SonicBlast Moledo 2018: Conan, Kadavar, Naxatras & Nebula Confirmed for Lineup

Posted in Whathaveyou on January 10th, 2018 by JJ Koczan

sonicblast moledo 2018 FIRSTBANNER

In the several years now that I’ve been keeping up with lineup announcements for the Portuguese SonicBlast Moledo festival, I don’t think I’ve ever encountered one that didn’t immediately set me to daydreaming about making the trip to the Iberian coastline to experience it for myself. It’s like a Pavlovian response at this point — drool and all. The first word from SonicBlast Moledo 2018 is, of course, no different, and as I sit in my dimly-lit Massachusetts kitchen with my hood up and three layers of pants on because I’m so god damned cold and cracks in my right-hand fingers so deep that it’s actually physically hurting me to type this sentence right now, August seems like the perfect time to go. Or, you know, tomorrow.

First four for SonicBlast Moledo 2018? Conan, Kadavar, Naxatras and Nebula. That’s just fun to say. Go ahead, give it a shot. Out loud.

Here’s details from the PR wire:

SONICBLAST MOLEDO 2018: Stoner Doom Psych Heavy

Sea Beach Camping Pool Surf Skate

With the dates settled for August 10th and 11th, the lineup of the eighth edition of SonicBlast Moledo starts to take shape with the first confirmations: Kadavar, Nebula, Conan and Naxatras!

Almost five years later after their debut at the third edition of SonicBlast Moledo and their exponential growth, Kadavar return to Portugal to show the best that is done within the Retro Rock world. Following their sudden cancellation on the last edition, the power trio present themselves with their newest work, entitled “Rough Times”, released by the label Nuclear Blast Records, which shows the group’s superiority to create masterpieces of 70’s influenced Hard Rock, always with the excellent capacity of incorporating new elements in their music.

Conceived by the guitarist Eddie Glass, after departing Fu Manchu, Nebula are considered, without any doubt, one of the great and more influential precursors of the Stoner Rock movement. Two decades after their formation and seven years after their indefinite hiatus, the desert legends reborn for their new space incarnation, prepared to rule any soul with their distinctive dose of energetic fuzz, frenetic feedbacks and lots of psychedelia.

Barbarians by the name and by the sound, the British Conan have been defined, for more than 10 years, as caveman battle Doom, marked by distorted devastating guitars, sepulchral voices, and instruments tuned always below the low. With their live shows, we can expect storms of dark and raw riffs, projected by overwhelming walls of sound and brutally slow tempos that put us into a monolithic hypnotism.

Although relatively young, the Greeks Naxatras have already conquered their captive place within the European underground rock. Moved by their fascinating and peaceful psychedelic, together with their nuances of dreamy Hard Rock, this power trio is distinguished by its bold touches of Jazz, Funk, Progressive or desert influences, surely providing a live trip essential to be experienced.

https://sonicblastmoledo.bol.pt/
https://www.facebook.com/SonicBlast-Moledo-242619262427066/
https://www.facebook.com/events/181938749070159/
https://sonicblastmoledo.wordpress.com/

Kadavar, Live in Vienna, Oct. 28, 2017

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The Top 20 of 2017 Year-End Poll — RESULTS!

Posted in Features on January 1st, 2018 by JJ Koczan

top-20-of-2017-year-end-poll-results

Happy New Year 2018! If you’re reading this, welcome to the future. Enjoy your flying car, free healthcare, universal income, matter replicators and life on that moon colony you moved to a couple years back — New Berlin, wasn’t it? Well, either way, I’m sure it’s lovely this season.

Way back in the Dark Ages, on Dec. 1, 2017, I put up The Obelisk’s annual Year-End Poll, looking for submissions from as many people as possible with their picks for what were the year’s best albums. The response was once again staggering. Over 400 lists came in — including my own, which I submitted yesterday — for a final tally of 419, and the amount of consensus that emerged from them was no less impressive.

We’ll get there in a second. First, a reminder about the point system. As ever, a 1-4 ranking is worth five points, 5-8 worth four, 9-12 worth three, 13-16 worth two and 17-20 worth one. So it doesn’t only matter that you included a record on your list — the raw votes are also tallied — but where it was included. That only seems fair in acknowledging how passionate people were about a given release.

You know the drill by now I’m sure, but it pays to be thorough. Below you’ll find both the weighted point tally and the raw votes results, followed by some quick honorable mentions, comment, etc. After the jump, you’ll find the complete list of everyone who submitted. If you’d like to check my math on anything, feel free. I’m by no means perfect when it comes to statistics or counting or any of that stuff involving those things that aren’t letters. Whatever they’re called.

Thanks to everyone who took part this year. Here are the lists:

Top 20 of 2017 — Weighted Results

elder reflections of a floating world adrian dexter

1. Elder, Reflections of a Floating World (888 points)
2. Monolord, Rust (397)
3. All Them Witches, Sleeping Through the War (346)
4. Pallbearer, Heartless (327)
5. Colour Haze, In Her Garden (284)
6. Mastodon, Emperor of Sand (256)
7. Bell Witch, Mirror Reaper (250)
8. The Obsessed, Sacred (248)
9. Sasquatch, Maneuvers (242)
10. Electric Wizard, Wizard Bloody Wizard (237)
11. Kadavar, Rough Times (236)
12. Samsara Blues Experiment, One with the Universe (225)
13. Ufomammut, 8 (205)
14. DVNE, Asheran (198)
15. Ruby the Hatchet, Planetary Space Child (189)
16. Woodhawk, Beyond the Sun (163)
17. Spaceslug, Time Travel Dilemma (158)
18. Causa Sui, Vibraciones Doradas (155)
19. Telekinetic Yeti, Abominable (150)
20. Motorpsycho, The Tower (149)

Honorable Mention:
Youngblood Supercult, The Great American Death Rattle (144)
Radio Moscow, New Beginnings (134)
Dopelord, Children of the Haze (132)
Chelsea Wolfe, Hiss Spun (129)
Mutoid Man, War Moans (123)

No real surprise here, but with the fact that Elder’s Reflections of a Floating World topped 880 points and got more than twice as much as the next closest record, it’s hard to begrudge 2017 some measure of predictability. For what it’s worth, that’s an even stronger showing than their Lore LP got in 2015, and they took the lead on day one and did not relinquish it for the duration. Outside of them and Monolord, who held command of the number two spot for the entire month, there was some measure of parity, but it was clear where hearts and minds were situated in 2017, and certainly difficult to argue with the picks on the whole, regardless of where a given individual ranked one album or the other. Looking at that list of 20-plus, especially with the honorable mentions, I’d sign up for that year every time. It was a good one. Now then…

Top 20 of 2017 — Raw Votes

elder reflections of a floating world adrian dexter

1. Elder, Reflections of a Floating World (207 votes)
2. Monolord, Rust (110)
3. Pallbearer, Heartless (94)
4. All Them Witches, Sleeping Through the War (88)
5. Kadavar, Rough Times (77)
6. Electric Wizard, Wizard Bloody Wizard (75)
7. Colour Haze, In Her Garden (74)
8. Mastodon, Emperor of Sand (72)
9. The Obsessed, Sacred (71)
10 Sasquatch, Maneuvers (70)
11. Ufomammut, 8 (67)
12. Bell Witch, Mirror Reaper (64)
13. Ruby the Hatchet, Planetary Space Child (60)
14. Samsara Blues Experiment, One with the Universe (59)
15. Woodhawk, Beyond the Sun (54)
16. DVNE, Asheran (53)
17. Telekinetic Yeti, Abominable (48)
18. Causa Sui, Vibraciones Doradas (47)
19. Radio Moscow, New Beginnings (45)
19. Spaceslug, Time Travel Dilemma (45)
20. Dopelord, Children of the Haze (43)
20. Mothership, High Strangeness (43)

Honorable Mention:
Youngblood Supercult, The Great American Death Rattle (40)
Chelsea Wolfe, Hiss Spun (37)
The Atomic Bitchwax, Force Field (34)
Beastmaker, Inside the Skull (34)
Motorpsycho, The Tower (33)
Mutoid Man, War Moans (32)

Even less surprising given the above. 207 people of the 419 who submitted lists included Elder somewhere on theirs. It’s pretty hard to get about 50 percent of anyone to agree on anything these days, so I consider that no minor feat. Again, Reflections of a Floating World earned its place, and it was a pretty astounding achievement for the band and the genre they’re working to remake in their own image. A couple minor shifts between the raw tallies and the weighted results as there always are, but again, the underlying point here is that 2017 was a pretty killer year all the way around and across a deep variety of styles, the quality of work being put forth by veterans and newcomers alike was nothing short of excellent.

Before I turn you over to the massive swath of everybody’s lists, I just want to say thanks again to Slevin for being so instrumental in setting up the technical end of this poll. It’s amazing year after year to be able to basically at this point flip a switch and have it all set to go and there’s no way that would happen without Slevin working so hard behind the scenes to put the structure in place that holds this project, the entire site, together. Thanks dude.

And thank you for reading and contributing your favorites of 2017! This is the last of the 2017 Year-End coverage for The Obelisk. If you missed any of it, go here:

The Top 30 Albums of 2017

The Top 20 Short Releases of 2017

The Top 20 Debut Albums of 2017

2017 Song of the Year

12 of 2017’s Best Album Covers

One more time, thank you for reading. After the jump, please find the raw lists of everyone who took the time to turn one in. Enjoy:

Read more »

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The Obelisk Presents: THE TOP 30 ALBUMS OF 2017

Posted in Features on December 28th, 2017 by JJ Koczan

top-30-of-2017

Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2017 to that, please do.

We’re almost at the finish line for 2017, and if I’m honest, it’s not a minute too soon. I think if one more record comes out this year my head is going to explode.

A perpetual onslaught of cool music is, of course, nothing to complain about. It just seemed like every time I thought I had a handle on where the year was going, some other announcement came through and knocked me on my ass. What’s that? The Obsessed are putting out their first album in more than two decades? Oh and Monolord have a new one coming? Radio Moscow just signed to Century Media? Arc of Ascent are back? Samsara Blues Experiment are back? Causa Sui are putting out a live album and a studio album? Sasquatch are going to Europe and sneaking a record along with them? All of a sudden I’m out of breath feeling like I just ran a lap.

It’s been madness this year. Between an emergent neo-psych movement in the wake of King Gizzard and the Lizard Wizard and others, and the ongoing and constant reshaping of doom and heavy rock from practitioners new and old, I don’t know how anyone could ever claim to keep up with any of it.

You know I do the best I can, so when you look through this list, please keep in mind that these are my picks and the result of applying my own standard, which if you’ve ever seen a list on this site before you probably already know is a combination of things like what I view as being important on a critical level and things like what kept me coming back as a listener. What were the year’s biggest releases and what couldn’t I get enough of? Sometimes those two things come together around one record and it’s beautiful. That’s usually your album of the year, or close to, anyhow.

No sense in delaying further. I hope if you haven’t heard some of this stuff you’ll give it a shot, and if you have something you felt strongly about it, you’ll let me know in the comments. Thanks in advance for keeping it civil, and of course for reading.

Here goes:

30. Geezer, Psychoriffadelia
geezer psychoriffadelia

Released by Kozmik Artifactz and STB Records. Reviewed May 16.

Coming off of what was their strongest album to-date in their 2016 self-titled (review here), New York heavy psych blues trio Geezer decided it was time to take the groove for a walk. And so they did. Psychoriffadelia is the result — a looser collection of jams and willfully unrefined heavy blues, reveling in the politically incorrect on “Dirty Penny” only after basking in the post-Monster Magnet hypnosis of “Red Hook” and the earlier roll of the more straightforward “Hair of the Dog” and “Stressknots.” Everything Geezer has done to this point has pushed their sound to new places. Psychoriffadelia is no exception.

29. Orango, The Mules of Nana

orango the mules of nana

Released by Stickman Records. Reviewed March 27.

More than a touch of twang on opener “Heartland” sets a tone of Americana-infusion for Orango‘s sixth LP, The Mules of Nana, but the 10-tracker is ultimately much more about harmony-laced classic heavy smoothness than playing to prairie-minded sensibilities, though roots spread wide through a natural, dirty blues just the same. However they get there, “Hazy Chain of Mountains,” the softshoe-ready funk of “Head on Down” and the peacefully progressive finish of “Ghost Rider” bring ’70s-style thrills in songwriting and their precise, gorgeous execution. Underrated record from an underappreciated band.

28. Radio Moscow, New Beginnings

radio moscow new beginnings

Released by Century Media. Reviewed Oct. 6.

Cali boogie kingpins and all-around marvelous frenetic bastards Radio Moscow were in top form on their Century Media debut, and if it was a new beginning they were searching for, they met it head on with a sound as classic and organic as ever. Arguably the most powerful power trio in their game, they tore through cuts like “No One Knows Where They’ve Been” and “Deceiver” while offering flourish in the trip-out “Woodrose Morning” and subdued blues-psych on the penultimate “Pick up the Pieces.” Very much to form, but cast of a form that still manages to outclass all challengers.

27. Spaceslug, Time Travel Dilemma

spaceslug time travel dilemma

Released by Southcave Records, BSFD Records and Oak Island Records. Reviewed Feb. 10.

And so here we have the first of what will no doubt be several records about which I’m going to say they should be higher on the list. Poland’s Spaceslug have emerged from the moist ground created by their own tonality and on their sophomore full-length, they proffered warm depth of fuzz and a corresponding melodic and psychedelic reach that was resonant even before they brought in ex-Sungrazer bassist Sander Haagmans for a guest spot on the title-track. It’s been out for 10 months and still delivers every time I put it on, which is often.

26. Mothership, High Strangeness

mothership high strangeness
Released by Ripple Music and Heavy Psych Sounds. Reviewed March 7.

Three albums into a tenure marked by hard-driving riffs, scorching solos and relentless road work, there’s little Texas trio Mothership need to do at this point to prove themselves to their audience. At the same time, High Strangeness brought considerable expansion to their range overall, whether it was the exploratory “Eternal Trip” or the semi-metallic insistence behind “Midnight Express,” while staying tied together with lyrical and instrumental hooks. High Strangeness set a new standard for Mothership, plain and simple, and easily surpassed the considerable accomplishments of their 2012 self-titled debut (review here) and 2014’s Mothership II (review here).

25. Eternal Black, Bleed the Days

eternal black bleed the days

Released by Obsidian Sky Records. Reviewed Aug. 1.

There was a lot about Eternal Black‘s Bleed the Days that chugged its way into the post-Wino oeuvre of US-style trad doom, but the gruff, lumbering and impeccably riffed outing was nonetheless one of 2017’s best debut full-lengths, and it was the songwriting that got it there. Already sounding sure in the vibe captured, cuts like the plodding brooder “Sea of Graves” and “Stained Eyes on a Setting Sun” showed potential in mood and atmosphere as much as sheer sonic heft — though of course there was plenty of that to go around as well. Doomers missed it at their peril.

24. Kadavar, Rough Times

kadavar rough times

Released by Nuclear Blast. Reviewed Sept. 6.

It kind of feels like a slight to have Berlin trio Kadavar appear anywhere outside of at least a top 10 on any kind of list whatsoever, ever, but that’s not my intention at all. Rather, their fourth album and third for Nuclear Blast found them at an important stage in their progression — past the novelty of the vintage feel in their early work, after having proven their songwriting could translate to a modern context, and embarking on a process of expanding their sound. Rough Times, which was as current as current could be, met that goal and beat it easily with a barrage of memorable choruses and a dark streak one could only consider suitable for our age.

23. Shroud Eater, Strike the Sun

shroud eater strike the sun

Released by STB Records. Reviewed June 28.

The biggest surprise about Shroud Eater‘s long-awaited sophomore long-player was also its most encouraging aspect — namely how it found the Miami trio bringing together various impulses shown on a number of shorter releases over the course of the six years since their debut, ThunderNoise (review here), came out in 2011, and still managed to utterly crush when it so chose. With a swath from sludge to drone and back again, this was no minor feat, and that the songs they brought to bear were so memorable at their heart as well makes me hope all the more it’s not 2023 before their third album arrives.

22. Enslaved, E

enslaved e

Released by Nuclear Blast. Reviewed Oct. 4.

What’s left to say about Norwegian progressive black metal innovators Enslaved 14 records into their career? Plenty as it turns out. The introduction of new keyboardist/vocalist Håkon Vinje in place of Herbrand Larsen brought a new twist on a signature element of Enslaved‘s approach. Vinje utterly owned his role, and his performance alongside guitarist Ivar Bjørnson, bassist/vocalist Grutle Kjellson, guitarist Arve “Ice Dale” Isdal and drummer Cato Bekkevold resulted in a fresh urgency that made the band’s sound even more potent and set their ongoing creative evolution on a new branch of its self-directed path.

21. Arc of Ascent, Realms of the Metaphysical

arc-of-ascent-realms-of-the-metaphysical

Released by Astral Projection and Clostridium Records. Reviewed April 6.

Some five years on from 2012’s The Higher Key (review here) and seven out from their debut, Circle of the Sun (review here), and with bassist/vocalist Craig Williamson firmly entrenched in his always excellent Lamp of the Universe psych-drone-folk solo-project, I wasn’t sure there would be another offering from New Zealand heavy psych-rock trio Arc of Ascent, but Realms of the Metaphysical took shape from an ether of riffs and echoes atop resilient underlying structures and revitalized the group with new drummer Mark McGeady in the lineup with Williamson and guitarist Matt Cole-Baker. Remains to be seen if this marks a priority shift for Williamson or it’s a one-off, but its arrival was welcome either way.

20. Causa Sui, Vibraciones Doradas

causa sui vibraciones doradas

Released by El Paraiso Records. Reviewed Oct. 20.

With the various glories already offered in 2017 on the Live in Copenhagen (review here) 3LP, one didn’t necessarily expect a new studio outing from Danish instrumental psych masters Causa Sui, but Vibraciones Doradas found them as vibrant as ever, bringing forth a surprising amount of tonal weight on songs like “El Fuego,” warm fuzz for the basking on opener “The Drop” and spaciousness on the closing title-track. Somewhat more straight-ahead in its rocking groove than 2016’s Return to Sky (review here), the five-track/38-minute long-player showed yet again why Causa Sui are always welcome and that any news of a new release from them, live, studio, whatever, is good news. This was the kind of record that could make your day if you let it.

19. Telekinetic Yeti, Abominable

telekinetic yeti abominable

Released by Sump Pump Records. Reviewed April 10.

The Iowa-based duo of guitarist/vocalist Alex Baumann and drummer Anthony Dreyer, operating as Telekinetic Yeti, released what I considered to be the debut of the year, both for the fullness of its tonality and the accomplishment in songcraft it already showed. Powered by cuts like its lumbering title-track and the gloriously fuzzed runner “Stoned and Feathered,” it could’ve been another band’s second or third record for the level of cohesion on display and the obvious awareness on the part of the band of what they wanted to do with their sound and the just-as-obvious result of their bringing it to life.

18. Cloud Catcher, Trails of Kozmic Dust

cloud catcher trails of kozmic dust

Released by Totem Cat Records. Reviewed Dec. 9, 2016.

While I admit I’m still not 100 percent certain on whether to spell “kozmic” in the title with a ‘k’ or with a ‘c’ on the end, that question did nothing ultimately to diminish enjoyment of Denver emergents Cloud Catcher‘s sophomore outing. Topped off by one of the best album covers of the year, the follow-up to their 2015 debut, Enlightened Beyond Existence (discussed here), took the progressive casting of that record to a place entirely more raw and rock-driven, willfully roughing up the edges even as it showed marked creative growth on a relatively quick turnaround. The must-hear bass tone of “Beyond the Electric Sun” and “Super Acid Magick” was icing on a cake of choice riffing and Hendrixian lead swirl, and the shuffle they elicited was enough to make even the most stubborn of asses (i.e. mine) think about moving.

17. Ruby the Hatchet, Planetary Space Child

ruby the hatchet planetary space child

Released by Tee Pee Records. Reviewed Aug. 29.

After the neo-garage manifestations of their 2015 sophomore outing, Valley of the Snake (review here), it was clear Philly psych rockers Ruby the Hatchet were a force when it came to songwriting. What was less obvious was what they’d do with that going forward. On Planetary Space Child, at least, the answer is they’ll take it to Freaktown. The melody-happy, organ-laced swirlmasters conjured presence kosmiche enough to justify the album’s title, and around the cast-in-moon-rock structures of the swinging “Pagan Ritual” and the playfully doomed “Symphony of the Night,” Ruby the Hatchet built a multifaceted weirdoist triumph the likes of which simply doesn’t come along every year, establishing themselves as more reliable and less predictable than ever: an absolute win.

16. Alunah, Solennial

alunah solennial

Released by Svart Records. Reviewed March 1.

It’s been the case more or less all along with UK forest rockers Alunah that their nature-minded material and heavy rolling grooves have had their haunting aspects, but with the production of Conan‘s Chris Fielding behind it, Solennial — their fourth LP and first on Svart — brought this to new levels entirely. The songs, memorable like footprints in the woods, are somewhat bittersweet in context now, since founding guitarist/vocalist Sophie Day announced in September she was leaving the band, but as the group will move forward led by guitarist Dave Day and recently acquired new singer Siân Greenaway, intrigue remains high at what the future might bring and the impact of Solennial is undiminished.

15. Mindkult, Lucifer’s Dream

mindkult-lucifers-dream

Released by Transcending Obscurity Records and Caligari Records.

Virginia-based doomgazing garage cult solo-project Mindkult has thus far managed to keep some of the mystique around its sole inhabitant, Fowst, which is admirable in a way. As the multi-instrmentalist, vocalist and producer this year answered the promise of last year’s Witch’s Oath (review here) debut, he did so around a swath of purposeful miseries, loose devil worship and other dark thematics, casting an atmospheric darkness matched head-on by the tonal murk of his riffs. Through this, however, the songwriting was no less memorable than on the first offering, and as the project moves forward, one can only hope that Fowst will continue to use that as the core aspect buried six feet under his other, formidable stylistic achievements. That certainly was how it worked out on Lucifer’s Dream.

14. Argus, From Fields of Fire

argus from fields of fire
Released by Cruz del Sur Music. Reviewed Sept. 1.

Behold ye perhaps the most underrated band in heavy metal. Regardless of subgenre, style, strata, whatever, it’s hard to listen to From Fields of Fire and think of Pittsburgh’s Argus as anything else. The five-piece’s fourth album continued to owe part of its sound to doom, but was much more encompassing than simply that, touching on aspects of classic metal with a command that left one wondering how they hadn’t yet been tapped to open for Judas Priest on that band’s next tour. Victory abounds on a per-song basis throughout the nine-tracker, and whether it was the emotional crux of “Hour of Longing” or the catchy fistpump righteousness of “Devils of Your Time” or the 11-minute progressive reach of “Infinite Lives/Infinite Doors,” Argus once again crafted a work nigh-unmatched in poise and class.

13. Uffe Lorenzen, Galmandsværk

Uffe-Lorenzen-Galmandsvaerk

Released by Bad Afro Records. Reviewed Nov. 6.

For the first outing ever to be issued under his real name, Denmark’s Uffe Lorenzen — aka Lorenzo Woodrose of garage-psych pioneers Baby Woodrose — danced between acid folk singer-songwriterisms like “Flippertøs” and more expansive jamming on “På Kanten Af Verden,” all the while retaining his distinct structural and arrangement sensibilities and creating a flowing vibe that was nothing less than a pure joy of classic-form psychedelia. The most serene and pastoral freakout one was likely to witness in 2017, easily, Galmandsværk resounded in the Mellotron-laced “Høj Som Et Højhus” and was no less at home in the acoustic spaciousness of the earlier “Remits Tyranni,” able to wander where it pleased and find steady ground in molten surroundings.

12. The Flying Eyes, Burning of the Season

the flying eyes burning of the season

Released by Ripple Music. Reviewed Oct. 11.

A welcome return from a viciously underappreciated band, The Flying EyesBurning of the Season marked the Baltimore four-piece’s first offering for Ripple Music and first since 2013’s Lowlands (review here), a four-year stretch during which the band kept busy touring Europe and South America, the latter also being where they recorded these songs with Gabriel Zander at Estudio Superfuzz in Brazil. The tonal depth resulting from that process was enough to make the collection a highlight, but it was the songs themselves that most stood out, benefiting from the band’s expanded reach and legitimate, hard-won maturity. Especially for a group who’ve done so much work on the road over their years — to be fair, the US has been pretty low priority in that regard — they remain a secret kept too well.

11. Bell Witch, Mirror Reaper

bell witch mirror reaper

Released by Profound Lore. Reviewed Dec. 27.

Doomed extremity simply unmatched in its scope. The song of the year for 2017. An accomplishment the likes of which is prone to happen maybe once or twice in a generation. None of this seems to really speak to the entirety of the achievement that is Bell Witch‘s Mirror Reaper — the single-song, 83-minute full-length issued by the Seattle duo like a challenge in the face of mortality itself. Beautiful, devastating and weighted like the grave, its sprawl utterly consumed the listener, and I firmly believe it will be years before its depths are fully processed. Some offerings are bigger than the year in which they’re released. Mirror Reaper would seem to function on a scale of its own, and though it could easily be read as a litmus test for audience punishment, the truth of the listening experience is both more emotionally complex and more fulfilling than simple hyperbole can capture.

10. Monolord, Rust

monolord rust

Released by RidingEasy Records. Reviewed Oct. 26.

The story all along with Gothenburg’s Monolord has been tone. Tone tone tone. Crush crush crush. Riffs riffs riffs. Nothing wrong with any of that, but their third album, Rust, proves once and for all that there’s more to the trio than “cool riffs bro” and post-Electric Wizard nod. Catchy cuts like “Dear Lucifer” and rolling opener “Where Death Meets the Sea” brought a sense of space leading to the later sprawl of “Forgotten Lands” and “At Niceae,” and the band settled into an individualized, lumbering psychedelia that moved forward from 2015’s Vænir (review here), not leaving behind the heft that earned them their reputation, but not at all being limited by it either in scope or overall approach. Three records in, Rust brought forth Monolord‘s greatest sonic expansion yet and gave rise to the feeling that their true potential was just starting to come to fruition. Also, crush crush crush. Cool riffs, bro.

9. Vokonis, The Sunken Djinn

vokonis-the-sunken-djinn

Released by Ripple Music. Reviewed June 5.

The Sunken Djinn is Vokonis‘ second full-length in as many years, and in addition to serving as their Ripple debut where 2016’s Olde One Ascending (review here) landed via Ozium Records, it was a feast for hungry riff hounds. In defiance of its quick turnaround, it showed a firm evolution taking place within the upstart Swedish trio of guitarist/vocalist Simon Ohlsson, bassist/backing vocalist Jonte Johansson and drummer Emil Larsson, whose range overall was greater in tracks like “Rapturous” and the torrential “Blood Vortex” while nonetheless controlled in its delivery. Their Sleep-y origins still a factor sound-wise, Vokonis were able just the same to push themselves ahead into new sonic ground in fittingly lumbering fashion, and the character they brought to “The Sunken Djinn,” “Calling from the Core” and the noise-caked “Maelstroem” seemed to speak to a burgeoning sense of atmospheric focus taking hold as well. Still so much potential here.

8. Electric Moon, Stardust Rituals

electric moon stardust rituals

Released by Sulatron Records. Reviewed April 7.

Do I even need to remotely justify having Electric Moon‘s first studio album in six years on this list? Was it not just like a love-letter issued by the cosmos itself? What more explanation could possibly be necessary? Not that the German trio haven’t dropped copious, glorious live outings all the while, but to have Dave “Sula Bassana” Schmidt, “Komet Lulu” Neudeck and Marcus Schnitzler follow-up 2011’s The Doomsday Machine (review here) with four cuts culminating in the 22-minute sprawl of “(You Will) Live Forever Now” was high on the list of the year’s most satisfying psychedelic journeys. Constantly exploring, their methods always seem geared toward finding the molten essence of space rock itself, and though the songs on Stardust Rituals were a little more crafted than some of their straight-up improv jams, they nonetheless showed there are many avenues one might take to get to the heart of the sun.

7. Sun Blood Stories, It Runs Around the Room with Us

sun-blood-stories-it-runs-around-the-room-with-us

Self-released. Reviewed May 1.

This one is personal, and by that I mean I love this fucking band. Similar to my experience with their 2015 sophomore outing, Twilight Midnight Morning (review here), the third record by Boise-based trio of Ben Kirby (vocals, guitar, synth, percussion), Amber Pollard (vocals, guitar, theremin, percussion) and Jon Fust (drums, keys, percussion, noise) was one that I simply could not put down. Even now, seeing the name of the record is all I need to have songs like “The Great Destroyer” and the immersive midsection in “Come Like Rain” and “Time Like Smoke” stuck in my head, let alone the ultra-brazen, searingly-pissed “Burn” noise assault that finished the album and in the span of 90 seconds turned all the psychedelic warmth and serenity on its face with a visceral anger completely unforeseen and jarring, turning it from a depth-laden execution of adventurous neo-psych and indie into a project of conceptual artistry with all the efficiency of the chemical reaction it sought to portray. If you missed it, your loss.

6. The Atomic Bitchwax, Force Field

the-atomic-bitchwax-force-field

Released by Tee Pee Records. Reviewed Dec. 7.

Songs like “Alaskan Thunder Fuck,” “Humble Brag” and “Earth Shaker (Which Doobie U Be?)” assured that the defining character of Force Field, the sixth album from New Jersey’s The Atomic Bitchwax, was pure scorch. That made the 12-cut outing a more than worthy follow-up for 2015’s  Gravitron (review here), which introduced this more speed-rock-minded, aggressive delivery from the tight-as-nails trio, and while they proved they could still lock in a slower groove on the organ-topped finisher “Liv a Little,” head-spinners like the instrumental “Fried, Dyed and Layin’ to the Side” and “Houndstooth” came across like the fruit of the band pushing themselves to the limits of their physical ability in terms of tempo, and their ride along the edge of that line brought thrills at every turn. And make no mistake, there were a lot of turns. Fortunately, bassist/vocalist Chris Kosnik, guitarist/vocalist Finn Ryan and drummer Bob Pantella seemingly had a corresponding hook in their pocket for each one of them. This band is a national treasure.

5. Atavismo, Inerte

atavismo inerte

Released by Temple of Torturous. Reviewed Feb. 21.

Warm, fuzzy tones, rhythmic shifts right out of classic progressive rock, melodic intricacy and periodic excursions into glorious psychedelic drift: I’m not sure what wasn’t to like about Inerte, Atavismo‘s second full-length behind 2014’s Desintegración (review here). Comprising five tracks of unmistakable flow and jam-laden fluidity, it was immersive with landmarks along the way to keep the listener from getting too lost, and whether or not one spoke Spanish, the three-piece of Jose “Poti” Moreno (ex-Viaje a 800Mind!), bassist/vocalist Mateo and drummer/vocalist Sandri Pow (also ex-Mind!) made it easy to follow along their purposefully meandering path, offering guidance no less skillful on the 11-minute fuzz-freaker “El Sueño” than the dream-toned linear build of “Belleza Cuatro.” There were very, very few albums I listened to more this year than this one, which is precisely why it is where it is on this list.

4. Samsara Blues Experiment, One with the Universe

samsara-blues-experiment-one-with-the-universe

Released by Electric Magic Records and Abraxas Records. Reviewed May 4.

Four years between records isn’t at all an unheard of stretch. It’s not the longest on this list by any means. But with Berlin heavy psych rockers Samsara Blues Experiment, it really seemed like the band was done, so to have them come back with such force on One with the Universe was, as I know I said at several points throughout the last 12 months, one of the year’s total highlights. Tracked by former bassist Richard Behrens, the group’s fourth album answered the extended-track spread of 2013’s Waiting for the Flood (review here) with a deeper sense of sonic variety, and while the 15-minute title-cut and opener “Vispassana” still had plenty of room for jamming out and even six-minute centerpiece “Glorious Daze” found room for some flourish of organ and sitar, guitarist/vocalist Christian Peters, drummer Thomas Vedder and bassist Hans Eiselt rightly featured the chemistry they’ve built as a trio live and brought to the songs a renewed sense of vigor, sounding — and hopefully being — truly inspired. Waiting for the Flood capped a period of marked productivity across several years. Fingers crossed One with the Universe begins that cycle anew.

3. Elder, Reflections of a Floating World

Elder-Reflections-of-a-Floating-World

Released by Armageddon Shop and Stickman Records. Reviewed May 23.

You just can’t consider Elder‘s Reflections of a Floating World outside the context of the progressive achievement that was their prior outing, 2015’s Lore (review here). Where the trio — based now between Massachusetts and Berlin, Germany — took their first two outings, 2008’s self-titled debut (discussed here) and 2011’s Dead Roots Stirring (review here), to find their sound, which they began to showcase on the 2012 Spires Burn/Release EP (review here), it was Lore that brought to fruition the potential that had always been waiting to be unleashed by the trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto, and Reflections of a Floating World had the daunting task of being the next further step from that landmark moment. To say the band rose to the occasion is perhaps to undersell the cohesion at work in consuming-but-cohesive pieces like opener “Sanctuary” or “Blind” or “Staving off the Truth,” which brought together clear-headed psychedelia around a wash that seemed to stem as much from rhythm as melody. As they’ve matured stylistically and become a major touring presence, Elder have made themselves perhaps the most pivotal American heavy rock act going, and Reflections of a Floating World brings them to the discovery of yet another apex while at the same time giving zero indication it will be the last one they find.

2. Colour Haze, In Her Garden

colour haze in her garden

Released by Elektrohasch Schallplatten. Reviewed March 9.

Of course, the bonus of writing about Colour Haze in just about any context is that you get to put Colour Haze on while you’re doing it, and in the case of the 12th LP from these Munich heavy psych forebears, that’s an even more appealing prospect. After stripping down some of the arrangement flourish with 2014’s To the Highest Gods We Know (review here), the 13-track/73-minute 2LP In Her Garden brought a revitalized sonic expansion, but as ever, it wasn’t just the horns or the strings or the blend of keys and acoustics that made In Her Garden the unbridled joy that it was and continues to be — it was the underlying performance from guitarist/vocalist Stefan Koglek, bassist Philipp Rasthofer and drummer Manfred Merwald that gave the album the stem on which its garden grew. That’s not to say Jan Faszbender‘s work on modular synth, Rhodes, and Hammond or the arrangements of strings, tuba, bass-clarinet and trombone throughout hurt anything, just that as Colour Haze have grown into incorporating these elements into their groundbreaking aesthetic, they haven’t left behind the organic chemistry and necessary live feel that has helped them influence a generation of followers over their more than 20-year career. One came through as much as the other on In Her Garden, and that balance gave the overarching warmth of their self-recorded tonality yet another level on which to engage their audience. I’ll be a sucker for Colour Haze for as long as I live, and I have absolutely no problem admitting to and owning that.

1. All Them Witches, Sleeping Through the War

all them witches sleeping through the war

Released by New West Records. Reviewed Jan. 27.

It was clear early on that Nashville four-piece All Them Witches were contending hard for Album of the Year with Sleeping Through the War, their fourth long-player and second for New West following the mellow vibes of 2015’s Dying Surfer Meets His Maker (review here). What finally sealed it? The songs. Working with producer Dave Cobb, the each-member-essential lineup of bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, key-specialist Allan van Cleave (Rhodes, Mellotron, piano, organ, etc.) and drummer/graphic artist Robby Staebler solidified their approach in exciting new ways on early cuts like the grunge-crunching “Don’t Bring Me Coffee” and the shuffling “Bruce Lee,” which hit in succession following the fluid lead-in of opener “Bulls,” an introduction of the organic psychedelia and heavy blues that the loose-swinging of “3-5-7″‘s nigh-on-gospel chorus and subsequent, almost maddeningly catchy “Am I Going Up?” would continue to push outward, thereby setting a linear course into a consciousness-capturing side B with “Alabaster” and the jammier “Cowboy Kirk” and “Internet” playing between melodic nuance and mindful, go-with-it drift. The unflinching strength of the material was matched perhaps only by the understatement of its delivery, which was the more staggering considering how easily the arrangements of background vocals on “Am I Going Up?” or  “3-5-7” could have come through as overblown or self-indulgent, and by the time they got down to the light weirdo-bluesy stomp of “Internet” — the key lyric and hook being, “Guess I’ll go live on the internet” — there was no doubting the genuine nature of the realization Sleeping Through the War represented for All Them Witches. Coupling that feeling of achievement with the sheer repeatability of the listening experience itself left no doubt that 2017 belonged to these tracks and the marvelous way the band wove between them, and that whatever other sounds All Them Witches may go on to explore and whatever else they may accomplish as a result, Sleeping Through the War was a truly special moment in their evolution that, as with the best of offerings in any year, will continue to resonate long after the calendar page has turned.

The Next 20

You know, I used to feel like once you got past a top 20, the numbers were arbitrary. Then I felt that way about the top 30. This year, I think I agonized more about what to include in numbers 31-50 than I did between 30 and the album of the year. Put that in your “go figure” file while you chew on these picks:

31. Cities of Mars, Temporal Rifts
32. The Midnight Ghost Train, Cypress Ave.
33. Snowy Dunes, Atlantis
34. Rozamov, This Mortal Road
35. PH, Eternal Hayden
36. Sasquatch, Maneuvers
37. Young Hunter, Dayhiker
38. The Devil and the Almighty Blues, II
39. Ufomammut, 8
40. John Garcia, The Coyote Who Spoke in Tongues
41. Paradise Lost, Medusa
42. Beastmaker, Inside the Skull
43. Arduini / Balich, Dawn of Ages
44. Primitive Man, Caustic
45. Motorpsycho, The Tower
46. Arbouretum, Song of the Rose
47. Hymn, Perish
48. Youngblood Supercult, The Great American Death Rattle
49. Pallbearer, Heartless
50. Dool, Here Now There Then

There’s so, so much good stuff here. So much. The Cities of Mars debut was a treasure and the only reason it wasn’t on my top debuts list was because I haven’t had the chance to go back in and put it on. The Young Hunter record? Some of their best work yet. Hell, that Arduini / Balich album alone! Then you’ve got huge releases by Pallbearer, Ufomammut, Paradise Lost, Primitive Man, on and on. Like I said at the outset, one more album and my head was gonna explode this year. Way too much to ever hope to keep up with. One thing though I felt like I really wanted to emphasize including was Dool. They’re in the last spot, but make no mistake, in atmosphere and songwriting that album was something really special and loaded with potential. It’s not there because it came in last. It’s there to highlight the point of how much it should be on this list.

What’s that? More records? Okay…

Honorable Mentions

In case you also weren’t completely overwhelmed this year, maybe another batch of records will do the trick. Here’s some presented alphabetically:

Anathema, The Optimist
Blackfinger, When Colors Fade Away
Child, Blueside
Cortez, The Depths Below
Demon Eye, Prophecies and Lies
Elbrus, Elbrus
Electric Wizard, Wizard Bloody Wizard
Ecstatic Vision, Raw Rock Fury
Five Horse Johnson, Jake Leg Boogie
Mirror Queen, Verdigris
The Obsessed, Sacred
T.G. Olson, Foothills Before the Mountain
Outsideinside, Sniff a Hot Rock
Queens of the Stone Age, Villains
Siena Root, A Dream of Lasting Peace
Six Organs of Admittance, Burning the Threshold
Steak, No God to Save
Summoner, Beyond the Realm of Light
Valborg, Endstrand
With the Dead, Love from With the Dead

Plus: Abronia, Lewis and the Strange Magics, Iron Monkey, Band of Spice, Puta Volcano, Galley Beggar, Heavy Traffic, Coltsblood, REZN, Green Meteor, Demon Head, Lord, Grigax, The Raynbow, Carpet, Norska, Les Lekin, Slow, Ixion, and I’m sure more that I’ll add as the names continue to pop into my head.

I did this back in June as well, but I also want to draw attention to a swath of quality live albums that came out this year. The top pick should be no surprise if you’ve been hanging around the site of late:

Live Albums:
1. SubRosa, Subdued Live at Roadburn
2. Causa Sui, Live in Copenhagen
3. Slomatics, Futurians Live at Roadburn
4. My Sleeping Karma, Mela Ananda – Live
5. Wight, Fusion Rock Invasion
5. Death Alley, Live at Roadburn

Thank You

It’s been a hell of a year, obviously. Musically and otherwise. As always, I cannot possibly come close to thanking you enough for your incredible and ongoing support of The Obelisk, of what this site is, what it’s become over its nearly nine-year run, what it will continue to become going forward from here. It is astounding to me and deeply humbling that you would possibly take time out of your busy day and your busy life to check out what’s going on here, and words fail me continually when it comes to feeling like I can properly convey my appreciation for that. Thank you for reading. Thank you for reading. Thank you for reading. Tattoo it on my forehead.

Thank you to The Patient Mrs. for understanding how much I need to be doing this, to Slevin for keeping the site running on the technical end, to Behrang Alavi for taking over hosting earlier this year, to my family for their ongoing support, to The Pecan for sleeping late some mornings and giving me time to write, and to everyone who ever shared a link on social media or made a comment on a post or anything like that. To long-time readers and to newcomers alike — thank you so much. This year has seen a fair share of ups and downs, but the support this site gets sustains me in ways I never expected it could, and that would be impossible without you. Please know how crucial that is to me.

Well, that should do it. I know there are probably disagreements about where things landed on the list, what was included, what was left out, etc., as there always are. All comments are of course welcome — only thing I’d ask is you please keep it civil and respectful of the opinions of others. Otherwise, have at it. Please.

And one more time, thank you for reading.

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audiObelisk Transmission 064

Posted in Podcasts on December 26th, 2017 by JJ Koczan

audiobelisk transmission 064

So this is something I’ve never done before. I’m not exactly what you’d call an early adopter when it comes to new technology, but this weekend I finally signed up for Spotify and decided to give a shot at putting together a year-end playlist through that rather than doing the standard podcast. Aside from a kind of ongoing latent concern about essentially giving away downloads of music that doesn’t belong to me via the old mp3 files — no one’s ever said anything and I always figured it was okay since songs were bundled together as one file — this just seemed more useful in allowing people to explore different artists, albums, etc. If you disagree, I’m sorry.

I can’t say I won’t ever go back to the other way, or that I’ll actively enjoy having a Spotify account enough to keep it, and so on, but it’s something new to try, so I’m giving it a shot. The playlist turned out to be nine hours and 12 minutes long, and once I got going, I couldn’t really resist making it 65 tracks, what with it being the 64th podcast and all. One to grow on.

As always, I hope you enjoy. Thanks for listening:

Track details:

• Artist, Track, Album, Runtime
• Elder, Sanctuary, Reflections of a Floating World, 00:11:13
• All Them Witches, Am I Going Up?, Sleeping Through the War, 00:05:33
• Lo-Pan, Pathfinder, In Tensions, 00:06:22
• MOON RATS, Heroic Dose, Highway Lord, 00:04:27
• Bees Made Honey in the Vein Tree, Medicine, Medicine, 00:06:38
• Mindkult, Lucifer’s Dream, Lucifer’s Dream, 00:09:06
• Brume, Reckon, Rooster, 00:09:12
• Riff Fist, King Tide, King Tide, 00:11:20
• Monolord, Dear Lucifer, Rust, 00:08:41
• Hymn, Serpent, Perish, 00:07:32
• Vinnum Sabbathi, Gravity Waves, Gravity Works, 00:08:26
• Electric Wizard, Wicked Caresses, Wizard Bloody Wizard, 00:06:43
• Ruby the Hatchet, Symphony of the Night, Planetary Space Child, 00:07:08
• Telekinetic Yeti, Colossus, Abominable, 00:08:56
• Bong Wish, My Luv, Bong Wish, 00:02:31
• Radio Moscow, New Skin, New Beginnings, 00:03:02
• Cloud Catcher, Celestial Empress, Trails of Kozmic Dust, 00:05:41
• The Atomic Bitchwax, Humble Brag, Force Field, 00:02:52
• Sasquatch, Just Couldn’t Stand the Weather, Maneuvers, 00:06:27
• Kadavar, Die Baby Die, Rough Times, 00:04:18
• Cities of Mars, Children of the Red Sea, Temporal Rifts, 00:08:27
• Argus, You Are the Curse, From Fields of Fire, 00:06:23
• Comacozer, Hylonomus, Kalos Eidos Skopeo, 00:13:43
• Samsara Blues Experiment, One with the Universe, One with the Universe, 00:15:02
• Orango, Heirs, The Mules of Nana, 00:04:46
• Siena Root, Tales of Independence, A Dream of Lasting Peace, 00:03:39
• Demon Head, Older Now, Thunder on the Fields, 00:04:17
• Sun Blood Stories, Great Destroyer, It Runs Around the Room with Us, 00:06:11
• Spaceslug, Time Travel Dilemma, Time Travel Dilemma, 00:10:07
• Arc of Ascent, Hexagram, Realms of the Metaphysical, 00:07:34
• Causa Sui, Seven Hills, Vibraciones Doradas, 00:07:24
• Alunah, Fire of Thornborough Henge, Solennial, 00:05:32
• Vokonis, Calling From The Core, The Sunken Djinn, 00:06:03
• Enslaved, Sacred Horse, E, 00:08:12
• Dvne, Edenfall, Asheran, 00:07:04
• The Midnight Ghost Train, Break My Love, Cypress Ave., 00:03:33
• The Obsessed, It’s Only Money, Sacred, 00:02:35
• Mothership, Crown of Lies, High Strangeness, 00:05:41
• Geezer, Red Hook, Psychoriffadelia, 00:06:02
• Uffe Lorenzen, Flippertøs, Galmandsværk, 00:02:46
• Youngblood Supercult, Master of None, The Great American Death Rattle, 00:04:01
• Beastmaker, Nature of the Damned, Inside the Skull, 00:03:26
• Pallbearer, I Saw the End, Heartless, 00:06:21
• Paradise Lost, Blood and Chaos, Medusa, 00:03:51
• Rozamov, Wind Scorpion, This Mortal Road, 00:08:49
• Eternal Black, Sea of Graves, Bleed the Days, 00:06:33
• Demon Eye, Politic Divine, Prophecies and Lies, 00:03:40
• Snowy Dunes, Ritual of Voices, Atlantis, 00:07:17
• The Devil and the Almighty Blues, Low, II, 00:08:49
• Abronia, Glass Butte Retribution, Obsidian Visions / Shadowed Lands, 00:06:09
• John Garcia, Kylie, The Coyote Who Spoke in Tongues, 00:04:58
• Tuna de Tierra, Raise of the Lights, Tuna de Tierra, 00:07:09
• Colour Haze, Lotus, In Her Garden, 00:07:05
• IAH, Stolas, IAH, 00:08:39
• Fungus Hill, Are You Dead, Creatures, 00:08:54
• Atavismo, El Sueño, Inerte, 00:11:18
• Tuber, Noman, Out of the Blue, 00:08:14
• Spidergawd, What You Have Become, Spidergawd IV, 00:03:44
• Puta Volcano, Bird, Harmony of Spheres, 00:05:07
• Ufomammut, Core, 8, 00:05:15
• Kings Destroy, None More, None More, 00:14:03
• PH, Looking Back at Mr. Peter Hayden, Eternal Hayden, 00:16:44
• Mt. Mountain, Dust, Dust, 00:17:15
• Electric Moon, Live Forever Now (You Will), Stardust Rituals, 00:22:41
• Bell Witch, Mirror Reaper, Mirror Reaper, 01:23:15

If you want to follow me on Spotify, apparently that’s something you can do here.

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Kadavar Post “Tribulation Nation” Video; Tour with Mantar & Death Alley Starts Tomorrow

Posted in Bootleg Theater on October 11th, 2017 by JJ Koczan

kadavar

I admit I’m a little behind in posting the latest video from Berlin-based heavy rock magnates Kadavar. Do you think anyone noticed? Nah. The band’s been too busy reaping rightful praise for their just-issued stunner of a fourth album, Rough Times (review here), which follows the modernization of vibe that took place on 2015’s Berlin (review here) with a darker-overall sense of mood driven, no doubt at least in part, by the woes engendered across the sphere of current events. At least that’s the impression a track like “Tribulation Nation” gives, anyhow.

Ever mindful of their audience, Kadavar don’t necessarily pass outward judgment in the song, however, and the spirit of the track is more one of coming to terms with, attempting to understand the world than trying to critique or correct something so very screwed up about it. I try to keep it out of posts on this site — because, well, why make yourself mad if you don’t have to? — but I’m a pretty politically-minded guy and I think if you hang around here long enough you can get a sense of where my sensibilities lie in that realm if you want one, and I can’t help but wonder if part of the reason Kadavar don’t push their level of criticism farther is because of the generalized feeling of hopelessness of the progression of the world’s situation. What’s to be done? If there was going to be an answer, is it so unreasonable to think someone would’ve stumbled on it by now?

The three-piece hit the road tomorrow to start the touring cycle proper for Rough Times, which if past is prologue will likely keep them on the road through the end of 2018 and then some — they kind of go, go, go perpetually — and they go in the company of Mantar and the revamped lineup of Death Alley. Maybe that’s the answer. You just keep going. Because that’s all you can do is move forward. Hit the road. Take care of yours and try not to be a dick to everyone else. I don’t know if that’s the message here or not, but as takeaways go, at least it’s not “make riffs great again.”

Video and tour dates follow, as well as more info from the PR wire.

Enjoy:

Kadavar, “Tribulation Nation” official video

kadavar tour dates

Arguably the hardest working band in the current European rock scene, Kadavar made their entrance in 2010 with a vintage, retro style of heavy rock ‘n’ roll that called for comparisons to greats like Black Sabbath and Led Zeppelin. The band quickly stood out amongst their peers with straightforward, no frills approach to their signature brand of rock that features classic song structure with a gritty contemporary edge.

Kadavar’s previous record, Berlin, set the scene ablaze, charting in both Germany and the U.S., and made them a household name among rock fans around the world. Now armed with their follow-up, Rough Times, the band seeks to reclaim their title as one of the best rock has to offer.

Guitarist/singer Lupus comments: “The album is finally out and we’re really happy. Last week, we quickly recorded a video for ‘Tribulation Nation’ in the studio. I think this song underlines how complex our new record is. Thanks to everyone for the support.”

KADAVAR w/ MANTAR, DEATH ALLEY
12.10. D Essen – Zeche Carl
13.10. D Hamburg – Markthalle*
14.10. D Leipzig – Conne Island
15.10. B Antwerp – Desert Fest
17.10. F Strasbourg – La Laiterie Club
18.10. F Paris – Le Trabendo
19.10. F Rennes – L’Ubu
20.10. F Bordeaux – La Krakatoa
21.10. E Madrid – But
22.10. E Barcelona – Bikini
24.10. F Lyon – Feyzin
25.10. CH Monthey – Pont Rouge
26.10. CH Aarau – Kiff
27.10. D Munich – Backstage
28.10. A Vienna – Flex
29.10. A Graz – PPC
30.10. HR Zagreb – Mocvara
01.11. H Budapest – A38
02.11. PL Warsaw – Progresja
03.11. PL Krakow – Kwadrat
04.11. CZ Prague – Nová Chmelnice
05.11. D Nuremberg – Hirsch
07.11. NL Amsterdam – Paradiso Noord
08.11. D Hanover – Capitol
09.11. DK Copenhagen – Pumpehuset
10.11. S Stockholm – Debaser
11.11. N Oslo – Bla
12.11. S Gothenburg – Pustervik
13.11. NL Deventer – Burgerweeshuis
15.11. D Cologne – Bürgerhaus Stollwerck
16.11. D Wiesbaden – Schlachthof
17.11. D Stuttgart – LKA Longhorn
18.11. D Berlin – Columbiahalle
*no MANTAR

KADAVAR live:
20.12. D Bremen – Tower
21.12. D Mannheim – Alte Feuerwache
22.12. D Münster – Sputnikhalle
28.12. D Chemnitz – AJZ Talschock
29.12. D Siegen – Vortex

Kadavar on Thee Facebooks

Kadavar on Twitter

Kadavar on Instagram

Nuclear Blast on Thee Facebooks

Nuclear Blast webstore

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Here are 40+ New Releases to Look for in the Next Three Weeks

Posted in Features on September 21st, 2017 by JJ Koczan

Starting tomorrow, the next three weeks are absolutely stupid with new albums. Over-the-top, ridiculous. An immediately-go-broke amount of music. Nothing less than an onslaught. We’re under attack.

Far be it from me to tell you how to spend your money — also far be it from me not to — but there’s some really killer stuff in here. As to why it’s all landing now? Some of it of course has to do with the timing of when it was recorded, bands hitting the studio in Spring before heading out on the road over the summer, but Fall releases also line up nicely for tours in October and November, heading into the holiday season, when the music industry basically shuts down. This is the last chance for releases to come out in 2017 and be considered for best-of-year lists.

I doubt the likes of Chelsea Wolfe or Godspeed You! Black Emperor or even Kadavar would cop to that as a motivating factor, instead pointing to the timing of Fall touring and so on, but these things are rarely coincidental. You know how there aren’t any blockbusters in January but every movie feels like it’s trying to win an Oscar? Same kind of deal.

Nonetheless, 2017 is laying it on particularly thick these next couple weeks, and as you can see in the lists below, if you’ve got cash to spend, you can pretty much choose your rock and roll adventure. I’ll add to this as need be as well, so keep an eye for changes:

Sept. 22:

Alcest, Souveinirs d’un Autre Monde (10th Anniversary Edition)
Brant Bjork, Europe ’16
Chelsea Wolfe, Hiss Spunthe-flying-eyes-burning-of-the-season
Epitaph, Claws
Faces of the Bog, Ego Death
The Flying Eyes, Burning of the Season
Fvzz Popvli, Fvzz Dei
Godspeed You! Black Emperor, Luciferian Towers
Jarboe & Father Murphy, Jarboe & Father Murphy
Monarch, Never Forever
Nibiru, Qaal Babalon
Process of Guilt, Black Earth
Satyricon, Deep Calleth Upon Deep
Spelljammer, Inches from the Sun (Reissue)
Thonian Horde, Inconnu
Trash Titan, Welcome to the Banana Party
Ufomammut, 8
With the Dead, Love from With the Dead
Wolves in the Throne Room, Thrice Woven

Sept. 29:

monolord rust
Cities of Mars, Temporal Rifts
Deadsmoke, Mountain Legacy
A Devil’s Din, One Hallucination Under God
Disastroid, Missiles
Jim Healey, Just a Minute More (Sept. 26)
Idylls, The Barn
Kadavar, Rough Times
Lucifer’s Chalice, The Pact
Monolord, Rust
Outsideinside, Sniff a Hot Rock
Radio Moscow, New Beginnings
Scream of the Butterfly, Ignition
Tronald, Tronald (Sept. 30)
Unsane, Sterilize
Wucan, Reap the Storm

Oct. 6:

fireball-ministry-remember-the-storyElder Druid, Carmina Satanae
Fireball Ministry, Remember the Story
Frank Sabbath, Are You Waiting? (Oct. 2)
Himmellegeme, Myth of Earth
House of Broken Promises, Twisted EP
O.R.B., Naturality
Primitive Man, Caustic
Spirit Adrift, Curse of Conception
Spotlights, Seismic
Sumokem, The Guardian of Yosemite
Torso, Limbs
White Manna, Bleeding Eyes

Also:

Oct. 13: Enslaved, Firebreather, I Klatus, R.I.P., Uncle Acid and the Deadbeats (reissue), Weird Owl, etc.

Oct. 20: Iron Monkey, Spectral Haze, Bell Witch, The Spacelords, etc.

Something I forgot?

Invariably, right? If you know of something not seen above that should be, then by all means, please leave a comment letting me know. My only ask is that you keep it civil and not call me a fucking idiot or anything like that. I write these posts very early in the day, and if something has been neglected, I assure you it’s not on purpose and I’m happy to correct any and all oversights.

Thanks for reading and happy shopping. Support local record stores.

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Kadavar, Rough Times: To Chronicle

Posted in Reviews on September 6th, 2017 by JJ Koczan

kadavar rough times

It feels like every time Kadavar release a new album, it’s a crucial moment for the band. On some level, this has to be because the standard of quality they’ve set for their work continues to seem impossible to maintain over the longer-term. Not that they haven’t earned respect as a special group in more than just their haircuts and fashion sense through their songwriting, constant touring, and three full-lengths to-date —  2015’s Berlin (review here), 2013’s Abra Kadavar (review here) and 2012’s self-titled debut (discussed here) — just that the echelon of craft at which they’ve worked for the last half-decade is exceedingly rare and even more rarely maintained over a stretch of years and releases. Yet, with the arrival of their fourth long-player and third for Nuclear BlastRough Times, one doesn’t at all anticipate the three-piece of guitarist/vocalist Christoph “Lupus” Lindemann, drummer Christoph “Tiger” Bartelt and bassist Simon “Dragon” Bouteloup will fail to meet the expectations of their massive fanbase.

Indeed, if Berlin proved anything at all about the band’s sound in the clearer, more modern, less vintage-minded production approach it brought forth, it’s that Kadavar‘s sonic and aesthetic reach is even greater than anyone could’ve anticipated from the warm, ’70s-fueled sounds of their earliest work. Rough Times, with 10 songs and 44 minutes divided over two distinct LP sides, is no less brazen in pushing even further. Side A cuts like “Into the Wormhole” (video posted here) and “Skeleton Blues” turn the crispness of Berlin on its head with the outright heaviest low end the band has ever conjured and a gnarled-out fuzz in the guitar — see “Into the Wormhole” after about 2:45 especially — that maintains the modernity of the preceding offering and most importantly, the memorable songwriting Kadavar have proffered all along, but is nonetheless immediately distinguished from the rest of their work in intention and execution. They’re a big enough band at this point that opinions on anything they do will be divided, but in listening to Rough Times, the band make their mission clear and accomplish it with poise and purpose alike. If you were anxious, rest easy. Kadavar have done it again.

About that mission, though. The chief clue would seem to be right there in the title Rough Times. Through the initial tumbling chaos of the opening title-track, the key-laced weirdness of “Into the Wormhole,” the “fake news” reference in the nod-stomp of “Skeleton Blues” and even the later drift of “The Lost Child,” Kadavar seek to capture something essential about the moment in which we live. As an American hearing songs like “Skeleton Blues” and the thrust-laden urgency of side B opener “Tribulation Nation,” my mind immediately turns to politics, and for Germans whose home country has been called the last and best hope for stewardship of the European Union, the case may or may not be the same, but Rough Times avoids direct engagement with the issues of the day in favor of a more general impression of the confusion and pessimism engendered thereby.

That’s not to say there’s no hope, which one readily finds in the penultimate romance of “You Found the Best in Me” — though it’s only fair to be skeptical of sentiment coming from Kadavar after “Pale Blue Eyes” (video posted here) from Berlin turned out to be an inside joke written by Lindemann about Bartelt in a dress — but especially as the first half of Rough Times proceeds into the horrors of “Die Baby Die” and “Vampires,” the impression is unquestionably the darker than any of Kadavar‘s prior output. And it’s supposed to be. That’s the point.

kadavar

Particularly through “Rough Times,” “Into the Wormhole,” “Skeleton Blues,” “Die Baby Die” and “Vampires,” with flourish of keys in and out among the guitar bass and drums, varied tonality, still-righteous hooks and melodicism from Lindemann on vocals, Rough Times channels the turbulence of 2017 — and thankfully, it does so with none of the exhausting despair that each week seems to bring. Instead, even “Vampires” keeps an uptempo swing behind its midsection solo, and “Die Baby Die” stands among the catchiest tracks Kadavar have ever written. Likewise, as “Tribulation Nation” and “Words of Evil” begin to transition into side B, the former with perhaps the most direct political theme here in its lyrics, they mark the starting point of an expansion that will push outward in multiple directions until atmospheric, French-language spoken word closer “À L’Ombre du Temps” (“to the shadow of the times”) brings Rough Times to its end.

The turn that commences with “Tribulation Nation” is key, since while “Into the Wormhole” and “Die Baby Die” and “Skeleton Blues,” etc., certainly have their mood and ambient aspects, the rhythm of the side B opener is practically space rock in its approach, and each song that follows — “Words of Evil,” “The Lost Child,” “You Found the Best in Me” and “À L’Ombre du Temps,” in that order — offers something different from its surroundings. In the case of “Words of Evil,” that’s a motor-ready chug of a riff feeling in conversation with the post-Priest vibe of Berlin‘s “Into the Night,” brought to bear over a quick-running three and a half minutes light on frills other perhaps than some echo on Lindemann‘s vocals and a winding groove that feels likely to build momentum on stage as well as it does leading into “The Lost Child,” which immediately turns again. An intro of keys lead the way to softer tom hits as part of a subdued verse topped with eerie crooning, and though the chorus will bring a swell of volume and tone, the longest track on Rough Times at 5:52 shifts just before its fourth minute into acoustic-strummed, whistle-inclusive Spaghetti Westernism, ending with sampled waves to set the stage for Tiger‘s drum intro to fluidly begin “You Found the Best in Me,” on which Kadavar marry Beatlesian pop hooks with Skynyrd-derived Southern rock in a way that, after the reaches of the previous track and the morose spirit of some of the other material surrounding, is a welcome moment of relief.

The message in the context of the rest of the album? Whatever or whoever the song is actually about, it would seem to be that we’ve still got each other. And fair enough. “You Found the Best in Me”‘s classic feel is the strongest tie on Rough Times to Kadavar‘s first two records, but while its roots are classic, there’s precious little about it looking to retread either their own or anyone else’s past. Instead, like “The Lost Child” before and “À L’Ombre du Temps” after, it finds the trio once again in new territory, and as its finish moves into the keys, background drones and whispers of “À L’Ombre du Temps,” the flow of side B is only further emphasized — all the more a masterful realization given the range — and the quiet epilogue comes across as no more out of place than any of the brash stylistic changes before it.

Granted, “À L’Ombre du Temps” isn’t without a spiritual predecessor either — a cover of Nico‘s “Reich der Träume” was included as a bonus track on the last album — but still, as an original piece and in its place as the last statement on Rough Times, it stands out in a way very much intended to be striking, and it is. One might take it as a last-minute confirmation of the fact that, four LPs deep into their tenure, Kadavar are able to go where they please in theme and sound alike, but as relates to the rest of Rough Times surrounding, the closer is one more example of the strength of their songwriting and their ability to work within multiple contexts to create not just landmark individual singles like “Die Baby Die” or “Tribulation Nation,” but an album as an entirety that’s strengthened by the various sides of personality shown throughout. In this, Kadavar prove once more why they’ve become one of the most crucial heavy rock acts currently going, and as they engage with the roughness of our times in theme and sound, they almost can’t seem to help but make the days a little easier to endure.

Kadavar, “Into the Wormhole” official video

Kadavar, “Die Baby Die” official video

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Kadavar Post “Into the Wormhole” Video; Rough Times out Sept. 29

Posted in Bootleg Theater on September 1st, 2017 by JJ Koczan

kadavar photo joe dilworth

I’ve got Kadavar‘s new album, Rough Times, slated for review next week, so you’ll pardon me if I don’t say too much about it here while I’m still gathering my thoughts for the inevitable brainsplurge to come, but suffice it to say that when I think about the record, this song plays a big role in the overarching impression I get from it. Like their preceding video for “Die Baby Die” (posted here), this one for “Into the Wormhole” speaks to the more metallic tonality on display in Rough Times‘ earlier cuts, whether it’s the opening title-track or the surprisingly thickened “Skeleton Blues.”

Though that’s only part of what the full record ultimately has on offer before moving into the classically motoring “Words of Evil” and the Southern-tinged “You Found the Best in Me” on side B, the cynical worldview (and why not?) and harsher approach is new ground for Kadavar, who even in modernizing their production style across 2015’s Berlin (review here) after positioning themselves are retro-rock forerunners with their first two albums, 2013’s Abra Kadavar (review here) and 2012’s self-titled debut (discussed here), didn’t come nearly as close to anything quite so aggressive in tone as they do in “Into the Wormhole.”

But as the title says, these are Rough Times. There’s a ton or two of PR wire info included with the video — tour dates and all that — and again, with the review coming up, I’m going to leave it there, but the moral of the story is that if you thought after Berlin you knew what Kadavar were all about or where they were headed in terms of sound, “Into the Wormhole” will very likely make short work of that notion.

Enjoy:

Kadavar, “Into the Wormhole” official video

Berlin, Germany-based rock overlords KADAVAR have released the official music video for the brand new song “Into The Wormhole”. The track comes off their eagerly awaited fourth studio album, Rough Times.

The video was shot at Sphaèros Art Cave in Paris, France, directed by Luizo Vega (Studio V). The video starring actor AQUA NEBULA OSCILLATOR singer David Sphaèros follows a concept by drummer Tiger.

Commented Tiger: “The darkness that surrounds us when reality seems like a big black hole, those times when we try to turn around trying to escape the gravity of modern life looking for the shortcut to a more pleasant one, our biggest wish is that wormholes do exist and can take us to another dimension. A place where our thoughts are not poisoned and our souls can resonate freely. Playing music together has always been an attempt to enter this rare state of mind where everything is fine for just a second. While ‘Into The Wormhole’ is rather slow and possibly the heaviest song we have ever written, it philosophies about the shortcuts to enter the state of bliss at speed of light, the WORMHOLE.

Our history with our french buddies in AQUA NEBULA OSCILLATOR, goes far behind and each of us has tried in their own way to find salvation through music. This is why I’ve had the idea to ask singer and main brain David Sphaèros to open the doors to his infamous caves in the Parisian underground for us to collaborate for this video. Being able to get Luizo Vega on board as a director, who has just worked on Dracula’s Not Dead, pushed the whole thing just in the right direction.”

The pre-orders for Rough Times and brand new merchandise can be viewed here.

Rough Times will be released on September 29 via Nuclear Blast.

KADAVAR live:
30.09. UK London – The Dome
01.10. UK Sheffield – HRH Doom vs. Stoner
20.12. D Bremen – Tower
21.12. D Mannheim – Alte Feuerwache
22.12. D Münster – Sputnikhalle
28.12. D Chemnitz – AJZ Talschock
29.12. D Siegen – Vortex

w/ MANTAR, DEATH ALLEY
12.10. D Essen – Zeche Carl
13.10. D Hamburg – Markthalle*
14.10. D Leipzig – Conne Island
15.10. B Antwerp – Desert Fest
17.10. F Strasbourg – La Laiterie Club
18.10. F Paris – Le Trabendo
19.10. F Rennes – L’Ubu
20.10. F Bordeaux – La Krakatoa
21.10. E Madrid – But
22.10. E Barcelona – Bikini
24.10. F Lyon – Feyzin
25.10. CH Monthey – Pont Rouge
26.10. CH Aarau – Kiff
27.10. D Munich – Backstage
28.10. A Vienna – Flex
29.10. A Graz – PPC
30.10. HR Zagreb – Mocvara
01.11. H Budapest – A38
02.11. PL Warsaw – Progresja
03.11. PL Krakow – Kwadrat
04.11. CZ Prague – Nová Chmelnice
05.11. D Nuremberg – Hirsch
07.11. NL Amsterdam – Paradiso Noord
08.11. D Hanover – Capitol
09.11. DK Copenhagen – Pumpehuset
10.11. S Stockholm – Debaser
11.11. N Oslo – Bla
12.11. S Gothenburg – Pustervik
13.11. NL Deventer – Burgerweeshuis
15.11. D Cologne – Bürgerhaus Stollwerck
16.11. D Wiesbaden – Schlachthof
17.11. D Stuttgart – LKA Longhorn
18.11. D Berlin – Columbiahalle
*no MANTAR

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