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Quarterly Review: Monkey3, The Quill, Nebula Drag, LLNN & Sugar Horse, Fuzzter, Cold in Berlin, The Mountain King, Witchorious, Skull Servant, Lord Velvet

Posted in Reviews on February 29th, 2024 by JJ Koczan

The-Obelisk-Quarterly-Review

Day four of five puts the end of this Quarterly Review in sight, as will inevitably happen. We passed the halfway point yesterday and by the time today’s done it’s the home stretch. I hope you’ve had a good week. It’s been a lot — and in terms of the general work level of the day, today’s my busiest day; I’ve got Hungarian class later and homework to do for that, and two announcements to write in addition to this, one for today one for tomorrow, and I need to set up the back end of another announcement for Friday if I can. The good news is that my daughter seems to be over the explosive-vomit-time stomach bug that had her out of school on Monday. The better news is I’ve yet to get that.

But if I’m scatterbrained generally and sort of flailing, well, as I was recently told after I did a video interview and followed up with the artist to apologize for my terribleness at it, at least it’s honest. I am who I am, and I think that there are places where people go and things people do that sometimes I have a hard time with. Like leaving the house. And parenting. And interviewing bands, I guess. Needing to plow through 10 reviews today and tomorrow should be a good exercise in focusing energy, even if that isn’t necessarily getting the homework done faster. And yeah, it’s weird to be in your 40s and think about homework. Everything’s weird in your 40s.

Quarterly Review #31-40:

Monkey3, Welcome to the Machine

monkey3 welcome to the machine

What are Monkey3 circa 2024 if not a name you can trust? The Swiss instrumental four-piece are now more than 20 years removed from their 2003 self-titled debut, and Welcome to the Machine — their seventh album and fourth release on Napalm Records (three studio, one live) — brings five new songs across 46 minutes of stately progressive heavy craft, with the lead cut “Ignition” working into an early gallop before cutting to ambience presumably as a manifestation of hitting escape velocity and leaving the planetary atmosphere, and trading from there between longer (10-plus-minute) and shorter (six- and seven-minute) pieces that are able to hit with a surprising impact when they so choose. Second track “Collision” comes to crush in a way that even 2019’s Sphere (review here) didn’t, and to go with its methodical groove, heavy post-rock airiness and layered-in acoustic guitar, “Kali Yuga” (10:01) is tethered by a thud of drums that feels no less the point of the thing than the mood-aura in the largesse that surrounds. Putting “Rackman” (7:13, with hints of voice or keyboard that sounds like it), which ends furiously, and notably cinematic closer “Collapse” (12:51) together on side B is a distinct immersion, and the latter places Monkey3 in a prog-metal context that defies stylistic expectation even as it lives up to the promise of the band’s oeuvre. Seven records and more than two decades on, and Monkey3 are still evolving. This is a special band, and in a Europe currently awash in heavy instrumentalism of varying degrees of psychedelia, it’s hard to think of Monkey3 as anything other than aesthetic pioneers.

Monkey3 on Facebook

Napalm Records website

The Quill, Wheel of Illusion

the quill wheel of illusion

With its Sabbath-born chug and bluesy initial groove opening to NWOBHM grandeur at the solo, the opening title-track is quick to reassure that Sweden’s The Quill are themselves on Wheel of Illusion, even if the corresponding classic metal elements there a standout from the more traditional rock of “Elephant Head” with its tambourine, or the doomier roll in “Sweet Mass Confusion,” also pointedly Sabbathian and thus well within the wheelhouse of guitarist Christian Carlsson, vocalist Magnus Ekwall, bassist Roger Nilsson and drummer Jolle Atlagic. While most of Wheel of Illusion is charged in its delivery, the still-upbeat “Rainmaker” feels like a shift in atmosphere after the leadoff and “We Burn,” and atmospherics come more into focus as the drums thud and the strings echo out in layers as “Hawks and Hounds” builds to its ending. While “The Last Thing” works keyboard into its all-go transition into nodding capper “Wild Mustang,” it’s the way the closer seems to encapsulate the album as a whole and the perspective brought to heavy rock’s founding tenets that make The Quill such reliable purveyors, and Wheel of Illusion comes across like special attention was given to the arrangements and the tightness of the songwriting. If you can’t appreciate kickass rock and roll, keep moving. Otherwise, whether it’s your first time hearing The Quill or you go back through all 10 of their albums, they make it a pleasure to get on board.

The Quill on Facebook

Metalville Records website

Nebula Drag, Western Death

Nebula Drag Western Death

Equal parts brash and disillusioned, Nebula Drag‘s Dec. 2023 LP, Western Death, is a ripper whether you’re dug into side ‘Western’ or side ‘Death.’ The first half of the psych-leaning-but-more-about-chemistry-than-effects San Diego trio’s third album offers the kind of declarative statement one might hope, with particular scorch in the guitar of Corey Quintana, sway and ride in Stephen Varns‘ drums and Garrett Gallagher‘s Sabbathian penchant for working around the riffs. The choruses of “Sleazy Tapestry,” “Kneecap,” “Side by Side,” “Tell No One” and the closing title-track speak directly to the listener, with the last of them resolved, “Look inside/See the signs/Take what you can,” and “Side by Side” a call to group action, “We don’t care how it gets done/Helpless is the one,” but there’s storytelling here too as “Tell No One” turns the sold-your-soul-to-play-music trope and turns it on its head by (in the narrative, anyhow) keeping the secret. Pairing these ideas with Nebula Drag‘s raw-but-not-sloppy heavy grunge, able to grunge-crunch on “Tell No One” even as the vocals take on more melodic breadth, and willing to let it burn as “Western Death” departs its deceptively angular riffing to cap the 34-minute LP with the noisy finish it has by then well earned.

Nebula Drag on Facebook

Desert Records store

LLNN & Sugar Horse, The Horror bw Sleep Paralysis Demon

LLNN Sugar Horse The Horror Sleep Paralysis Demon

Brought together for a round of tour dates that took place earlier this month, Pelagic Records labelmates LLNN (from Copenhagen) and Sugar Horse (from Bristol, UK) each get one track on a 7″ side for a showcase. Both use it toward obliterating ends. LLNN, who are one of the heaviest bands I’ve ever seen live and I’m incredibly grateful for having seen them live, dig into neo-industrial churn on “The Horror,” with stabbing synth later in the procession that underscores the point and less reliance on tonal onslaught than the foreboding violence of the atmosphere they create. In response, Sugar Horse manage to hold back their screams and lurching full-bore bludgeonry for nearly the first minute of “Sleep Paralysis Demon” and even after digging into it dare a return to cleaner singing, admirable in their restraint and more effectively tense for it when they push into caustic sludge churn and extremity, space in the guitar keeping it firmly in the post-metal sphere even as they aim their intent at rawer flesh. All told, the platter is nine of probably and hopefully-for-your-sake the most brutal minutes you might experience today, and thus can only be said to accomplish what it set out to do as the end product sounds like two studios would’ve needed rebuilding afterward.

LLNN on Facebook

Sugar Horse on Facebook

Pelagic Records website

Fuzzter, Pandemonium

fuzzter pandemonium

Fuzzter aren’t necessarily noisy in terms of playing noise rock on Pandemonium, but from the first cymbal crashes after the Oppenheimer sample at the start of “Extinción,” the Peruvian outfit engage an uptempo heavy psych thrust that, though directed, retains a chaotic aspect through the band’s willingness to be sound if not actually be reckless, to gang shout before the guitars drift off in “Thanatos,” to be unafraid of being eaten by their own swirl in “Caja de Pandora” or to chug with a thrashy intensity at the start of closer “Tercer Ojo,” doom out massive in the song’s middle, and float through jazzy minimalism at the finish. But even in that, there are flashes, bursts that emphasize the unpredictability of the songs, which is an asset throughout what’s listed as the Lima trio’s third EP but clocks in at 36 minutes with the instrumental “Purgatorio,” which starts off like it might be an interlude but grows more furious as its five minutes play out, tucked into its center. If it’s a short release, it is substantial. If it’s an album, it’s substantial despite a not unreasonable runtime. Ultimately, whatever they call it is secondary to the space-metal reach and the momentum fostered across its span, which just might carry you with it whether or not you thought you were ready to go.

Fuzzter on Facebook

Fuzzter on Instagram

Cold in Berlin, The Body is the Wound

cold in berlin the body is the wound

The listed representation of dreams in “Dream One” adds to the concrete severity of Cold in Berlin‘s dark, keyboard-laced post-metallic sound, but London-based four-piece temper that impact with the post-punk ambience around the shove of the later “Found Out” on their The Body is the Wound 19-minute four-songer, and build on the goth-ish sway even as “Spotlight” fosters a heavier, more doomed mindset behind vocalist Maya, whose verses in “When Did You See Her Last” are complemented by dramatic lines of keyboard and who can’t help but soar even as the overarching direction is down, down, down into either the subconscious referenced in “Dream One” or some other abyss probably of the listener’s own making. Five years and one actual-plague after their fourth full-length, 2019’s Rituals of Surrender, bordering on 15 since the band got their start, they cast resonance in mood as well as impact (the latter bolstered by Wayne Adams‘ production), and are dynamic in style as well as volume, with each piece on The Body is the Wound working toward its own ends while the EP’s entirety flows with the strength of its performances. They’re in multiple worlds, and it works.

Cold in Berlin on Facebook

Cold in Berlin website

The Mountain King, Apostasyn

the mountain king apostasyn

With the expansive songwriting of multi-instrumentalist/sometimes-vocalist Eric McQueen at its core, The Mountain King issue Apostasyn as possibly their 10th full-length in 10 years and harness a majestic, progressive doom metal that doesn’t skimp either on the doom or the metal, whether that takes the form of the Type O Negative-style keys in “The White Noise From God’s Radio” or the tremolo guitar in the apex of closer “Axolotl Messiah.” The title-track is a standout for more than just being 15 minutes long, with its death-doom crux and shifts between minimal and maximal volumes, and the opening “Dødo” just before fosters immersion after its maybe-banging-on-stuff-maybe-it’s-programmed intro, with a hard chug answered in melody by guest singer Julia Gusso, who joins McQueen and the returning Frank Grimbarth (also guitar) on vocals, while Robert Bished adds synth to McQueen‘s own. Through the personnel changes and in each piece’s individual procession, The Mountain King are patient, waiting in the dark for you to join them. They’ll probably just keep basking in all that misery until you get there, no worries. Oh, and I’ll note that the download version of Apostasyn comes with instrumental versions of the four tracks, in case you’d really like to lose yourself in ruminating.

The Mountain King on Facebook

The Mountain King on Bandcamp

Witchorious, Witchorious

WITCHORIOUS SELF TITLED

The self-titled debut from Parisian doomers Witchorious is distinguished by its moments of sludgier aggression — the burly barks in “Monster” at the outset, and so on — but the chorus of “Catharsis” that rises from the march of the verse offers a more melodic vision, and the three-piece of guitarist/vocalist Antoine Auclair, bassist/vocalist Lucie Gaget and drummer Paul Gaget, continue to play to multiple sides of a modern metal and doom blend, while “The Witch” adds vastness and roll to its creeper-riff foundation. The guitar-piece “Amnesia” serves as an interlude ahead of “Watch Me Die” as Witchorious dig into the second half of the album, and as hard has that song comes to hit — plenty — the character of the band is correspondingly deepened by the breadth of “To the Grave,” which follows before the bonus track “Why” nod-dirges the album’s last hook. There’s clarity in the craft throughout, and Witchorious seem aware of themselves in stylistic terms if not necessarily writing to style, and noteworthy as it is for being their first record, I look forward to hearing how they refine and sharpen the methods laid out in these songs. The already-apparent command with which they direct the course here isn’t to be ignored.

Witchorious on Facebook

Argonauta Records website

Skull Servant, Traditional Black Magicks II

skull servant traditional black magicks ii

Though their penchant for cult positioning and exploitation-horror imagery might lead expectations elsewhere, North Carolinian trio Skull Servant present a raw, sludge-rocking take on their second LP, Traditional Black Magicks II, with bassist Noah Terrell and guitarist Calvin Bauer reportedly swapping vocal duties per song across the five tracks while drummer Ryland Dreibelbis gives fluidity to the current of distortion threaded into “Absinthe Dreams,” which is instrumental on the album but newly released as a standalone single with vocals. I don’t know if the wrong version got uploaded or what — Bauer ends up credited with vocals that aren’t there — but fair enough. A meaner, punkier stonerism shows itself as “Poison the Unwell” hints at facets of post-hardcore and “Pergamos,” the two shortest pieces placed in front of the strutting “Lucifer’s Reefer” and between that cut and the Goatsnake-via-Sabbath riffing of “Satan’s Broomstick.” So it could be that Skull Servant, who released the six-song outing on Halloween 2023, are still sorting through where they want to be sound-wise, or it could be they don’t give a fuck about genre convention and are gonna do whatever they please going forward. I won’t predict and I’m not sure either answer is wrong.

Skull Servant on Facebook

Skull Servant on Bandcamp

Lord Velvet, Astral Lady

lord velvet astral lady

Notice of arrival is served as Lord Velvet dig into classic vibes and modern heft on their late 2023 debut EP, Astral Lady, to such a degree that I actually just checked their social media to see if they’d been signed yet before I started writing about them. Could happen, and probably will if they want it to, considering the weight of low end and the flowing, it’s-a-vibe-man vibe, plus shred, in “Lament of Io” and the way they make that lumber boogie through (most of) “Snakebite Fever.” Appearing in succession, “Night Terrors” and “From the Deep” channel stoned Iommic revelry amid their dynamic-in-tempo doomed intent, and while “Black Beam of Gemini” rounds out with a shove, Lord Velvet retain the tonal presence on the other end of that quick, quiet break, ready to go when needed for the crescendo. They’re not reinventing stoner rock and probably shouldn’t be trying to on this first EP, but they feel like they’re engaging with some of the newer styles being proffered by Magnetic Eye or sometimes Ripple Music, and if they end up there or elsewhere before they get around to making a full-length, don’t be surprised. If they plan to tour, so much the better for everybody.

Lord Velvet on Facebook

Lord Velvet website

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Desertfest Belgium 2023: Antwerp Lineup Updated

Posted in Whathaveyou on June 15th, 2023 by JJ Koczan

Quickie lineup update from Desertfest Belgium 2023 for Antwerp. Having previously confirmed the likes of Yawning Man, Shellac, The Ocean, Monkey3 — whose 39 Laps is about to be reissued on Sound of Liberation RecordsDopelord and King Buffalo, Ruff Majik, Siena Root, on and on, the venerable Belgian installation of the Desertfest brand has put forth word that North Carolinian original-era sludge chaosbringers Sourvein won’t be making the trip after all, but that New Orleans mainstays Eyehategod will, alongside The Obsessed, The Great Machine, ultra-crushers LLNN, as well as Moonstone and Apex Ten, the latter of whom are Belgian natives. Their Aashray (review here) album was released last month.

A little context here offers potentially crucial information. What the below announcement doesn’t say is how on-fire The Obsessed are right now or that they’re headed into a new album release this Fall — release date still forthcoming, but I’m pretty sure Wino said on stage at Freak Valley that the album is called It’s Not Okay — or the extent to which Israeli trio The Great Machine tear it up on (or potentially off) stage, which is something else I was lucky enough to find out for myself in Netphen. Knowing that, they become more than just another name on a bill or another act who put out a cool record this year, and if you haven’t seen them and are headed to Desertfest, they are indeed a sight to see. All the more because the tones and sings are so right on.

Here’s what the fest had to say:

Desertfest Belgium 2023 poster eyehategod etc

We’re thrilled to add a couple of new names to our Desertfest congregation. Joining our bill for the best fest of the year are:

EYEHATEGOD – The Obsessed – The Great Machine – LLNN – Moonstone – Apex Ten

Unfortunately SOURVEIN won’t make it to the fest this year due to a contingency.

Get your pass to Desert Heaven with a Reduced Three Days Combi Ticket or a Day Ticket at our Ticket Page!

https://www.desertfest.be/antwerp/information/ticketing/

Event page: https://www.facebook.com/events/1634817843606240/

And keep an eye on this very spot for the last couple of band names that still need to be dropped…

Rock out as you rock on! (#129304#)

http://www.desertfest.be/
https://www.facebook.com/desertfestbelgium/
https://www.instagram.com/desertfest_belgium/

The Great Machine, Live at Freak Valley Festival 2023

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Høstsabbat 2023 Adds Spurv, 1234!, LLNN, Bong Voyage & Forcefed Horsehead to Lineup

Posted in Whathaveyou on April 7th, 2023 by JJ Koczan

All this week on a one-per-day basis, the Oslo-based Høstsabbat fest has been adding bands to its increasingly righteous lineup, filling out the poster space beneath headliners Bongripper and the likes of Yawning Man and Black Rainbows with a broad-ranging assortment of styles as they progress into not only having more acts play, but embrace a multifaceted vision of heavy that has room for the likes of Spaceslug as well as the inhumane extreme pummel of Denmark’s LLNN. The latter are a highlight of the latest batch of announcements, returning to Høstsabbat this October after leveling the place in 2019. It was — and I mean this — breathtaking to witness.

The care and curation put into this bill should be obvious to anyone who even samples the Spotify playlist at the bottom of this post, never mind actually searches out releases from the band in question, and though I’m still hobbling somewhat after last October’s edition and the subsequent knee surgery it required, I very much hope to be back in Oslo this Fall to see Høstsabbat 2023 in-person.

Here’s what they posted throughout the week, starting with Spurv today and working back to FFHH on Monday:

hostsabbat 2023 spurv

Høstsabbat 2023 – SPURV

It’s Friday, and time for the last treat from our large easter egg-drop. Today’s egg contains no chick, but an incredibly beautiful sparrow.

Spurv are the top providers of Norwegian atmospheric post-rock, releasing their third album this fall. It sounds absolutely breathtaking, full of enchanting, calming soundscapes, as well as nerve and intensity.

The sparrow might be small and quick, but the sound of this band is huge and floating.

Weaving instruments together into a carpet of sound that embraces you, and keeps you safe, but simultaneously sends shivers down your spine. Taking you through all the strongest emotions in life, from joy and love, to sorrow, longing and grief.

We can’t wait to let the sparrow take us onto its wings again. Just close your eyes, and try not to cry. Or on second thought – let the river loose, crying is healthy.

Please welcome Spurv to Høstsabbat 2023!

hostsabbat 2023 1234

1234!

1234! The holidays are finally here!

Todays announcement are not just keeping their band name simple. Everything about this band is cut to the bone. They are are a two-piece playing rock and roll in its absolute purest form. Bass and drums, four hands in total sync, channeling a very raw feel to their output.

Their debut album from last year, appropriately named «Power and Speed» draws comparison to a wide range of artists, spanning from QOTSA to Motörhead, but still maintaining to keep an honest and catchy sassiness to their well-executed, action-filled sound.

We love a good two-piece at Høstsabbat, and we cant wait to present the in-your-face type of execution from 1234!

They will leave you all in awe.

Please welcome 1234! to Høstsabbat 2023!

Hostsabbat 2023 llnn

LLNN

Holy shitballs, the furious Danes are coming back!

If you were one of the lucky ones attending LLNN back in 2019, I bet you are a bit excited too, right? I dont think we have ever witnessed a gig as demolishing as when LLNN baptized The Crypt in floods of anger and despair. The push these guys are capable of is nothing less than insane. They hit the drums, keys and strings in such a tight manner, you WILL physically feel the riffs, as they are pawing their way through your stomach, further up your spine, until they crush your brain and your head spins. It’s that heavy. It’s that good. LLNN is nuts live.

Not too bad on record either, their recent masterpiece «UNMAKER» from 2021 truly set the bar for LLNN, as they have been featured on every significant festival there is in its wake.

Well done, and well deserved guys! Now back to church:

As it is our anniversary, LLNN was one of those pinnacle bands we felt we had to invite back, and as they never rely on previous achievements, we are positive their return will be triumphant.

We are happy the love between LLNN and Høstsabbat is mutual.

Please welcome LLNN to Høstsabbat 2023!

Hostsabbat 2023 bong Voyage

BONG VOYAGE

New bands appear for so many different reasons. Some because of ambition, some because of pure cynicism, some because of friendship. Some bands, like todays announcement, seems to grow out of something that is already flourishing without restraint.

BONG VOYAGE feels like a testament of the unbelievably vital Oslo-scene, documenting this period of time in the name of rock and roll, as the scandi-rockers and black metallers did before them.

BONG VOYAGE, to us, is a tongue-in-cheek celebration of a new generation of killer bands, finding fellow axe and swordsmen within the walls of the same couple of bars, stretching for the same kind of goals and feels, while sharing a solid passion for catchy riffs, hooks and grooves. And most importantly: BONG VOYAGE never lets the slightly humorous approach go at the expense of their sheer quality. This bunch of stoner rockers is living proof of what a vivid underground scene can, and will do to your city. Høstsabbat is proud of being a part of it.

Bong Iver, Bong Jovi, Elton Bong and Bong Juan will launch Verkstedet to space!

Yes – BONG VOYAGE!

Hostsabbat 2023 ffhh

FORCEFED HORSEHEAD

Are we dropping a band on a Monday?

Indeed we are, and we’ll be bringing you the Høstsabbat joy throughout this festive week.

Today´s announcement has literally been grinding around the filthy basements of the Oslo underground for more than a decade. Picking up bits and pieces from more or less every sub-genre of the extreme, Forcefed Horsehead is utilizing their experience to perfection. Their creative stew of punishing, frightening and spellbinding riff-mania crafts a unique blend of metal, previously unheard on our home turf. It never gets boring. It´s unforgiving.

FFHH just unveiled a masterpiece of an album, «Monoceros» is monumental and monstrous in every way. From the intense start of “Every Death You Take”, the album shows a confident band sliding from tar-dripping heaviness to furious d-beats with the greatest of ease. The complexity and intensity are being delivered in an almost laid back manner. Pure madness in its absolute best form.

It’s with a tipsy mix of horror and delight we await the rampage of this beautiful beast!

Please welcome FFHH to Høstsabbat 2023

TICKETS
https://bit.ly/HS-festivalticket23

SPOTIFY PLAYLIST
https://spoti.fi/3tkuMZl

NEWSLETTER
https://bit.ly/HostsabbatNews

https://www.facebook.com/hostsabbat/
https://www.instagram.com/hostsabbat/
http://hostsabbat.no/

Høstsabbat Spotify Playlist

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Roadburn 2023 Makes First Lineup Announcement

Posted in Whathaveyou on November 3rd, 2022 by JJ Koczan

Names like David Eugene Edwards and Julie Christmas are bound to draw eyes, along with Deafheaven, but dig into the lineup announcement for Roadburn 2023 and you’ll find even more genre-spanning righteousness from the e’er forward-looking Dutch fest, which recently unveiled its pretty-people-doing-stuff thematic artwork by William Lacalmontie. Burst and Chat Pile stand out to me immediately, and Norna whom I recently saw for the fist time, but LLNN will kill it in their commissioned collaboration, and a special set from Wolves in the Throne Room is an idea that has a proven history at Roadburn of being, well, special.

I didn’t get to go to Roadburn 2022, which if we’re being honest is a lack in my life that I’ve felt throughout the entire year since. I don’t imagine they’re bringing back the daily ‘zine for 2023, having now thrived without it for the first time in however many years it was. But if I can get back over for next April, I’m going to do everything I can to try and make that happen. Assuming I can walk by then, I’ll carry amps from one end of the loading bay to the other, I don’t care. Just please let me be in Tilburg again.

This is the first announcement. More will follow. This is always one of the best and most hopeful times of the year.

From the PR wire:

Roadburn 2023

Roadburn announces first names for 2023, including Deafheaven, Julie Christmas, and David Eugene Edwards

Roadburn has announced the first names for the 2023 line up ahead of tickets going on sale later this month. The festival will take place at the 013 venue, Tilburg, The Netherlands between April 20-23, 2023. Tickets will go on sale at 7pm CET (6pm GMT, 1pm EST, 10am PST) on November 15.

Roadburn Artistic Director, Walter Hoeijmakers comments:

“We are very thrilled to see Roadburn 2023 coming together, especially in a world turned upside down and all the challenges facing the live music industry. Roadburn 2023 is shaping up to be a very exciting edition of the festival even while navigating the underground post-pandemic. This year’s Roadburn won’t see a curator as there are so many obstacles and pitfalls to overcome; it would be hard for a curator to fully realise their artistic and musical dreams. We at Roadburn will make sure the 2023 edition will be as adventurous and explorational as always, and it will be an anchor point as usual. It will be a very current edition, reflecting the world as it is now.”

Line up announcements:
Deafheaven will fly in to Roadburn to celebrate the 10th anniversary of their groundbreaking sophomore album, Sunbather, by performing the album in full alongside a second set where they will play their latest incredible album, Infinite Granite.

Originally scheduled to perform at Roadburn 2020, Julie Christmas will finally perform next April as a European exclusive set. With a diverse back catalogue and the promise of new material on the horizon, this will be a must-see show.

Also drawing from a rich back catalogue, Roadburn will welcome back David Eugene Edwards, who will be performing cuts from his 16 Horsepower, Wovenhand and solo discographies.

Wolves In The Throne Room will enhance their already immersive performances with additional audio and visual components to create a special, exclusive set titled Shadow Moon Kingdom.

Another postponed Roadburn debut will finally come to fruition as Brutus will perform off the back of their stunning new album, Unison Life.

Big Brave warranted a rare back-to-back Roadburn booking and will be performing their upcoming new album nature morte at Roadburn 2023.

The Soft Moon has made such an impact over the years, but their latest album, Exister, takes things to a new level. They will be performing the album in full at Roadburn 2023.

Giles Corey will be making their live debut with a full band at Roadburn; originally scheduled for 2020 this underground phenomenon will bring catharsis and emotion in abundance.

Chat Pile have made an immense impact in a short space of time, and Roadburn has snagged the exclusive European debut of this much-hyped quartet.

Candy will be performing their blistering new album, Heaven is Here in full at Roadburn.

KEN Mode are doing their bit for the thriving noise-rock resurgence of 2022, and they’ll be flying in for a one-off show at Roadburn 2023.

The genre-defying experimentalism found on Show Me the Body’s latest album Trouble the Water will be brought to life in the flesh with their Roadburn debut next April.

Recently reformed and raring to go, Roadburn will host Sweden’s Burst, bringing the sound of early Scandinavian post-metal to Tilburg.

Norna will also represent Sweden with a crushing take on sludgy post-hardcore.

Commissioned Music:

Roadburn has been commissioning artists to create and perform original compositions at the festival since 2018. 2023 will see an array of such commissioned projects – this year with a particular focus on giving a platform to underground artists – the first of which is announced today.

John Cxnnor performing All My Future’s Past.
Brothers Ketil and Rasmus Sejersen grew up in Denmark’s hardcore scene and the influence of that is felt in the music they create as part of LLNN, but it also infiltrates their work under the John Cxnnor moniker. For this commissioned project, they will enhance the industrial electronics of the John Cxnnor project with the contributions of fellow musicians from the hardcore scene they were shaped by.

Collaboration with Schouwburg Tilburg:
For the first time, Roadburn is collaborating with Schouwburg Tilburg to embrace dance as part of the Roadburn landscape. Dance Of The Seven Veils will be brought to life by director Aïda Gabriëls with musical accompaniment courtesy of Colin H. Van Eeckhout (CHVE, Amenra), Pieter-Jan Van Assche (Innerwoud) and soprano Astrid Stockman. Tickets for this event will be sold as an upgrade to Roadburn tickets, with a discount for Roadburn attendees.

More information on all these announcements can be located HERE: https://roadburn.com/line-up/

Roadburn’s official visual artist for 2023 is William Lacalmontie, more information about his collaboration with the festival can be found HERE: https://roadburn.com/william-lacalmontie-the-official-roadburn-2023-visual-artist/

Weekend tickets and accommodation options will go on sale via roadburn.com at 7pm CET (6pm GMT, 1pm EST, 10am PST) on November 15. 4-day tickets will be priced at €244, 3-day tickets at €214, and single day tickets at €79 (all costs inclusive of fees and service charges).

https://www.facebook.com/roadburnfestival/
http://www.instagram.com/roadburnfest
http://www.roadburn.com

Julie Christmas, The Bad Wife Live in full

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The Obelisk Show on Gimme Metal Playlist: Episode 75

Posted in Radio on January 7th, 2022 by JJ Koczan

the obelisk show banner

Still playing catchup with some of the best stuff from 2021, and considering it’s been 2022 for all of a week, that’s not actually that bad. To say I vouch for this playlist is moot. You’ve seen my best of 2021 post — or if you haven’t, here it is — and when it comes to the Gimme Metal show generally, my position is I’m not going to play it if I don’t think it’s cool, so yeah, I’m on board with what’s happening here.

I’ll spare you grand reflections on the year that was, musically or otherwise, and just note that there’s some good variety of stuff going on here, between the likes of Lammping, Apostle of Solitude, Black Willows and Comet Control. I dig that. I hope you do too. Pretty simple, right?

If you didn’t hear the Kadabra record — yeah, I know their name is similar to Kadavar; they’re a different band — check that track out. Ditto, uh, everything, but I know not everyone has or is willing to make the time. Life is what it is. I feel lucky Gimme still lets me do this.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.

Full playlist:

The Obelisk Show – 01.07.22

Yawning Sons Cigarette Footsteps Sky Island
Comet Control Heavy Moments Inside the Sun
Lammping Intercessor Flashjacks
VT
Apostle of Solitude Apathy in Isolation Until the Darkness Goes
Delving Delving Hirschbrunnen
LLNN Desecrator Unmaker
Kadabra Graveyard Ultra
Alastor Death Cult Onwards and Downwards
King Buffalo Locusts The Burden of Restlessness
Jointhugger Midnight Surrounded by Vultures
The Age of Truth A Promise of Nothing Resolute
High Desert Queen Skyscraper Secrets of the Black Moon
Stoner Nothin’ Stoners Rule
The Kings of Frog Island Beyond the Void VII
Elder & Kadavar From Deep Within Eldovar: A Story of Darkness and Light
VT
Black Willows Ascent Shemurah

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Jan. 21 (subject to change). Thanks for listening if you do.

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The Obelisk Presents: THE BEST OF 2021 — Year in Review

Posted in Features on December 22nd, 2021 by JJ Koczan

Daniel-Hopfer's-Death-and-the-Devil-Surprising-two-Women,-(ca

[PLEASE NOTE: These are not the results of the year-end poll, which is ongoing. If you haven’t contributed your picks yet, please do so here.]

Maybe 2021 was your breakout, or your hunker-down. Your recovery from trauma or more of the same. Maybe you got six shots, maybe you didn’t get any. Maybe you got sick or lost somebody. I don’t know. Whatever else this year was, though, and whatever else it continues to be, it was busy.

In terms of the heavy underground, the ‘aftermath’ of the covid-19 pandemic resulted in a creative movement that will continue to pan out for years to come. Bands, locked down in 2020, found new directions, new sounds, sometimes new projects or collaborators. Some dug deep into their root influences, others explored new ground entirely.

One way or the other, the result across this year was a lot of really, really good music, and in uncertain times, the comfort it provided and provides shouldn’t be understated. The Obelisk Questionnaire asks what is the primary function of art. I think we learned in 2021 that art is home when you need it.

I say this every year, but please, if you leave a comment on this post — if there’s something you want to suggest I left out (as I’m sure there is; always) or you’re responding to someone else’s comment — please, please be respectful. Please be kind. To me, because I’ve worked hard on this and I don’t mind saying that, and to anyone else offering their picks or suggestions or just words of response. Let’s not fight, or do that “unthinking internet meanness” thing. I’m a human being and so are you. That’s reason enough to make an effort toward kindness. Thank you for that effort and for reading, as always.

Here we go:

The Top 60 Albums of 2021? Really? 60?

Yeah, really 60. I was gonna do 30 and then 50 and I was having trouble narrowing it down and it was my sister who very concisely said, “Who cares? Do what you want,” and it turned out that was precisely what I needed to hear. So if there are complaints about doing a top 60, to them I might just point out that more music is not a hardship. Maybe instead look at the swath of amazing music being made and be glad to have been born? And I’m doing what feels right, if also a little over-the-top. Maybe next year it’ll be 100, or 1,000. To quote my sister, “Who cares?”

The more the merrier.

Alors:

#31-60

31. 3rd Ear Experience, Danny Frankel’s 3rd Ear Experience
32. Slowshine, Living Light
33. LLNN, Unmaker
34. Low Orbit, Crater Creator
35. Somnuri, Nefarious Wave
36. Delving, Hirschbrunnen
37. Kal-El, Dark Majesty
38. Hippie Death Cult, Circle of Days
39. Plaindrifter, Echo Therapy
40. Motorpsycho, Kingdom of Oblivion
41. IAH, Omines
42. Here Lies Man, Ritual Divination
43. The Kings of Frog Island, VII
44. Old Man Wizard, Kill Your Servants Quietly
45. Weedpecker, IV: The Stream of Forgotten Thoughts
46. High Desert Queen, Secrets of the Black Moon
47. Kadabra, Ultra
48. Sleep Moscow, Of the Sun
49. Terry Gross, Soft Opening
50. Cavern Deep, Cavern Deep
51. 10,000 Years, II
52. Rebreather, The Line, its Width and the War Drone
53. Spiral Grave, Legacy of the Anointed
54. LáGoon, Skullactic Visions
55. Jack Harlon & the Dead Crows, The Magnetic Ridge
56. Boss Keloid, Family the Smiling Thrush
57. Shun, Shun
58. Black Willows, Shemurah
59. Expo Seventy, Evolution
60. Year of Taurus, Topsoils

Notes:

The best advice I can give you is DON’T IGNORE THIS LIST. From 3rd Ear Experience’s righteous jams to Kadabra’s and Slowshine’s debuts and 10,000 Years’ hard riffing and Old Man Wizard’s melo-prog swansong and Jack Harlon’s otherworldly West, and Cavern Deep’s conceptual darkness, and Black Willows’ consuming tones and Sleep Moscow’s emotive downerism and Weedpecker progging out and Here Lies Man still being in an league entirely their own, and that Plaindrifter record and Shun and Spiral Grave and Rebreather and The Kings of Frog Island. That Terry Gross’ sheer West Coastness and Somnuri’s Northeastern intensity. Kal-El’s pulp riffage bigger than ever. Motorpsycho being Motorpsycho. IAH collaborating with Spaceslug. Boss Keloid’s prog-metal shenanigans. Hippie Death Cult’s mellow heavy. LLNN utterly killing everything. Damn this is good.

If this was a year-end top 30 in itself, I’d be like, yeah that’s a solid list, and I don’t mean that as a platitude. So please don’t ignore it. If there’s something here you haven’t heard, I can only advise you chase it down. Any one of these could be higher or lower in your own consideration, but I dug all of them, and yeah, by the time you get up to 40 or so the numbering gets pretty arbitrary, but whatever. It’s a list of stuff I think you should check out. Releases that made the year better, all of them one way or the other.

30. Monster Magnet, A Better Dystopia

monster magnet a better dystopia

Released by Napalm Records. Reviewed May 31.

New Jersey stalwarts Monster Magnet taking on obscure and semi-obscure covers out of the heavy ’70s is pretty high on the list of ‘ultimate no-brainers.’ One might’ve preferred an album of originals, but even in a stopgap, Dave Wyndorf and company found ways to be creative with the material, and this belongs here for their take on Dust‘s “Learning to Die” (video here) alone.

29. Domkraft, Seeds

domkraft seeds

Released by Magnetic Eye Records. Featured April 2.

Domkraft‘s third album arrived in so-you-think-you-know-what-we’re-about fashion, building out the heavy noise rock of 2018’s Flood (review here) and 2016’s The End of Electricity (review here), leaning into more textured material executed with a burgeoning patience of approach, while still keeping impact central. They’ve come into their own and one expects they’ll continue to reshape what that means over time.

28. Sunnata, Burning in Heaven, Melting on Earth

sunnata burning in heaven melting on earth

Self-released. Reviewed March 16.

Consuming and shamanic. A record that really took the time to construct its own world for the listener to inhabit in its songs. Sunnata‘s fourth full-length, Burning in Heaven, Melting on Earth brought together six tracks that resonated with purposeful depth and a cold-psych ambience that allowed space for minimalism and movements of blistering heavy in kind. Not for everyone, maybe, but each piece truly added to the flowing progression of the whole, showing the conceptual, ritualized strengths of the band.

27. Conclave, Dawn of Days

Conclave Dawn of Days

Released by Argonauta Records. Reviewed April 22.

Five years after their debut, Sins of the Elders (review here), Massachusetts sludge-of-death metallers Conclave — now with a second guitarist — brought forth epic punishment and bleakness befitting our age. A willful, harsh slog, Dawn of Days had few comforts to offer in “Death Blows Cold” or “Haggard,” and the mourning finale “Suicide Funeral,” while allowed to be flourish in its way, found a means to express its grief while staying honest to underpinnings of extreme metal. Not an easy listen, not supposed to be.

26. Crystal Spiders, Morieris

Crystal Spiders Morieris

Released by Ripple Music. Reviewed Sept. 8.

Some records you just can’t fight. And why would you? Quick turnaround for North Carolina’s Crystal Spiders after their Sept. 2020 debut, Molt (review here), but the three-piece of bassist/vocalist Brenna Leath (also Lightning Born and The Hell-No), drummer/vocalist Tradd Yancey (also Doomsday Profit) and guitarist/producer Mike Dean (also of C.O.C.) demonstrated a range the first record only hinted at, touching on earthy psych, dirty punk, classic heavy and more with evident ease and a marked sense of craft.

25. River Flows Reverse, When River Flows Reverse

River Flows Reverse When River Flows Reverse

Released by Psychedelic Source Records. Reviewed Sept. 30.

Hungarian collective River Flows Reverse brought lysergic healing as part of the Psychedelic Source Records milieu, with a particularly folkish and exploratory vibe branching out across pieces like the serene “At the Gates of the Perennial” or the acoustic-led “Rain it Rages,” creating gorgeous atmospheres from existential dread and a sheer need for outlet. Spontaneous in its spirit but with a thoughtful undercurrent, it’s by no means the highest-profile release on this list, but it also offered something nothing else did in quite the same way. Pastoralia for another world.

24. Borracho, Pound of Flesh

borracho pound of flesh

Released by Kozmik Artifactz. Reviewed Aug. 2.

A decade on from their debut and five years after their last album, Washington D.C. roll-prone trio Borracho came back not only with terrifying cover art, but also an unabashed look at the world around them, socially conscious lyrics topping their hallmark heavy riffage in a way that their prior work had yet to engage. Pound of Flesh was an organic step forward for the band in sound and songwriting, and their perspective of wondering what the hell happened to pretty much everything was relatable, to say the least, but the nuances of arrangement and vibe went a long way too in changing things up around their classic-style sound.

23. Erik Larson, Favorite Iron

Erik Larson Favorite Iron

Self-released. Reviewed Sept. 23.

Larson‘s gonna Larson. As to what that might mean on a given release, that’s harder to say. Drawing from a decades-long background in punk and hardcore, heavy Southern and acoustic songwriting, as well as a pedigree long enough to take up the rest of this post, Favorite Iron was one of three outings issued on the same day in September in a creative splurge and found him playing all instruments himself (horns on opener “Backpage” notwithstanding) and imbuing each piece with its own purpose in feeding the richness of the entire work. And somehow, was humble in it, putting it out on Bandcamp, no PR, no fanfare. Just wasn’t there, then was. Very Larson.

22. Spaceslug, Memorial

spaceslug memorial

Self-released. Review pending.

Issued just on Dec. 10, Memorial arrives from Poland’s Spaceslug in suitably mournful fashion and with it, the trio seem to dive into more personal, human issues than ever before. Loss, uncertainty. It’s certainly a record for the time in which it’s made, but neither do the band neglect their own growth as they continue to incorporate blackened screams along with their more grunge-derived clean vocals, a blend of mellow heavy psych and harsher presence coinciding. After a productive few years with the 2020 Leftovers EP (review here) and 2019’s Reign of the Orion (review here), Spaceslug have managed to push even deeper into their sound. They do so with an increasing sense of mastery.

21. Genghis Tron, Dream Weapon

genghis tron dream weapon art by trevor naud

Released by Relapse Records. Reviewed April 5.

Unexpected and appreciated in kind. I wouldn’t have bet that Poughkeepsie, New York, glitch-grind innovators Genghis Tron would return with a new record after 13 years, and I wouldn’t have guessed either that Dream Weapon would bring both the revamped lineup and the refined focus on melody that it did. Live drums gave new heart to the songs, and thoughtfully layered washes of keys and guitar brought a sense of worldbuilding that, while in contrast to the freneticism of the band’s past work, was refreshing in its honesty and refusal to be anything other than what they wanted it to be. Caught a bunch of hype early and then disappeared, but the songs will hold up long after this year is over. If you get it, you get it.

20. Vokonis, Odyssey

Vokonis Odyssey

Released by The Sign Records. Reviewed May 5.

The story of Sweden’s Vokonis isn’t too dissimilar from that of Spaceslug above in that the band set its foundation in a certain kind of heavy worship and have moved outward from there over time. For the Borås trio, their latest outing expanded on their progressive ideology, taking the heavy riffs of their earliest work and setting them to a winding course while also incorporating a rawer vocal along with the cleaner shouting. In addition to being topped off by the best album cover I saw all year, Odyssey proved to be a journey of mind for those ready to take it, and showed that Vokonis‘ maturity, their finding themselves, is likely to be an ongoing process. And if they want to keep bringing Per Wiberg in on keys, that’ll be fine too.

19. Lammping, Flashjacks

Lammping-Flashjacks

Released by Echodelick Records. Reviewed Aug. 19.

What a blast this record is. Warm tones, classic vibes, ’90s alt weirdness given a little extra push into heavy. I didn’t even care that half of the thing had been released as an EP prior, putting on Lammping‘s Flashjacks was and very much still is a joy. No pretense, no bullshit, just songs, songs, songs. Give me “Intercessor” and “Jaws of Life” and “Lammping” any day of the week as the Toronto outfit hold down both attitude and humor while inviting you in on their good time. 10 tracks/33 minutes — they weren’t even trying to take up too much of your day. Just a short and sweet set on an LP and then they roll out until the next one. May it arrive sooner rather than later. I’m not a party guy, but this is my kind of party.

18. Snail, Fractal Altar

snail fractal altar

Released by Argonauta Records. Reviewed April 26.

The opening duo “Mission From God” and “Nothing Left for You” gave Fractal Altar an initial thrust that the heavy grunge of “Not Two” complemented with darker edge before the swinging “Hold On” tipped back toward forward momentum. “The False Lack,” a highlight, found some middle ground en route to a back half of the LP that culminated with the sub-nine-minute title-track, psychedelic ritualization coming to a head with spaced-out vocals over a black hole of low end. The weirder Snail get, the better they get in my mind, and more than half a decade after Feral (review here), they were ready to get plenty weird here. Wouldn’t trade that for the world.

17. The Age of Truth, Resolute

the age of truth resolute

Released by Contessa Music. Reviewed July 21.

Aggro-edged Philly heavy rock and roll, pulling influence not only from its own backdrop but from heavy modern and old, perhaps the best thing one can say about Resolute was that it lived up to the lofty declaration in the title The Age of Truth gave it. Whether they were playing to more atmospheric ideas on “Palace of Rain” and “Return to Ships” or digging into classic heavy blues on “Salome” or finding new levels of intensity on “Horsewhip,” it was clear The Age of Truth consciously set a high standard for themselves and put the effort in to meet it every step of the way. Clear and sharp in its production, it’s still a record you can put on and be blown away by each individual performance, as well as how they come together. Dudes only put the bar higher.

16. Jointhugger, Surrounded by Vultures

jointhugger surrounded by vultures

Released by Majestic Mountain Records. Reviewed Oct. 29.

It was not an easy task for Norway’s Jointhugger to follow either their 2021 single-song EP Reaper Season (review here) or 2020’s debut, I Am No One (review here), but even amid a still-solidifying lineup, the band conjured listenability and weight in post-Monolordian fashion without either aping that band’s methodology or ignoring their own nascent sonic identity. There’s more growing to do, and one hopes that as they go they’ll hold at least somewhat to the pace of releases thus far established, but there was no getting past the accomplishments of Surrounded by Vultures, not the least because of the 700-foot ice wall of tone the band built along the path. Potential and achievement stomping hand-in-hand into an unknown heavy future.

15. Temple Fang, Fang Temple

Temple Fang Fang Temple

Released by Right on Mountain & Electric Spark. Reviewed Nov. 23.

I’ll be honest, I was a little bummed when Fang Temple got released and I didn’t even know it was coming. I got over the ego bruise quick with the help of the record itself, however, the Amsterdam-based psychedelic spiritualists taking the live-album method from 2020’s Live at Merleyn (review here) and using an on-stage performance as the basic tracks around which the rest of Fang Temple was constructed. The result was a resonant joy in heavy psych; a record as satisfying to lose yourself in as to consciously follow along its charted but spontaneous-feeling path. They’ve had some lineup shifts too, but gosh I hope there’s more to come, whether I get an early heads up or not.

14. Yawning Sons, Sky Island

yawning sons sky island

Released by Ripple Music. Reviewed April 12.

Would you have bet there’d be a second Yawning Sons album, more than 10 years after 2009’s Ceremony to the Sunset (review here; reissue review here)? I might not have, but the collaboration between UK instrumentalists Sons of Alpha Centauri and Yawning Man guitarist and desert rock figurehead Gary Arce brought a slew of memorable moments, including guest spots from Fatso Jetson/Yawning Man‘s Mario Lalli and Hermano‘s Dandy Brown, and return appearances from Scott Reeder and Wendy Rae Fowler. It’s still impossible to know if Yawning Sons will be a band or a once-every-decade happening, but Sky Island proved they were more than a cult one-off. A third outing would only be welcome.

13. Comet Control, Inside the Sun

comet control inside the sun

Released by Tee Pee Records. Reviewed Aug. 23.

Careening back and forth between its space rock and more drifting psychedelic impulses, Comet Control‘s Inside the Sun brought varied pleasures of craft and melody, saving its more contemplative stretches for the peaceful immersion of “The Afterlife” or “Heavy Moments” and “The Deserter” later on after the duly cosmic launch of “Keep on Spinnin'” and the buzzing “Secret Life” established the pattern of movement under the drift. Whichever way a given track went — and it was by no means limited to one or the other with “Good Day to Say Goodbye” and “Inside the Sun” in the album’s midsection — the Toronto-based outfit worked mostly as a two-piece in putting it together, but the lushness of the ensuing work took what the band had accomplished on 2016’s Center of the Maze (review here) and added even more dimension.

12. Maha Sohona, Endless Searcher

Maha Sohona endless searcher

Released by Made of Stone Recordings. Reviewed July 13.

They should’ve called it “endless repeat.” The mellow heft of Swedish unit Maha Sohona‘s sophomore full-length is one that I just kept going back to, time and time again, and the appeal of doing so only grew with more listening. Melodically capable but not overblown, songs like “Luftslott” and “Orbit X” brought to mind Sungrazer and earlier Spaceslug with a bittersweet nostalgia (in the case of the former, certainly) even as Maha Sohona used them to chart their own stylistic course. It was seven years between their first and second records, so I’m not going to predict when/if a follow-up will come, but Endless Searcher made my 2021 better to the point that I just put on “Leaves” and can feel the serotonin being released. It feels only right to honor that by having them here.

11. Samsara Blues Experiment, End of Forever

Samsara Blues Experiment End of Forever

Released by Electric Magic Records. Reviewed Nov. 16, 2020.

With a permanent-seeming dissolution as context for its arrival, End of Forever wrapped a run for Samsara Blues Experiment that could only really be called successful in terms of what they accomplished during their time, but moreover, it underscored what made them such a special group to start with, its progressive psychedelia still developing in persona as the band was coming to a close. Guitarist/vocalist Christian Peters, having spent the prior few years in various solo explorations, brought increased use of keys and synth, and in combination with the organic fluidity of the rhythm section of bassist/backing vocalist Hans Eiselt and drummer Thomas Vedder, that let Samsara Blues Experiment say something new even as they were also saying goodbye. If they’re truly done for good, they’ll be missed.

10. Heavy Temple, Lupi Amoris

heavy temple lupi amoris

Released by Magnetic Eye Records. Reviewed May 28.

An awaited debut from this Philadelphia trio, Lupi Amoris confronted high expectations and surpassed them with a complexity of atmosphere that was surprising even after seeing them live multiple times, taking the oft-psychedelic fuzz of Heavy Temple‘s previous output and setting it to a more rigid focus and a daring sense of intent. This was a record that came about after years of lineup changes and tumult, but made cohesion from chaos, and there was not one second of its stretch that didn’t serve the album as a whole. Even more than 2016’s Chassit EP (review here), which I’d previously counted as their first long-player, Lupi Amoris showed toward what Heavy Temple‘s potential had been driving all along, and its realization was stunning. Whatever they do next, whenever they do it, will also be confronting high expectations.

9. Apostle of Solitude, Until the Darkness Goes

Apostle of Solitude Until the Darkness Goes
Released by Cruz Del Sur Music. Reviewed Nov. 9.

At this point, I feel ready to posit Indianapolis four-piece Apostle of Solitude as the best doom band in America. I know that’s a loaded statement because there are as many kinds of doom as there are of heavy metal itself, but if you look at a group bringing new ideas to the established traditions and tenets of the style Apostle of Solitude have put themselves in the uppermost of the upper echelon. At just 36 minutes, Until the Darkness Goes feels likewise concise and engaging, its songs holding the emotive thread that has always typified the band’s work, but engaging more vocal harmonies between guitarists Chuck Brown and Steve Janiak (now both also in The Gates of Slumber) atop the densely weighted impact from bassist Mike Naish (also Shroud of Vulture) and drummer Corey Webb. Don’t think they’re the best US doom band right now? Find me someone better.

8. Greenleaf, Echoes From a Mass

greenleaf echoes from a mass

Released by Napalm Records. Reviewed March 25.

With a wholesale invite to either take the heat or remove your ass from the kitchen, Greenleaf tossed out Echoes From a Mass as their eighth LP some 20 years after their first, 2001’s Revolution Rock (discussed here), and reminded their listenership of the songwriting chemistry that’s emerged over the better part of the last decade between founding guitarist Tommi Holappa — and yes, I’ve heard rumors he’s got new Dozer in progress as well; we’ll see in 2022 — and vocalist Arvid Hällagård, whose work here outshone even 2018’s Hear the Rivers (review here), establishing the conversation between instruments and voice as the crucial element in Greenleaf circa 2021. A heavy blues shuffle from bassist Hans Frölich and drummer Sebastian Olsson and production by Karl Daniel Lidén only up the asset count working in the band’s favor, and on any given day I might still be walking around with “Bury Me My Son” on repeat in my brain. No complaints.

7. Blackwater Holylight, Silence/Motion

blackwater holylight silence motion

Released by RidingEasy Records. Reviewed Oct. 18.

At a pivotal moment, Blackwater Holylight pivoted. The Portland-based outfit’s third full-length found them pressing outward from their heavy psychedelic and dream-pop foundations into bleaker atmospheres, using Silence/Motion as a means for processing trauma and perhaps to revamp their audience’s expectations of the kind of band they want to be. 2019’s Veils of Winter (review here) and 2018’s self-titled debut (review here) brought marked progress from one to the next, but bassist/vocalist/guitarist Allison “Sunny” Faris, guitarist/bassist Mikayla Mayhew, synthesist Sarah McKenna, and drummer Eliese Dorsay (Erika Osterhout now plays guitar but isn’t on the record) brought on board producer A.L.N. of Mizmor, and the record’s guest vocals from Thou‘s Bryan Funck and Mike Paparo of Inter Arma brought flourish of more extreme metals than anything the band had done before. As a result, their next outing could go pretty much anywhere, so mission likely accomplished for this one.

6. Kadavar & Elder, Eldovar – A Story in Darkness and Light

eldovar a story of darkness and light

Released by Robotor Records. Reviewed Dec. 1.

Answering the call of being unable to tour and presumably tired of sitting on their hands as a result, Berlin-based outfits Kadavar and Elder (minus the latter’s bassist Jack Donovan, who lives in the US and was under travel restriction) hit the studio together earlier this year to piece together jams and, reportedly, take a “see what happens” approach. What happened was a sound that belonged solely to neither band and drew enough from both to legitimately earn the title Eldovar. Rife with melody brought to bear amid a threat of the breakout that arrived in “Blood Moon Night” — which, while the most uptempo, was not necessarily the highlight of the record — it was an album perhaps carved from experiments, but one that seemed to brim with a sense of underlying direction, even after the fact. Its shimmer felt like a light being cast through a dark year, defiant and peaceful. That two of the current generation’s leaders in heavy rock could come together in such brazen fashion was a noteworthy novelty, but it was the way that Eldovar stood on its own that made it so special.

5. Stöner, Stoners Rule

Stöner stoners rule

Released by Heavy Psych Sounds. Reviewed July 1.

Gonna get this off my chest while I can. After this one came out, I saw on the vast sphere of social media some disappointed response, like what was up with Stöner being so stripped down and just rocking riffs and all that? Okay. The hell did you expect? That’s the point of the band! It’s Brant Bjork and Nick Oliveri — and Ryan Güt, also of Bjork‘s solo band — purposefully digging back to their roots, playing the simplest form possible of the low desert punk they helped create together in Kyuss. It wasn’t about “let’s innovate,” it was about “I dig the Ramones and Fatso Jetson so let’s have a good time.” You got the ultra-grooves of “Own Yer Blues” and “Tribe/Fly Girl,” the Oliveri-fronted punk of “Evel Never Dies,” and the bluesman’s telling-it-like-it-is of “The Older Kids” and “Rad Stays Rad,” “Nothin'” and “Stand Down.” They were in, done, and out. I chalked some of the “meh” up to the studio album arriving so soon after their Live in the Mojave Desert stream (review here) and live album (review here), but even so, damn, be thankful these songs got made in the first place. With yer spoiled ass.

4. King Buffalo, Acheron

King Buffalo Acheron

Released by the band and Stickman Records. Reviewed Nov. 11.

Word to anyone who’s managed to read this far: I hear King Buffalo might have an Xmas surprise in store as relates to this album, so heads up. Acheron — filmed as well as audio-recorded — was the second in an intended series of three yet to be completed of albums Rochester, NY, trio King Buffalo composed during the pandemic lockdown. Like so many, their inability to tour resulted in a need for another outlet. Following The Burden of Restlessness (review here) would be a challenge, but the band shifted focus in sound toward four extended pieces of heavy psychedelia — not completely escapist from the reality surrounding them, but attempting for sure to shift the mindset through which they (and the listener) were experiencing it. Traveling to record in the remote location of Howe Caverns, guitarist/vocalist/synthesist Sean McVay, bassist/keyboardist Dan Reynolds and drummer Scott Donaldson found a way to immediately differentiate their second album of 2021 from the first while offering a shift in sound that leaned less into darkness — ironic, maybe considering it was tracked underground — than its predecessor while retaining the band’s ever-forward progression of sound.

3. Green Lung, Black Harvest

green lung black harvest

Released by Svart Records. Reviewed July 28.

One would be hard-pressed to find a more suitable Halloween release. London-based heavy rockers Green Lung brought together a collection of songs that, yes, were duly autumnal in their spirit, but also refreshing in their sound, unashamed in their readiness to engage their audience, and in cuts like “Old Gods,” “Reaper’s Scythe,” “You Bear the Mark” and “Graveyard Sun” tapped into a cross-genre appeal that was brought together with impeccable quality of craft and production. Classic and new at the same time. Thoughtful in arrangement, Black Harvest nonetheless skirted pretense and kept to a basic verse/chorus appeal that felt easy to get into, and the complexity held in the material only revealed itself more with time. It is an album in which something new will be heard for years, and it not only answered the call to step up after 2019’s Woodland Rites (review here), but put Green Lung in a different echelon of bands entirely. They are an act whose influence will be felt, and not that the world needs another reason to hope for a “return” for live music, but Black Harvest is one for sure. Its songs deserve to be heard by however many ears they can reach.

2. Monolord, Your Time to Shine

Monolord your time to shine

Released by Relapse Records. Reviewed Oct. 21.

Monolord are the most essential band in heavy music. Whatever qualifier you want to put on that in terms of style, go ahead, it’s still true. The Gothenburg trio’s fifth album doubled as an anticipated follow-up to No Comfort (review here), which was 2019’s album of the year, and brought no dip in the quality of their craft, the breadth of their style or the force of their execution. In addition to having already ignited a generation’s worth of riffers in their wake, Monolord have steadily progressed in their own approach, and Your Time to Shine skillfully mirrored the structure of No Comfort before it while pushing ahead of where the band were two years ago. Someone needs to build a statue in honor of Mika Häkki‘s bass tone, let alone the riffs of guitarist/vocalist Thomas V. Jäger and the stomp/production of drummer Esben Willems, but with cuts like “The Weary,” “Your Time to Shine,” “I’ll Be Damned,” “To Each Their Own” and “The Sirens of Yersinia” — oh wait, that’s all of them — it was the entire band shining, a plural “your” that was realized in the work. The superficial bleakness of the cover art spoke to the death perhaps of an entire world, but also the new growth and life to inevitably emerge therefrom. The songs did no less.

2021 Album of the Year

1. King Buffalo, The Burden of Restlessness

king buffalo the burden of restlessness

Released by the band and Stickman Records. Reviewed May 11.

A record for the times. The record for the times. There are a few reasons King Buffalo‘s third full-length and first in the pandemic-born series, The Burden of Restlessness, deserves to be the album of the year. There’s no reasonably denying the level of songwriting or the move into hard-edged progressive rock and metal of its songs, or the boldness of the manner in which the Rochester trio — again, Sean McVayDan Reynolds and Scott Donaldson — made that move, or the resonance of the finished product. It’s a very, very, very good album. Fine. What stands out to me though in thinking of The Burden of Restlessness in context of the addled period between 2020 and 2021 is the fact that it is completely unflinching. From the striking depiction of decay in the front visuals by Zdzisław Beksiński to the personal-seeming nature of songs like “The Knocks,” “Burning” — the opening lyric, “I turn my head from the stars” a direct contrast to “Orion can you hear me?” from the band’s 2016 debut, Orion (review here) — “Silverfish” and “Hebetation” and the speaking to the outside world of “Locusts,” “Grifter” and the maybe-daring-t0-hope-for-something-better conclusion in “Loam,” The Burden of Restlessness gave comfort to its listenership through shared experience rather than platitude. It didn’t tell you it was going to get better. It shared the space you were in, and acknowledged all the unknown corners of that space. This spirit, coupled with the outright sonic achievement on the part of the band, made the album a statement poised to ring out as a document of its weighted era and a standard for the expressive depth of its creativity.

The Top 60 Albums of 2021: Honorable Mention

Sit tight, we’ve got a ways to go here.

Acid Magus, Wyrd Syster
Acid Mammoth, Caravan
Age Total, Age Total
Alastor, Onwards and Downwards
Amenra, De Doorn
The Angelus, Why We Never Die
The Answer Lies in the Black Void, Forlorn
Apollo80, Beautiful, Beautiful Desolation
Arlekin, The Secret Garden
Bog Wizard, Miasmic Purple Smoke
Book of Wyrms, Occult New Age
Bongzilla, Weedsconsin
Canyyn, Canyyn
Craneium, Unknown Heights
Delco Detention, It Came From the Basement
Demon Head, Viscera
Doctor Smoke, Dreamers and the Dead
Dread Sovereign, Alchemical Warfare
Dream Unending, Tide Turns Eternal
Duel, In Carne Persona
Dunbarrow, III
DVNE, Etemen Ænka
Eyehategod, A History of Nomadic Behavior
Bill Fisher, Hallucinations of a Higher Truth
Funeral, Praesentalis in Aeternum
Fuzzy Lights, Burials
Holy Death Trio, Introducing…
Iceburn, Asclepius
Jakethehawk, Hinterlands
Kanaan, Earthbound
Khemmis, Deceiver
King Woman, Celestial Blues
Kvasir, 4
Lingua Ignota, Sinner Get Ready
Los Disidentes del Sucio Motel, Polaris
Low Flying Hawks, Fuyu
Low Orbit, Crater Creator
Malady, Ainavahantaa
Mastiff, Leave Me the Ashes of the Earth
Mythic Sunship, Wildfire
Zack Oakley, Badlands
Octopus Ride, II
Øresund Space Collective, Universal Travels
Red Beard Wall, 3
Robots of the Ancient World, Mystic Goddess
Emma Ruth Rundle, Engine of Hell
Saturnia, Stranded in the Green
Savanah, Olympus Mons
Sergio Ch., La Danza de los Toxicos
Shiva the Destructor, Find the Others
Smote, Bodkin
Snake Mountain Revival, Everything in Sight
Snowy Dunes, Sastrugi
Sonic Demon, Vendetta
The Spacelords, False Dawn
Spelljammer, Abyssal Trip
Spidergawd, VI
Swallow the Sun, Moonflowers
Thunderchief, Synanthrope
Thunder Horse, Chosen One
Ultra Void, Ultra Void
Vouna, Atropos
WEEED, Do You Fall?
When the Deadbolt Breaks, As Hope Valley Burns
Witchcryer, When Their Gods Come for You
Witchrot, Hollow
Wolftooth, Blood & Iron
Wowod, Yarost’ I Proshchenie

Notes:

I feel immediately defensive here, and that kind of sucks, to be honest. Here’s the basic truth: I know people like different things. I know people think different things are important, that everybody works hard making records, that lists are bullshit and that people go back to listen to different things more over time.

What I’d ask is that after 60 records in the list proper and another 60-plus here, you please give me a break. I’ve reviewed well over 250 releases this year, so neither is this everything, nor is it nothing. I’ve done my best. And if one of these records is your album of the year? Awesome! I’m so, so glad for that. I can’t and won’t argue. I’m sure this list is incomplete and I’m sure I’ll add more to it over the next couple days — always do — but if you didn’t hear anything this year and you take this list and you take the other 60 records, listen to one per week, you’ll have enough new music to carry you into 2023, and I feel pretty good about that.

Debut Album of the Year 2021

Heavy Temple, Lupi Amoris

heavy temple lupi amoris

Other notable debuts (alphabetically):

Acid’s Trip, Strings of Soul
Age Total, Age Total
Bala, Maleza
Bog Wizard, Miasmic Purple Smoke
Bottomless, Bottomless
Cancervo, 1
Cave of Swimmers, Aurora
Cavern Deep, Cavern Deep
Chamán, Maleza
Cosmic Reaper, Cosmic Reaper
DayGlo Mourning, Dead Star
Delving, Hirschbrunnen
Den Der Hale, Harsyra
Dome Runner, Conflict State Design
Draken, Draken
Gangrened, Deadly Algorithm
Gristmill, Heavy Everything
High Desert Queen, Secrets of the Black Moon
Holy Death Trio, Introducing…
The Judas Knife, Death is the Thing With Feathers
Kadabra, Ultra
Kadavar & Elder, Eldovar – A Story of Darkness and Light
Kvasir, 4
Plaindrifter, Echo Therapy
Shiva the Destructor, Find the Others
Slowshine, Living Light
Smote, Bodkin
Snake Mountain Revival, Everything in Sight
Sonic Demon, Vendetta
Sow Discord, Quiet Earth
Stöner, Stoners Rule
Suncraft, Flat Earth Rider
Terry Gross, Soft Opening
Trillion Ton Beryllium Ships, TTBS
Vestamaran, Bungalow Rex
White Void, Anti
Witchrot, Hollow
Wooden Fields, Wooden Fields
Wytch, Exordium
Year of Taurus, Topsoils

Notes:

Yes, technically the Stöner record was higher than Heavy Temple on the top 60. I took into account the fact that Brant Bjork and Nick Oliveri have worked together on and off for 30-plus years in my final assessment and decided Lupi Amoris, as a debut album, deserved the top spot. I actually had a numbered list going — Stöner were two, Delving was three — but decided to just let the Heavy Temple stand on its own instead, which it certainly earned.

One could see the pandemic shuffle of creativity peaking out though. Kadavar & Elder’s collaboration was a debut as well, but it was just one of the new projects or collaborations to surface this year. Note Slowshine is Earthship by another name (and purpose) and so are Dome Runner. There was a wash of diggable debuts, loaded with potential, and again, I don’t think this list is exhaustive so much as it’s a primer for some of the best stuff out there as I see/hear it. I’ll spare you wax poetry about the forward movement of genre overall, but suffice to say that in acts like Plaindrifter, Shiva the Destructor, Witchrot, Age Total and High Desert Queen, among others here, such things were readily apparent.

Your time would not be wasted with any of these, I just thought that Heavy Temple, as a first album, was a special achievement and deserved its place as debut of the year.

Short Release of the Year 2021

Jointhugger, Reaper Season

jointhugger reaper season

Other notable EPs, Splits, Demos, etc.:

Aiwass & ASTRAL CONstruct, Solis in Stellis
All Are to Return, II
Birth, Birth
Blackwolfgoat, (In) Control / Tired of Dying
Bog Wizard/Dust Lord, Split
Boozewa, First Contact
Carlton Melton, Night Pillers
Cerbère, Cerbère
Cortége, Chasing Daylight
The Crooked Whispers, Dead Moon Night
Doomsday Profit, In Idle Orbit
Dopelord, Reality Dagger
EMBR, 1021
Enslaved, Caravans to the Outer Worlds
Fuzz Sagrado, Fuzz Sagrado
Guhts, Blood Feather
Howling Giant, Alteration
Ikitan, Darvaza y Brinicle
Insect Ark, Future Fossils
Erik Larson, Measwe
Lurcher, Coma
Merlock, You Cannot Be Saved
Moonstone, 1904
Morningstar Delirium, Morningstar Delirium
Mos Generator, The Lantern
Nineteen Thirteen, MCMXIII
Old Horn Tooth, True Death
Planet of the 8s, Lagrange Point Vol. 1
Psychonaut/SÂVER, Emerald
Solemn Lament, Solemn Lament
Sorcia, Death by Design
Spaceslug, The Event Horizon
Spawn, Live at Moonah Arts Collective
Stonus, Séance
Trillion Ton Beryllium Ships, Rosalee
Ultra Void, Ultra Void
Ungraven/Slomatics, Split
Wall, II
Weedevil, The Death is Coming
The Whims of the Great Magnet, Share the Sun
Per Wiberg, All is Well in the Land of the Living But for the Rest of Us… Lights Out

Notes:

Again, look at the amazing swath of new creativity happening. Guhts, Boozewa, Aiwass & ASTRAL CONstruct — even Wall with their second EP — Morningstar Delirium, Fuzz Sagrado, Doomsday Profit, Trillion Ton Beryllium Ships: these are new bands and projects coming together, some from established artists and some not, but the shuffling of sound and priorities is a hallmark of the last year-plus’ output, and it can be seen here for sure. Yeah, bands like Enslaved and Dopelord put out killer EPs, but it’s acts like Moonstone — with just one prior release behind them — or Howling Giant working instrumentally for the first time, that struck me even harder.

As regards Jointhugger in the top pick, I took into account the “oh shit this band isn’t fucking around” factor. Coming off their first record and headed into their second in quick succession, the single-song “Reaper Season” served due notice that the debut was no fluke and that the Norwegian outfit had no interest in resting on riffy laurels. This section is always tough since it encompasses different kinds of releases — singles, EPs, whatnot — but in terms of serving the band’s overarching progression, Jointhugger made a difficult choice markedly easier for me.

I won’t take away from the accomplishments of anyone on the list above — or the inevitable ones I forgot, either. Enslaved’s ever-outbound growth is worth a significant mention, and arrivals like Lurcher and Old Horn Tooth kept were undeniable. I’ll nod here too to Psychonaut/SÂVER and Ungraven/Slomatics’ split releases and that The Whims of the Great Magnet. And, and, and…

Late Releases

Partially affected by the Covid-19 pandemic — like everybody’s everything — vinyl pressing delays meant that many albums have come out in the last month or two that were intended to be earlier. I tried to account for these in the lists above, but thinking about November and December specifically, records by Low Orbit, Spidergawd, Weedpecker, King Buffalo, Spaceslug, Bog Wizard, Raibard, Funeral, Temple Fang, Kadavar & Elder, and Wolftooth can’t be left out as part of the larger narrative of 2021 in music.

I can’t say I’ve listened to, as an example, Spidergawd, as much as to Greenleaf or any number of things that were released in the beginning of the year, but neither do I feel like the lack relative passage of time since something came out should be held against it, especially given the circumstances. As much as the ‘music industry’ shuts down at the end of any given year, 2021 seems to have plowed straight through to the finish.

Live in the Mojave Desert

While we’re marking the highlights of 2021, it’s impossible not to note the continued proliferation of livestreaming as a (woefully inadequate but take what you can get) substitute experience for show-going and touring. In the case of director Ryan Jones’ Live in the Mojave Desert series, it was an opportunity to turn lemons into concert films of true measure, as well as live albums for Earthless, Stöner, Nebula, Spirit Mother and Mountain Tamer that held their own merit.

There have been a few noteworthy streams over the last year-plus issued in pay-per-view fashion, but in terms of the scale of the presentation, few have held a candle to what Live in the Mojave Desert accomplished — only Enslaved’s ‘Cinematic Tour’ comes close in my mind, and that’s a different animal entirely, ditto Roadburn Redux — or have managed to capture an atmosphere in the same way that not only gives a setting for the music, but adds to the experience of the viewer. It’s not just a show that otherwise would happen in a venue; it’s a show that would happen once in a lifetime.

Whatever context brings that about, it is something to celebrate.

Looking Ahead to 2022

I love looking forward to new music. I love it. In a spirit of anticipation and friendship and righteous tunes to come, here’s a list of bands who’ve either confirmed new stuff in the works or are recording or have preorders up or are subject to rampant speculation. In no order whatsoever:

Elder, Toad Venom, Torche, King Buffalo, High on Fire, El Perro, Yatra, Bevar Sea, Birth, Pia Isa, Colour Haze, JIRM, Samavayo, Tortuga, El Supremo, Ruby the Hatchet, MNRVA, Buss, White Ward, Dreadnought, Merlock, Gozu, Westing, Eric Wagner, Stöner, Blue Heron, All Souls, Arekin, 40 Watt Sun, Caustic Casanova, Deathwhite, Freedom Hawk, Hazemaze, Stoned Jesus, Mothership, Desert Storm, Poseidótica, Sasquatch, Conan, Seremonia, Långfinger, Wo Fat, Earthless, Dozer, Red Sun Atacama, REZN, No Man’s Valley, Ufomammut, Geezer, Messa, Clutch, Abronia, Somali Yacht Club, Sun Voyager, Atavismo, Some Pills for Ayala, Eight Bells, Stinking Lizaveta, Borracho, The Crooked Whispers, Naxatras, Rotor, Mos Generator, Big Scenic Nowhere, Righteous Fool, High Priest, High Priestess, Loop, Elliott’s Keep, Fostermother, Valley of the Sun, Boris, Deathbell, Siena Root, My Sleeping Karma, Firebreather, Matt Pike, Mythosphere, Crowbar, JIRM, Mount Saturn, Supersonic Blues, Wizzerd, 10,000 Years…

If any names are repeated there, consider it a sign that I’m looking forward to that record twice. And if you’ve got a name to add to that list, I’m all for it. As I said, I love looking forward to new music.

Thank You

Well, I guess that’s it. I’m not anymore done with 2021 than it’s done with itself — some of the releases featured above have yet to be reviewed; looking at you, Spaceslug — and there’s always catching up to do. No coincidence January will feature the second part of the Quarterly Review that began this month.

But while I’ve got you, if I still do, I want to say thank you, thank you, thank you as always for your continued support of The Obelisk, this site, in the various ways it is shown, whether that’s liking a post, sharing a link, leaving a (hopefully kind) comment or buying some sweatpants. More than a decade after the fact, I cannot hope to tell you how much it means to me sitting here in front of my laptop to have that support and encouragement, day in and year out. Thank you. From the bottom of my heart and with ever fiber of my wretched being. Thank you.

But thank The Patient Mrs. even more.

More to come, so stay tuned.

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Roadburn 2022 Makes Third Lineup Announcement

Posted in Whathaveyou on December 16th, 2021 by JJ Koczan

Roadburn 2022 redefining heaviness

I guess we could go on and on about badass festival lineups — and in a way, it feels very, very good to even think that’s true — but you’ll pardon me if I sort of bow under the spectacle here and just say I’m glad Warhorse are getting another chance to go to Roadburn after 2020 falling apart, and that Tau and the Drones of Praise will play. The latter not the least because it gives me an excuse to revisit their set from earlier this year at Roadburn Redux in putting this post together. I hope they play right before the devastating LLNN, but either way, it’s great that along with the huger acts like Lingua Ignota, Emma Ruth Rundle, Russian Circles, and so on, Roadburn remains committed to forward-thinking artists of such various stripes. See also Oslo Tapes playing the Pelagic showcase with Årabrot headlining.

I don’t know if I’ll get to go to Roadburn next year. The fest would be well within its rights to nix the Weirdo Canyon Dispatch ‘zine after so long and adverse circumstances, and it’s not like they need my review or photos badly enough to warrant having me there, but whatever happens, I love this festival, support its growth and direction, and I always will for as long as it goes. No one knows at this point what April 2022 is going to look like. I’m happy to proceed into the fest’s last announcement of 2021 with some sense of optimism, even if I need to force that a bit.

From the PR wire:

roadburn 2022 mostly sold out

New additions to Roadburn 2022 including second Artist In Residence and label showcase

Roadburn has today announced another 17 artists for the 2022 edition of the festival, which will take place between April 21-24 in Tilburg, The Netherlands.

Artistic Director, Walter Hoeijmakers, comments:

“With our last announcement before the end of 2021, we are super proud to have Pelagic involved again in Roadburn after their virtual Redux showcase earlier this year. And we know SLIFT will broaden our psychedelic horizons with three shows as artist-in-residence. Further, we offer this announcement in hope that 2022 will see a full return to international touring for festivals and club shows and we can all be together and celebrate in April. We wish you the happiest of seasons and hope you’re looking forward to Roadburn Festival 2022 as much as we are. Thank you for your continued support, faith and trust.”

French psych trio, SLIFT, have been announced as the second Artist in Residence for the 2022 edition (joining Full of Hell who were announced earlier this year). The band will perform three times over the course of the festival, including a collaborative performance with pioneering French musician, Etienne Jaumet (Zombie Zombie).

Pelagic Records will host a label showcase at the festival highlighting the diverse array of talent found on their roster. The showcase will climax with three interconnected performances courtesy of Lustmord, Lustmord and Karin Park performing cuts from their collaborative album, Alter, and finishing off with Årabrot. The showcase will also feature Year Of No Light, LLNN performing Unmaker, new signings Bruit≤, Oslo Tapes and a solo set from Karin Park.

Psych-heads rejoice – Die Wilde Jagd will perform at Roadburn, following two awe inspiring live performances at Roadburn Redux earlier this year. TAU & the Drones of Praise will also reprise their Redux appearance and make their way to Tilburg for an in-person performance.

Hangman’s Chair will complement their already-announced album set with a collaboration with Regarde Les Hommes Tomber. Originally commissioned by Red Bull and performed only once to date; the two bands have written additional material to extend the performance further into the reaches of their collective imaginations.

Originally scheduled to perform in 2020 Warhorse will finally perform at Roadburn 2022. Huntsmen will kick off their first trip to Europe with a special performance at Roadburn where they’ll play their 2018 album, American Scrap, in full.

London’s Five The Hierophant will make their Roadburn debut, as well as performing a collaborative piece with Wyatt E. and MC Slice titled Atonia.

These artists are added to a line up that already features Ulver, Lingua Ignota, Liturgy, Emma Ruth Rundle, Russian Circles, 40 Watt Sun, Backwash and many more. Click here to view the full line up and below to read more on these newly announced artists.

ÅRABROT
ATONIA: A COLLABORATION BETWEEN WYATT E., FIVE THE HIEROPHANT & MC SLICE
BRUIT ≤,
DIE WILDE JAGD
FIVE THE HIEROPHANT
HANGMAN’S CHAIR X REGARDE LES HOMMES TOMBER
HUNTSMEN
KARIN PARK
LLNN
LUSTMORD
OSLO TAPES
SLIFT (ARTIST IN RESIDENCE)
TAU & THE DRONES OF PRAISE
URAL UMBO
WARHORSE
YEAR OF NO LIGHT
ZETRA

Weekend tickets, and Friday and Saturday day tickets are sold out. Thursday and Sunday day tickets remain in limited numbers. Tickets and accommodation options are available to view via ticketmaster.nl

https://www.facebook.com/events/964112394348925
https://www.facebook.com/roadburnfestival/
http://www.instagram.com/roadburnfest
http://www.roadburn.com

Tau and the Drones of Praise, ‘Dream Awake’ live stream for Roadburn Redux

Slift, “Lions, Tigers & Bears” live video

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The Obelisk Show on Gimme Metal Playlist: Episode 70

Posted in Radio on October 15th, 2021 by JJ Koczan

the obelisk show banner

An honest moment: In my head, nobody listens to this show. Three people max, and I’m usually one of them. I don’t even think my mom listens anymore, which really is fair enough.

I expect more or less after every episode that the hammer is going to come down and Gimme — which regularly hosts metal luminaries for guest spots and even among its regular DJ roster has people relevant enough to make me scratch my head and wonder what I’m doing there — is going to shitcan my ass. Too weird, not enough metal, general you-suck as the cause. Or maybe I’m not even worth firing, I don’t know.

All I can do is put together what I think are cool playlists that offer something different and new. I love new music. I love the next album, the potential of new bands, the way sounds grow over time. And I don’t always like talking, but I do love sharing music and doing this show lets me do that, even if you’re only reading this and seeing the playlist as one of the countless lists of bands on the internet with new stuff out. That’s fine. Hopefully you check something out and dig it.

There.

Thanks for listening if you do and/or reading. I hope you enjoy.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.

Full playlist:

The Obelisk Show – 10.15.21

Kryptograf Cosmic Suicide Cosmic Suicide
Simple Forms Reaching for the Shadow Reaching for the Shadow
Uncle Woe Nine Kinds of Time Nine Kinds of Time
Apostle of Solitude Apathy in Isolation Until the Darkness Goes
VT
Gristmill Stone Rodeo Heavy Everything
Snowy Dunes Medicinmannen Sastrugi
Octopus Ride If You’re Happy II
Wooden Fields Should We Care? Wooden Fields
Trillion Ton Beryllium Ships Core Fragment Core Fragment
VT
Kanaan Bourdon Earthbound
Ascia The Great Iskandar Vol. 1
KITE Infernal Trails Currents
LLNN Imperial Unmaker
Churchburn Genocidal Rite Genocidal Rite
Replicant The Ubiquity of Time Malignant Reality
VT
JAVA 24 Zimbabwe 24 Zimbabwe

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Oct. 29 (subject to change). Thanks for listening if you do.

Gimme Metal website

The Obelisk on Facebook

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