Please note: This list is not culled in any way from the Readers Poll, which is ongoing. If you haven’t yet contributed your favorites of 2015 to that, please do.

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I’ll note right away that this list started out as a top 10. When it came to it, it didn’t seem fair to cut it off. Too much left out. It gets to a point where you look at your list of honorable mentions and it’s like three times as long as your list itself and you realize maybe you should up the numbers and give a few more records their due. So yeah, a top 20 it is.

The temptation with a list like this, especially since it’s dealing with bands working on their first full-length albums (EPs are counted separately), is to think of it as indicative of future movement overall, to try and measure some overarching trend from some of the best outings of the year. I’m not sure that’s a fair approach either to the bands who made these records or to everyone else who might come after, but if we step back and look at what’s presented in the list below, we see veterans resurfacing in new incarnations, new, young groups coming together with classic ideologies, a bit of heavy extremity, psych melding with pop, heavy rock going prog and much more.

What all that tells me is that notions like “underground” and “heavy,” these vague terms that get applied so liberally, are constantly expanding. Whatever their individual sound might be, these bands all pushed ahead an overarching stylistic progression in whatever they’re doing, and like the best of debut albums, they held promise for further growth beyond this already impressive output. It’s less about which seems like an immediate landmark, touchstone, whatever, than it is about what sets up and effectively begins that development going forward, though striking a chord in the present never hurts either.

To that end, here we go:

The Obelisk Presents: The Top 20 Debut Albums of 2015

1. Brothers of the Sonic Cloth, Brothers of the Sonic Cloth
2. Death Alley, Black Magick Boogieland
3. Cigale, Cigale
4. Kind, Rocket Science
5. Fogg, High Testament
6. Crypt Sermon, Out of the Garden
7. CHRCH, Unanswered Hymns
8. With the Dead, With the Dead
9. Demon Head, Ride the Wilderness
10. Sacri Monti, Sacri Monti
11. Stars that Move, Stars that Move
12. Chiefs, Tomorrow’s Over
13. Sunder, Sunder
14. Ecstatic Vision, Sonic Praise
15. Bison Machine, Hoarfrost
16. Serial Hawk, Searching for Light
17. Cloud Catcher, Enlightened Beyond Existence
18. Khemmis, Absolution
19. Sumac, The Deal
20. The Devil and the Almighty Blues, The Devil and the Almighty Blues

Honorable Mention

By way of honorable mentions, first I have to give a nod to Foehammer‘s self-titled debut EP, which would be on this list probably in the top five if not the top three were it not for the fact that, as noted, it’s an EP. Its list will come. The 2015 release of Horsehunter‘s self-titled on Magnetic Eye was killer as well, but since the album initially came out in 2014, it didn’t seem fair to include it in the list proper.

Releases from Killer Boogie, Snowy Dunes, Sweat Lodge, Planes of Satori, DoctoR DooM, Lasers from Atlantis and Lords of Beacon House (I heard the EP, not the LP) also provided thrills a-plenty, and while I recognize that sounds like sarcasm, please rest assured it’s not. I’m sure there are others, and as always, I reserve the right to tweak mentions and numbers over the next however many days, weeks, years, etc.

Notes

There wasn’t much mystery to this one for me. Brothers of the Sonic Cloth held onto that top spot for most of the year, and it seemed like no matter what came along, the wall of sound that Tad Doyle and company built on that record simply would not be torn down. As oppressive in tone as it is in atmosphere, it was a long-awaited debut that produced devastating results the ripples from which I expect will continue to resonate well into 2016 and beyond.

Brothers of the Sonic Cloth is one example of a veteran presence finding a new home, as several did this year. See also, Sumac with former members of Isis, Ecstatic Vision with players from A Life Once Lost, With the Dead with members of Cathedral and Ramesses coming together for the first time, Kind drawing its lineup from the likes of Roadsaw, Milligram, Rozamov and Elder, and even groups like Sunder, who previously released an album together under the moniker The Socks before abandoning that project in favor of the current one, as well as Sacri Monti, with a member from Radio Moscow in tow, Cigale, who had two members from Sungrazer, Stars that Move which sprang from Starchild, and Death Alley with members of Mühr, Gewapend Beton and The Devil’s Blood showcased how one band flows out of another and out of another, and so on.

That Death Alley debut had charm worthy of its title — which was also my favorite of the year — and showed the potential of that band to set up a real stylistic range going forward. I hope they continue to expand, get a little weird and freaked out and keep that core of songwriting and forward drive that makes Black Magick Boogieland so propulsive. For new bands, Cigale‘s self-titled was beautiful, but would later become tinged with tragedy following the death of guitarist/vocalist Rutger Smeets earlier this year. Not to mention friends and family, his is a significant loss for European psychedelia as a whole, and while that was inarguably one of the low points of 2015, the album itself remains a gorgeous statement.

Young acts like Fogg, Demon Head, Bison Machine, Sunder, Cloud Catcher and even Sacri Monti showcased varied takes on classic heavy, some more into boogie and jams and some looking for something a little rougher edged. Cloud Catcher‘s progressive take was a particularly pleasant surprise, while Sunder‘s psychedelia teemed with melody and a cohesive presence born out of what could’ve been unhinged otherwise. Between these, the heavy riffing of The Devil and the Almighty Blues and Serial Hawk, the formative fuzz of Chiefs, the resonant doom of Khemmis and the righteous traditionalism of Crypt Sermon, the notion of genres and subgenres as an ever-expanding universe seemed to be playing out on a weekly basis.

This, invariably, leads to new extremes, which in turn brings me to CHRCH. Like Foehammer, whose EP is in honorable mentions, the Unanswered Hymns long-player from CHRCH was a bright spot especially for how little light it seemed to let escape its abyssal grasp. They’re an easy bet for a band to catch on because they’ve garnered a formidable response already, but what sticks out to me most about them is the sense of pushing established parameters into fresh territory. What they’ll do in the months and years to come of course remains to be seen — they could break up tomorrow; it happens — but where a group like Primitive Man are almost singularly based on extremity of pummel and brutality (not to take away from them), CHRCH have the space in their sound for a multi-faceted progression, and that’s a huge part of what made Unanswered Hymns so encouraging.

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I know there were many more debut LPs than these released this year, and even more debuts that were EPs and demos of note and things like that. The reason I single out debut albums for a list is because it’s among the most pivotal offerings a band can make. You’ll never get to release a second debut record. Some bands never live theirs down, some never attain quite the same level again and struggle with it for decades. Either way, it’s no small thing to get a group together and bring it to the point of putting out a first long-player, and that accomplishment in itself, regardless of the results, is worth highlighting.

No doubt I’ve left a few excellent offerings out. I hope you’ll let me know in the comments what debut albums landed hardest with you in 2015. In any case, thanks for reading.

 

Denver four-piece Khemmis will release their debut album, Absolution, on CD/DL through 20 Buck Spin on July 7, with LP to follow in August. Produced by Dave Otero (Cephalic Carnage, Cobalt) and topped off with art by Sam Turner, it repurposes only one track from Khemmis‘ self-titled 2013 EP — also their first offering — and that’s sprawling closer “The Bereaved,” rerecorded for the end of side B and the longest inclusion at 9:14, justifying its reappearance with stellar guitar work and a push toward an album-capping apex that reinforces the blend of emotional resonance and extremity at heart in what they do, as heard in their trades throughout the album between belted-out melodic vocals and low-in-the-mouth metallic growls, a classic doom drama playing out in songs like “Ash, Cinder, Smoke” and “Antediluvian” that finds congruity where little might initially appear.

By that I mean Khemmis aren’t just setting one element against the other and waiting to sort it out over their next couple records. They may indeed prove more cohesive as the next few years move on, but already in “Serpentine,” opener “Torn Asunder” and the faster “Burden of Sin” on side B, one can hear that Absolution is a work geared more toward uniting styles to find something new from them rather than contrasting them, digging back to the theatrical death-doom roots of more modern doom à la Pallbearer and bringing in atmospheres that feel born out of classic Paradise Lost and Novembers Doom to add a shot of adrenaline and extra push where and when they feel it’s called for. The balance they strike and the fluidity they’re able to conjure are two of Absolution‘s most impressive aspects, but neither is the righteousness of a riff like that which anchors “Antediluvian” to be understated.

A less sprawling cut than either of the side-enders, “Antediluvian” launches the second half of Khemmis‘ debut with a steady roll for its groove, the four-piece of Phil, Ben, Dan and Zach moving smoothly toward the midpoint, after which the deathly growls take the fore, with echoes of melody behind and a sludgy nastiness meets with progressive lead-work en route to a chugging finish. It’s a fair sampling of what Absolution has to offer sonically, but by no means the sum of everything happening on the record, since Khemmis prove able to vary their approach and arrangements such that each song has its own crux while feeding into the overarching impact of the album as a whole. Its turns run the risk of alienating some listeners — there are those who can’t hang with harsh vocals in any measure, even as commanding and adding to the dynamic nature of the songs as these are — but the band’s effort seems all the more respectable for precisely because they’re taking that risk.

Please find “Antediluvian” on the player below, followed by some more info on Khemmis from the PR wire for those who’d like to dig further, and enjoy:

The six meticulously crafted songs on Absolution reveal a level of musicianship and writing skill seldom heard on debut albums. Often within the scope of a single song, KHEMMIS veers effortlessly between the crushing heaviness of Southern sludge and the somber melodies of traditional doom metal, cohesively weaving the disparate styles into their own immediately recognizable form. Vocally, KHEMMIS also utilizes a dual approach, sometimes harsh and guttural, but generally through a stunningly smooth classic doom/heavy rock delivery that even adamant fans of Pete Stahl and Wino will applaud. The powerfully adept rhythm section perfectly anchor the towering riff mastery and colorful dual guitar harmonies, all brought together by Dave Otero’s (Cobalt, Nightbringer) pitch perfect production work.

From the album opener “Torn Asunder” to closing track “The Bereaved,” Absolution positions KHEMMIS among the highlight surprises of the year. The band will tour at intervals throughout the remainder of 2015, including a planned West Coast run in Summer. The album’s Fantastic Frazetta inspired cover art by Sam Turner (Speedwolf, Black Breath, Trve Brewing) and track listing have been divulged.

Absolution Track Listing:
1. Torn Asunder
2. Ash, Cinder, Smoke
3. Serpentine
4. Antediluvian
5. Burden Of Sin
6. The Bereaved

Khemmis on Thee Facebooks

Khemmis at 20 Buck Spin’s Bandcamp

20 Buck Spin on Thee Facebooks

Some labels, when they go out and pick up a new band, you want to take notice. 20 Buck Spin is one of them. The Washington imprint has linked up with Denver doomers Khemmis and will release the four-piece’s debut album, Absolution, this summer on CD, download and LP, and the band have plans in the works to tour the West Coast as well. Kind of an early heads up that the PR wire is giving here, but I’m inclined to take the cue.

Info follows for the digging:

KHEMMIS: Denver Doom Quartet Joins 20 Buck Spin Roster For Summer Release Of Debut LP

Olympia, Washington-based 20 Buck Spin has hooked up with Denver, Colorado’s doom quartet KHEMMIS for the band’s impending debut LP, Absolution, which is coming together for release later this Summer amidst pervasive touring from the band.

20 Buck Spin has, over the course of the last ten years, worked with the best of the best in the crowded doom genre; bands as diverse as Samothrace, Graves At Sea, Pallbearer, Yob, Mournful Congregation, Lycus, Atlantean Kodex and more. In that tradition, the label is proud to present KHEMMIS, a quartet from Denver, who, on their debut full-length Absolution brings components of many of the aforementioned label alumni and forge a venerable testament to what heavy doom rock is in 2015.

The six meticulously crafted songs on Absolution reveal a level of musicianship and writing skill seldom heard on debut albums. Often within the scope of a single song, KHEMMIS veers effortlessly between the crushing heaviness of Southern sludge and the somber melodies of traditional doom metal, cohesively weaving the disparate styles into their own immediately recognizable form. Vocally, KHEMMIS also utilizes a dual approach, sometimes harsh and guttural, but generally through a stunningly smooth classic doom/heavy rock delivery that even adamant fans of Pete Stahl and Wino will applaud. The powerfully adept rhythm section perfectly anchor the towering riff mastery and colorful dual guitar harmonies, all brought together by Dave Otero’s (Cobalt, Nightbringer) pitch perfect production work.

From the album opener “Torn Asunder” to closing track “The Bereaved,” the latter of which will stand as THE doom track of 2015, Absolution positions KHEMMIS among the highlight surprises of the year. The band is most certainly a live act and will tour at intervals throughout the remainder of 2015, including a planned West Coast run in Summer 2015. Fans of Goatsnake, Pallbearer, Samothrace, Graves At Sea, Red Fang and Yob should keep the name KHEMMIS at the top of their list of bands to watch this year. The album’s Fantastic Frazetta inspired cover art by Sam Turner (Speedwolf, Black Breath, Trve Brewing) and track listing have been divulged.

Absolution Track Listing:
1. Torn Asunder
2. Ash, Cinder, Smoke
3. Serpentine
4. Antediluvian
5. Burden Of Sin
6. The Bereaved

Additional info, audio samples, a video for the album and tour dates for KHEMMIS will be issued over the coming weeks as 20 Buck Spin prepares the album for release, the digital and CD versions to hit on July 7th and the LP version closer to mid-August.

http://www.facebook.com/khemmisdoom
http://khemmis.bandcamp.com
http://twitter.com/khemmisdoom
http://www.20buckspin.com
http://www.facebook.com/20buckspin
http://twitter.com/20buckspinlabel

Khemmis, Live at Denver Black Sky II, Aug. 2, 2014