions, new sounds, sometimes new projects or collaborators. Some dug deep into their root influences, others explored new ground entirely.
One way or the other, the result across this year was a lot of really, really good music, and in uncertain times, the comfort it provided and provides shouldn’t be understated. The Obelisk Questionnaire asks what is the primary function of art. I think we learned in 2021 that art is home when you need it.
I say this every year, but please, if you leave a comment on this post — if there’s something you want to suggest I left out (as I’m sure there is; always) or you’re responding to someone else’s comment — please, please be respectful. Please be kind. To me, because I’ve worked hard on this and I don’t mind saying that, and to anyone else offering their picks or suggestions or just words of response. Let’s not fight, or do that “unthinking internet meanness” thing. I’m a human being and so are you. That’s reason enough to make an effort toward kindness. Thank you for that effort and for reading, as always.
Here we go:
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The Top 60 Albums of 2021? Really? 60?
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Yeah, really 60. I was gonna do 30 and then 50 and I was having trouble narrowing it down and it was my sister who very concisely said, “Who cares? Do what you want,” and it turned out that was precisely what I needed to hear. So if there are complaints about doing a top 60, to them I might just point out that more music is not a hardship. Maybe instead look at the swath of amazing music being made and be glad to have been born? And I’m doing what feels right, if also a little over-the-top. Maybe next year it’ll be 100, or 1,000. To quote my sister, “Who cares?”
The more the merrier.
Alors:
#31-60
31. 3rd Ear Experience, Danny Frankel’s 3rd Ear Experience
32. Slowshine, Living Light
33. LLNN, Unmaker
34. Low Orbit, Crater Creator
35. Somnuri, Nefarious Wave
36. Delving, Hirschbrunnen
37. Kal-El, Dark Majesty
38. Hippie Death Cult, Circle of Days
39. Plaindrifter, Echo Therapy
40. Motorpsycho, Kingdom of Oblivion
41. IAH, Omines
42. Here Lies Man, Ritual Divination
43. The Kings of Frog Island, VII
44. Old Man Wizard, Kill Your Servants Quietly
45. Weedpecker, IV: The Stream of Forgotten Thoughts
46. High Desert Queen, Secrets of the Black Moon
47. Kadabra, Ultra
48. Sleep Moscow, Of the Sun
49. Terry Gross, Soft Opening
50. Cavern Deep, Cavern Deep
51. 10,000 Years, II
52. Rebreather, The Line, its Width and the War Drone
53. Spiral Grave, Legacy of the Anointed
54. LáGoon, Skullactic Visions
55. Jack Harlon & the Dead Crows, The Magnetic Ridge
56. Boss Keloid, Family the Smiling Thrush
57. Shun, Shun
58. Black Willows, Shemurah
59. Expo Seventy, Evolution
60. Year of Taurus, Topsoils
Notes:
The best advice I can give you is DON’T IGNORE THIS LIST. From 3rd Ear Experience’s righteous jams to Kadabra’s and Slowshine’s debuts and 10,000 Years’ hard riffing and Old Man Wizard’s melo-prog swansong and Jack Harlon’s otherworldly West, and Cavern Deep’s conceptual darkness, and Black Willows’ consuming tones and Sleep Moscow’s emotive downerism and Weedpecker progging out and Here Lies Man still being in an league entirely their own, and that Plaindrifter record and Shun and Spiral Grave and Rebreather and The Kings of Frog Island. That Terry Gross’ sheer West Coastness and Somnuri’s Northeastern intensity. Kal-El’s pulp riffage bigger than ever. Motorpsycho being Motorpsycho. IAH collaborating with Spaceslug. Boss Keloid’s prog-metal shenanigans. Hippie Death Cult’s mellow heavy. LLNN utterly killing everything. Damn this is good.
If this was a year-end top 30 in itself, I’d be like, yeah that’s a solid list, and I don’t mean that as a platitude. So please don’t ignore it. If there’s something here you haven’t heard, I can only advise you chase it down. Any one of these could be higher or lower in your own consideration, but I dug all of them, and yeah, by the time you get up to 40 or so the numbering gets pretty arbitrary, but whatever. It’s a list of stuff I think you should check out. Releases that made the year better, all of them one way or the other.
New Jersey stalwarts Monster Magnet taking on obscure and semi-obscure covers out of the heavy ’70s is pretty high on the list of ‘ultimate no-brainers.’ One might’ve preferred an album of originals, but even in a stopgap, Dave Wyndorf and company found ways to be creative with the material, and this belongs here for their take on Dust‘s “Learning to Die” (video here) alone.
Domkraft‘s third album arrived in so-you-think-you-know-what-we’re-about fashion, building out the heavy noise rock of 2018’s Flood (review here) and 2016’s The End of Electricity (review here), leaning into more textured material executed with a burgeoning patience of approach, while still keeping impact central. They’ve come into their own and one expects they’ll continue to reshape what that means over time.
Consuming and shamanic. A record that really took the time to construct its own world for the listener to inhabit in its songs. Sunnata‘s fourth full-length, Burning in Heaven, Melting on Earth brought together six tracks that resonated with purposeful depth and a cold-psych ambience that allowed space for minimalism and movements of blistering heavy in kind. Not for everyone, maybe, but each piece truly added to the flowing progression of the whole, showing the conceptual, ritualized strengths of the band.
Five years after their debut, Sins of the Elders (review here), Massachusetts sludge-of-death metallers Conclave — now with a second guitarist — brought forth epic punishment and bleakness befitting our age. A willful, harsh slog, Dawn of Days had few comforts to offer in “Death Blows Cold” or “Haggard,” and the mourning finale “Suicide Funeral,” while allowed to be flourish in its way, found a means to express its grief while staying honest to underpinnings of extreme metal. Not an easy listen, not supposed to be.
Some records you just can’t fight. And why would you? Quick turnaround for North Carolina’s Crystal Spiders after their Sept. 2020 debut, Molt (review here), but the three-piece of bassist/vocalist Brenna Leath (also Lightning Born and The Hell-No), drummer/vocalist Tradd Yancey (also Doomsday Profit) and guitarist/producer Mike Dean (also of C.O.C.) demonstrated a range the first record only hinted at, touching on earthy psych, dirty punk, classic heavy and more with evident ease and a marked sense of craft.
Hungarian collective River Flows Reverse brought lysergic healing as part of the Psychedelic Source Records milieu, with a particularly folkish and exploratory vibe branching out across pieces like the serene “At the Gates of the Perennial” or the acoustic-led “Rain it Rages,” creating gorgeous atmospheres from existential dread and a sheer need for outlet. Spontaneous in its spirit but with a thoughtful undercurrent, it’s by no means the highest-profile release on this list, but it also offered something nothing else did in quite the same way. Pastoralia for another world.
A decade on from their debut and five years after their last album, Washington D.C. roll-prone trio Borracho came back not only with terrifying cover art, but also an unabashed look at the world around them, socially conscious lyrics topping their hallmark heavy riffage in a way that their prior work had yet to engage. Pound of Flesh was an organic step forward for the band in sound and songwriting, and their perspective of wondering what the hell happened to pretty much everything was relatable, to say the least, but the nuances of arrangement and vibe went a long way too in changing things up around their classic-style sound.
Larson‘s gonna Larson. As to what that might mean on a given release, that’s harder to say. Drawing from a decades-long background in punk and hardcore, heavy Southern and acoustic songwriting, as well as a pedigree long enough to take up the rest of this post, Favorite Iron was one of three outings issued on the same day in September in a creative splurge and found him playing all instruments himself (horns on opener “Backpage” notwithstanding) and imbuing each piece with its own purpose in feeding the richness of the entire work. And somehow, was humble in it, putting it out on Bandcamp, no PR, no fanfare. Just wasn’t there, then was. Very Larson.
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22. Spaceslug, Memorial
Self-released. Review pending.
Issued just on Dec. 10, Memorial arrives from Poland’s Spaceslug in suitably mournful fashion and with it, the trio seem to dive into more personal, human issues than ever before. Loss, uncertainty. It’s certainly a record for the time in which it’s made, but neither do the band neglect their own growth as they continue to incorporate blackened screams along with their more grunge-derived clean vocals, a blend of mellow heavy psych and harsher presence coinciding. After a productive few years with the 2020 Leftovers EP (review here) and 2019’s Reign of the Orion (review here), Spaceslug have managed to push even deeper into their sound. They do so with an increasing sense of mastery.
Unexpected and appreciated in kind. I wouldn’t have bet that Poughkeepsie, New York, glitch-grind innovators Genghis Tron would return with a new record after 13 years, and I wouldn’t have guessed either that Dream Weapon would bring both the revamped lineup and the refined focus on melody that it did. Live drums gave new heart to the songs, and thoughtfully layered washes of keys and guitar brought a sense of worldbuilding that, while in contrast to the freneticism of the band’s past work, was refreshing in its honesty and refusal to be anything other than what they wanted it to be. Caught a bunch of hype early and then disappeared, but the songs will hold up long after this year is over. If you get it, you get it.
The story of Sweden’s Vokonis isn’t too dissimilar from that of Spaceslug above in that the band set its foundation in a certain kind of heavy worship and have moved outward from there over time. For the Borås trio, their latest outing expanded on their progressive ideology, taking the heavy riffs of their earliest work and setting them to a winding course while also incorporating a rawer vocal along with the cleaner shouting. In addition to being topped off by the best album cover I saw all year, Odyssey proved to be a journey of mind for those ready to take it, and showed that Vokonis‘ maturity, their finding themselves, is likely to be an ongoing process. And if they want to keep bringing Per Wiberg in on keys, that’ll be fine too.
What a blast this record is. Warm tones, classic vibes, ’90s alt weirdness given a little extra push into heavy. I didn’t even care that half of the thing had been released as an EP prior, putting on Lammping‘s Flashjacks was and very much still is a joy. No pretense, no bullshit, just songs, songs, songs. Give me “Intercessor” and “Jaws of Life” and “Lammping” any day of the week as the Toronto outfit hold down both attitude and humor while inviting you in on their good time. 10 tracks/33 minutes — they weren’t even trying to take up too much of your day. Just a short and sweet set on an LP and then they roll out until the next one. May it arrive sooner rather than later. I’m not a party guy, but this is my kind of party.
The opening duo “Mission From God” and “Nothing Left for You” gave Fractal Altar an initial thrust that the heavy grunge of “Not Two” complemented with darker edge before the swinging “Hold On” tipped back toward forward momentum. “The False Lack,” a highlight, found some middle ground en route to a back half of the LP that culminated with the sub-nine-minute title-track, psychedelic ritualization coming to a head with spaced-out vocals over a black hole of low end. The weirder Snail get, the better they get in my mind, and more than half a decade after Feral (review here), they were ready to get plenty weird here. Wouldn’t trade that for the world.
Aggro-edged Philly heavy rock and roll, pulling influence not only from its own backdrop but from heavy modern and old, perhaps the best thing one can say about Resolute was that it lived up to the lofty declaration in the title The Age of Truth gave it. Whether they were playing to more atmospheric ideas on “Palace of Rain” and “Return to Ships” or digging into classic heavy blues on “Salome” or finding new levels of intensity on “Horsewhip,” it was clear The Age of Truth consciously set a high standard for themselves and put the effort in to meet it every step of the way. Clear and sharp in its production, it’s still a record you can put on and be blown away by each individual performance, as well as how they come together. Dudes only put the bar higher.
It was not an easy task for Norway’s Jointhugger to follow either their 2021 single-song EP Reaper Season (review here) or 2020’s debut, I Am No One (review here), but even amid a still-solidifying lineup, the band conjured listenability and weight in post-Monolordian fashion without either aping that band’s methodology or ignoring their own nascent sonic identity. There’s more growing to do, and one hopes that as they go they’ll hold at least somewhat to the pace of releases thus far established, but there was no getting past the accomplishments of Surrounded by Vultures, not the least because of the 700-foot ice wall of tone the band built along the path. Potential and achievement stomping hand-in-hand into an unknown heavy future.
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15. Temple Fang, Fang Temple
Released by Right on Mountain & Electric Spark. Reviewed Nov. 23.
I’ll be honest, I was a little bummed when Fang Temple got released and I didn’t even know it was coming. I got over the ego bruise quick with the help of the record itself, however, the Amsterdam-based psychedelic spiritualists taking the live-album method from 2020’s Live at Merleyn (review here) and using an on-stage performance as the basic tracks around which the rest of Fang Temple was constructed. The result was a resonant joy in heavy psych; a record as satisfying to lose yourself in as to consciously follow along its charted but spontaneous-feeling path. They’ve had some lineup shifts too, but gosh I hope there’s more to come, whether I get an early heads up or not.
Would you have bet there’d be a second Yawning Sons album, more than 10 years after 2009’s Ceremony to the Sunset (review here; reissue review here)? I might not have, but the collaboration between UK instrumentalists Sons of Alpha Centauri and Yawning Man guitarist and desert rock figurehead Gary Arce brought a slew of memorable moments, including guest spots from Fatso Jetson/Yawning Man‘s Mario Lalli and Hermano‘s Dandy Brown, and return appearances from Scott Reeder and Wendy Rae Fowler. It’s still impossible to know if Yawning Sons will be a band or a once-every-decade happening, but Sky Island proved they were more than a cult one-off. A third outing would only be welcome.
Careening back and forth between its space rock and more drifting psychedelic impulses, Comet Control‘s Inside the Sun brought varied pleasures of craft and melody, saving its more contemplative stretches for the peaceful immersion of “The Afterlife” or “Heavy Moments” and “The Deserter” later on after the duly cosmic launch of “Keep on Spinnin'” and the buzzing “Secret Life” established the pattern of movement under the drift. Whichever way a given track went — and it was by no means limited to one or the other with “Good Day to Say Goodbye” and “Inside the Sun” in the album’s midsection — the Toronto-based outfit worked mostly as a two-piece in putting it together, but the lushness of the ensuing work took what the band had accomplished on 2016’s Center of the Maze (review here) and added even more dimension.
They should’ve called it “endless repeat.” The mellow heft of Swedish unit Maha Sohona‘s sophomore full-length is one that I just kept going back to, time and time again, and the appeal of doing so only grew with more listening. Melodically capable but not overblown, songs like “Luftslott” and “Orbit X” brought to mind Sungrazer and earlier Spaceslug with a bittersweet nostalgia (in the case of the former, certainly) even as Maha Sohona used them to chart their own stylistic course. It was seven years between their first and second records, so I’m not going to predict when/if a follow-up will come, but Endless Searcher made my 2021 better to the point that I just put on “Leaves” and can feel the serotonin being released. It feels only right to honor that by having them here.
With a permanent-seeming dissolution as context for its arrival, End of Forever wrapped a run for Samsara Blues Experiment that could only really be called successful in terms of what they accomplished during their time, but moreover, it underscored what made them such a special group to start with, its progressive psychedelia still developing in persona as the band was coming to a close. Guitarist/vocalist Christian Peters, having spent the prior few years in various solo explorations, brought increased use of keys and synth, and in combination with the organic fluidity of the rhythm section of bassist/backing vocalist Hans Eiselt and drummer Thomas Vedder, that let Samsara Blues Experiment say something new even as they were also saying goodbye. If they’re truly done for good, they’ll be missed.
An awaited debut from this Philadelphia trio, Lupi Amoris confronted high expectations and surpassed them with a complexity of atmosphere that was surprising even after seeing them live multiple times, taking the oft-psychedelic fuzz of Heavy Temple‘s previous output and setting it to a more rigid focus and a daring sense of intent. This was a record that came about after years of lineup changes and tumult, but made cohesion from chaos, and there was not one second of its stretch that didn’t serve the album as a whole. Even more than 2016’s Chassit EP (review here), which I’d previously counted as their first long-player, Lupi Amoris showed toward what Heavy Temple‘s potential had been driving all along, and its realization was stunning. Whatever they do next, whenever they do it, will also be confronting high expectations.
At this point, I feel ready to posit Indianapolis four-piece Apostle of Solitude as the best doom band in America. I know that’s a loaded statement because there are as many kinds of doom as there are of heavy metal itself, but if you look at a group bringing new ideas to the established traditions and tenets of the style Apostle of Solitude have put themselves in the uppermost of the upper echelon. At just 36 minutes, Until the Darkness Goes feels likewise concise and engaging, its songs holding the emotive thread that has always typified the band’s work, but engaging more vocal harmonies between guitarists Chuck Brown and Steve Janiak (now both also in The Gates of Slumber) atop the densely weighted impact from bassist Mike Naish (also Shroud of Vulture) and drummer Corey Webb. Don’t think they’re the best US doom band right now? Find me someone better.
With a wholesale invite to either take the heat or remove your ass from the kitchen, Greenleaf tossed out Echoes From a Mass as their eighth LP some 20 years after their first, 2001’s Revolution Rock (discussed here), and reminded their listenership of the songwriting chemistry that’s emerged over the better part of the last decade between founding guitarist Tommi Holappa — and yes, I’ve heard rumors he’s got new Dozer in progress as well; we’ll see in 2022 — and vocalist Arvid Hällagård, whose work here outshone even 2018’s Hear the Rivers (review here), establishing the conversation between instruments and voice as the crucial element in Greenleaf circa 2021. A heavy blues shuffle from bassist Hans Frölich and drummer Sebastian Olsson and production by Karl Daniel Lidén only up the asset count working in the band’s favor, and on any given day I might still be walking around with “Bury Me My Son” on repeat in my brain. No complaints.
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7. Blackwater Holylight, Silence/Motion
Released by RidingEasy Records. Reviewed Oct. 18.
At a pivotal moment, Blackwater Holylight pivoted. The Portland-based outfit’s third full-length found them pressing outward from their heavy psychedelic and dream-pop foundations into bleaker atmospheres, using Silence/Motion as a means for processing trauma and perhaps to revamp their audience’s expectations of the kind of band they want to be. 2019’s Veils of Winter (review here) and 2018’s self-titled debut (review here) brought marked progress from one to the next, but bassist/vocalist/guitarist Allison “Sunny” Faris, guitarist/bassist Mikayla Mayhew, synthesist Sarah McKenna, and drummer Eliese Dorsay (Erika Osterhout now plays guitar but isn’t on the record) brought on board producer A.L.N. of Mizmor, and the record’s guest vocals from Thou‘s Bryan Funck and Mike Paparo of Inter Arma brought flourish of more extreme metals than anything the band had done before. As a result, their next outing could go pretty much anywhere, so mission likely accomplished for this one.
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6. Kadavar & Elder, Eldovar – A Story in Darkness and Light
Answering the call of being unable to tour and presumably tired of sitting on their hands as a result, Berlin-based outfits Kadavar and Elder (minus the latter’s bassist Jack Donovan, who lives in the US and was under travel restriction) hit the studio together earlier this year to piece together jams and, reportedly, take a “see what happens” approach. What happened was a sound that belonged solely to neither band and drew enough from both to legitimately earn the title Eldovar. Rife with melody brought to bear amid a threat of the breakout that arrived in “Blood Moon Night” — which, while the most uptempo, was not necessarily the highlight of the record — it was an album perhaps carved from experiments, but one that seemed to brim with a sense of underlying direction, even after the fact. Its shimmer felt like a light being cast through a dark year, defiant and peaceful. That two of the current generation’s leaders in heavy rock could come together in such brazen fashion was a noteworthy novelty, but it was the way that Eldovar stood on its own that made it so special.
Gonna get this off my chest while I can. After this one came out, I saw on the vast sphere of social media some disappointed response, like what was up with Stöner being so stripped down and just rocking riffs and all that? Okay. The hell did you expect? That’s the point of the band! It’s Brant Bjork and Nick Oliveri — and Ryan Güt, also of Bjork‘s solo band — purposefully digging back to their roots, playing the simplest form possible of the low desert punk they helped create together in Kyuss. It wasn’t about “let’s innovate,” it was about “I dig the Ramones and Fatso Jetson so let’s have a good time.” You got the ultra-grooves of “Own Yer Blues” and “Tribe/Fly Girl,” the Oliveri-fronted punk of “Evel Never Dies,” and the bluesman’s telling-it-like-it-is of “The Older Kids” and “Rad Stays Rad,” “Nothin'” and “Stand Down.” They were in, done, and out. I chalked some of the “meh” up to the studio album arriving so soon after their Live in the Mojave Desert stream (review here) and live album (review here), but even so, damn, be thankful these songs got made in the first place. With yer spoiled ass.
Word to anyone who’s managed to read this far: I hear King Buffalo might have an Xmas surprise in store as relates to this album, so heads up. Acheron — filmed as well as audio-recorded — was the second in an intended series of three yet to be completed of albums Rochester, NY, trio King Buffalo composed during the pandemic lockdown. Like so many, their inability to tour resulted in a need for another outlet. Following The Burden of Restlessness (review here) would be a challenge, but the band shifted focus in sound toward four extended pieces of heavy psychedelia — not completely escapist from the reality surrounding them, but attempting for sure to shift the mindset through which they (and the listener) were experiencing it. Traveling to record in the remote location of Howe Caverns, guitarist/vocalist/synthesist Sean McVay, bassist/keyboardist Dan Reynolds and drummer Scott Donaldson found a way to immediately differentiate their second album of 2021 from the first while offering a shift in sound that leaned less into darkness — ironic, maybe considering it was tracked underground — than its predecessor while retaining the band’s ever-forward progression of sound.
One would be hard-pressed to find a more suitable Halloween release. London-based heavy rockers Green Lung brought together a collection of songs that, yes, were duly autumnal in their spirit, but also refreshing in their sound, unashamed in their readiness to engage their audience, and in cuts like “Old Gods,” “Reaper’s Scythe,” “You Bear the Mark” and “Graveyard Sun” tapped into a cross-genre appeal that was brought together with impeccable quality of craft and production. Classic and new at the same time. Thoughtful in arrangement, Black Harvest nonetheless skirted pretense and kept to a basic verse/chorus appeal that felt easy to get into, and the complexity held in the material only revealed itself more with time. It is an album in which something new will be heard for years, and it not only answered the call to step up after 2019’s Woodland Rites (review here), but put Green Lung in a different echelon of bands entirely. They are an act whose influence will be felt, and not that the world needs another reason to hope for a “return” for live music, but Black Harvest is one for sure. Its songs deserve to be heard by however many ears they can reach.
Monolord are the most essential band in heavy music. Whatever qualifier you want to put on that in terms of style, go ahead, it’s still true. The Gothenburg trio’s fifth album doubled as an anticipated follow-up to No Comfort (review here), which was 2019’s album of the year, and brought no dip in the quality of their craft, the breadth of their style or the force of their execution. In addition to having already ignited a generation’s worth of riffers in their wake, Monolord have steadily progressed in their own approach, and Your Time to Shine skillfully mirrored the structure of No Comfort before it while pushing ahead of where the band were two years ago. Someone needs to build a statue in honor of Mika Häkki‘s bass tone, let alone the riffs of guitarist/vocalist Thomas V. Jäger and the stomp/production of drummer Esben Willems, but with cuts like “The Weary,” “Your Time to Shine,” “I’ll Be Damned,” “To Each Their Own” and “The Sirens of Yersinia” — oh wait, that’s all of them — it was the entire band shining, a plural “your” that was realized in the work. The superficial bleakness of the cover art spoke to the death perhaps of an entire world, but also the new growth and life to inevitably emerge therefrom. The songs did no less.
A record for the times. The record for the times. There are a few reasons King Buffalo‘s third full-length and first in the pandemic-born series, The Burden of Restlessness, deserves to be the album of the year. There’s no reasonably denying the level of songwriting or the move into hard-edged progressive rock and metal of its songs, or the boldness of the manner in which the Rochester trio — again, Sean McVay, Dan Reynolds and Scott Donaldson — made that move, or the resonance of the finished product. It’s a very, very, very good album. Fine. What stands out to me though in thinking of The Burden of Restlessness in context of the addled period between 2020 and 2021 is the fact that it is completely unflinching. From the striking depiction of decay in the front visuals by Zdzisław Beksiński to the personal-seeming nature of songs like “The Knocks,” “Burning” — the opening lyric, “I turn my head from the stars” a direct contrast to “Orion can you hear me?” from the band’s 2016 debut, Orion (review here) — “Silverfish” and “Hebetation” and the speaking to the outside world of “Locusts,” “Grifter” and the maybe-daring-t0-hope-for-something-better conclusion in “Loam,” The Burden of Restlessness gave comfort to its listenership through shared experience rather than platitude. It didn’t tell you it was going to get better. It shared the space you were in, and acknowledged all the unknown corners of that space. This spirit, coupled with the outright sonic achievement on the part of the band, made the album a statement poised to ring out as a document of its weighted era and a standard for the expressive depth of its creativity.
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The Top 60 Albums of 2021: Honorable Mention
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Sit tight, we’ve got a ways to go here.
Acid Magus, Wyrd Syster
Acid Mammoth, Caravan
Age Total, Age Total
Alastor, Onwards and Downwards
Amenra, De Doorn
The Angelus, Why We Never Die
The Answer Lies in the Black Void, Forlorn
Apollo80, Beautiful, Beautiful Desolation
Arlekin, The Secret Garden
Bog Wizard, Miasmic Purple Smoke
Book of Wyrms, Occult New Age
Bongzilla, Weedsconsin
Canyyn, Canyyn
Craneium, Unknown Heights
Delco Detention, It Came From the Basement
Demon Head, Viscera
Doctor Smoke, Dreamers and the Dead
Dread Sovereign, Alchemical Warfare
Dream Unending, Tide Turns Eternal
Duel, In Carne Persona
Dunbarrow, III
DVNE, Etemen Ænka
Eyehategod, A History of Nomadic Behavior
Bill Fisher, Hallucinations of a Higher Truth
Funeral, Praesentalis in Aeternum
Fuzzy Lights, Burials
Holy Death Trio, Introducing…
Iceburn, Asclepius
Jakethehawk, Hinterlands
Kanaan, Earthbound
Khemmis, Deceiver
King Woman, Celestial Blues
Kvasir, 4
Lingua Ignota, Sinner Get Ready
Los Disidentes del Sucio Motel, Polaris
Low Flying Hawks, Fuyu
Low Orbit, Crater Creator
Malady, Ainavahantaa
Mastiff, Leave Me the Ashes of the Earth
Mythic Sunship, Wildfire
Zack Oakley, Badlands
Octopus Ride, II
Øresund Space Collective, Universal Travels
Red Beard Wall, 3
Robots of the Ancient World, Mystic Goddess
Emma Ruth Rundle, Engine of Hell
Saturnia, Stranded in the Green
Savanah, Olympus Mons
Sergio Ch., La Danza de los Toxicos
Shiva the Destructor, Find the Others
Smote, Bodkin
Snake Mountain Revival, Everything in Sight
Snowy Dunes, Sastrugi
Sonic Demon, Vendetta
The Spacelords, False Dawn
Spelljammer, Abyssal Trip
Spidergawd, VI
Swallow the Sun, Moonflowers
Thunderchief, Synanthrope
Thunder Horse, Chosen One
Ultra Void, Ultra Void
Vouna, Atropos
WEEED, Do You Fall?
When the Deadbolt Breaks, As Hope Valley Burns
Witchcryer, When Their Gods Come for You
Witchrot, Hollow
Wolftooth, Blood & Iron
Wowod, Yarost’ I Proshchenie
Notes:
I feel immediately defensive here, and that kind of sucks, to be honest. Here’s the basic truth: I know people like different things. I know people think different things are important, that everybody works hard making records, that lists are bullshit and that people go back to listen to different things more over time.
What I’d ask is that after 60 records in the list proper and another 60-plus here, you please give me a break. I’ve reviewed well over 250 releases this year, so neither is this everything, nor is it nothing. I’ve done my best. And if one of these records is your album of the year? Awesome! I’m so, so glad for that. I can’t and won’t argue. I’m sure this list is incomplete and I’m sure I’ll add more to it over the next couple days — always do — but if you didn’t hear anything this year and you take this list and you take the other 60 records, listen to one per week, you’ll have enough new music to carry you into 2023, and I feel pretty good about that.
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Debut Album of the Year 2021
Heavy Temple, Lupi Amoris
Other notable debuts (alphabetically):
Acid’s Trip, Strings of Soul
Age Total, Age Total
Bala, Maleza
Bog Wizard, Miasmic Purple Smoke
Bottomless, Bottomless
Cancervo, 1
Cave of Swimmers, Aurora
Cavern Deep, Cavern Deep
Chamán, Maleza
Cosmic Reaper, Cosmic Reaper
DayGlo Mourning, Dead Star
Delving, Hirschbrunnen
Den Der Hale, Harsyra
Dome Runner, Conflict State Design
Draken, Draken
Gangrened, Deadly Algorithm
Gristmill, Heavy Everything
High Desert Queen, Secrets of the Black Moon
Holy Death Trio, Introducing…
The Judas Knife, Death is the Thing With Feathers
Kadabra, Ultra
Kadavar & Elder, Eldovar – A Story of Darkness and Light
Kvasir, 4
Plaindrifter, Echo Therapy
Shiva the Destructor, Find the Others
Slowshine, Living Light
Smote, Bodkin
Snake Mountain Revival, Everything in Sight
Sonic Demon, Vendetta
Sow Discord, Quiet Earth
Stöner, Stoners Rule
Suncraft, Flat Earth Rider
Terry Gross, Soft Opening
Trillion Ton Beryllium Ships, TTBS
Vestamaran, Bungalow Rex
White Void, Anti
Witchrot, Hollow
Wooden Fields, Wooden Fields
Wytch, Exordium
Year of Taurus, Topsoils
Notes:
Yes, technically the Stöner record was higher than Heavy Temple on the top 60. I took into account the fact that Brant Bjork and Nick Oliveri have worked together on and off for 30-plus years in my final assessment and decided Lupi Amoris, as a debut album, deserved the top spot. I actually had a numbered list going — Stöner were two, Delving was three — but decided to just let the Heavy Temple stand on its own instead, which it certainly earned.
One could see the pandemic shuffle of creativity peaking out though. Kadavar & Elder’s collaboration was a debut as well, but it was just one of the new projects or collaborations to surface this year. Note Slowshine is Earthship by another name (and purpose) and so are Dome Runner. There was a wash of diggable debuts, loaded with potential, and again, I don’t think this list is exhaustive so much as it’s a primer for some of the best stuff out there as I see/hear it. I’ll spare you wax poetry about the forward movement of genre overall, but suffice to say that in acts like Plaindrifter, Shiva the Destructor, Witchrot, Age Total and High Desert Queen, among others here, such things were readily apparent.
Your time would not be wasted with any of these, I just thought that Heavy Temple, as a first album, was a special achievement and deserved its place as debut of the year.
Short Release of the Year 2021
Jointhugger, Reaper Season
Other notable EPs, Splits, Demos, etc.:
Aiwass & ASTRAL CONstruct, Solis in Stellis
All Are to Return, II
Birth, Birth
Blackwolfgoat, (In) Control / Tired of Dying
Bog Wizard/Dust Lord, Split
Boozewa, First Contact
Carlton Melton, Night Pillers
Cerbère, Cerbère
Cortége, Chasing Daylight
The Crooked Whispers, Dead Moon Night
Doomsday Profit, In Idle Orbit
Dopelord, Reality Dagger
EMBR, 1021
Enslaved, Caravans to the Outer Worlds
Fuzz Sagrado, Fuzz Sagrado
Guhts, Blood Feather
Howling Giant, Alteration
Ikitan, Darvaza y Brinicle
Insect Ark, Future Fossils
Erik Larson, Measwe
Lurcher, Coma
Merlock, You Cannot Be Saved
Moonstone, 1904
Morningstar Delirium, Morningstar Delirium
Mos Generator, The Lantern
Nineteen Thirteen, MCMXIII
Old Horn Tooth, True Death
Planet of the 8s, Lagrange Point Vol.1
Psychonaut/SÂVER, Emerald
Solemn Lament, Solemn Lament
Sorcia, Death by Design
Spaceslug, The Event Horizon
Spawn, Live at Moonah Arts Collective
Stonus, Séance
Trillion Ton Beryllium Ships, Rosalee
Ultra Void, Ultra Void
Ungraven/Slomatics, Split
Wall, II
Weedevil, The Death is Coming
The Whims of the Great Magnet, Share the Sun
Per Wiberg, All is Well in the Land of the Living But for the Rest of Us… Lights Out
Notes:
Again, look at the amazing swath of new creativity happening. Guhts, Boozewa, Aiwass & ASTRAL CONstruct — even Wall with their second EP — Morningstar Delirium, Fuzz Sagrado, Doomsday Profit, Trillion Ton Beryllium Ships: these are new bands and projects coming together, some from established artists and some not, but the shuffling of sound and priorities is a hallmark of the last year-plus’ output, and it can be seen here for sure. Yeah, bands like Enslaved and Dopelord put out killer EPs, but it’s acts like Moonstone — with just one prior release behind them — or Howling Giant working instrumentally for the first time, that struck me even harder.
As regards Jointhugger in the top pick, I took into account the “oh shit this band isn’t fucking around” factor. Coming off their first record and headed into their second in quick succession, the single-song “Reaper Season” served due notice that the debut was no fluke and that the Norwegian outfit had no interest in resting on riffy laurels. This section is always tough since it encompasses different kinds of releases — singles, EPs, whatnot — but in terms of serving the band’s overarching progression, Jointhugger made a difficult choice markedly easier for me.
I won’t take away from the accomplishments of anyone on the list above — or the inevitable ones I forgot, either. Enslaved’s ever-outbound growth is worth a significant mention, and arrivals like Lurcher and Old Horn Tooth kept were undeniable. I’ll nod here too to Psychonaut/SÂVER and Ungraven/Slomatics’ split releases and that The Whims of the Great Magnet. And, and, and…
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Late Releases
Partially affected by the Covid-19 pandemic — like everybody’s everything — vinyl pressing delays meant that many albums have come out in the last month or two that were intended to be earlier. I tried to account for these in the lists above, but thinking about November and December specifically, records by Low Orbit, Spidergawd, Weedpecker, King Buffalo, Spaceslug, Bog Wizard, Raibard, Funeral, Temple Fang, Kadavar & Elder, and Wolftooth can’t be left out as part of the larger narrative of 2021 in music.
I can’t say I’ve listened to, as an example, Spidergawd, as much as to Greenleaf or any number of things that were released in the beginning of the year, but neither do I feel like the lack relative passage of time since something came out should be held against it, especially given the circumstances. As much as the ‘music industry’ shuts down at the end of any given year, 2021 seems to have plowed straight through to the finish.
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Live in the Mojave Desert
While we’re marking the highlights of 2021, it’s impossible not to note the continued proliferation of livestreaming as a (woefully inadequate but take what you can get) substitute experience for show-going and touring. In the case of director Ryan Jones’ Live in the Mojave Desert series, it was an opportunity to turn lemons into concert films of true measure, as well as live albums for Earthless, Stöner, Nebula, Spirit Mother and Mountain Tamer that held their own merit.
There have been a few noteworthy streams over the last year-plus issued in pay-per-view fashion, but in terms of the scale of the presentation, few have held a candle to what Live in the Mojave Desert accomplished — only Enslaved’s ‘Cinematic Tour’ comes close in my mind, and that’s a different animal entirely, ditto Roadburn Redux — or have managed to capture an atmosphere in the same way that not only gives a setting for the music, but adds to the experience of the viewer. It’s not just a show that otherwise would happen in a venue; it’s a show that would happen once in a lifetime.
Whatever context brings that about, it is something to celebrate.
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Looking Ahead to 2022
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I love looking forward to new music. I love it. In a spirit of anticipation and friendship and righteous tunes to come, here’s a list of bands who’ve either confirmed new stuff in the works or are recording or have preorders up or are subject to rampant speculation. In no order whatsoever:
Elder, Toad Venom, Torche, King Buffalo, High on Fire, El Perro, Yatra, Bevar Sea, Birth, Pia Isa, Colour Haze, JIRM, Samavayo, Tortuga, El Supremo, Ruby the Hatchet, MNRVA, Buss, White Ward, Dreadnought, Merlock, Gozu, Westing, Eric Wagner, Stöner, Blue Heron, All Souls, Arekin, 40 Watt Sun, Caustic Casanova, Deathwhite, Freedom Hawk, Hazemaze, Stoned Jesus, Mothership, Desert Storm, Poseidótica, Sasquatch, Conan, Seremonia, Långfinger, Wo Fat, Earthless, Dozer, Red Sun Atacama, REZN, No Man’s Valley, Ufomammut, Geezer, Messa, Clutch, Abronia, Somali Yacht Club, Sun Voyager, Atavismo, Some Pills for Ayala, Eight Bells, Stinking Lizaveta, Borracho, The Crooked Whispers, Naxatras, Rotor, Mos Generator, Big Scenic Nowhere, Righteous Fool, High Priest, High Priestess, Loop, Elliott’s Keep, Fostermother, Valley of the Sun, Boris, Deathbell, Siena Root, My Sleeping Karma, Firebreather, Matt Pike, Mythosphere, Crowbar, JIRM, Mount Saturn, Supersonic Blues, Wizzerd, 10,000 Years…
If any names are repeated there, consider it a sign that I’m looking forward to that record twice. And if you’ve got a name to add to that list, I’m all for it. As I said, I love looking forward to new music.
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Thank You
—
Well, I guess that’s it. I’m not anymore done with 2021 than it’s done with itself — some of the releases featured above have yet to be reviewed; looking at you, Spaceslug — and there’s always catching up to do. No coincidence January will feature the second part of the Quarterly Review that began this month.
But while I’ve got you, if I still do, I want to say thank you, thank you, thank you as always for your continued support of The Obelisk, this site, in the various ways it is shown, whether that’s liking a post, sharing a link, leaving a (hopefully kind) comment or buying some sweatpants. More than a decade after the fact, I cannot hope to tell you how much it means to me sitting here in front of my laptop to have that support and encouragement, day in and year out. Thank you. From the bottom of my heart and with ever fiber of my wretched being. Thank you.
[Click play above to stream Jointhugger’s Surrounded by Vultures in full. Album is out on Halloween on Majestic Mountain Records and can be preordered here.]
Earlier this year, Norwegian heavybringers released the single-song EP Reaper Season (review here) both as their first offering through Majestic Mountain Records and the quick-turnaround follow-up to their 2020 debut, I Am No One (review here). The message was clear: “Expect us.”
In the somehow-endless-but-actually-not-all-that-long stretch of time since I Am No One first surfaced, the band’s reputation for immersive riffery has grown significantly, even as they’ve been largely unable to perform live. With the five-song/42-minute Surrounded byVultures, guitarist/vocalist Nico Munkvold and bassist Tore Pedersen worked with no fewer than three drummers owing to a poorly timed studio mishap, with Daniel Theobald playing on “Midnight,” original drummer Øyvind Nordrum Brattås sitting in for “The Calm,” “Delysid Rex” and opener “In Dire Need of Fire Ch. 2,” and Munkvold himself on “Empty Space.” Tracks were recorded, then lost, and in the meantime, Theobald had left the band, eventually to be replaced by Saint Karloff‘s Adam Suleiman.
That Suleiman doesn’t appear on Surrounded by Vultures is telling in itself. Jointhugger, however they may moderate their tempos at times, are functioning with an expressive urgency. It is not a coincidence that they record live — Munkvold and Hrafn Helgason produced at Stone Bone Cross Studio, Haldor Grunberg at Satanic Audio mixed/mastered — and it is not happenstance that they come into their second full-length with momentum on their side. Their material rumbles and moves with deceptive purposefulness. That is to say, they sound languid, proffering lazy-hazy grooves with modern weedian largesse, but listen to the running guitar and shove in the second third of “Midnight” or the proggy buildup after six minutes into “In Dire Need of Fire Ch. 2” — an answer back to the leadoff from I Am No One and part of a reported trilogy; one hopes they record a special version of all three pieces together when the time comes — and the story becomes more complex. Likewise, “Empty Space” seems to trade out post-Monolord crush for Graveyard-style melancholic boogie, underscored still by Pedersen‘s righteous bass tone but patient as it moves through its shifts in volume and impact.
In the raw listening experience, it is easy enough to get lost in Surrounded by Vultures, to give over to the unifying nod that seems to pervade as one piece moves into the next despite the changes within and between. I’m not sure there’s anything wrong with that and I’m not sure it goes against the band’s intent that that should happen — there’s a clear desire to connect with an audience here, otherwise the songs wouldn’t feel so complete and they might’ve waited until the permanent drummer was settled in before re-recording parts — but it does somewhat negate the statement Jointhugger are making with the album, which is that as a band their interest is in more than just pummeling and bludgeoning those in their path with riff after riff. Surrounded by Vultures has plenty of riffs — if you’ve got a quota, don’t worry — but even in the outright fullness of “Delysid Rex,” which one assumes was titled in honor of Acid King, there’s nuance to be found in how the lead guitar and bass collide and join together for quick transitional runs (thinking around the six-minute mark) or just how prominent the bassline becomes as the central grounding element, building on what “Empty Space” prior seemed to establish as the tonal modus.
Moving from “In Dire Need of Fire Ch. 2” — which opens with some sparse ambient tones ahead of the entry of Munkvold‘s echoing guitar noodles; kudos to the band for not outright including vulture calls while still evoking them — through the easy-rolling first half of “Midnight” and into the surge that follows, there’s a dynamic being laid out that grows in concert with the unfolding of the album itself, such that even “Midnight”‘s downer lyrics can’t hold back the soaring of its bluesy, channel-switching solo, both of which use the lumbering behind as a foundation from which to push outward. That “Empty Space” serves as the centerpiece, moving that blues sensibility from the track prior to the forefront and setting wistfulness and sheer sonic heft against each other to a fascinating and effective degree, is also telling of Jointhugger‘s willful stylistic growth. They’re active in that process, from the songwriting and performance to Munkvold serving as co-producer.
Certainly Jointhugger, whether a duo or trio on any given song, aren’t the first to employ heavy blues as an aesthetic home base — see also: Black Sabbath — but in kind with an increased range in their craft, so too does the band’s performance feel more confident. This is particularly true of Munkvold‘s vocals, which come across as more comfortable expressing an emotional range and proffer memorable choruses in “Delysid Rex” and closer “The Calm,” which speeds up the shuffle of “Empty Space” to a more riotous point, what would otherwise be the stuff of vintage ’70s-ish heavy reborn in a more doomed context. “The Calm,” after feeling so unleashed, manages a return to its verse and chorus — again one hears Pedersen bringing that crucial heaviness to their sound — and departs from there once more, and the turns are smooth, the chemistry feels locked in, the final hits well earned and the residual feedback reminiscent of the stage before the amps are clicked off.
Surrounded byVultures, among its other achievements, creates a feeling of space that the band often leave at least partially open. This not only lets the ‘big’ parts sound bigger, but conveys an isolated perspective that gives the reverb/echoes that much more atmosphere, enhancing the mood and emotional heft if not always the superficial intensity of the moment. The message — to expect them — is largely unchanged from I Am No One and Reaper Season, but Surrounded by Vultures adds due complexity to that expectation. The advent of Jointhugger over the last year-plus has been a bright spot in a largely dark time. These songs find them continuing to move forward at their own pace toward yet-unknown ends. With Suleiman factored into the lineup for their next offering and more change inevitably in front of them, may their exploration persist unabated.
Crazy productive day on my end. You know how I know? It’s a week ago for me right now. That’s right. You’re reading this — or you’re not, in which case, meh — on Friday, Oct. 1, which is the air date for Ep. 69 of The Obelisk Show on Gimme Metal. For me though it’s Sept. 24. I just turned in the playlist and the voice tracks for this show, then set up the back ends for nearly this entire week’s worth of posts, including the complete Quarterly Review and the other premieres slated between its beginning and the day after it ends. That’s next art, links, quotes, embed, tags, etc. placed for a post not going live for another week and a half for me. Feeling pretty good about that.
So while I am and before the site invariably implodes as happens almost every time I feel good about anything, here’s the playlist for this show. And it just so happens I feel really good about this too. Rocks at the start, gets super-heavy, then trips out in the second hour. It’s my kind of jam. Weird, in other words. I very, very much hope you find something in here to dig. If you’ve been keeping up with the Quarterly Review, you’ll recognize some of this for sure. And again, if not, meh. Happy October. Fall is my favorite season.
Thanks for listening if you do and/or reading. I hope you enjoy.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.
Full playlist:
The Obelisk Show – 10.01.21
Erik Larson
The Heavies
Favorite Iron
Aiwass
Man as God
Wayward Gods
Temple Witch
Chaos and Order
Hand in Hand with Chaos
Cult Burial
Paralysed
Oblivion EP
The Answer Lies in the Black Void
Become Undone
Forlorn
VT
Forebode
Bane of Hammers
The Pit of Suffering
Enslaved
Caravans to the Outer Worlds
Caravans to the Outer Worlds
Jointhugger
Midnight
Surrounded by Vultures
Starless
Forest
Hope is Leaving You
Ivory Primarch
Aetherbeast
As All Life Burns
VT
Funeral for Two
La Muerte
II
Snake Mountain Revival
Satellite Ritual
Everything in Sight
Dark Bird
Undone
Out of Line
VT
3rd Ear Experience
What Are Their Names
Danny Frankel’s 3rd Ear Experience
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Oct. 15 (subject to change). Thanks for listening if you do.
Posted in Whathaveyou on September 17th, 2021 by JJ Koczan
Restored to trio status after bringing Adam Suleiman (also Saint Karloff) into their ranks, Norwegian crushers Jointhugger have announced they’ll break with Friday-release convention in order to put out their second long-player, Surrounded by Vultures, on Halloween, Sunday, Oct. 31. The new album follows behind earlier-2021’s single-song EP, Reaper Season (review here), and 2020’s impressive debut, I Am No One (review here), and will be their sophomore outing through Majestic Mountain Records, which also stood behind the EP in April. Preorders are up now if you’re the type to take care of that early. It’s payday after all.
There’s a song up now called “Midnight” and it’s streaming at the bottom of this post — you’ll also see Reaper Season down there — and I’d love to wax poetic about its heaviness and how well it bodes for the record to come, but frankly where I’m writing from right now there’s a lot of drilling happening so it’s going to have to wait until I’m next in the car. Life. Sometimes it involves light construction.
Still, the PR wire:
Nordic Doom Giants JOINTHUGGER Announce Second Release of the Year with SURROUNDED BY VULTURES
Surrounded by Vultures, the brand-new album by Jointhugger is released Sunday 31st October 2021 on Majestic Mountain Records
Having first come to the attention of Majestic Mountain Records following the release of their debut, I Am No One in 2020, an unhallowed union was quickly established to herald the arrival of not one, but two new records in 2021. The first, a sublime one-track EP – Reaper Season – was released to high praise earlier in the year, foreshadowing the arrival of their latest and most lethal entry into the annals of Nordic Doom; Surrounded by Vultures.
“Surrounded by Vultures is the second instalment in a trilogy of albums connected by correlating titles, united by their opening tracks,” explains Nico. “It’s a chronicle of Jointhugger’s journey as a band over the last ten years and our lives as people.”
Now counting drummer, Adam Suleiman (Saint Karloff), among its ranks, the band recorded the album live before handing over mixing and mastering duties to Haldor Grunberg at Satanic Audio. Featuring a curated selection of old and new tracks that offer a candid glimpse into the inner world of Jointhugger, ‘Midnight’; the first sprawling and cinematic single from the record reflects deeply on the chaos of existence and creation. Drawing a crushing heaviness and doom rock assault that lays waste to the turbulence of dominion.
TRACK LISTING: 1. In Dire Need of Fire Ch. 2 2. Midnight 3. Empty Space 4. Delysid Rex 5. The Calm
Surrounded By Vultures and was recorded live at Stone Bone Cross Studios in Norway in January 2021. Produced by Nico Munkvold and Hrafn Helgason. Mixed and Mastered by Haldor Grunberg at Satanic Audio. All music by Nico Munkvold.
Jointhugger: Nico Munkvold: Guitar/vocals Tore Pedersen: Bass Adam Suleiman: Drums
Posted in Whathaveyou on September 14th, 2021 by JJ Koczan
Do you want to dream with me for a while, or will it be too much of a downer? It’s okay. This one hits particularly bittersweet for me. I haven’t been to every Høstsabbat, but I’ve been to enough to see how the Oslo-based festival has grown and is growing, and the thought of not being there in a few weeks for this one is that much harder to take as the lineup is revealed today. Imagine the existential payoff of being engulfed in Mars Red Sky‘s melodic wash on the first night and obliterated by Conan the second, or seeing Greenleaf bring the blues of their latest album to life.
I’ve never seen Causa Sui. I’ve never seen Øresund Space Collective. These are bands I think and write about all the time. And newcomers like Slomosa, Jointhugger, Superlynx, Saint Karloff and Kryptograf, Hymn and Kite and Suncraft — these are some of the best up and coming acts the Norwegian heavy underground has to offer. Imagine being able to say you’ve seen Besvärjelsen. The thought of this happening and my not being there makes me genuinely sad.
It’s just a Fredag and a Lørdag, right? I could go! It could happen. It’s not a huge festival. I’ll mask up, of course… After a year and a half of so much bullshit, fear, sadness, ongoing, don’t I have to eventually just accept that this is what life is now and some things are worth the risk? That this is something I need to be the person I am? Who am I without live music?
And there you go. Bitter because I’m forced to reconcile myself to not seeing it. Sweet because I know in my heart these are good, passionate people who make this happen and because I believe in what they do, and even if I can’t/won’t be there to see it, it’s happening. I’m sorry to make this one about me. Really it’s about awesome bands and a righteous bill. If you’re going, enjoy. Live.
Full Høstsabbat 2021 lineup — though I’m hearing rumors about a Torsdag to-do as well — follows here:
HØSTSABBAT 2021 FULL LINE-UP ANNOUNCEMENT
In the spirit of optimistic caution and with safety precautions at the forefront of our minds, we step forward in preparation for our stages to resonate with the heavy once again! The riffs will rise from our home at Kulturkirken Jakob and our Norwegian stage at Verkstedet on Friday the 8th and Saturday the 9th of October.
Today we proudly release the full lineup and hope you are as excited as we are to come together again in celebration of the riff and all things heavy.
Daypasses and program will be out on Friday. Until then, get your festival ticket asap!
