Kind West Coast Tour Starts June 9

Posted in Whathaveyou on June 2nd, 2016 by JJ Koczan

Located on opposite coasts, both Boston’s Kind and Los Angeles’ Salem’s Bend made their full-length debuts late in 2015. Salem’s Bend‘s was a self-release that led to their being picked up by Ripple Music, while Kind‘s Rocket Science (review here) was put out on CD by the same label with vinyl that followed this Spring. Next week, Kind will head out West to join their labelmates for a run of shows supporting their respective outings, which is no minor feat in Kind‘s case considering the band shares its members with ElderWhite Dynamite (also on Ripple, with a new EP out), Rozamov and the plethora of guitarist Darryl Shepard‘s bands. There are more all the time. Dude is the Mayor of Boston’s Rock Underground.

The info for the tour is below. Grayskull Booking put the shows together and they’ve got a goodly portion of the West Coast covered, as you can see:

kind west coast tour

KIND announce West Coast dates with Salem’s Bend

Boston riff dealers KIND and Los Angeles rock merchants Salem’s Bend, both on Ripple Music, are hitting the road together for a weeklong tour of the west coast, starting in Seattle on June 9 and working their way down to San Diego on June 15.

KIND, featuring members of Elder, Roadsaw, The Scimitar and Rozamov, is touring in support of their debut full length “Rocket Science”, which has been garnering critical praise far and wide for its combination of doom, psychedelic and straight-up heavy rock. Salem’s Bend has a cassette out on Burt Records but they have since been picked up by Ripple Music, who will be releasing the tape on vinyl and compact disc in the coming months.

Expect lots of high volume riffing and memorable songs from these two bands as they travel down the west coast delivering the goods. Tour booking was handled by Grayskull Booking out of Boston.

Dates are as follows:
June 7 – tba, Turlock, CA (Salem’s Bend only)
June 9 – The Funhouse, Seattle, WA
June 10 – High Water Mark, Portland, OR
June 12 – The Golden Bull, Oakland, CA
June 13 – Doll Hut, Anaheim, CA
June 14 – Complex, Los Angeles/Glendale, CA
June 15 – Brick By Brick, San Diego, CA

https://www.facebook.com/KINDtheband/
https://ripplemusic.bandcamp.com/album/rocket-science
https://www.facebook.com/salemsbend
https://salemsbend.bandcamp.com/releases
www.ripple-music.com

Kind, “Rabbit Astronaut”

Salem’s Bend, “Balshazzar” official video

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Keep it Low 2016: Elder, Greenleaf, Black Rainbows, 1000mods, Duel and Kind Added

Posted in Whathaveyou on April 27th, 2016 by JJ Koczan

keep it low 2016 header

Seems I missed a recent announcement from Keep it Low 2016 — aka Keep it Low Issue #4 — whereby the Munich-based autumnal gathering added Kind1000mods and Duel to its lineup. All three interesting picks. It’ll be Kind‘s first time abroad, and working with Duel means involvement from Heavy Psych Sounds, so it’s not such a surprise that in the latest round of additions, we also get Black Rainbows joining on. Elder take their place at/near the top of the bill as well, and probably the biggest question there is for Keep it Low 2016 at this point is whether or not the new Elder LP, which I hear is in the works, will be out by the time October gets here. I know I’m curious as hell to know what the trio have come up with this time around.

Also bringing their formidable presence to Keep it Low 2016 are Greenleaf, whose new album, Rise Above the Meadow, stands tall among the finest heavy rockers of the year so far, and the previously announced Monkey3Colour Haze and Toner Low. It already looked like a good time. Now it looks like an even better one.

Dig it:

keep it low 2016 poster

Keep It Low – Festival 2016 gets even better with the addition of:

– Massachusetts’ ultimate progressive stoner rock trio Elder (whose last album “Lore” is considered as one of the best releases of 2015),

– Sweden´s fantastic Heavy Rockers Greenleaf (who released their new album “Rise Above The Meadow” via Napalm Records in February),

– and Italian fuzz-fueled rockers BLACK RAINBOWS (who released a few weeks ago their fifth LP “Stellar Prophecy” via HeavyPsych Sounds)!

– the Hellenic grooviest psychedelic quartet 1000mods,

– the brand new Texas-based southern heavy rock outfit DUEL (featuring 2 ex Scorpion Child members)

– and Boston’s tripped out stoner doom supergroup KIND_band (featuring members of Elder, Black Pyramid, Sasquatch, Roadsaw and Rozamov).

Kind released their debut album “Rocket Science” last year via Ripple Music, Duel unleashed their first full length “Fears Of The Dead” in February via Heavy Psych Sounds, and 1000Mods are currently working on their third one, to be released next fall.

IMPORTANT: Our Early Bird action lasts until Monday, May 1st! You can purchase yours on http://woolheads.com/ but be quick! E-Tickets are also available on http://www.eventim.de/

Elder, New Song Live at the Sinclair, Cambridge, MA, 03.16.16

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Kind Sign with Total Volume Agency; Touring Europe this Fall

Posted in Whathaveyou on April 12th, 2016 by JJ Koczan

Kind‘s 2015 debut album, Rocket Science (review here), is available now on vinyl through Ripple Music. The band have done some sporadic live shows over the months since the CD dropped last December, as members continue their work on other bands and tours — drummer Matt Couto out with Elder again, bassist Tom Corino wrapping up the awaited debut from Rozamov, vocalist Craig Riggs (also Roadsaw and White Dynomite) touring on drums with Sasquatch, guitarist Darryl Shepard busy being the mayor of Boston heavy rock — but it seems their intention is to head to Europe in October and do a round of shows to support the record. They’ve just signed a deal with Total Volume Agency, in good company with the likes of Valley of the SunGeezerTuberBlaak HeatNaxatras and Funeral Horse, which will no doubt help them in that cause.

Total Volume announced the partnership thusly:

kind (Photo by Nicole Tammaro)

Total Volume – First addition to our roster this year : KIND!

Formed in 2013 by Matt Couto (Elder), Darryl Shepard (Black Pyramid, The Scimitar) and Tom Corino (ROZAMOV) – after the trio spent time jamming together in-between day-to-day commitments – the doom supergroup KIND quickly cemented their formation with the addition of Roadsaw vocalist Craig Riggs.

Out of the mind-bending riffs and extended jam sessions, whole songs began to take shape through winter rehearsals down in Couto’s freezing cold basement in 2014, where the newly formed quartet began laying down ideas for their soon to be released debut, Rocket Science, which officially landed this December on Ripple Music.

Shows were soon booked to share the tunes with the curious. Further riffs materialized, new songs banged into shape, and yet more shows confirmed, so keen were the band to test their mettle and mixture of heavy metal, psych, Krautrock and straight-up classic rock and roll.

With four songs recorded at Mad Oak Studios serving as the band’s demo in the spring of 2015, KIND entered New Alliance Studios with engineer Alec Rodriguez to record their first full-length, Rocket Science, which received an official release this past December on the California-based label Ripple Music.

https://www.facebook.com/KINDtheband/
http://www.ripple-music.com/
http://www.totalvolumeagency.com/kind.html

Kind, Live at Saint Vitus Bar, Dec. 2015

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The Obelisk Presents: THE TOP 30 ALBUMS OF 2015

Posted in Features on December 22nd, 2015 by JJ Koczan

top 30 albums of 2015 1

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.

It’s damn near impossible to start one of these posts without some derivation of, “Whew! What a year it’s been!” The truth is that, since 2014, I’ve been keeping a list of the best releases of 2015, and the list has just grown and grown and grown over the last 12 months. Could have been a top 40, easy. Could have been a top 50, 60, whatever. It was complete inundation.

If you’ve been checking in on any of the lists that have gone up so far, you might notice that some of these records have appeared elsewhere, and possibly in a different order. How does an album end up ahead of another on one list and not on another? Different criteria. Different basis of judgment. As always, the big year-end list (this one) is derived both from what I think are the most important offerings of the year plus what I listened to the most, because while I believe deeply in the critical value of a given work, I also believe there’s value in the kind of record you just can’t put down.

Basically, I believe records have value. Stay tuned for more daring adventures in understatement.

A few emergent factors for 2015 to note: The increasing expansion of subgenres. Psychedelia and what I’ve come to call the heavy ’10s sound finding further root as prominent styles of the day, as well as a budding of emotive doom in the post-Pallbearer vein. At the same time, a more straightforward heavy rock is also making a return, and look for that to continue as new listeners discover past landmarks and modern plays thereupon. Everything is cyclical, and I’m interested to see what the next two or three years bring, both as Millennials hit 30 (and beyond) and as younger kids come up and fuzz out.

But that’s a conversation for a different time, and before we get there, it’s time to take a look back at the best full-lengths of 2015. I hope if I’ve left something out, you’ll let me know about it in the comments, but until then, here we go:

30. High on Fire, Luminiferous

high on fire luminiferous

Released by eOne Heavy. Reviewed June 15.

Going by some of the results I’ve seen from the Readers Poll, I’m guessing there will be some disagreement on the placement of High on Fire‘s seventh full-length, third for eOne and second to be produced by Kurt Ballou behind 2012’s De Vermiis Mysteriis (review here), but for me it came down to what I went back to more. The brilliant “The Falconist” would be enough on its own for Luminiferous to be included on this list, and taken as a whole, the record affirmed the trio as pivotal heavy metal marauders, an act whose devastation is undulled by the wear they’ve put on it touring the world over and again.

29. CHRCH, Unanswered Hymns

chrch unanswered hymns

Released by Battleground Records. Reviewed June 30.

Undaunted by a name change from Church to CHRCH, the Sacramento five-piece unleashed rare doom extremity on their debut album, but peppered that with a stylistic nuance that many in the pummel-pummel-pummel game cast off, whether it was psychedelic flourish in the guitar or some eerie atmospheric. Among the post potential-filled debut offerings of the year, that’s not a guarantee they’ll find future success on the same level, but it does mean that if you didn’t hear the 19-minute “Dawning,” you missed out.

28. Golden Void, Berkana

golden void berkana

Released by Thrill Jockey Records. Reviewed Sept. 22.

Coherent bliss. The second full-length from the four-piece Golden Void was a logical step forward from the band’s 2012 self-titled debut (review here), but that was precisely what it needed to be. With an emerging dynamic of dual vocals between guitarist Isaiah Mitchell (also Earthless) and keyboardist Camilla Saufley-Mitchell on cuts like “Astral Plane” and “Silent Season,” Berkana was less adherent to space rock overall than its predecessor, but gave a more individualized take and was all the richer for it.

27. Stoned Jesus, The Harvest

stoned jesus the harvest

Self-released. Reviewed Feb. 20.

Probably should have a higher number. Part of the enduring appeal for The Harvest for me is not only how Ukrainian three-piece Stoned Jesus so absolutely pushed back from the album before it, 2012’s sophomore outing, Seven Thunders Roar (review here), but how much reasoning they put behind the moves they made on the six included tracks. Each song had its purpose and place in the overarching flow, and The Harvest continues to deliver something new on thoroughly-earned repeat listens. Perhaps most encouraging of all, I have no idea what they’ll do next.

26. Graveyard, Innocence and Decadence

graveyard innocence and decadence

Released by Nuclear Blast. Reviewed Oct. 7.

Swedish retro forerunners are hands-down one of the most influential European heavy rock acts of their generation. The ’70s revivalism they helped spearhead on their first, second and third LPs has given them rich ground to develop, and they still managed to bring something new to their sound with the soulfulness of Innocence and Decadence, as well as increasing command and diversity in the vocals. Drummer Axel Sjöberg turned in a career performance, and although there are heaps upon heaps of bands out there indulging in post-Graveyard boogie, they showed once again that they’re able to stand both out from the crowd and well above it. Plus, any swing-rocking album that dares to break out soul-singer backing vocals and blastbeats, and pull both off without blinking deserves respect, no matter what else it might have going on.

25. Death Hawks, Sun Future Moon

death hawks sun future moon

Released by Svart Records. Reviewed Nov. 3

It felt so good to put on Death HawksSun Future Moon for the first time and be completely blindsided by its serene psychedelic ritualizing. The Finnish four-piece reveled in classic progressive methods, and where it would’ve been so easy for songs like “Hey Ya Sun Ra” or “Dream Life, Waking Life” to come across as pretentious, the naturalism in the recording gave the band’s third album such a liquefied flow that it was impossible not to be swept up by it until, at last, “Friend of Joy” launched into and beyond a peaceful stratosphere in spaced-out ambience. My first exposure to the group and their first outing for Svart, it’s a record so textural and so graceful that it seems to unfurl itself more each time through.

24. Spidergawd, II

spidergawd ii

Released by Stickman Records and Crispin Glover Records. Reviewed Jan. 5.

A quick and strong turnaround from this Norwegian sax-inclusive foursome, who might seem to come out of nowhere were it not for the pedigree of Kenneth Kapstad and Bent Sæther in long-running progressives Motorpsycho. Together with Per Borten and Rolf Martin Snustad, Spidergawd spoke to more primal rock instincts — their two LPs to-date and soon to be three are testaments to the ability of music to move, to shove, and to shake; or as they put it, “Get Physical” — but as there is breadth as well, as the psychedelic “Caereulean Caribou” demonstrated. Anchored by the hook of “Fixing to Die Blues,” Spidergawd‘s second wandered far and wide, but welcomed listeners along for each step of the journey.

23. The Midnight Ghost Train, Cold was the Ground

the midnight ghost train cold was the ground

Released by Napalm Records. Reviewed Feb. 26.

As the title promised, The Midnight Ghost Train‘s third offering and Napalm Records debut delivered harsh truths. They came at breakneck speed and delivered with stage-hewn chemistry by the Midwestern power trio, whose years of road-dogging were brought to bear in the gruff, gravel-throated voice of guitarist Steve Moss, who led drummer Brandon Burghart and newcomer bassist Mike Boyne across nigh-unparalled riff torrents, with all the boogie of any number of ’70s-style sidewinders, but also with a tonal thickness that seemed a miracle it could move at all. Not without its adventurous side in the quieter “The Little Sparrow,” Cold was the Ground brimmed with intensity that brought the band to new levels in every conceivable fashion.

22. Leeches of Lore, Motel of Infinity

leeches of lore motel of infinity

Released by Lorchestral Recording Company. Reviewed Sept. 15.

Blessed art the weirdos, whose records might be few and far between, who might not tour, but whose bold fits and starts span genres easily and whose work truly stands alone. Leeches of Lore‘s Toshi Kasai-produced Motel of Infinity was a godsend in the enduring battle against normality. It was a grinding, grooving anti-punk stampede, at times frenetic and at other times whatever the opposite of frenetic is, and to-date, it’s the Albuquirky outit’s masterpiece, from the low-end buzzsaw, gang-shout and falsetto of “Don’t Open Till Doomsday” through the bass and organ bounce of “Noah’s Soul (is Burning).” They have been and still are a band unto themselves, and the we-do-this-every-day confidence of their execution across Motel of Infinity‘s run only emphasizes how utterly necessary they are.

21. With the Dead, With the Dead

with the dead self titled

Released by Rise Above Records. Reviewed Nov. 11.

With the Dead vocalist Lee Dorrian (also head of Rise Above Records, also ex-Cathedral) basically laid it all out there in the interview here when he said, “We wanted to make the most skull-crushing record we possibly could.” That’s precisely what With the Dead‘s self-titled debut is. It’s as heavy as possible, as filthy as possible, all the way through. In some ways very much the sum of its elements with Dorrian on vocals, Tim Bagshaw on guitar/bass and Mark Greening on drums (both ex-Ramesses), it was also of course more than just that, and while so much of their story has yet to be told as they move into their initial live appearances in 2016, their opening salvo was nothing if not as destructive as its intent.

20. Clutch, Psychic Warfare

clutch psychic warfare

Released by Weathermaker Music. Reviewed Oct. 6.

How could anyone possibly have even remotely reasonable expectations for a Clutch record after 2013’s Earth Rocker (review here). I won’t say the Maryland stalwarts didn’t deliver with Psychic Warfare, and I doubt any fan of the band who’s dug into “X-Ray Visions,” “A Quick Death in Texas” or “Noble Savage” would, but their returning to producer Machine for the second time in a row made it almost too easy to compare Clutch‘s 10th and 11th long-players. Four years between albums was shortened to just two, and that may have had something to do with it as well, but while the songs were there and I’ve no doubt that Psychic Warfare will endure over the long term — ask me sometime how long it took me to get into Pure Rock Fury — in the moment of its release, Psychic Warfare seemed to stand in the shadow of its predecessor rather than in its own light.

19. Mondo Drag, Mondo Drag

mondo drag self-titled

Released by Kozmik Artifactz and RidingEasy Records. Reviewed Jan. 8.

An awaited return for Midwestern-turned-West-Coast psychedelic rockers Mondo Drag, their self-titled sophomore outing had three years between its recording and release, and was made in 2012 with a shortlived incarnation of the band with bassist Zack Anderson and drummer Cory Berry, both formerly of Radio Moscow and then-soon to be of Blues Pills. Unsurprisingly, the grooves were tight, but even better, Mondo Drag blew past the peaceful headtrippery of their 2010 debut, New Rituals (review here), toward more expansive and proggy fare. They’ll look to continue that thread on their third outing, The Occultation of Light, in 2016, but the self-titled captured a special moment worthy of celebration, still rife with the classic-minded ethereal spirit of the first outing, but clearly bent on defining its own sonic dogma in hooks and synthy vibes.

18. Lamp of the Universe, The Inner Light of Revelation

lamp of the universe the inner light of revelation

Released by Clostridium Records and Astral Projection. Reviewed April 27.

At the risk of sounding biased, just about any new release from New Zealand tantric psych outfit Lamp of the Universe is going to be welcome by me. Comprised solely of Craig Williamson (also Arc of Ascent), the long-running project nonetheless casts out gorgeously textured meditative psychedelia, at times delving into drone or Eastern folk, but always marking out its own sonic space, whether in the more rock-minded groove of “God of One” or the drumless acoustic swirl of “Ancient Path.” Lamp of the Universe is a rare band — as much as it is a band — that covers a swath of ground stylistically and manages to sound like nothing but itself as it does so, and Williamson‘s commitment to his cosmic mantras remains firm and creatively fertile as the seeds he planted early on continue to bear fruit in complex arrangements that never distract from the central, spiritual purpose of the music.

17. Mammatus, Sparkling Waters

mammatus sparkling waters

Released by Spiritual Pajamas. Reviewed Nov. 9.

Even with its title-track broken into two 20-plus-minute side-consuming halves, it was abundantly plain to hear that Sparkling Waters was the most realized Mammatus outing yet. The four-song, 75-minute offering brimmed with a clarity that even their late-2013 third album, Heady Mental (review here), could only partially claim, leaving behind the fuzz and fog of their earlier work almost entirely while remaining open to employing sonic heft when suitable to their more complex motives. Most effective about Mammatus at this stage was the way they eased into and through varied parts while tying together a coherent whole piece, the builds and cascades of “Sparkling Waters Part One” setting up an expectation of fluidity that held firm even through the more jagged buzz in the early going of closer “Ornia,” the grand finale of which resonates as a cacophony without letting itself actually lose control.

16. Uncle Acid and the Deadbeats, The Night Creeper

uncle acid the night creeper

Released by Rise Above Records. Reviewed Sept. 3.

UK ladykillers Uncle Acid and the Deadbeats have emerged as one of the most essential bands of the ’10s. The Night Creeper is their fourth album and it takes the defining eeriness of their melodies and roughs it up with a mostly-live recording job — something which, now that they’re a touring act, they can do — for their grittiest, dirtiest-sounding offering yet. Songs like “Melody Lane,” “Pusher Man” and opener “Waiting for Blood” speak to what’s let their methodology spread so widely in the first place, the VHS grain of their guitars and vocals resting over classic swing and proliferating maddening hooks with lethal intent. Between the nine-minute gruel of “Slow Death” and the hidden acoustic track “Black Motorcade,” The Night Creeper wasn’t without its element of sonic progress, but with Uncle Acid, it’s still the combination of threat, swing and memorable songwriting that brings listeners back to their dark alleyways for another taste.

15. Death Alley, Black Magick Boogieland

death alley black magick boogieland

Released by Tee Pee Records. Reviewed June 8.

Easily one of 2015’s most encouraging debuts. Making its opening salvo with the propulsion of Motörhead-derived heavy rock in songs like “Over Under” and “Black Magick Boogieland,” the first outing from Amsterdam-based foursome Death Alley touched on classic ideals without going retro on “Bewildered Eyes,” nodded toward psychedelic melodicism and more patient intentions in “Golden Fields of Love,” and portrayed its punker roots in “Dead Man’s Bones” — all before the 12:40 space rock extravaganza that took hold with closer “Supernatural Predator.” It was a lot of territory to cover, but Death Alley not only made it sound cohesive, they made it rock and they made it a good time. In just about 41 minutes, Black Magick Boogieland was not only a voyage well worth taking, it was a potential-filled, headbang-worthy ripper of an album from an outfit who deserves every bit of attention they seem to be shouting for. Hope they don’t wait long for a follow-up.

14. The Machine, Offblast!

the machine offblast

Released by Elektrohasch Schallplatten. Reviewed May 28.

Five records in, Dutch trio The Machine have found a niche for themselves between heavy psych rock, desert fuzz and exploratory jamming. Offblast!, with a title that seemed more reminiscent of Europunker speed rock, was as spacious as it was driving, and whether it was the more structured material like “Dry End” or “Coda Sun” or the two extended cuts, 16-minute opener ““Chrysalis (J.A.M.)” and 12-minute closer “Come to Light,” their dynamic remained natural and held firm to a spontaneous sensibility, like at any turn, any part might take off for an eight-minute ride to who knows where. That that didn’t always happen only made Offblast! a richer listening experience, its varied ideas coming through consistent tonality to affect a more than satisfying front-to-back flow that toyed with momentum even as it built more and more of it. Was a while in the making, coming three years after 2012’s Calmer than You Are (review here), but easily worth the wait.

13. Brothers of the Sonic Cloth, Brothers of the Sonic Cloth

brothers of the sonic cloth self titled

Released by Neurot Recordings. Reviewed March 3.

There were moments where the self-titled debut from Brothers of the Sonic Cloth was almost too much to take in one sitting. By the time the Tad Doyle-led trio got around to the 11-minute “La Mano Poderosa,” sometimes I felt like I needed a second to catch my breath before diving further, always further, into the smoldering abyss their tones, growls and lurch seemed to create. Six years after their demo (review here) served notice like a tectonic rumble in the distance, the album arrived with comet-into-planet heft, and its oppression was as much about atmosphere as it was sheer aural assault. Imagine an arm reaching down your throat, grabbing your lungs, and forcibly deflating them one at a time. Is that hyperbole? Absolutely, and well earned. Every bit the debut of the year.

12. Kind, Rocket Science

kind rocket science

Released by Ripple Music. Reviewed Dec. 2.

No, Boston supergroup Kind aren’t so high on this list just because they called a song “Pastrami Blaster.” Granted, that didn’t hurt, but ultimately it was the blend of cavernous psychedelics and heavy rumble that made Rocket Science so infectious. Comprised of vocalist Craig Riggs (Roadsaw), guitarist Darryl Shepard (Milligram, The Scimitar, etc.), bassist Tom Corino (Rozamov) and drummer Matt Couto (Elder), Kind earned immediate interest for their pedigree, but it was more the breadth of jams like “Hordeolum” and “The Angry Undertaker” that defined their first outing, various impulses toward structure and open-endedness not so much pushing against each other as working in tandem to craft something that drew from the best of both mindsets. Obviously these are busy guys, but hopefully Kind doesn’t all by the wayside for other ongoing projects. Rocket Science was unmistakable in its demonstration that they have much to offer.

11. Bloodcow, Crystals and Lasers

bloodcow crystals and lasers

Self-released. Reviewed Aug. 4.

Iowa five-piece Bloodcow hadn’t put out a record since 2007’s Bloodcow III: Hail Xenu, but that didn’t stop Crystals and Lasers from being their best work yet. As much punk as metal as heavy rock, it wasn’t for everybody, but it was most definitely for me. With a constant thread of satire in songs like “Ultra Super Sexual,” “Sock,” “Dick for Days” and the oh-shit-I’m-middle-aged-how-the-fuck-did-this-happen (not saying I relate or anything, but holy shit I can relate) “After Party,” it was nonetheless a stylistically varied and universally professional-sounding 13-track collection, offering weirdo quirk in “Blood and Guts,” “Exploding Head” and “Little Chromosome” and finding room for a bit of scathing social commentary in its title-track and “HIVampyre.” If they’re working at an eight-year pace, I don’t know that we’ll get another Bloodcow record, but they very clearly put everything they had into Crystals and Lasers and the result was a defining statement.

10. Kadavar, Berlin

kadavar berlin

Released by Nuclear Blast. Reviewed July 7.

After two wallops in the form of 2013’s Abra Kadavar (review here) and 2012’s self-titled debut (discussed here), German trio Kadavar continued to prove the effectiveness of their songwriting on Berlin, a return that front-to-back brimmed with vitality and bounce rare enough for heavy rock generally more content to be downtrodden or attempting to feign bluesy substance. Unabashedly poppy at times, Berlin was the party that brought everyone along who was up for taking the ride, and whether it was the hook of “Lord of the Sky” showing how just a tiny melodic turn could make a track infectious or cuts like “Thousand Miles Away from Home,” “Filthy Illusion,” “Stolen Dreams,” “Spanish Wild Rose,” “See the World with Your Own Eyes” — all of them, really — working their way into the consciousness, Berlin felt like it was primed to be the soundtrack of many summers to come. They moved away from the retro style of their first two outings, but in so doing took fuller command of their sound and put it to remarkable use.

9. Goatsnake, Black Age Blues

goatsnake black age blues

Released by Southern Lord. Reviewed May 19.

Picking up right where Flower of Disease closer “The River” left off with “Another River to Cross,” Goatsnake‘s third full-length arrived a full 15 years after its predecessor, and as one might expect that brought some considerable changes in the band’s sound. Oh, they still rolled the hell out of a riff, guitarist Greg Anderson (he of SunnO))) and Southern Lord Recordings) very much at the fore tonally, but a bluesy inflection from vocalist Pete Stahl (also earthlings?) and some well-placed backing vocals added personality in a daring and unexpected fashion. Songs like “Jimi’s Gone,” “Elevated Man” and “Grandpa Jones” sat comfortably in the band’s influential pantheon of heft, but it was how Black Age Blues pushed beyond what Goatsnake did in their initial run that made it so satisfying. For a record that arrived five years after they got back together, it could have easily been disaster, but Black Age Blues built on what Goatsnake was without detracting from the legacy that has influenced a generation of heavy rock.

8. Kings Destroy, Kings Destroy

kings destroy self titled

Released by War Crime Recordings. Reviewed April 15.

I’m proud to call the members of Kings Destroy friends and I won’t attempt to feign impartiality when it comes to considering their work as a band, but I felt in listening to their self-titled third LP that they had finally gotten to the point where they were bringing the onstage confrontationalism of their live show to the studio. Yeah, “Mr. O” was upbeat and catchy and gave side A some thrust, but even in chugging opener “Smokey Robinson” or the moody “Mytho” and “Embers,” Kings Destroy not only came further into their own in terms of style, building on the anti-genre defiant stance of 2013’s A Time of Hunting (review here), but did so with a clearheaded progressivism, a better sense of who they are musically and what they want the band to be. I wouldn’t trade seeing them play “Embers” or “W2” as many times as I have for anything, but even unto the gang-shout half-speed hardcore of “Time for War,” Kings Destroy‘s Kings Destroy made no bones about how it wound up with the eponymous title. It’s them through and through.

7. Cigale, Cigale

cigale self titled

Self-released. Reviewed May 4.

It may never be possible to listen to the self-titled debut from Cigale outside the context of the death of guitarist/vocalist Rutger Smeets (ex-Sungrazer). That loss casts a dark shadow over a collection that otherwise radiates colorful sweetness and serenity, the peaceful depth beginning with “Grey Owl” and only broadening as it turns and weaves through “Steeplechase,” “Feel the Heat,” “Harvest Begun” and so on, but the record remains a gorgeous, engrossing wash of resonant melody and underlying presence. Not without its moments of melancholy, the more overarching impression was of beauty not tied to any notion of playing to genre or style, and while I don’t know what the future will hold for the band, if they’ll keep moving forward or not or if they’re even in a place yet to consider such things, they helped broaden the context of European heavy psychedelia with their first album, and that is no minor achievement.

6. Sun Blood Stories, Twilight Midnight Morning

sun blood stories twilight midnight morning

Self-released. Reviewed June 19.

Another one that just kind of smacked me in the face. Idahoan heavy psych explorers Sun Blood Stories‘ second album, Twilight Midnight Morning was soaked in vibe and moved fluidly between experimentalist noisemaking and patient, memorable songwriting. Tracks like “West the Sun,” “Witch Wind” and “Found Reasons Found Out” never raged, exactly, but had enough weight to their rhythm to let you know they were there and interested in groove, while later pieces “Time Like Smoke,” “Moon Song: Waxing” and “Misery is Nebulous” drew exponentially from earlier freakout impulses and shifted into a dronier and more ambient approach. The combination of the two — semi-structure up front, open expansion in the back — made the three-part Twilight Midnight Morning engaging and hypnotic in kind, and though I hope they get weirder and experiment and develop the atmospheric side of their sound, I’ve also got my fingers crossed they hold firm to their more grounded aspects, since its the range between the two that gives their sophomore outing its defining fluidity.

5a. Colour Haze, To the Highest Gods We Know

colour haze to the highest gods we know

Released by Elektrohasch Schallplatten. Reviewed Jan. 6.

I’ll cite precedent in last year’s list for including a “5a.” The intent in doing so is to convey the idea that Colour Haze‘s latest outing, To the Highest Gods We Know, is worthy of top five consideration, but its release date was split between 2014 (CD) and 2015 (LP), so it was a little unclear where to put it. As the album is basically a year old at this point, it seems fair to say it’s held up, drawing back from the grandiose vision of 2012’s She Said (review here) without losing sight of the progressive elements that have taken root in the German trio’s sound. Their work has been and remains essential to the development of heavy psychedelic rock in Europe and beyond, and even though To the Highest Gods We Know felt like something of a reset — a stripping down of arrangements in places and getting back to a trio-in-a-room feel — it still stepped forward in its title-track and in songs like “Überall” and “Call” and showed that even when it seems Colour Haze have pushed their approach as far as it can go, there’s always new ground to explore, and their pull to do so is undiminished.

5. The Atomic Bitchwax, Gravitron

the atomic bitchwax gravitron

Released by Tee Pee Records. Reviewed April 20.

Doesn’t exactly seem like giving away state secrets to note that a record with songs like “Sexecutioner” and “Fuck Face” is aggressive, but it’s particularly interesting in light of the past work of New Jersey trio The Atomic Bitchwax, who I don’t think sounded as barn-burning as they do on Gravitron even in their earliest going. The trio of bassist/vocalist Chris Kosnik, guitarist/vocalist Finn Ryan and drummer Bob Pantella kept their signature winding riff style intact — demonstrated most expansively over 2011’s single-song full-length instrumental The Local Fuzz (review here) — but while their turns were as blinding as ever, their tones were more pointed and Pantella‘s snare more upfront on the beat, which gave Gravitron a newfound sense of urgency. It worked. Even poppier songs like “Roseland” or the closing “Ice Age Hey Baby” benefited from the additional thrust, and the album overall felt lean, mean and ready to be taken on the road, which of course is exactly what they did with it. Six albums in, The Atomic Bitchwax were at their most vital yet.

4. All Them Witches, Dying Surfer Meets His Maker

all them witches dying surfer meets his maker

Released by New West Records. Reviewed Oct. 20.

Nashville four-piece All Them Witches probably could’ve gone into the studio, churned out a record of crunchy riffs with a quiet part or two for flavor and positioned themselves at the forefront of American heavy rock with their New West Records debut and third full-length overall, Dying Surfer Meets His Maker. Instead, they defied expectation boldly and brought their growing audience into the room with them and producer Mikey Allred as they captured the album, which finds its most affecting moments not in tonal weight, but emotional resonance, the melody at the midpoint of “Talisman” or the string arrangement gracefully tucked into “Open Passageways.” There’s still the push of “Dirt Preachers,” and entrancing closer “Blood and Sand – Milk and Endless Waters” has its heft as well, but All Them Witches‘ success ultimately came from being the album they wanted to make, built from the dynamic that’s developed on stage between bassist/vocalist Michael Parks, Jr., guitarist Ben McLeodAllan Van Cleave on Fender Rhodes/strings, and drummer Robby Staebler, and alive in its feeling of exploration. I won’t predict what they might do from here, but I’m willing to say outright it’ll be worth hearing one way or another.

3. Snail, Feral

snail feral

Released by Small Stone Records. Reviewed Oct. 13.

My expectations for Snail‘s third post-reunion full-length and Small Stone label debut, Feral, were pretty high. Not unreasonably so, though. Their 2012 outing, Terminus (review here), built on the blend of heavy psych riffs, laid back roll and melodicism that 2009’s Blood (review here) established as the band’s working modus, but Feral was going to be a different beast from the start because it was the West Coast outfit’s first full-length as a trio since they made their self-titled debut (reissue review here) in 1993 before splitting up the next year. Whatever my expectations were, however, Snail shattered them almost immediately. In the progression of their songwriting as shown across the strong opening salvo of “Building a Haunted House,” “Smoke the Deathless” and “A Mustard Seed” through one of the year’s best songs in the expansive and crushing “Thou Art That,” the three-piece showcased a breadth unlike anything they’d conjured before, and it only continued through “Born in Captivity,” the catchy “Derail,” “Psilocybe” and the soul-infused wah leads that peppered the pleading closer “Come Home.” Where Terminus offered intensity, Feral offered patience in its execution, and the atmosphere it created suited the band’s sound as well as the Seldon Hunt cover art seemed to summarize the alternate reality in which the music took place. Everything about how it came together worked just right, and even as a fan of the band’s work since they got together again, I was taken aback by the unflinching quality of Feral front to back.

2. Acid King, Middle of Nowhere, Center of Everywhere

acid king middle of nowhere center of everywhere

Released by Svart Records. Reviewed March 19.

Ten years is a long, long time. Especially in music. The prospect of a fourth Acid King record has been tossed around for at least the last six of those 10 years, but to finally have it realized was something else entirely. Middle of Nowhere, Center of Everywhere was without a doubt my most-listened-to album of the year, and its combination of tonal haze, low-end heft and spacious atmosphere was perfect. There’s just no other way to say it. It was perfect. From “Silent Pictures” and “Coming down from Outer Space” through “Red River,” “Infinite Skies” and the sprawling “Center of Everywhere” itself, guitarist/vocalist Lori S., bassist Mark Lamb and drummer Joey Osbourne crafted an absolutely perfect heavy psych record. How many bands walking the earth could even get away with calling a track “Laser Headlights,” let alone make it kick ass? Yeah, Goatsnake came back this year, and that was great, but for me, the return of Acid King to their throne of nod was even more the story of the year. Together with producer Billy Anderson, they offered a depth of tone that was simply unmatched, and without an ounce of pretense, they unveiled a roll that continues to resound. I’m a big fan of getting lost in a record, and Middle of Nowhere, Center of Everywhere eased the listener in with its “Intro,” pulled reality apart from with “Silent Pictures” and set about doing the universe a favor by remaking the cosmos as the kind of place where one might find a wizard riding a tiger past the craters of the moon, until, at last, it deposited you back where you started. Best trip of 2015, no question.

1. Elder, Lore

elder lore

Released by Armageddon Shop and Stickman Records. Reviewed Feb. 19.

Make no mistake, 2015 was Elder‘s year. We were all just living in it. Truth be told, I’ve been back and forth between Elder and Acid King in the top spot for the last couple months (you might recall in July they were reversed), but when it finally came to it, there was no way I could feasibly call anything other than Lore the album of the year. From the gorgeous Adrian Dexter artwork (discussed here), through the progressive clarion of “Compendium”‘s noodling guitar line and into the massive scope of the title-track (discussed here), Lore was the moment in which Elder — guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto — tore down the walls of genre, whether it was heavy rock, psychedelia or anything else, and emerged with their own approach and complex, varied modus of songwriting. They’ve been turning heads since their self-titled debut arrived in 2008, but with 2011’s Dead Roots Stirring (review here), they began to demonstrate the potential for really adding something to the patchwork of underground heavy. In moving forward by making clarity a hallmark both of their sound and of their purpose, Elder came into their own with these five tracks, and do not at all be surprised a couple years from now when bands start showing up aping DiSalvo‘s style of riffing, since such a bold and successful foray of individualism can only be influential in the longer run. At nearly an hour long, Lore was not a minor undertaking, but each song seemed to set up its own atmosphere, feeding not only its own singular focus, but that of the album overall. Its turns blinding, its impact forceful and its affect drawing from the best of the sonic personalities of all three players, Elder‘s Lore reaped wide acclaim and earned it every step of the way. Its progressive vision has only begun to be digested.

Honorable Mention

Killer Boogie, Detroit – Impressive debut from the retro-minded offshoot of Black Rainbows brought ’70s boogie to Italy. I wouldn’t be surprised if they had a quick turnaround, but either way, their first outing knew its audience and spoke directly to it.

My Sleeping Karma, Moksha – This one was on various incarnations of the list. Very interested to see where the German heavy prog outfit wind up in terms of expanding their arrangements, but Moksha was a satisfying step forward in that process.

Egypt, Endless Flight – Should probably have a number, but the fact is it’s only been out for like two weeks, so it hasn’t really been given the test of time at this point. Still, Egypt always deliver and this was no exception.

Valkyrie, Shadows – An awaited third full-length from Virginia’s Valkyrie and also their Relapse Records debut offered enough blazing guitar work to meet any quota, and was a welcome return after a long absence.

Magic Circle, Journey’s End – The second LP from this Massachusetts outfit pushed beyond doomly confines into more traditional metallurgy but held its eerie atmospherics intact, and the combination suited them remarkably well.

Monolord, Vænir – This was my go-to for 2015 when nothing else seemed quite crushing enough. The Swedish trio have very quickly stomped their way into the hearts and minds of the international underground, and rightfully so.

Freedom Hawk, Into Your Mind – After making a transition from a four-piece to a trio, this Virginian outfit proceeded to take a few stylistic risks on their second Small Stone long-player, and they paid off.

TombstonesVargariis – Fourth full-length from this Norwegian trio pushed them outside of doom’s confines into a darker and more extreme version of heaviness that pulled from death and black metals in addition to its sludgy underpinnings. The meld was punishing and lost nothing of its groove, wherever it went at any given moment.

Faces of Bayon, Ash and Dust Have no Dominion – I guess my only hesitation with including Faces of Bayon‘s second outing in any kind of year-end fare is I’m not sure if the album has actually been released yet. Even if not, they’re easily worth a mention.

Ice Dragon, A Beacon on the Barrow – Kind of a down year from Ice Dragon in terms of overall productivity, but if the quantity was down compared to some, A Beacon on the Barrow was quality enough to carry them through. In a way, I think the album actually benefited from the band giving listeners time to take it in.

Arenna, Given to Emptiness – Ah, so good. The Spanish heavy psych troupe dug in deep on Given to Emptiness and conjured sonic and emotional resonance on their second full-length. It’s one that still gets repeat listens.

Monster Magnet, Cobras and Fire – The long-running New Jersey outfit’s reworking of their 2010 album Mastermind was excellent, don’t get me wrong, but it didn’t seem fair to list it when they’re working mostly from already-released source material. But still, if you haven’t heard it, go find it.

Various Artists, Electric Ladyland [Redux] – Even if the results hadn’t been so spectacular, Electric Ladyland [Redux] would deserve a mention for the sheer scope and logistical nightmare that the project must have been. Kudos to Magnetic Eye Records all around.

There are so many others: Abrahma, GoyaSun and Sail Club, DevilleSacri MontiDirty StreetsUfomammutWo Fat‘s live album, Mirror Queen, PentagramTorcheSumacGarden of WormBlack RainbowsHoly SerpentMinskBaronWeedpeckerElectric MoonFuzzBell WitchWindhand, Niche, We Lost the SeaSeremoniaSunderDomovoyd, The Heavy EyesDemon HeadFoggStars that MoveEnslavedRuby the Hatchet, on and on and on. That’s not even to mention the stuff I didn’t hear — Baroness will be on many people’s lists, no doubt, as well as Mutoid Man, Ghost and Kylesa — so yeah, I could pretty much keep going ad infinitum.

I, however, cannot. It’s been an absolute pleasure trying to keep up with 2015’s barrage the last 12 months, and I expect 2016 will only bring more. I hope you’ve enjoyed reading or that you’re able to get some use out of this post, whatever that might mean, and I thank you deeply, from the bottom of my heart, for your time and for reading. It means more to me than I can say that you might check out even any portion of this site or be involved, whether it’s sharing a link, leaving a comment to let me know who I forgot to mention or correct my spelling, signing up for the forum, listening to the radio, whatever it might be.

Thank you for an amazing 2015. And please stay tuned, because of course, there’s much more to come.

 

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Live Review: Kind, Worshipper, Summoner and Leather Lung in Massachusetts, 12.19.15

Posted in Reviews on December 21st, 2015 by JJ Koczan

Kind (Photo by JJ Koczan)

After spending the better part of the last month hobbling around on a bum right ankle, it was finally time for me to get the fuck out. Between work and that injury, which has endured in one degree or another since the beginning of the year, I don’t think I could even tell you how many shows I’ve missed in 2015, but this was at least my chance to end the year on a positive note, with Kind headlining a gig at Midway Cafe in Jamaica Plain that I’d come to think of essentially as the office party for Boston heavy rock and roll. The place was packed, from before Leather Lung got started as the first of the three support acts, through sets by Summoner and Worshipper, and the spirit of the evening was Leather Lung (Photo by JJ Koczan)clearly celebratory. It’s the holidays. People were looking for a good time.

And they’d have one. Leather Lung gave the four-band night a sludgy start at about quarter to 10. Outright in their weedianism in a kind of “Hey check us out isn’t pot awesome?” sense, their sound ultimately fell flat with me. I’ll say immediately I was in a minority of about one in that regard, but with a sort of proto-rap-rock flow from their singer’s rhythmic screams, all I could think about was early Incubus or 311 crossed with Eyehategod-style aggro sludge, and the combo left me cold. So far as I know they have one 2014 EP out called Reap What You Sow — they may or may not have aired “Green Bitch” from it — and I don’t want to rag on a local band just getting their feet under them, so I won’t. Again, the crowd was into it.

It’s been a little more than a year since I last saw Summoner live (review here). Not much has changed — though vocalist/bassist Chris Johnson said from the stage that they had a new record in the works. Where they might be in that process, I couldn’t say, but the bulk of what they played came from their two full-lengths, 2013’s Atlantian and 2012’s Phoenix, both of which drew on heavy and progressive influences, plotted dual-guitar leads fSummoner (Photo by JJ Koczan)rom AJ Peters and Joe Richner and the foundation of Scott Smith‘s swings and builds on drums. Their material careens and turns on a dime, is atmospheric and heavy and melodic and propulsive, and their dynamic has been honed to a continually impressive degree. I don’t know how often they rehearse, but they sure sound rehearsed.

“Winged Hessians” and “Into the Abyss” fed one into the next to leadoff their comfortable but still engrossing set, and the peaks built on peaks of “Let the Light In” from Phoenix provided an apex before Atlantian‘s shuffling “Horns of War” closed out. I’d expect their next outing, whenever it might arrive, to follow the thread from those two records in Summoner‘s thought-out approach. Nothing they do seems to be an accident, and the fact that there’s consciousness at work behind it only makes their scope more impressive. They remain underrated, and were an upbeat lead-in for relative newcomers Worshipper, who’ve found near-immediate success, taking home a Boston Music Award for Best Metal Somethingorother. Fair enough.

My first time seeing the band, but I’ve dug both their two-song singles, so was eager to hear those cuts and whatever else might be on offer live. With a two-guitar assault that was at times Thin Lizzy and at times Iron Maiden/slow-SlayerWorshipper very nearly Worshipper (Photo by JJ Koczan)stole the night, and considering they don’t have a record out yet and considering who the headliners were, that’s saying something. Their singles — all four tracks of which were aired, “High Above the Clouds” opening, “Black Corridor” closing, with “Step Behind” and “Place Beyond the Light” appearing early on — have told only about one-sixth of the full story of their breadth, and fronted confidently by guitarist/vocalist John Brookhouse with on-point backing harmonies by bassist Bob Maloney, they found a niche for themselves between early metal, heavy and hard rock, adding just a touch of doom to the rolling progression of “Another Yesterday” but going into a more classic form for the shorter, penultimate “Julia.”

Guitarist Alejandro Necochea both took his own leads and held down riffs while Brookhouse did likewise, and drummer Dave Jarvis seemed to throw his whole body into the kit to pull off such swing. They played a nine-song set with poise that defied their being such a new band, and showcased a breadth that made me understand quickly why people seem to be getting so fervently behind what they do. I’ll look forward to hearing what comes out of their next studio session — my sense is they should skip the EP, go right for the album — but Worshipper (Photo by JJ Koczan)their potential and their awareness of what they wanted to be as a band bled into each piece they played. They looked like a group coming into the realization that they could be something special together, and it was exciting to watch.

Like I said, they very nearly stole the night, but it was ultimately Kind‘s evening. The headlining four-piece’s recently-issued Rocket Science (review here) is among the year’s best, debut or not, and opening with “German for Lucy,” they played a good portion of it. From the charmingly-titled “Pastrami Blaster” through the swinging “Fast Number One,” through the expansive “Hordeolum,” the hook-laced “Grogan” and the space-jamming “The Angry Undertaker,” Kind took Midway Cafe on a run that brought out the best from the four players onstage — guitarist Darryl Shepard (MilligramHackman, etc.), vocalist Craig Riggs (Roadsaw), bassist Tom Corino (Rozamov) and drummer Matt Couto (Elder) — without being adherent to the past work of any of them.

True to the record, the material live had a balance between up-front heavy rock riffing and more spacious psychedelia,Kind (Photo by JJ Koczan) whether from Couto working synth in addition to drums or Riggs running his vocals through a range of effects, and the combination of his singing being high in the venue mix and the propulsion provided by Couto worked particularly well compared even to other times I’ve seen them play. As Corino threw his bass behind his newly-shorn head and put a foot up on the stage monitor and Couto kept his head down to ride the grooves through between Shepard‘s riffs and leads, it became apparent just how quickly Kind have come together as a band. Of course the eternal fear with a side-project of any sort or other is that it’ll be left to rot while various main outfits take priority, but I remain hopeful that Kind continue to move forward from Rocket Science and embark on a progression of their own. It is an avenue worth pursuing for all involved.

I’ll admit that by the time they got around to “The Angry Undertaker,” I wasKind (Photo by JJ Koczan) in considerable discomfort. The crowd had thinned out somewhat by the time I made my way to a bar chair to get off my feet, between shout-outs to the New England Patriots — lest we forget we’re in Boston — and the liberal imbibing all around, clearly the party was still going. Fair enough. It was decided from the stage that everyone was going to Tom‘s house after the show to keep drinking, and that may well have happened, but I split out quickly when Kind were finished, with a sore foot, an hour drive and general social inadequacy for motivation. It was a dark and swervy night on the ride home (even sober, one tends to drift that late), but I felt glad to have made it. I don’t know if this one makes up for everything I didn’t get to see in 2015, but at least it wasn’t another one to go on that list.

More pics after the jump. Thanks for reading.

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The Obelisk Presents: The Top 20 Debut Albums of 2015

Posted in Features on December 18th, 2015 by JJ Koczan

top 20 debuts of 2015 1

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.

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:

brothers of the sonic cloth brothers of the sonic cloth

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 DunesSweat LodgePlanes of SatoriDoctoR DooMLasers 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 IsisEcstatic Vision with players from A Life Once LostWith the Dead with members of Cathedral and Ramesses coming together for the first time, Kind drawing its lineup from the likes of RoadsawMilligramRozamov 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 SungrazerStars that Move which sprang from Starchild, and Death Alley with members of MührGewapend 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 FoggDemon HeadBison MachineSunderCloud 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.

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.

 

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audiObelisk Transmission 055

Posted in Podcasts on December 14th, 2015 by JJ Koczan

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Before we get to all the tracks and this and that, I have to say, this double-size year-end podcast was an absolute pleasure to put together. Fun. Actual fun. I don’t know if it was the preponderance of excellent songs to work from that came out in 2015 or what, but I had a really good time making my way through the near-four-hour run, and I hope you feel that way too as you listen.

It should go without mentioning, but I’ll give the disclaimer anyway that this is in no way, shape or form a complete rundown of everything awesome produced this year. My own Top 10 has bands on it who aren’t represented here, so if you don’t see something you think belongs in the mix below — looking at you, Baroness fans — please keep in mind that it’s not my intent to offer anything more than a partial summary. Otherwise, I’d have to make it a year long.

Thanks for listening if you get the chance to do so, and if there’s something here you haven’t yet checked out, I hope you dig it. The flow is pretty easy front to back, but we get into some more extreme stuff in the third hour for a bit before going grand with Elder and the “Digestive Raga” from Øresund Space Collective, which seemed an appropriate way to end off giving everyone a chance to process what’s just been heard. Please enjoy.

Track details follow:

First Hour:
0:00:00 Acid King, “Red River” from Middle of Nowhere, Center of Everywhere
0:08:24 Clutch, “Firebirds” from Psychic Warfare
0:11:23 Bloodcow, “Crystals and Lasers” from Crystals and Lasers
0:14:28 Stoned Jesus, “Rituals of the Sun” from The Harvest
0:21:25 Ufomammut, “Plouton” from Ecate
0:24:33 Geezer, “So Tired” from The Second Coming of Heavy: Chapter One Split w/ Borracho
0:32:36 Wizard Eye, “Thunderbird Divine” from Wizard Eye
0:37:40 Mondo Drag, “Crystal Visions Open Eye” from Mondo Drag
0:42:08 Fogg, “Seasons” from High Testament
0:48:26 Goatsnake, “Grandpa Jones” from Black Age Blues
0:53:02 Snail, “Thou Art That” from Feral

Second Hour:
1:03:17 Sergio Ch., “Las Piedras” from 1974
1:06:40 All Them Witches, “Blood and Sand – Milk and Endless Waters” from Dying Surfer Meets His Maker
1:13:54 Death Hawks, “Ripe Fruits” from Sun Future Moon
1:18:45 Colour Haze, “Call” from To the Highest Gods We Know
1:26:46 Kadavar, “Last Living Dinosaur” from Berlin
1:30:50 Spidergawd, “Fixing to Die Blues” from Spidergawd II
1:35:02 The Machine, “Dry End” from Offblast!
1:38:01 The Midnight Ghost Train, “Straight to the North” from Cold was the Ground
1:42:00 Kind, “Pastrami Blaster” from Rocket Science
1:48:29 Valley, “Dream Shooter, Golden!” from Sunburst
1:54:22 Graveyard, “From a Hole in the Wall” from Innocence and Decadence
1:58:09 Demon Head, “Book of Changes” from Ride the Wilderness

Third Hour:
2:02:50 Egypt, “Endless Flight” from Endless Flight
2:12:29 Brothers of the Sonic Cloth, “Empires of Dust” from Brothers of the Sonic Cloth
2:20:09 With the Dead, “I am Your Virus” from With the Dead
2:25:45 Ahab, “Red Foam (The Great Storm)” from The Boats of the Glen Carrig
2:32:08 Kings Destroy, “Mr. O” from Kings Destroy
2:36:37 Sun and Sail Club, “Dresden Firebird Freakout” from The Great White Dope
2:38:33 Sunder, “Wings of the Sun” from Sunder
2:42:41 Weedpecker, “Into the Woods” from Weedpecker II
2:50:50 Uncle Acid and the Deadbeats, “Pusher Man” from The Night Creeper
2:56:26 Eggnogg, “Slugworth” from Sludgy Erna Bastard split w/ Borracho

Fourth Hour:
3:02:48 Golden Void, “Astral Plane” from Berkana
3:09:34 Elder, “Lore” from Lore
3:25:24 Øresund Space Collective, “Digestive Raga” from Different Creatures

Total running time: 3:55:26

 

Thank you for listening.

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The Obelisk Presents: 10 of 2015’s Best Album Covers

Posted in Features, Visual Evidence on December 4th, 2015 by JJ Koczan

I didn’t get to do this list last year — at least not that I can find — but especially as vinyl continues to grow as the dominant media for underground and/or heavy genres, it seems more and more necessary to highlight quality cover art as a focal point. This is, of course, not an exhaustive list. There were way more than 10 badass album covers, and I’m hoping you’ll add your favorites to the comments on this post, but these were some of the ones and some of the artists who most caught my eye. A few of the names are familiar — one artist also appeared on the 2013 list — and the work of some was new to me, but all made striking impressions one way or another in a range of styles, and I hope you’ll agree.

No need to delay. Let’s dive in:

Ordered alphabetically by artist

Ruby the Hatchet, Valley of the Snake

ruby the hatchet valley of the snake

Cover by Adam Burke. Artist website here.

Formerly (or at least sort-of-formerly) of Fellwoods and currently also playing in Pushy, Adam Burke‘s style has become essential to the aesthetics of doom and heavy rock. His work for bands like Ice Dragon, Mystery Ship, Pastor, Mos Generator and a slew of others — including me — never fails to impress with its deep colors, natural tones and, in many cases, a sense of underlying threat. So it is with Ruby the Hatchet‘s Tee Pee Records label debut, Valley of the Snake (review here). Burke presents the title literally as a winding serpent in the sky becomes a river leading to a waterfall, the colors of a sun either rising or setting giving a glimpse of the otherworldly while the earth below is presented in darker browns and the jagged rocks in the foreground. There were a few candidates for Burke this year, but this one continues to stun.

Elder, Lore

elder lore

Cover by Adrian Dexter. Artist website here.

A record that, for many, defines 2015 in a major way, Elder‘s Lore (review here) is not the first collaboration between the Massachusetts trio and artist Adrian Dexter, but the results this time around are particularly satisfying. And since we’re talking about vinyl, the creativity in the gatefold design and the other pieces Dexter contributed to the album proves no less impressive than the progressive turn Elder took in their songwriting — a fitting match in scope and execution. Released by Armageddon Shop and Stickman RecordsLore has pushed Elder into a different echelon entirely, and this will not be the final year-end-type list on which it appears around here, but Dexter‘s work, detail, subtlety and use of color for the cover simply had to be seen to be believed.

Kings Destroy, Kings Destroy

kings destroy self titled

Cover by Josh Graham. Artist website here.

Though he’s perhaps best known for his work doing live visuals over a stretch of years for Neurosis, Brooklyn-based Josh Graham‘s list of cover art accomplishments also include Soundgarden, KENmode, Vattnet Viskar and his own projects, A Storm of Light, Battle of Mice and Red Sparowes. With the cover for the self-titled third album from fellow New Yorkers Kings Destroy (review here), he seemed to encapsulate everything the War Crime Recordings release was driving toward with its urban crunch, aggression, and the feeling that all of this is a part of something larger and barely understood. Is it a bowl? Part of some ritual offering? Is it a drain? The expertly manipulated photography takes landmarks from the city and turns them into something as beautiful as it is malevolent, and Kings Destroy lived up to that standard on the album itself.

Snail, Feral

snail feral
Cover by Seldon Hunt. Artist website here.

Every bit worthy of the frame it has. Going back to pieces for Neurosis, Isis, Made out of Babies and more, Seldon Hunt‘s work is always widely varied, covering a range of styles and media. His piece for Feral (review here), a pivotal fourth album by West Coast heavy psych rockers Snail (released by Small Stone), seems to play off the single-word title in portraying a threatening vision of nature. At the bottom, we see human skulls as giant snails, weird glowing dogs and a deer with yellow eyes and snakes entwined in its antlers survey the landscape of huge mushrooms and sparse grass. Behind, two tangled trees add to the sense of foreboding, and a sky that runs from black to red speaks to a night that doesn’t look like it’s about to end anytime soon. Is this Hunt‘s vision of nature’s revenge? Either way, it’s engrossing in its three-dimensionality.

Valkyrie, Shadows

valkyrie shadows

Cover by Jeremy Hush. Artist website here.

Valkyrie‘s third full-length, first for Relapse Records and first in seven years, Shadows (review here), was a classic guitar rock fan’s dream come true. Brothers Jake and Pete Adams led the band through cascading solos, memorable songs and unpretentious vibes. The cover art by Jeremy Hush stood out to me particularly for the violence of its depiction. We see smaller blackbirds using spears or arrows to attack a hawk, and three on one is hardly a fair fight, even with a bird of prey, as a skull looks on from nearby grass. What I don’t know, ultimately, is whose side we’re on — ravens are hardly a traditional harbinger of good fortune — but somehow not knowing that only makes the piece more evocative, and from the detail and use of empty space in its parchment-style background to the struggle it portrays, Hush‘s work certainly grabbed attention.

Ahab, The Boats of the Glen Carrig

ahab the boats of the glen carrig
Cover by Sebastian Jerke. Artist website here.

A Germany-based painter who’s done art for Desertfest Berlin, Colour Haze, as well as the Freak Valley and Keep it Low festivals, Sebastian Jerke contributed several artworks to Napalm Records this year. He’ll continue that thread in 2016 with Greenleaf likely among others, but in 2015, his pieces for My Sleeping Karma and Ahab especially stood out, and the latter most of all. The funeral doomers don’t to anything on a scale less than grand, and Jerke‘s cover for The Boats of the Glen Carrig (review here) offered scope to match. Its sea monsters have breathtaking color and detail, and are familiar and alien at the same time, the central figure’s human-esque hand drawing a crowd either awed or looking to feast. This was one you could stare at over and over again and still always find something new.

Acid King, Middle of Nowhere, Center of Everywhere

acid king middle of nowhere center of everywhere
Cover by Tim Lehi. Artist website here.

I actually saw when Acid King unveiled the cover for their first album in a decade, Middle of Nowhere, Center of Everywhere (review here), that there were some people giving them shit for the artwork out front. Don’t get me wrong, everyone’s entitled to their opinion, and if you ever wanted to find a bunch of conflicting ones look no further than the internet, but excuse me — it’s a wizard (Hell, that might be Gandalf), riding a tiger, in outer space. If there’s any part of that that isn’t frickin’ awesome, I’m not sure what it might be. What directive tattoo artist Tim Lehi was given going into the project, which would eventually surface on Svart Records, I don’t know, but it’s hard for me to listen to the far-no-farther out riffs of “Center of Everywhere” and not at very least want to be that wizard. Riding that tiger. In outer space. I’ll defend this one all day if necessary.

Serial Hawk, Searching for Light

serial hawk searching for light
Cover by Samantha Muljat and Sara Winkle. Artist websites here and here.

If I had gotten to do this list in 2014, Samantha Muljat could have easily appeared on it for her manipulated landscape that adorned Earth‘s Primitive and Deadly. For Serial Hawk‘s debut album, Searching for Light (review here), she’s partnered with Sara Winkle, whose work ranges from commercial design and album covers to animation and more. What the two offer in their work for Serial Hawk is a blend of the real and the unreal. We don’t see the face of the photographed subject, but she leads our eye toward the white circle, which, on a horizon could be the sun, but here seems to have descended to the field, landed there toward some unknown purpose. The tall grasses seem to fade into a wash of lighter green, but note the angle of the arm on the right side and the legs toward the center is nearly identical and seems to be working opposite the windblown direction of the field surrounding. Like the piece as a whole, it’s as much natural as unnatural.

Various Artists, Electric Ladyland [Redux]

various artists electric ladyland redux
Cover by David Paul Seymour. Artist website here.

My notes for this list contain no fewer than three separate entries for Minneapolis artist David Paul Seymour. There’s one for ChiefsTomorrow’s Over (review here), and one for Wo Fat‘s Live Juju (review here), but when it came time to pick just one, nothing stood out like Magnetic Eye RecordsElectric Ladyland [Redux] (review here). The full-gatefold spread is my favorite album cover of the year — and a good deal of this year’s covers were by Seymour, who has become nigh on ubiquitous in heavy and psychedelic rock — and for Jimi Hendrix, who’s been portrayed so many times it would be impossible to count, to show up in an original way in an original setting, it showed creativity on a scale fitting to the logistics of the compilation itself, which pulled together groups from around the world in due homage to Hendrix‘s 70th birthday. Its colors, its shading, its strange mercurial pool and waterfall — it’s just perfect for what it was intended to do.

Kind, Rocket Science

kind rocket science
Cover by Alexander von Wieding. Artist website here.

He’s split his time these last several years with his one-man band incarnation Larman Clamor, but Hamburg’s Alexander von Wieding continues to find time for copious design work for the likes of Brant BjorkKarma to BurnEnos and more. This year, in addition to a logo for a forthcoming The Obelisk t-shirt, he also did a cover for a split between Larman Clamor and Blackwolfgoat, whose Darryl Shepard also plays guitar in Kind, so to have him also illustrate that project’s Ripple debut, Rocket Science (review here), only seems fair. I’ll make no pretense of being anything other than a fan of von Wieding‘s work, and he’s in his element with Rocket Science, line drawing a spacescape with a crashed ship manned by what appears to be a frustrated chicken and rabbit (“Rabbit Astronaut” is one of the song titles). A lizard looks on and sticks a forked tongue out at the scene, and as mountains and planets loom behind, von Wieding reinforces a charm in his work that has drawn bands and labels his way for the better part of the last decade.

Like I said at the outset, there were far too many covers for me to call this list comprehensive — right off the top of my head: SunderGroanMos Generator/StubbMonolord (that solo figure walking into the lake continues to haunt), BaronessHigh on FireGraveyardMonster MagnetThe MachineEggnogg/BorrachoEcstatic Vision, Uncle Acid, on and on — but these were just some that particularly resonated with me. If you feel like something was criminally ignored — maybe I missed it — please let me know in the comments.

And thanks for reading.

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