Posted in audiObelisk on May 27th, 2015 by H.P. Taskmaster
It’s been more than a month now since Roadburn 2015 ended, and that means it’s time to really start digging into the audio aftermath. As always, this batch of streams was captured by Marcel van de Vondervoort and his team, and there are more than a few gems here, from Bongripper playing all of their 2014 album Miserable (review here) to The Golden Grass closing out the fest in the Green Room during the Afterburner.
I was particularly stoked this year for the Afterburner, and not the least because it meant Lo-Pan were rolling into town. The Ohio fuzz four-piece were on their first European tour at the time, capping the first leg of it with Abrahma, who played at Cul de Sac, and soon to pick up again with Black Pyramid and continue their roll, but being a fan of the band and having seen them the many times that I have, it was special to watch them take the stage at Roadburn and level the place as vigorously as they did. That set is included here, along with the devastatingly heavy likes of Primitive Man and Goatwhore, the weird stoned occultism of Salem’s Pot, and Scott H. Biram‘s one-man outlaw idolatry.
They’re all good batches, but I know I’ll look forward to reliving the Lo-Pan set and whether you hit that up or something else, I hope you enjoy:
Bast – Live at Roadburn 2015
Black Anvil – Live at Roadburn 2015
Bongripper – Live at Roadburn 2015
Goatwhore – Live at Roadburn 2015
Lo-Pan – Live at Roadburn 2015
Primitive Man – Live at Roadburn 2015
Salem’s Pot – Live at Roadburn 2015
Sammal – Live at Roadburn 2015
Scott H. Biram – Live at Roadburn 2015
The Golden Grass – Live at Roadburn 2015
Special thanks to Walter as always for letting me host the streams. To read all of this year’s Roadburn coverage, click here. For the first batch of streams, click here.
I did manage to get back to sleep this morning for a little bit after I finished writing the review and sorting pictures for last night, but first I went downstairs and took full advantage of the hotel breakfast. You get one free, and I wasn’t saving it or anything, I just hadn’t been up when it was served. Well, today I was. It opened at seven, I’d been up since four, so yeah. No problem. Some eggs, cheese, fruit, juice, bacon and sausage later, I was a new man. Who needed sleep. I got maybe half an hour before I needed to be up and out again to get to the 013 office and finalize the last issue of the Roadburn ‘zine, the Weirdo Canyon Dispatch, with Lee from The Sleeping Shaman.
We did it, put the issue out and everything. I folded paper like a champ and have the ink stain on my edge-flattening fingernail to prove it. Not the only mark Roadburn would leave on me today, but we’ll get there in a bit. In the meantime, check out the last Weirdo Canyon Dispatch of Roadburn 2015 here. Go on and give it a read.
Today was the Afterburner, which is Roadburn‘s traditional way of saying, “Sooner or later, you have to get back to real life.” It’s a transitional day. Less stages, fewer running back and forth, fewer people around, and so on. Band-wise, it’s usually a little more of Roadburn‘s roots: Heavy rock, psych, doom, though of course like the fest proper, the Afterburner has branched out stylistically as well.
One didn’t have to look much farther than Gnaw Their Tongues, Claudio Simonetti’s Goblin or headliners Anathema — who, since they were playing a special set spanning their career, both fit a doomed aesthetic and pushed beyond it — to see that. Still, it was underrated New York space/psychedelic outfit White Hills who started the afternoon off at 15.00 on the Main Stage. An East Coast equivalent in my mind for L.A.’s Farflung — who also did quite well at Roadburn once upon a 2012 — they remain a much more popular band in Europe than in their hometown. So be it. For me, a little space is almost always welcome, but I wanted even more to see Pennsylvania’s Argus open up in the Green Room.
Riding the line between doom and traditional metal, the Brian “Butch” Balich-fronted Argus launched their set with “By Endurance We Conquer,” “No Peace Beyond the Line,” and “The Hands of Time are Bleeding,” the first three songs from their third and latest full-length, 2013’s Beyond the Martyrs (review here). The crowd knew the songs and sang along to the hooks, particularly in “No Peace Beyond the Line,” the five-piece of Balich, guitarists Jason Mucio and Dave Watson, bassist Justin Campbell and drummer Kevin Latchaw making the best case I’ve yet heard for their songwriting. With the two guitars, driving, forward rhythms, roots doom and NWOBHM-precision, Balich‘s powerful voice in addition to that level of craftsmanship, it was no challenge to see the appeal of Argus, and the Green Room certainly got into it. Heavy metal might be a subculture, but it’s one that crosses an awful lot of national borders, and I doubt if there’s any fist-pumping headbanger types who couldn’t get down with Argus. They’re as classically-styled as classically-styled gets, and they delivered in force at Roadburn.
They were dug into the particularly Trouble-y “Pieces of Your Smile” when I made my way over to the main hall for Chicago instrumental four-piece Bongripper. Now, it would’ve been awfully nice to see those dudes kick the living crap out of their latest album, 2014’s Miserable (review here), way back on Thursday night, but they were going on late and, well, you know the story, with the typing and the clacky-clacky and whatnot. Fine. No way in gosh darn heck was I going to miss my second chance to see guitarists Nick Dellacroce and Dennis Pleckham, bassist Ron Petzke — with whom I shared a cab to Tilburg from Schiphol Airport on Wednesday — and drummer Daniel O’Connor bludgeon all in their path with volume and raw, plodding riffs. With a formidable stack of amps and cabinets behind them, Bongripper tore into a swath of material, a crowd having shown up early to get a good spot for the punishment they knew was in store.
Seeing Bongripper live is like being swallowed by sound. Like if sound had a mouth — maybe the mouth from the front cover of Miserable would suffice, if you need an image — and that mouth ate you. A beastly barrage of riffs and tonal thunder, all of this maddening heft pushed onto the audience in an unrelenting assault. They ended by wailing on their instruments in time to O’Connor‘s crashes, a kind of violent assault on their equipment that fed into the thick wall of noise built up, the packed Main Stage room nodding in unison. The band stopped short of taking a bow when they were done, but no one would’ve been able to say they didn’t deserve to do so. It’s a primal element of doom and sludge and stoner riffing that Bongripper feeds into, fattens, and then slaughters, but the grungus is mighty in what they do and spread out on the wide stage, it was as much an art project as a wanton beatdown. Even their feedback was a weapon.
I’d run into Ohio’s Lo-Pan earlier in the day. They’re on tour with Abrahma now, have been for a couple nights, and like a lot of US heavy bands who come to tour Europe for the first time, I think they’ve been impressed at the show culture. People show up, bands aren’t treated like crap, and it’s a generally cared-for situation, something precious done in a general public interest. The crew working at the 013 as a part of Roadburn are second to none in professionalism or hospitality, and so it seemed reasonable to me the band would be singularly impressed. All the better for the show, which is both the intent and precisely how it worked out when they went on in the Green Room at 18.30. They were clashing with Claudio Simonetti’s Goblin, but I’ve been itching for Lo-Pan to make a debut at Roadburn since they put out Salvador (review here) early in 2011. Let’s be clear: I wouldn’t miss them anyway. I’ll go see Lo-Pan just about any night of the week, but I knew this one was going to be special.
Of course, it was. “El Dorado” from Salvador opened and “Regulus” from last fall’s rager Colossus (review here) followed, the band immediately on fire. It was my first time seeing them with guitarist Adrian Zambrano, who came aboard in Nov. 2014 to fill the role formerly held down by Brian Fristoe. A new Lo-Pan, in a new place with new energy and even a new song in the set, there was nothing not to like. They were so tight it hurt With vocalist Jeff Martin set up in back behind drummer Jesse Bartz as per usual, Zambrano on stage left and bassist Scott Thompson on stage right, Lo-Pan were a heavy rock and roll force. Zambrano brought a little showmanship and style to the riffs and solos, and where Bartz and Thompson have always hit it hard on stage and the guitar was a more subdued presence (nothing against that whatsoever), having Zambrano headbanging away, tapping on the frets while throwing his pick-hand behind him, tossing a leg up on the monitor and so on both reinforced the energetic character of the band, as well as the material, and made it all the more exciting.
Speaking of headbanging, I did. It was among the best sets I’ve seen Lo-Pan play — lights, sound, performance, you name it — and yeah, I was getting into it a bit. I wound up banging my head into one of the monitors at the front of the stage early into the set. No blood, it wasn’t that bad, but I’ve got a bump sticking out of my forehead now and I expect by the time I get off the plane tomorrow in Boston it’ll be a good-size bruise. Easy enough to laugh it off and keep going, even if it’s a little sore when I raise my eyebrows, which I apparently do all the time. That’s how you find out that kind of thing.
Anyway, point is it was so, so, so, so good to see Lo-Pan. Not only because they’re one of American heavy rock’s best bands — I’ve called them the finest in US fuzz for pretty much the last four years — and not only because they killed it and put on a stellar show, but because they did it here, as a part of Roadburn 2015, looking across the stage at each other and challenging themselves to play better, harder than they have before. Their first European tour comes after countless US slogs and will hopefully lead to more, but it seems likely to me they’re going to remember this one, and I’m glad to have stayed through “Eastern Seas” and “The Duke” to watch them hammer down their victory. I’d been looking forward to it since they were announced, and it warmed my cold, dead heart to see them kick so much ass.
Their tourmates from Paris and Small Stone labelmates, Abrahma, were going on shortly down the block at Cul de Sac, which is right in the stretch of bars on Heuvelstraat adjacent to the 013 that for I don’t even remember how many years now I’ve been calling Weirdo Canyon (hence the Dispatch). The relatively small club is where the Hard Rock Hideout was held on Wednesday (review here), and I like the room a lot, so it seemed perfect to follow Lo-Pan with Abrahma and head over. Already they were on stage when I got there, dug into what turned out to be their soundcheck, but with the lights up, I snapped a few pictures just in case when they actually started they decided to play in the dark, as pretty much every band I’ve ever seen in that space has done. Abrahma, however, dared to be different.
In keeping, their upcoming second album, Reflections in the Bowels of a Bird (review/track stream here), does likewise, pushing into moodier, somewhat less psychedelic territory than their 2012 debut, Through the Dusty Paths of Our Lives (review here). Their set, which was actually just about split between the two records and leaned slightly toward the new one, was surprisingly heavy. Very riffy, very big in tone. Not quite to the level of Floor-syle bombdropping, but not far off either. As a frontman, Sebastien Bismuth was charismatic and engaging, banging his head harder than many and managing not to injure himself in the process unless you count an almost certain sore neck tomorrow, and joined by drummer Fred Quota for this tour along with bassist Guillaume Colin and guitarist Nicolas Heller, their sudden bursts of weighted groove hit with an impressive, genuine impact. As their songwriting continues to grow and become more complex, I’ll be interested to see how that impact evolves.
A prudent move would’ve been to stay longer, but even though it’s the Afterburner, Roadburn means time to move. Anathema would soon be on the Main Stage, playing a special set allotted 130 minutes that was being called “Resonance” and which started with the eponymous “Anathema” from last year’s Distant Satellites and working backwards through their discography. The Cavanagh brothers, Vincent (lead vocals, guitar), Danny (guitar, backing vocals) and Jamie (bass) were down front of the stage with drummer Daniel Cardoso and keyboardist/programmer John Douglas on risers behind, and over the course of their time, current vocalist Lee Douglas made intermittent appearances — a striking one for “A Natural Disaster” lit, at the band’s request, only by cellphone lights from the crowd, as seen on the cover of their 2013 DVD, Universal — and former bassist Duncan Patterson and former vocalist Darren White both showed up the farther along Anathema went, deeper and deeper still into their 25-year history.
They’re doing a short “Resonance” tour, are Anathema, but Roadburn 2015 was the first night, and the first time White had been on stage with the band in 20 years. Something special, no doubt. Here’s a fun fact, though: I love that band. Along with Amorphis, who were playing through the main hall P.A. just before Anathema went on, Anathema were one of the acts that led me into exploring underground metal, and ultimately — so the story goes — selling my soul to Tony Iommi at the expense of career, well-being and, this week, sleep. No complaints. But while Anathema are a pivotal band for me personally, a landmark act without whom I genuinely don’t believe I’d be the same person, I also fall into a rarer category of Anathema fan. It’s not their early stuff that I got into back when I was in high school. Not 1995’s Pentecost III, from which “Kingdom” and “Mine is Yours to Drown In (Ours is the New Tribe)” were aired at the start of what would be a third individual component set in the longer runtime, and not even the album The Silent Enigma, which followed it that same year, powerful though “Sunset of Age” and “A Dying Wish” were.
I have those records, and I dig those records a lot, but what got me into Anathema is their often-overlooked middle period: 1998’s Alternative 4, 1999’s Judgement, 2001’s A Fine Day to Exit and 2003’s A Natural Disaster. When I’m reaching for an Anathema album — as I invariably do in a depressive fit as I wallow in my own filth and worthlessness because I’m just the right kind of emotional cripple that music offers comfort I apparently can’t allow myself to feel otherwise; whoops — those are what I go for, and when Vincent led the way into “Pressure” from A Fine Day to Exit and “One Last Goodbye” from Judgement tonight, those were the songs that had me tearing up. No bullshit, bringing Darren White out was incredible. Clearly charged up to be on stage with the band in the context of headlining at Roadburn 2015, he settled in and nailed the dramatic chorus of “Kingdom” — shades of Fields of the Nephilim influence showing themselves — and led the band through the finish of their professionally polished but still emotionally potent set, “Sleepless” from Anathema‘s 1993 debut, Serenades, closing out.
This was the Anathema show I’ve been dreaming of, covering their whole career, but their mid-period, pre-prog, post-doom, was what hit me the hardest, the first four cuts from Alternative 4 played with Patterson on bass to morose and atmospheric effect. They could’ve done a third hour, easily, and I might have stayed for it if they did.
As it was, time was ticking away. One more stop to make, and it was back in the Green Room of the 013 for Brooklyn trio The Golden Grass, whose 2014 self-titled debut (review here) has only grown in my esteem since it was released. They’re a reminder of home for me, the East Coast, New York and all that, so they were perfect to close out my own little version of Roadburn. Guitarist/vocalist Michael Rafalowich, drummer/vocalist Adam Kriney and bassist Morgan McDaniel are on tour with Hypnos, who’d wrapped a bit earlier at the Cul de Sac, and though I knew I wouldn’t be there the whole time, I wanted to catch at least a bit of their sunshine boogie to help make the thought of walking out of Roadburn 2015, taking off my wristband and coming back to the hotel to put this last review together not quite such a bum-out. By the time they were through “Stuck on a Mountain” and “Please Man” and into a newer song I didn’t know, a bum-out was out of the question. Nothing but good vibes the whole way as I said a few quick goodbyes and walked down the stretch of Weirdo Canyon, a little quieter Sunday than Saturday, but by no means abandoned. I owe The Golden Grass one for that.
Strange to think that “tomorrow” (read: in three hours) when I get up to shower early and head out, it’ll be to the airport instead of the 013 office to bang out another issue of the Weirdo Canyon Dispatch. Roadburn develops its own culture so quickly each year, and the more and more I’m fortunate enough to come see Tilburg in the springtime, the more it feels like home.
I’ll have another post up to close out this series and say thanks and whatnot, so until then, I’ll just say the same thing I always say: More pics after the jump and thanks for reading.
Posted in Whathaveyou on February 5th, 2015 by H.P. Taskmaster
The first European tour for Ohio’s Lo-Pan has been a while in the making, but I don’t think you could possibly accuse the band of not doing it in style now that they’re actually doing it at all. With stops at Roadburn, both London and Berlin Desertfests, as well as Poland’s Asymmetry fest, and club shows alongside Abrahma and Black Pyramid, all in support of 2014’s righteous Colossus (review here) on Small Stone, it’s an enviable itinerary that will be preceded by a Northeast run with Against the Grain in March, the four-piece continuing their penchant for heavy road work even as they expand to new territories. They’re gonna kill it in Europe.
And while I patiently await my invitation to join them on the road for the European stint — picture my breath, not held — the PR wire has dates and particulars for your perusal:
LO-PAN: Ohio Riff Dealers Announce US + Europeans Tour Dates In Support Of Colossus
Ohio riff dealers, LO-PAN, will take to the streets next month on a near two-week Northeastern run of live dates. Kicking off on March 12th in Detroit, Michigan at Berserker II alongside Poison Idea, Iron Reagan, Incantation, Full Of Hell and many others, the NxNe Tour 2015 will trounce eleven cities, coming to a close on March 22nd in Columbus, Ohio. The band will be joined by Detroit rockers, Against The Grain. From there LO-PAN will take a short breather before crossing the Atlantic for a European expedition that will see the band level the stage of Roadburn, Desert Fest, Asymmetry Fest and more with psyche peddlers, Abrahma, and psychedelic war metallers, Black Pyramid, sharing the stage on select dates.
LO-PAN will be touring in support of their critically heralded Colossus long player, released last Fall via Small Stone. Produced and engineered by Andrew Schneider (Unsane, Rosetta, East Of The Wall et al) at his own Translator Audio Studio in Brooklyn, New York and named for an ancient statue of the Greek titan-god of the sun, Helios, the record continues to raise the eyebrows of fans and media globally.
LO-PAN NxNe Tour 2015 w/ Against The Grain: 3/12/2015 The Loving Touch – Berserker II – Detroit, MI 3/13/2015 Grog Shop – Cleveland, OH 3/14/2015 The Lost Horizon – Syracuse, NY 3/15/2015 TT The Bear’s – Boston, MA 3/16/2015 Wonder Bar – Asbury Park, NJ 3/17/2015 The Depot – York, PA 3/18/2015 Saint Vitus – Brooklyn, NY 3/19/2015 Kung Fu Necktie – Philadelphia, PA 3/20/2015 The Pinch – Washington, DC 3/21/2015 31st Street Pub – Pittsburgh, PA 3/22/2015 Spacebar – Columbus, OH w/ Abrahma: 4/09/2015 Mudd Club – Strasbourg, FR 4/10/2015 Paunchy Cats – Lichtenfels, DE 4/11/2015 Rare Guitar – Munster, DE 4/12/2015 Roadburn – Tilburg, NL 4/14/2015 Black Sheep – Montepellier, FR 4/15/2015 Maravillas Club – Madrid, ES 4/16/2015 Rocksound – Barcelona, ES 4/17/2015 Helldorado – Vitoria, ES 4/18/2015 Le Volume – Nice, FR 4/19/2015 TBA – IT 4/20/2015 Altraquando Club – Zero Baranco, IT 4/21/2015 Orange House – Munich, DE w/ Black Pyramid: 4/23/2015 Desertfest – Berlin, DE 4/24/2015 Romer – Bremen, DE 4/25/2015 Desertfest – London, UK 4/28/2015 Sedel – Lucerne, CH 4/2/20159 Gaswerk – Winterthur, CH 4/30/2015 Das Bett – Frankfurt, DE 5/01/2015 Schaubude – Kiel, DE 5/02/2015 Asymmetry Fest – Wroclaw, PL
Colossus is out now via Small Stone Recordings. Order your copy today atTHIS LOCATION.
Posted in Whathaveyou on January 9th, 2015 by H.P. Taskmaster
Before they split out for Europe in April and, presumably once reaching its shores decide never to return, Ohio fuzz rockers Lo-Pan will hit the road like they do with Detroit speedfreaks Against the Grain. The tour will be in the north and northeast, which should be almost thinking about thawing out by then, and is set to start March 12 and run until March 22. For Lo-Pan, they’re out supporting last year’s Colossus (review here), while the oft-touring Against the Grain will have by that time recorded their fourth album, which is set to release later in 2015.
Like I said, after this, Lo-Pan are off to Europe alongside Black Pyramid, but it’s worth noting that this will be their first tour with guitarist Adrian Zambrano, so it should be a chance for them to further solidify before they go. They’ve given themselves a high-energy companion in Against the Grain, who will no doubt keep them on their toes for the duration.
The PR wire brings details and dates, and we all like details and dates, right? Okay then:
Lo Pan & Against The Grain to tour Northeast in March
Columbus riff titans Lo Pan will be pairing up with Detroit neck breakers Against The Grain for a ten date Northeast tour in the month of March in what will be a travelling showcase of two of the heaviest bands going from the Midwest.
Both bands coming off a successful campaigns in 2014 with Against The Grain seeing the release of Motor City Speed Rock on vinyl and nonstop touring throughout the year with dates that included runs with Guttermouth, Koffin Kats and Nashville Pussy and Valient Thorr to close out the year.
Against The Grain start the year doing a two shows with Detroit’s own Koffin Kats in Chicago (Reggie’s) and in Westland, MI (Token Lounge) and a local show with notable punk/metal band Gang Green in the Detroit area (Corktown Tavern). From there, the four will be spending the month of February recording the follow up to 2012’s “Surrounded By Snakes” at Train – A Comin’ Studios in Mt. Clemens, Michigan which will be slated for a summer release.
Dates: March 12 – The Loving Touch (Ferndale, MI) March 13 – Grog Shop (Cleveland, OH) March 14 – The Lost Horizon (Syracuse, NY) March 15 – TT the Bears (Boston, MA) March 16 – TBA March 17 – TBA March 18 – Saint Vitus Bar (Brooklyn, NY) March 19 – Kung Fu Necktie (Philadelphia, PA) March 20 – The Pinch (Washington D.C.) March 21 – 31st St. Pub (Pittsburgh, PA) March 22 – Spacebar (Columbus, OH)
Posted in Features on January 2nd, 2015 by H.P. Taskmaster
It was close for a long time, but in the last week or so, one record pulled ahead to stake a definitive claim on the top spot. Even so, more than the 2013 poll, this was a fun one to watch, three albums duking it out, trading back and forth in the raw votes depending on who happened to submit a list at any given time. In the end, 355 people participated in this year’s poll, which is an average of over 11 per day — there was a significant push at the end — and up from 2013, which now that it’s 2015 will no doubt soon feel like ancient history.
To that end, Happy New Year and huge, huge thanks to everyone who took the time to contribute a list to the poll. Even if it was one or two records, the simple fact that you felt it was worth your time to type out the names of bands and albums and take part in this thing is unbelievably gratifying to me. I do a lot of the talking around here, apart from comments and the forum, so to have your participation in this really means a lot to me. It’s nice knowing you give enough of a crap to take part.
You’ll find two lists below. The first, measured in points, is the weighted tally. A 1-4 ranking is worth five points, 5-8 worth four, 9-12 worth three, 13-16 worth two and 17-20 worth one. After that comes the raw votes, a measure of what caught the most attention along the way.
After the jump, you’ll also find all the lists contributed to the poll — including my own, which seemed fair since I do a lot of reading on this site, mostly to experience shame at the typos and correct them hoping no one else noticed — presented in the order in which they were received. Thank you all again.
Top 20 of 2014 — Weighted Results
1. YOB, Clearing the Path to Ascend (560 points)
2. Wo Fat, The Conjuring (404)
3. Electric Wizard, Time to Die (367)
4. Pallbearer, Foundations of Burden (334)
5. Conan, Blood Eagle (275)
6. Orange Goblin, Back from the Abyss (254)
7. Greenleaf, Trails and Passes (240)
8. Truckfighters, Universe (237)
9. Brant Bjork and the Low Desert Punk Band, Black Power Flower (235)
10. Earth, Primitive and Deadly (230)
11. Fu Manchu, Gigantoid (225)
12. Blues Pills, Blues Pills (211)
13. Lo-Pan, Colossus (202)
14. Eyehategod, Eyehategod (198)
15. Monolord, Empress Rising (190)
16. Mastodon, Once More ‘Round the Sun (188)
17. Mars Red Sky, Stranded in Arcadia (161)
18. John Garcia, John Garcia (156)
19. Bongripper, Miserable (141)
20. Radio Moscow, Magical Dirt (127)
Honorable mention to:
Goat, Commune (126)
Swans, To be Kind (117)
Monster Magnet, Milking the Stars (116)
Blood Farmers, Headless Eyes (105)
Floor, Oblation (104)
Mothership, II (104)
Stubb, Elephant Tree, Thou and plenty of others also did very well in the voting, but everything else I could find was less than 100 points. Again, it was close for a while between Wo Fat, Electric Wizard and YOB — and Pallbearer wasn’t so far behind them, either — but YOB pulled it out in the end and jumped way in front of everyone else. A lot of number-one votes for Clearing the Path to Ascend, which I can understand completely, since I happened to agree with the position.
On to the raw votes:
Top 20 of 2014 — Raw Votes
1. YOB, Clearing the Path to Ascend (138 votes)
2. Wo Fat, The Conjuring (111)
3. Electric Wizard, Time to Die (104)
4. Pallbearer, Foundations of Burden (89)
5. Orange Goblin, Back from the Abyss (78)
6. Conan, Blood Eagle (72)
7. Fu Manchu, Gigantoid (71)
8. Truckfighters, Universe (66)
9. Earth, Primitive and Deadly (65)
10. Greenleaf, Trails and Passes (64)
11. Blues Pills, Blues Pills (63)
12. Brant Bjork and the Low Desert Punk Band, Black Power Flower (60)
13. Lo-Pan, Colossus (58)
14. Eyehategod, Eyehategod (55)
15. Monolord, Empress Rising (52)
16. Mars Red Sky, Stranded in Arcadia (48)
16. Mastodon, Once More ‘Round the Sun (48)
17. John Garcia, John Garcia (47)
18. Bongripper, Miserable (41)
18. Radio Moscow, Magical Dirt (41)
19. Goat, Commune (37)
19. Mothership, II (37)
20. Swans, To be Kind (32)
And some honorable mentions:
Dwellers, Pagan Fruit (31)
Floor, Oblation (31)
Monster Magnet, Milking the Stars (31)
Mos Generator, Electric Mountain Majesty (30)
Thou, Heathen (30)
The Well, Samsara (30)
A couple ties here make the raw votes list a little more inclusive, and since it’s not like we’re giving out olympic medals, it didn’t seem fair to count out ties and sacrifice other numbers. The top 20 has 23 entries? Yeah, sounds about right. Again, not much mystery ultimately to who came out on top, but it was a more thrilling race than the final numbers might suggest. Cool to see some differences in placement emerge between the two lists as well, Greenleaf and Brant Bjork doing really well in the weighted results since they obviously inspire some strong support, and a couple of others working their way into the raw votes top 20. I’m not really a numbers guy, but it’s been cool putting this together.
About not being a numbers guy: All the lists that came in appear after the jump below. If you find some glaring error in my math, or something seems like it really got enough votes to be included in one or the other, it’s possible I just missed it. I hope you’ll point it out in the comments so that if there is a mistake, I can get on correcting it as soon as possible. Your vigilance is sincerely appreciated.
And thank you again so much for being a part of this readers poll. It’s been a really great experience and I look forward to doing it again come Dec. 2015.
Please find everybody’s list after the jump, and have fun browsing:
Here is the Music Player. You need to installl flash player to show this cool thing!
Since I don’t do theme podcasts or anything, the thoroughly unofficial subtitle of this latest one is “SOME of the Best of 2014.” Truth be told, it’s four hours long and I feel like I barely scratched the surface, so definitely the emphasis should be on “some.” By no means is it meant to be comprehensive, or am I claiming that it’s all the best and the rest sucked or anything like that. But some of the best stuff is here, so, you know, I hope you enjoy.
My intent was to make it three hours long, and then I got there and it just didn’t feel done without another hour’s worth of extended psych jams. That’s an odd habit to have. Could be worse. For what it’s worth, I was thinking of this as a companion for some of the year-end coverage that’s already been posted and is still to come. Some of this was inspired by picks from the Readers Poll, the submissions for which are still open. If you haven’t added your list yet, I’d greatly appreciate it.
And once again, hope you dig it:
YOB, “Nothing to Win” from Clearing the Path to Ascend
Fu Manchu, “Radio Source Sagittarius” from Gigantoid
Radio Moscow, “Death of a Queen” from Magical Dirt
The Golden Grass, “Stuck on a Mountain” from The Golden Grass
Monster Magnet, “No Paradise for Me” from Milking the Stars: A Reimagining of Last Patrol
Pallbearer, “The Ghost I Used to Be” from Foundations of Burden
The Skull, “Sick of it All” from For Those Which are Asleep
Electric Wizard, “Time to Die” from Time to Die
Orange Goblin, “The Devil’s Whip” from Back from the Abyss
Moab, “No Soul” from Billow
Sleep, “The Clarity” from The Clarity 12”
Mars Red Sky, “Hovering Satellites” from Stranded in Arcadia
Floor, “Rocinante” from Oblation
Slomatics, “And Yet it Moves” from Estron
Conan, “Foehammer” from Blood Eagle
Druglord, “Feast on the Eye” from Enter Venus
Apostle of Solitude, “Die Vicar Die” from Of Woe and Wounds
Pilgrim, “Away from Here” from II: Void Worship
Blood Farmers, “The Road Leads to Nowhere” from Headless Eyes
Lo-Pan, “Regulus” from Colossus
Elephant Tree, “Vlaakith” from Theia
The Well, “Mortal Bones” from Samsara
Lucifer in the Sky with Diamonds, “Counting Time” from The Shining One
Brant Bjork and the Low Desert Punk Band, “Stokely up Now” from Black Power Flower
Joy, “Driving Me Insane” from Under the Spell of Joy
Greenleaf, “Depth of the Sun” from Trails and Passes
Mothership, “Priestess of the Moon” from Mothership II
Truckfighters, “Get Lifted” from Universe
Mos Generator, “Enter the Fire” from Electric Mountain Majesty
Mammatus, “Brain Drain” from Heady Mental
Øresund Space Collective, “Beardlandia” from Music for Pogonologists
My Brother the Wind, “Garden of Delights” from Once There was a Time When Time and Space were One
The Cosmic Dead, “Fukahyoocastulah” from Split with Mugstar
Montibus Communitas, “The Pilgrim to the Absolute” from The Pilgrim to the Absolute
Posted in Features on December 22nd, 2014 by H.P. Taskmaster
Please note: These are not the results of the Readers Poll, which is ongoing. If you haven’t added your list yet, please do.
This was a hard list to put together. The top three have been set in my mind for probably the last month, but trying to work my way backwards from there was a real challenge — what’s a top 10 record, a top 20 record, a top 30, honorable mentions and all the rest. I’ve never done a full top 30 before, always 20, but the truth is there was just too much this year to not expand.
I’m still juggling numbers even as I put together this post, and I’m sure that by the time I’m done several records will have switched places. That’s always how it seems to go. What I’m confident that I have is a list accurately representing critique and my own habits, both what I gravitated toward in listening throughout the year and what I feel is noteworthy on a critical level. This site has always been a blend of those two impulses. It’s only fair this list should be as well.
Before we dig in, you should note this is full-length albums only. I’ll have a list of short releases (EPs, singles, demos) to come, as well as a special list of debut releases, since it seemed to be a particularly good year for them. And since I’m only one person, I couldn’t hear everything, much as I tried.
The kings of London’s heavy scene offered more powerhouse heavy rock with their eighth album and second for Candlelight, and their rabid and ever-growing fanbase ate it up. Back from the Abyss proved yet again that few can attain the kind of vicious force that seems to come so natural to Orange Goblin, and made it clear their domination shows no signs of losing momentum.
A darker affair from Port Orchard, Washington’s Mos Generator, Electric Mountain Majesty still found its core in the songwriting led by guitarist/vocalist Tony Reed. They’re a band with some changes on the horizon, and I’ll be interested to hear what hindsight does to these songs. As it was, the hooks and downer vibes may have been in conceptual conflict, but the execution was inarguable.
Richer in the listening than 2012’s Misery Wizard debut, Pilgrim‘s II: Void Worship nonetheless held firm to the doomly spirit that’s made the Rhode Island outfit such a sensation these last couple years. Its longer songs, “Master’s Chamber,” “Void Worship” and the emotionally weighted “Away from Here,” were particularly immersive, and they remain a bright spot in doom’s future.
His long-awaited solo debut, John Garcia‘s John Garcia offered memorable tracks culled from years of songwriting from the former Kyuss, Slo Burn, Unida and Hermano frontman, performed in the classic desert rock style he helped define. I’m not sure it was worth trading a second Vista Chino record for, but it was hard to argue with “The Blvd” and “All These Walls.”
An overwhelming two-disc barrage from a relentless creativity that, more than 30 years on from its first public incarnation, is still to be considered avant garde. I’m not sure planet earth realizes how lucky it is to have Swans running around unleashing all this chaos, but I hope they don’t stop anytime soon. To be Kind was brutal and beautiful in like measure.
I initially made this list without Alunah‘s excellent third album and Napalm Records, but when it came down to it, not having the UK four-piece on here haunted me to the point where I had to come back in and swap them out with somebody else. Just couldn’t live with myself for not giving this record its due, which, to be frank, I’m still not since it should be higher on the list than it is. At least it’s here though, so the mistake is somewhat corrected.
The follow-up to Greenleaf‘s stellar 2012 outing Nest of Vipers (review here) brought lineup changes and stripped away many of the textural elements of the band’s sound — guest appearances, arrangement flourishes — in order to get back to a classic heavy rock sound and translate better to the stage. With guitarist Tommi Holappa‘s songwriting ever at the core, it would be unfair to call the process anything but a success.
Most of the headlines went to the fact that Primitive and Deadly had vocals, where the generally-instrumental Earth had avoided singers for 18 years prior, but even putting aside Mark Lanegan and Rabi Shabeen Qazi, whose performance on “From the Zodiacal Light” was the high point of the record, presented Earth‘s always progressive tensions in a rawer, heavier production, and was a joy for longtime fans.
Six years and one breakup later, Portland, Maine, doom trio Ogre returned with The Last Neanderthal, neither afraid to revel in Sabbathian traditionalism or rock out a more upbeat cut like opener “Nine Princes in Amber.” For bassist/vocalist Ed Cunningham, guitarist Ross Markonish and drummer Will Broadbent, it was a welcome resurgence of pretense-free heavy riffs and grooves.
Of course, at the time we didn’t know it would be the final outing from this lineup of UK doomers The Wounded Kings, whose guitarist/founder Steve Mills has now reunited with original vocalist George Birch, but Consolamentum was a hell of a closing statement anyway for this era of the band, showcasing their murky, increasingly progressive style still waiting for wider appreciation.
Wasn’t sure where to put Floor‘s reunion offering, Oblation, on this list at first, since I kind of fell off listening to it as the year went on, but I’ve gone back to it over the last couple weeks and it has held up to the revisit, whether it’s songs like the extended “Sign of Aeth” or shorter, catchy pummelers like “Rocinante” or “War Party.” Floor‘s 2002 self-titled holds an untouchable legacy in heavy rock, but I think the years will prove Oblation a worthy successor. Nobody knew what they had with Floor at the time either.
Little on 2011’s Motherfucker Rising (review here) or their 2010 demo (review here) prepared for the kind of assault that Druglord‘s Enter Venus brought to bear. Four stomp-laden slabs of tectonic crash and distortion, vocals buried under and calling up from the amp-bred fog. The Virginian trio were in and out on the 27-minute 12″ release, but had enough heavy for a record twice as long, and the tinges of darkened psychedelia made their songs like a lurking presence just on the edge of consciousness, a threat waiting to be unleashed.
For the sheer variety of Ararat‘s third album in rockers like “Nicotina y Destrucción,” “El Hijo de Ignacio,” the experimentalism of “El Arca” and the piano-driven “Los Viajes” and the acoustic closer “Atalayah,” and the assured, flowing manner in which the Argentina trio pulled it all off, Cabalgata Hacia la Luz should be higher on this list than it is. Part of that might be my frustration at my apparent inability to buy a copy, but don’t let that take away from the quality of the material here, which is wonderfully chaotic, memorable and engaging, rushing in some places and stopping to weep in others.
You won’t hear me deny that Radio Moscow‘s primary impact is as a live band, but their fifth album, Magical Dirt, managed to bring forth much of their psychedelic blues presence in “Death of a Queen,” “Before it Burns” and “Gypsy Fast Woman,” the blinding rhythmic turns and wah-soaked guitar supremacy of Parker Griggs front and center throughout. Together with bassist Anthony Meier (also Sacri Monti) and drummer Paul Marrone (also Astra and Psicomagia), Radio Moscow are hitting their stride as one of heavy rock’s most powerful power trios. One never knows what to expect, but hopefully they keep going the way they are.
Four years isn’t the longest time I’ve ever waited for a record to come out, but in the case of Indianapolis’ Apostle of Solitude, it felt like an especially long stretch. Their third full-length and first for Cruz del Sur, Of Woe and Wounds followed the anticipation-building Demo 2012 (review here) and a couple splits and brought aboard bassist Dan Dividson and guitarist/vocalist Steve Janiak (also Devil to Pay), who fit well with drummer Corey Webb and guitarist/vocalist Chuck Brown to result in a payoff worthy and indicative of the time that went into its making. Hands down one of the finest acts in American doom.
Stubb‘s second long-player, also their debut on Ripple, gets a nod for the sense of progression it brought in answering the potential of the trio’s 2012 self-titled debut (review here), guitarist/vocalist Jack Dickinson, bassist Peter Holland and new drummer Tom Fyfe expanding the scope to include more heavy psych influence and soul along with the fuzz riffs and steady rolling while giving no ground in terms of the level of craft at work. Cry of the Ocean has become one of those albums where all I have to do is look at a title, be it “Cry of the Ocean Pt. I” or “Sail Forever” or “Heartbreaker,” and the song is immediately stuck in my head. With these tracks, that’s not at all a complaint.
14. Brant Bjork and the Low Desert Punk Band, Black Power Flower
Brant Bjork has worn many hats, literal and figurative, over the years, whether it’s drummer in Kyuss or Fu Manchu, producer, solo artist or bandleader. With Brant Bjork and the Low Desert Punk Band, he steps once again into the latter role, and with guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, presents not only on his heaviest record to date, but what could easily begin a sustainable full-band progression that can go just about anywhere his songwriting wants to take it. “Stokely up Now,” “That’s a Fact Jack,” “Controllers Denied” and “Boogie Woogie on Your Brain” made for some of 2014’s best in desert rock, and Black Power Flower was an stellar return for Bjork to his “solo” work.
An earlier version of this list had Pagan Fruit at a lower number, but I couldn’t live with it not being closer to the top 10. Salt Lake City’s Dwellers pushed deeper into laid back psych and blues on their second album, and in doing so, crafted an atmosphere entirely their own. From “Creature Comfort” down to “Call of the Hollowed Horn,” with triumphs along the way like “Rare Eagle,” “Totem Crawler” (“Ohh, my queen… To whom, I crawl…) and “Son of Raven,” Pagan Fruit became a staple of my 2014, building off their 2012 debut, Good Morning Harakiri (review here), but presenting their stylistic growth with a confidence and poise that can only come from a band who’ve figured out what they want to be doing and how they want to do it. Front to back, Pagan Fruit sounds like an arrival.
What made Brooklyn trio The Golden Grass‘ self-titled debut such a special released wasn’t just that it was heavy, or that the tracks were catchy, or that guitarist Michael Rafalowich and drummer Adam Kriney could harmonize over Joe Noval‘s warm-toned basslines. That was all great, don’t get me wrong, but what really stood out about The Golden Grass was its irony-free positivity, the way it was able to capture an upbeat, sunshiny feel without having to smirk about it on the other side of its mouth. It was self-aware, to be sure — knew what it was doing — but the way I see it, consciousness only makes the stylistic choices more impressive. Add to that the nuance they brought to ’70s revivalism, and all that stuff about catchiness and the harmonies, and there just wasn’t a level on which the album didn’t work.
My appreciation continues to grow for The Well‘s Samsara, which successfully pulled together influences from garage doom and heavy psychedelia while crafting an identity for the Austin, Texas, three-piece at once raw and melodically accomplished, guitarist Ian Graham and bassist Lisa Alley sharing vocals to classic effect on “Refuge” while otherwise trading off lead position to bolster variety in the material. The high point might’ve been the eight-minute “Eternal Well,” on which Graham, Alley and drummer Jason Sullivvan conjured some of their grooviest demons, but the hooks of “Mortal Bones,” “Trespass” and the attitude-laced “Dragon Snort” were no less engaging. One of many strong releases from their label this year — Slow Season, The Picturebooks, etc. — they seemed to come ready to serve notice of a stylistic movement underway.
10. Montibus Communitas, The Pilgrim to the Absolute
Peruvian psych adventurers Montibus Communitas more or less blew my mind when I heard their late-2013 offering, Harvest Times earlier this year, and the narrative, conceptual 2014 release, The Pilgrim to the Absolute, is even more of an achievement in its portrayal of improvised exploration, sonic ritualism and open creativity. The weaving of longer pieces against shorter ones with the various steps along the path as presented in the titles, some journeying, some arriving, some descriptive, almost all accompanied by nature in one form or another, gives The Pilgrim to the Absolute an almost impressionistic quality, so that even as you listen to it, you engage it as much as it carries you along its vibrant, breathtaking progression en route to the closing title-track, which is a destination every bit worthy of the journey. This is the most recently reviewed inclusion on this list, but Montibus Communitas‘ latest readily earns its place in the top 10. It is unique in its surroundings.
Looking back at the last two Fu Manchu records, 2007’s We Must Obey and 2009’s Signs of Infinite Power, it seemed reasonable to expect the groundbreaking SoCal fuzz foursome to put out another collection of big-sounding riffs in a big-sounding production. Nothing to complain about, but probably not a landmark. By going the other way completely — stripping their buzzed-out riffing down to its punkish core thanks in no small part to recording with Moab‘s Andrew Giacumakis — Fu Manchu served up a raw reminder both of where they came from and how top notch their songwriting remains. Reissuing their earliest work and being on their own label might’ve had something to do with it, but whatever it was, the 35 minutes of Gigantoid was as efficient a heavy rock outing as one could hope from an already legendary band, whether it was the hook-prone opening salvo of “Dimension Shifter,” “Invaders on My Back,” “Anxiety Reducer” and “Radio Source Sagittarius” or the righteous ending jam “The Last Question.”
Given the origins of The Skull — ex-Trouble members Eric Wagner, Jeff “Oly” Olson and Ron Holzner joining with Lothar Keller and a series of other guitarists, finally Matt Goldsborough, working essentially as a tribute band to their former outfit — I think not only did the quality of the material and performance on For Those Which are Asleep surprise, as well as the classically doomed feel that resonates throughout the album, but the sheer heartfelt nature of songs like “Sick of it All,” “Send Judas Down” and the title-track itself. This wasn’t a cynical attempt to make a go of an already set legacy. It was an expression of appreciation both for what they accomplished as Trouble and a desire to continue that work. The Skull‘s whole thing has been that they’re “more Trouble than Trouble,” and in their lineup that’s been true since they brought Olson on board. For Those Which are Asleep demonstrated that the classic spirit of that band is alive and well, its address has just changed. Moreover, it’s the beginning of a new progression for that spirit, and I hope it continues.
Nineteen years after releasing their self-titled debut, New York’s Blood Farmers contended for 2014’s comeback of the year with their sophomore outing, Headless Eyes — a morose, horror-obsessed six-track collection that on “Night of the Sorcerers” owed as much to Goblin as to Sabbath. The closing cover of David Hess‘ theme from The Last House on the Left, “The Road Leads to Nowhere,” was a late bit of melodic flourish to add depth, but how could the highlight be anything other than the 10-minute title-track itself, with its samples from the 1971 horror flick The Headless Eyes, bassist Eli Brown in a call and response with lyrics comprised of lines directly taken from the movie? That after playing shows the last several years, Blood Farmers managed to get a record out was impressive enough. That Headless Eyes turned out to be the year’s best traditional doom release was an entirely different level of surprise. I wouldn’t hold my breath waiting for their third, but Brown, guitarist David Szulkin and drummer Tad Leger gave plenty to chew on with Blood Farmers‘ second. It was better than would’ve been fair to expect.
A lot of what you need to know about Lo-Pan‘s fourth album you learn in the first five seconds of opener “Regulus.” There’s no fancy intro, no time wasted, nothing to take away from the directness of the song itself. Tones are crisp — the verse is already underway — and guitar, bass and drums are laser-focused in their forward movement. Even when vocalist Jeff Martin enters the song, roughly six seconds later, his arrival comes with no indulgence, no pomp. Colossus is easily Lo-Pan‘s most immediate work to date, and throughout, Martin, guitarist Brian Fristoe (since replaced by Adrian Zambrano), bassist Scott Thompson and drummer Jesse Bartz retain that focus no matter where the material takes them, delivering a clinic in how to kick as much ass as possible at any given moment on cuts like “Marathon Man” and “Eastern Seas,” or even bringing in guest vocalist Jason Alexander Byers, who also designed the album cover, for a spot on “Vox.” They had a hard task in following up 2011’s Salvador (review here), but the Columbus, Ohio, unit stood up to the challenge and met it and everyone else head-on.
What to do with All Them Witches‘ Lightning at the Door? The Nashville four-piece released the album last fall digitally, but it wasn’t until this September that it saw a physical manifestation. In fact, if you go back, it was included on the Top 20 of 2013 as well. Which is the release date? I don’t know. What I know is that in terms of the sheer amount of time spent listening, I put on Lightning at the Door more than any other record this year. From where I sit, that alone gets it a place in the top five. Yeah, it might be a cop-out to do a “5a,” but sometimes exceptions have to be made, and All Them Witches have proved to be nothing if not exceptional in their still relatively brief, jam-laden history, the psych-blues dynamic between bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, Fender Rhodes specialist Allan van Cleave and drummer Robby Staebler pushing them quickly to the fore of American heavy rock’s innovators, their natural, improv-sounding material feeling brazen and exploratory while reshaping the elements of genre to suit their needs. One can only see this dynamic developing further as they continue to grow as a live band, so Lightning at the Door may just be the start, and that’s perhaps most exciting of all.
A beautiful, stunning work made even more powerful by the honesty driving it. Portland, Oregon’s Witch Mountain completed a trilogy with the Billy Anderson-produced Mobile of Angelsthat brought about some of the best doom of this young decade, their 2011 return from a years-long hiatus, South of Salem (review here) serving as the foundation for a stylistic progression that continued on the following year’s Cauldron of the Wild (review here) and onto Mobile of Angels itself as the four-piece’s most accomplished album to date. The reason it feels like such a concluding chapter is because of the departure of vocalist Uta Plotkin, whose voice helped establish Witch Mountain both on stage and in the studio, leaving founders Rob Wrong (guitar) and Nathan Carson (drums) with the sizable task of finding a replacement. That situation will be what it will be, but Mobile of Angels remains a gorgeous, lonely testament. Plotkin gives a landmark performance on “Can’t Settle” and “The Shape Truth Takes,” which in the context of what was happening in Witch Mountain at the time ring with a truth that’s rare in or out of doom, and she seems to have left the band just as they were hitting their finest hour. So it goes.
In all of heavy, there is no assault so severe as Conan‘s. With their second full-length and debut on Napalm Records, the UK trio solidified the two sides of the preceding 2012 outing, Monnos (review here), in constructing material that, fast or slow, short or long, retained an epic feel melded with their ungodly tonality and memorable songwriting. Their first recording at guitarist/vocalist Jon Davis‘ Skyhammer Studio, it affirmed Conan‘s will to conquer in its two massive bookends, “Crown of Talons” and “Altar of Grief,” and in the High on Fire-worthy gallop of “Foehammer” — a bludgeon commandingly wielded by Davis, bassist/vocalist Phil Coumbe and drummer Paul O’Neil, the latter to of whom have since left the band to be replaced by longtime-producer Chris Fielding and Rich Lewis, respectively. What effect the changes might have on the band — except apparently more touring, which isn’t a bad thing — have yet to be seen, but Conan are already in the process of writing a follow-up to Blood Eagle, so it doesn’t seem like it’ll be all that long until we find out. With Davis still steering the band in songwriting and overall direction, one severely doubts they’ll be fixing what obviously isn’t broken anytime soon. None heavier.
Dallas riff-rockers Wo Fat have grown steadily over the course of their five albums, from the nascent heavy roll of 2006’s The Gathering Dark, to the hooks of 2008’s Psychedelonaut (review here), the jamming that started to surface on 2011’s Noche del Chupacabra (review here) and was pushed further on 2012’s The Black Code (review here). And their approach has been as steady as the frequency of their releases. In making The Conjuring, the three-piece were simply engaging the next step in their progression, but the material on the five-track/48-minute outing goes further than just that. Putting aside (momentarily) the 17-minute closer “Dreamwalker,” the other cuts, “The Conjuring,” “Read the Omens,” “Pale Rider from the Ice” and “Beggar’s Bargain” each found a place for themselves in pulling together jammed-sounding elements with a memorable construction, and when guitarist/vocalist Kent Stump, bassist Tim Wilson and drummer Michael Walter did kick into “Dreamwalker,” they hit on not only their longest piece yet, but their most accomplished showcase of the chemistry that has developed between them. That song is a beast unto itself, but as has been the case with Wo Fat each time out so far in their career, there’s nothing on The Conjuring to give the impression the band can’t or won’t continue to keep going on the path that’s worked so well for them on this point. They’ve spent the last eight years on the right track and have yet to waiver. The Conjuring should be played at top volume for anyone who contends there’s no life left in heavy rock and roll.
Mars Red Sky‘s second LP and first for Listenable, Stranded in Arcadia was originally supposed to be recorded in the California desert, but visa problems kept the French trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Matgaz in Brazil, where they’d previously been touring. Thus, “stranded in Arcadia,” which is basically another way of saying “lost in paradise.” Can’t say the Bordeaux three-piece didn’t make the most of it, though. Songs like “The Light Beyond” and “Hovering Satellites” — not to mention the utter melodic bliss of “Join the Race” — took cues from their 2011 self-titled debut (review here) in terms of memorable songwriting and melodic craft, but added to that heft and tonal richness more of a psychedelic vibe, so that not only was there fuzz and wah, but a spacious world in which the songs took place. With Kinast on lead vocals, the sneaky boogie of “Holy Mondays” became a highlight, and the one-two swing ‘n’ stomp of “Circles” and “Seen a Ghost” were a perfect demonstration by the band of the various sides of their sound, particularly following after the dreamy instrumental “Arcadia,” an echoing jam distinguished by Pras‘ wistful guitar lead and coming before the closing “Beyond the Light,” which reprises the opener’s resonant unfolding. It probably wasn’t the record they intended to make, but Stranded in Arcadia became one of my go-to albums for 2014, and like the best of any given year’s output, I’ve no doubt it will transcend the passage of time and continue to deliver for years to come. Hell, I was barely done with the debut when this one came out.
Can’t imagine this is any great surprise. Not only did Clearing the Path to Ascend — YOB‘s seventh album and first for Neurot — produce my pick for song of the year in its sprawling, emotionally weighted 18-minute closer, “Marrow,” but in the three full-lengths the Eugene, Oregon, trio of drummer Travis Foster, bassist Aaron Rieseberg and guitarist/vocalist Mike Scheidt have released since the latter reformed the band after breaking it up following 2005’s The Unreal Never Lived, all three have been my album of the year. The Great Cessation was in 2009, and Atma was in 2011. Consistency aside, I’ll point out specifically that each of the same three records has earned that position, perhaps Clearing the Path to Ascend most of all for its progressive feel, moving past genre even at its most raging moment, second cut “Nothing to Win,” the chorus of which proved that among everything else YOB could be, they could be anthemic. The cosmic, spiritual questing that has always been present in their songs, that feeling of searching, showed up in opener “In Our Blood,” but even there, it was evident YOB were pushing themselves beyond what they’ve done before, rewriting their own formulas incorporating lessons from their past in among their other points of inspiration. “Unmask the Spectre” could have easily been an album closer itself, with its patient exploration and feverishly intense payoff, but with the melodic progressivism of “Marrow” and the soul poured into every second of that track, every verse and chorus, solo and build — including the Hammond added to the last of them by producer Billy Barnett — YOB created a landmark both for themselves and the increasing many working under their influence. I’ve said on several occasions (bordering on “many” at this point) that YOB are a once-in-a-generation band, and it feels truer in thinking of Clearing the Path to Ascend than it ever has. Without a doubt, album of the year and then some.
First, special note to Colour Haze‘s To the Highest Gods We Know. I’ve decided to count it as a 2015 release since the vinyl will be out in Spring, but otherwise surely it would earn a place on this list. Blackwolfgoat‘s Drone Maintenance also deserves note.
A few other honorable mentions:
Mothership, Mothership II — It’s hard to argue with a classic heavy rock power trio kicking ass. I won’t try.
Sólstafir, Ótta — They were originally on the list proper but had to be moved to make room for Alunah. I didn’t really get to know this record in 2014 anyway.
Ice Dragon, Seeds from a Dying Garden — Boston experimental psych/garage doomers continue to defy expectation. May their weirdness last forever and continue to produce material so satisfying.
Truckfighters, Universe — I thought at some point I’d go back to Universe again, but never really did. A problem with me more than the album.
Steak, Slab City — An impressive debut following two strong EPs.
Godflesh, A World Lit Only by Fire — I never got a review copy, so I never reviewed it. Its name is here because I’m a fan of the band and glad they’re back.
Thou, Heathen — Just recently purchased this and am only getting to know it, but a ridiculously strong album.
Corrosion of Conformity, IX — Everybody who gets a boner whenever Pepper Keenan is mentioned in connection with this band has missed out. This record and the self-titled kick ass.
Spidergawd, Spidergawd — Holy shit they’re over here! No they’re over there! No wait over here again! Oh my god I’ve just gone blind!
Monster Magnet, Milking the Stars — I wasn’t sure what to do with this since technically it’s not a new album, mostly reworked songs from the last one. I still listened to it a ton though, whatever it is.
Slomatics, Estron — Another one I’m just getting to know, but am very much digging.
Electric Wizard, Time to Die — People seem to do this thing where Electric Wizard puts out a record, everyone slathers over it for a few months and then spends the next two years talking about how it sucked. I guess I’ll be on the ground floor with not having been that into Time to Die.
Pallbearer, Foundations of Burden — Had to put their name somewhere on this list or someone would burn my house down. Album of the year for many.
The list goes on: Monolord, Comet Control, Mammatus, Triptykon, Eyehategod, Fever Dog, Moab, Karma to Burn, Atavismo, Grifter, 1000mods, Megaton Leviathan, Wovenhand, Mr. Peter Hayden, Primordial, and many more.
Before I check out and go sit in a corner somewhere to try and rebuild brain power after this massive dump of a purge, I want to sincerely thank you for reading. If you check in regularly, or if you’ve never been to the site before, if you don’t give a crap about lists or if you’re gonna go listen to even one band on here, it’s fantastic to me. Thank you so much for all the support this site receives, for your comments, for sharing links, retweeting, whatever it is. I am a real person — I’m sitting on my couch at this very moment — and being able to do this and have people see it and be a part of it with me is unbelievable. I realize how fortunate I am. So thank you. Thank you.
More to come as we close out 2014. I’ll have a list of short/split/demo releases, a year-end podcast, a list of the best debuts, a round up of the best live shows I saw, as much more as time allows. Please stay tuned.
And again, thank you. If I left anyone off the list, I hope you’ll let me know in the comments and contribute your own top albums, however many there are, to the Readers Poll.
Posted in Whathaveyou on November 24th, 2014 by H.P. Taskmaster
Following announcements that they’ll take part in next year’s Roadburn festival and the Desertfests in London and Berlin, Ohio heavy rockers Lo-Pan have made it official that Adrian Zambrano will take over the guitarist position previously occupied by Brian Fristoe. The word came quick and to the point from the band, who’ve spent much of the last five years touring hard on a steadily ascending line in terms of audience and their own approach, steadily becoming a wider known, tighter and more accomplished group. They haven’t done anything the easy way.
Zambrano comes to Lo-Pan via space rocking Columbus natives Brujas del Sol, whose airy tones and synth-heavy sound were last brought to bear on 2013’s Moonliner, on which Zambrano also handled vocal duties. No word yet on whether he’ll back up Lo-Pan‘s Jeff Martin singing, but there can be little question that the dynamic in Lo-Pan will shift with a new player introduced into what was one of the country’s highest-grade fuzz units. Regardless of how Zambrano fits in the band, it’s going to be a change. Lo-Pan‘s advantage at this point is that, if you’re a musician who wants to tour and go to Europe and play shows that people come to see, they’re in the process of making all those things happen.
And by the time next Spring rolls around and Lo-Pan head abroad for the first time, Zambrano will be that much more acclimated to being on stage with Martin, drummer Jesse Bartz and bassist Scott Thompson. Really, if they were going to bring someone in, this was the time to do it. Good luck to the band, to Zambrano, and to Fristoe as well.
Here’s the announcement and the Small Stone stream of their latest album, Colossus (review here), in case you haven’t yet had your ass kicked this morning:
Lo-Pan has parted ways with guitarist Brian Fristoe. We wish Brian all the best in his future endeavors. Taking over guitar duties is Adrian Zambrano of Columbus, Ohio. Adrian is a gifted, dynamic musician with an exciting style. Join us in welcoming Adrian to the party.