Eye of the Stoned Goat 5: White Dynomite and Weed is Weed Added to Lineup

Posted in Whathaveyou on January 26th, 2015 by H.P. Taskmaster

eye-of-the-stoned-goat-5-logo

Lineup announcements have started coming through for the previously revealed The Eye of the Stoned Goat 5 festival, which will take place June 12 and 13 in Amityville, NY. It’s looking like a pretty tight assemblage of bands hitting Long Island for the fest, with Lord Fowl and John Wilkes Booth leading the charge as the first two announcements a couple weeks ago and Weed is Weed and White Dynomite just added last night to a bill that already also includes KingsnakeGozuIt’s Not Night: It’s Space, Brimstone Coven and Ol’ Time Moonshine.

If you’ll indulge me, I’ll get caught up on the announcements, including those for Weed is Weed and White Dynomite, just so we’re all on the same page going forward.

Here they are going all the way back:

Alright folks, it’s time to drop a couple heavy hitters on ya!

We are extremely proud to announce, appearing at this year’s festival is Massachusetts Rock n’ Roll time bomb White Dynomite!

Also, a band that truly needs no introduction, with former members of Pentagram, Spirit Caravan and Earthride… the almighty Weed is Weed!!!

We’ve been trying to get these guys on the ‘Stoned Goat for years, this year the planets all aligned in our favor.. Bringing their tough-as-nails, working class grooves to Long Island this year is none other than Philadelphia’s own Kingsnake!!!

Announcing the next two artists joining the Amityville Music Hall stage at ESG5 this June…. Small Stone Records and local New York Psych-Rock trio It’s Not Night: It’s Space!!!

Also, hailing from the depths of Toronto Canada, the demon-rock peddlers Ol’ Time Moonshine!!!

Alright folks, it’s time to kick things up a notch! Joining us on this year’s ESG5 installment is none other than Small Stone Records and Desertfest 2014 alums GOZU!!!

Next up…. We are thrilled to announce that appearing at ‘Eye of the Stoned Goat 5″ on June 12-13th is Long Island’s very own Moon Tooth and Metal Blade Records Occult Rock Dealers Brimstone Coven!!!

Eye of the Stoned Goat is proud to announce the first two bands appearing at ESG5 in Long Island, NY June 12-13th are none other than former ESG alums- LORD FOWL and John Wilkes Booth!

https://www.facebook.com/TheEyeOfTheStonedGoat
http://www.theeyeofthestonedgoat.com/
https://www.facebook.com/WeedIsWeed
https://www.facebook.com/WhiteDynomiteBoston

White Dynomite, White Dynomite (2014)

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Tomorrow’s Dream 2015: 90 of the Year’s Most Anticipated Releases

Posted in Features on January 21st, 2015 by H.P. Taskmaster

This is the longest list of anything I’ve ever done, and it might be the longest I ever do. The truth is, when I started keeping track of things coming out in 2015, back around October/November, I had no idea what I was getting into. More and more names just kept getting added to the list, and between solid release dates, bands entering the studio, writing sessions underway and the usual round of vague “they’re due”-type speculation, it kept growing. Even now, I’m quite sure that by the time I’m finished with this, I’ll add something else, and 90 will become 91, and then someone will point out something glaring I forgot and 91 will become 92, and so on.

I don’t think I could reasonably expect anyone to read 90 complete entries, so I’ve broken it down somewhat. There are 52 weeks in a year, so my thinking is that if you buy one record per week, I’ve got recommendations to carry through till December (with the acknowledgement that we’re already a couple weeks into 2015) and then more beyond that. Even asking you to skim 52 entries is a lot, but hell, we’ve got 12 months until 2016, so there’s plenty of time. We’ll do 52 entries and then list the others, both alphabetically.

Thank you in advance for reading.

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

Acid King Middle of Nowhere, Center of Everywhere

If this was my year-end list instead of my year-start list, Acid King‘s Middle of Nowhere, Center of Everywhere would be my album of the year. Best album of 2015 about 20 days into it? Maybe. The Oakland trio’s first outing in nearly a decade is a joy of languid riffing and heavy spaceout, songs like “Coming down from Outer Space” and “Center of Everywhere” reminding of just what it is we’ve been missing about Acid King all these years. They’ve continued to play live all that time, of course, and Middle of Nowhere, Center of Everywhere, which is due April 14 on Svart, plainly demonstrates that they’ve lost none of the potency for years absent from studio work. More to come. Acid King on Thee Facebooks, Svart Records.

2. All Them Witches, TBA

all them witches tba

The Nashville four-piece blew up following the 2013 digital release of their second album, Lightning at the Door, which saw a physical pressing last year (review here), and with a growing public at their heels and a salivating underground press anxious to hear what they come up with next, All Them Witches hit the studio this month to put together their third full-length. They’re on tour in Feb., and it seems reasonable to expect they’ll be trying out new material on the road, but as free-flowing as Lightning at the Door was, it’s hard not to consider the follow-up one of 2015’s most anticipated records, whenever it arrives and whatever shape(s) it takes. All Them Witches on Thee Facebooks, official website.

3. Anthroprophh, U.F.O.

UFO Vinyl Sleeve.qxp

Guitarist/vocalist Paul Allen, formerly of The Heads, teamed up with Jesse Webb and Gareth Turner of the duo Big Naturals as his rhythm section for 2014’s Outside the Circle (review here), and for his new release under the Anthroprophh moniker for Cardinal FuzzAllen centers around different U.F.O. abduction reports from the UK between 1954 and 1978, each of the eight tracks taking its name from the date and location of a reported incident. Sound fucking awesome? Yeah, I agree. Expect raw psychedelic experimentation, heavy swing and interpretive instrumentalism galore on the two-sided release when it gets declassified on Feb. 2, pressed in an edition of 500 copies. Anthroprophh on Thee Facebooks, Cardinal Fuzz.

4. Arenna, TBA

arenna cover

Spanish heavy psych outfit Arenna will release the follow-up to their 2011 Nasoni Records debut, Beats of Olarizu (review here), and they just this week posted the 10-minute opener “Butes” from their sophomore outing (listen here). The first album earned them a hearty following, and it’s been four years since it came out, but somehow I doubt Arenna will have much trouble picking up where they left off in their wide-open, jam-heavy sound. They mark a decade together in 2015, and they seem to just be getting started, so I’m particularly interested to learn how the European heavy underground takes to their second LP, which is due to be mastered next month and released sometime thereafter. Arenna on Thee Facebooks, on Bandcamp.

5. The Atomic Bitchwax, Gravitron

the atomic bitchwax

New Bitchwax? Sold. The stalwart New Jersey three-piece — now featuring two members of Monster Magnet – will release Gravitron on April 21 via Tee Pee Records, just in time to make a stop a few days later at Desertfest London 2015. They toured Europe last summer as well, and I think the fact that they’ll be over that way when they put Gravitron out speaks volumes to their priorities at this point, but who can blame them? Perpetually underappreciated in the US, they’ll follow-up 2011’s The Local Fuzz (review here) in grand form at Desertfest (they play Berlin as well), finally getting their due even if they have to get on a plane to get it. The Atomic Bitchwax on Thee Facebooks, Tee Pee Records.

6. Black Cobra, TBA

black-cobra

Hints were dropped back in November that raging two-piece Black Cobra were working on material for a new album. Whenever it arrives, this year or next, it will be their sixth and first since 2011’s Invernal (review here), which I don’t think I’m alone in counting as their finest moment to-date. They’ll also be at Desertfest for a return appearance, and wherever they go, devastation follows. They posted this week that their tour van has passed the 300,000-mile mark, which is emblematic of the workout they’ve given it over the last decade-plus, and I’d expect no slowdown, tempo or itinerary-wise, from them in 2015, regular oil changes notwithstanding. Black Cobra on Thee Facebooks, Southern Lord Recordings.

7. Black Rainbows, Hawkdope

black rainbows hawkdope

There are 90-someodd bands included in this feature, all told. Might be over 100. I’m not sure anybody beats Italian trio Black Rainbows in the album-title department, however. Hawkdope, man. Hard to mess with that. Guitarist/vocalist Gabriele Fiori continues to keep his finger on the pulse of European heavy rock with his Heavy Psych Sounds imprint, and while I haven’t heard Hawkdope yet, it seems likely they’ll continue the push toward heavy psychedelia that 2013’s Holy Moon EP (discussed here) and their inclusions in last year’s four-way split (review here) spoke of, but of course, they can always throw down some top notch fuzz riffing as well. Black Rainbows on Thee Facebooks, on Bandcamp.

8. Brothers of the Sonic Cloth, Brothers of the Sonic Cloth

brothers of the sonic cloth brothers of the sonic cloth

Six years after the arrival of their demo (review here), Brothers of the Sonic Cloth will make their self-titled debut through Neurot Recordings on Feb. 17. Immediately notable for being the brainchild of guitarist/vocalist Tad Doyle (ex-TAD), bassist Peggy “Pegadeth” Doyle and drummer Dave FrenchBrothers of the Sonic Cloth pushes plodding heavy into seething aggression with a lumber only made more potent by Billy Anderson‘s production. It’s been a while in the making, true, but the album’s execution leaves no room for argument in its lung-deflating tonal density. Justifies the wait and then some. Brothers of the Sonic Cloth on Thee Facebooks, Neurot Recordings.

9. Chiefs, Tomorrow’s Over

chiefs tomorrow's over

With vinyl to follow in May on Battleground Records, Arizona/SoCal heavy rockers Chiefs will release their debut LP, Tomorrow’s Over, via Roosevelt Row on Feb. 24. Its striking cover art by David Paul Seymour offers immediate intrigue, as did Chiefs‘ inclusion on their 2014 split 7″ with Fuzz Evil (streamed here). The song from that, “Stone Bull,” won’t be featured on the album, but all four cuts from Chiefs‘ 2013 Buffalo Roam demo will, which should give you some indication as to how much the trio got it right the first time around. The title-track of the demo opens, and the album takes its name from one of the demo tracks as well, so it all ties together. Chiefs on Thee Facebooks, Battleground Records, Roosevelt Row Records.

10. Clutch, TBA

clutch

Clutch‘s Earth Rocker (review here) was the undisputed high point of 2013, and the long-running Maryland four-piece have returned to the Machine Shop studio (now located in Texas) to record the follow-up to it. They’ve been playing new material live for a while now, as they’ll do, and while they always manage to change things up from album to album, the fact that they’ve going back to work with Machine again makes in plain that they’re where they want to be at this point sound-wise. As if there was ever any doubt. Their forever-tour will continue, but it’s good to know they’re taking a little break from the road to put together another slab for their always-expanding, always-frothing fanbase. Clutch on Thee Facebooks, Weathermaker Music.

11. Conan, TBA

conan

I’m not sure if it will be out before the end of 2015, but whenever it arrives, the next Conan should be a much different affair than we’ve yet heard from the UK thunderplodders, whose 2014 Napalm Records debut, Blood Eagle (review here), further established their dominance among the heaviest bands in doom. Since that album hit, guitarist/vocalist Jon Davis has traded out two-thirds of the trio, bringing in producer Chris Fielding on bass/vocals and new drummer Rich LewisDavis‘ riffs have always been at the core of what makes Conan the beast they are, so I wouldn’t expect much fixing of what isn’t broken, but don’t be surprised if some different personalities emerge in Fielding and Lewis as well. Conan on Thee Facebooks, Conan’s webstore.

12. Colour Haze, To the Highest Gods We Know

CH_TTHGWK_BOOKLET 4&1

Yeah, I’m sneaking this one in here. Sorry, but frankly, I think Colour Haze deserve more than a toss-it-out-there mid-December album release date, so instead of the CD release, which was last month, I’m choosing to think of the impending Feb./March vinyl issue as the official one for To the Highest Gods We Know (review here), which is both a fascinating and fitting answer to Colour Haze‘s 2012 outing, She Said (review here). Feels strange so early in the year to start calling out end-of-year highlights, but between this and Acid King, I feel like two of my top five are already set in stone, and that’s a pretty good start to any year. Colour Haze are one of the most important heavy rock bands of their generation, and they continue to expand their form and the genre as a whole. Colour Haze’s website, Elektrohasch Schallplatten.

13. Corrections House, TBA

corrections-house-logo

Their totalitarian fetishizing well intact, the it’s-a-supergroup-but-don’t-call-it-a-supergroup Corrections House announced back in November that they’d have a sophomore effort out this year to follow their 2013 debut, Last City Zero. The returning lineup of guitarist Scott Kelly (Neurosis), vocalist Mike Williams (Eyehategod), saxophonist Bruce Lamont (Yakuza) and keyboardist/programmer Sanford Parker (Buried at Sea, etc.) is enough to warrant attention in itself, and while their industrial tinged output isn’t really my thing sound-wise, they’re not an assemblage easily ignored. Hopefully a recently canceled round of tour dates doesn’t derail the new release plams. Corrections House on Thee Facebooks, at Neurot Recordings.

14. Corsair, One Eyed Horse

corsair one eyed horse

Virginian dual-guitar classic heavy rock/metallers Corsair are now three years removed from their Shadow Kingdom Records self-titled debut (review here), and their new album, One Eyed Horse, arrives with a striking-almost-disturbing cover and a refined progressive edge. Their melodic sensibility has never been in question, and guitarists Marie Landragin and Paul Sebring, bassist Jordan Brunk (who, like the guitarists, contributes vocals) and drummer Michael Taylor will look to expand their reach even further with the eight new vinyl-ready tracks. One looks forward to the album and hopes for a tour in equal measure. Corsair’s website, Shadow Kingdom Records.

15. Crypt Sermon, Out of the Garden

crypt-sermon-out-of-the-garden

Classic doom bleeds through the cover of Philly five-piece Crypt Sermon‘s debut full-length, Out of the Garden. Set to release Feb. 24 on Dark Descent Records, I’d expect Out of the Garden to be an early highlight for the year in doom despite being Crypt Sermon‘s first outing. Their Demo MMXIII (review here) found them well schooled in the tenets of the downtrodden, and while the record may end up a sleeper, it’s one that no doubt will find its way to the right ears; namely those of the old school doomers tired of psychedelic idolatry, who want something dark, beaten and grueling without concern for genre-melding or novelty. So, doom on. Crypt Sermon on Thee Facebooks, Dark Descent Records.

16. Ecstatic Vision, TBA

ecstatic vision

Also based in Philadelphia, heavy psych troupe Ecstatic Vision signed to Relapse on the strength of a demo and an apparent willingness to hit the road — they’ll do so this spring alongside YOB and Enslaved — and as just about any band who’s ever sent that label a rough recording will likely tell you, that’s no small feat. I was fortunate enough to catch them in Brooklyn last month (opening for YOB, as it happened), and the appeal was easy to see in their space rock jamming, lighting effects and propensity for deceptively quick rhythmic turns. A debut offering is reportedly due this year, and as it will come after they spend a month on the road, I expect it will be something to behold. Ecstatic Vision on Thee Facebooks, Relapse Records.

17. Elder, Lore

elder-lore

What to say about Elder? They’re a bright spot in the hope for the next generation of heavy rock, but they were that already. What really distinguishes their third album, Lore, is the fiercely progressive bent of the tracks, songs like “Compendium” (streamed here) taking the hypnotic rhythms of 2012’s Dead Roots Stirring (review here) and refining what Elder – the trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto – do with a newfound clarity of purpose and precision execution. They make well-thought-out songs sound exciting front to back, and if you’ve ever dug anything they’ve done, you’re going to shit a brick when you hear the title-track of LoreElder on Thee Facebooks, Armageddon Shop, Stickman Records.

18. Enslaved, In Times

enslaved-in-times

I make no bones or apologies about being an Enslaved fan. The Norwegian progressive black metallers strip down their presentation with In Times, the follow-up to 2012’s Riitiir (review here), solidifying some aspects of their approach while nodding at the brutality of yore in a still-somehow-forward-thinking manner. They never fail to deliver, and they’ve long since hit a stride where they can deliver album after album and come up with ways to advance their sound each time out. Recording themselves has only made them bolder over their last couple records, and In Times benefits from this in its brought-to-fruition experiments as well. It would take a lot for these guys to do wrong in my eyes. Enslaved on Thee Facebooks, Nuclear Blast Records.

19. Eye, TBA

eye

They’re the Midwest’s inadvertent answer to the West Coast’s Moog-prog vibing, and Ohio’s Eye want for nothing in comparison to any of their coastal contemporaries. The photo above was taken recently in the studio — I’ll just assume the room is actually that color when they record and that that is not, in fact, an Instagram filter — tracking their third record and follow-up to 2013’s brilliant-yes-brilliant Second Sight (review here), which rightfully garnered attention far and wide. No release date yet for the new one from what I’ve seen, but the album is reportedly done, so hopefully it won’t be too long before it sees release, most likely on vinyl since that seems to be where the band’s heart lies. Eye on Thee Facebooks, on Bandcamp.

20. Freedom Hawk, TBA

freedom hawk

After an appearance last year at Roadburn and confirmation of a return trip to Europe this spring for Freak Valley in Germany, Virginia’s Freedom Hawk would seem to have considerably expanded their reach. Last year saw them lose guitarist Matt Cave and transition from a four-piece to a trio, and they were in the studio in the fall to record their second album for Small Stone behind their 2011 label debut, Holding On (review here), and while I’m not sure if it’s finished or if it will be out in time for the band’s sojourn abroad, one assumes it will be out sooner or later. Their late-2013 Live at the Jewish Mother download makes a decent stopgap if you’ve got a hankering, but they’re due for a new one for sure. Freedom Hawk on Thee Facebooks, Small Stone Records.

21. Glowsun, Glowsun

glowsun glowsun

In a recent discussion about finally picking up Glowsun‘s 2012 outing, Eternal Season, I said I wasn’t going to miss their next record, so I guess you could call this me holding myself to that task. The French heavy psych outfit have a new one, apparently self-titled — though of course I could be wrong; I’m just going by the album art — due out for release this Spring. I haven’t seen an official date from Napalm for when it’s due, but it’s not one I’m going to let slip by one way or another as I did for far too long with Eternal Season. Some mistakes don’t bear repeating, and Glowsun‘s output is of a quality that demands immediacy. At least now I know it. Ha. Glowsun on Thee Facebooks, Napalm Records.

22. Goatsnake, TBA

goatsnake

Rumors abound about a new Goatsnake. They’re in the studio, this is done, that isn’t done, they’re over here, over there. They’re headlining Freak Valley and playing Psycho California, and they headlined Southwest Terror Fest III last fall, but the last official word I saw about a new album — it would be their first since their 2004 Trampled Under Hoof EP — was last Sept., when word came down that it was happening at all and that Southern Lord would put it out. A timetable on when would be convenient, but maybe that’s asking too much and I should be grateful it’s even being discussed. They remain on my bucket list of bands to see before I die. One of these days I’ll get there. Southern Lord Recordings, Southern Lord on Thee Facebooks.

23. Gozu, TBA

gozu

Probably the biggest change for Boston’s Gozu since the 2013 release of their second album for Small StoneThe Fury of a Patient Man (review here), is the solidification of their lineup. As they enter into the process for their third Small Stone outing, they’ll do so with bassist Joe Grotto and drummer Mike HubbardGrotto played on part of Fury, but Hubbard (ex-Warhorse) is a new presence entirely in the band. They’ve also experimented with a third guitarist, so they might not be so solidified, but they’ve got a monster of a core four-piece to work with in GrottoHubbard, guitarist/vocalist Marc Gaffney and guitarist Doug Sherman, and they seem poised to get the most out of the chemistry they’ve busted their collective ass to develop. Gozu on Thee Facebooks, Small Stone Records.

24. High on Fire, TBA

high on fire

I feel like a new High on Fire record isn’t even just an event for heavy rock at this point but for metal as a whole. The Matt Pike-fronted three-piece hit the studio this month (this week?) after a quick tour up the East Coast, returning to Massachusetts to work with Converge‘s Kurt Ballou at his Godcity Studios, where they also busted out 2012’s De Vermis Mysteriis (review here). For anyone who heard that record, it should be plain why they’d want to work with Ballou again — even enough to go to Massachusetts in January — and whenever their next one shows up, no doubt it will do so as one of 2015’s most anticipated offerings. I’m not sure what to expect other than “heavy,” but that’s enough to go on for now. High on Fire on Thee Facebooks, eOne Metal.

25. Hollow Leg, TBA

hollow leg god-eater

My interest was piqued early last year when Floridian sludgers Hollow Leg issued their God-Eater single and spoke of it as the beginning of a change in direction. The change? More melody, a less outright aggressive style, more of an emphasis on thickness rather than rawness. As a starting point, the song “God-Eater” seemed to bode well, and I’m hoping in 2015 that Hollow Leg follow through at least partially on its promise. Not that the viciousness of 2013’s second LP, Abysmal (review here), left me particularly wanting, just that they seemed to be following a fulfilling new-ish path, and I thought the sound was one worth pursuing. They’ve said their third will be out this year, so I’ll take it. Hollow Leg on Thee Facebooks, on Bandcamp.

26. Horsehunter, Caged in Flesh

horsehunter caged in flesh

Australian four-piece Horsehunter made an impression a few weeks back with the 16-minute “Stoned to Death,” the opening track from their Magnetic Eye Records debut LP, Caged in Flesh, and it stands to reason why. Crushing tones, brutal vibes and hints of psychedelic wash abounded on what was a gripping sample of the album, which the band had recorded, scapped because it wasn’t heavy enough and then recorded again. There are four songs on Caged in Flesh, so “Stoned to Death” is literally just the beginning for Horsehunter, whose foreboding atmospherics come across no less punishing than their most weighted of tones. Horsehunter on Thee Facebooks, Magnetic Eye Records.

27. Kind, TBA

kind (Photo by JJ Koczan)

I’ve been lucky enough to see Boston four-piece Kind play twice, the lineup of vocalist Craig Riggs (also Roadsaw), guitarist Darryl Shepard (also Black PyramidBlackwolfgoat, etc.), bassist Tom Corino (also Rozamov) and drummer Matt Couto (also Elder) taking shape visibly from one show to the next. Their debut full-length is in progress now at the Riggs-owned Mad Oak Studios in Allston, and while I don’t think I can say yet what label it’s coming out on (it’s not Small Stone), the latest word I’ve gotten is that a summer release is booked. Definitely interested to hear how the jams I’ve seen live translate to a studio recording, and how Corino‘s tone comes through Mad Oak‘s board. Kind on Thee Facebooks, on Soundcloud.

28. Kings Destroy, Kings Destroy

kings destroy

So, you’d think the pic of Kings Destroy bassist Aaron Bumpus above is from some recent studio shot while they’re tracking their third album, right? Nope. The self-titled’s been in the can for months. It’s out in April on War Crime Recordings. What Kings Destroy are doing now is working on album number four, and I bet before it comes out, they’ll be on number five. Fiercely creative. I’ve had the KD record for I don’t know how long at this point, and it’s the best thing they’ve done yet. I can’t even pretend to feign impartiality after being asked to tour with them twice last year — a fucking blessing both times — but it’s the closest they’ve come to their live sound so far and that progress suits them remarkably well. Kings Destroy on Thee Facebooks, War Crime Recordings.

29. Lamprey, TBA

lamprey logo

The two-bass Portland trio Lamprey‘s recent stop-motion video for “Iron Awake” served due notice of their impending album, as yet untitled, and while it’s the shortest track on there by a considerable margin, it nonetheless represents the big-crash, big-impact severity of the outing as a whole. Not sure through what label it will surface if one at all or on what media it will be pressed — the word burning above, which I hope is the album cover, may or may not be — but the full-length seems poised to establish them as a force after 2012’s The Burden of Beasts EP (review here) brought their sometimes-plodding, sometimes-sprinting heavy rock into focus. Also, one of the songs is called “Lament of the Deathworm,” and that just rules. Lamprey on Thee Facebooks, on Bandcamp.

30. Lord Dying, Poisoned Altars

lord dying poisoned altars

The hard-touring Portlanders teamed up with Dark Castle drummer Rob Shaffer for their sophomore outing for Relapse RecordsPoisoned Altars (review here), and though he’s since out of the band, his presence bolsters the songs in Lord Dying‘s blend of High on Fire-style thrash and Crowbar-loyal sludge. A pervasive sense of simplicity helps the material achieve maximum force, but the hard-won nature of Lord Dying‘s cohesion isn’t to be understated or underappreciated — they did about 18 months of touring in support of their first effort, Summon the Faithless. At least they know their time wasn’t misspent. Seems likely they’ll continue to pound the pavement throughout 2015, so keep an eye open. Lord Dying on Thee Facebooks, Relapse Records.

31. Magic Circle, TBA

magic circle (Photo by JJ Koczan)

Rest assured, I’ve seen zero confirmation that a new Magic Circle album is under way. There’s been no word from the by-now-notoriously secretive Massachusetts-based band or their label, Armageddon Shop, on the subject of a follow-up to their 2013 self-titled debut (review here). This is rampant speculation. Their first 7″ was recently re-pressed, though, so there’s activity in their camp one way or another. They also made their way out to Seattle in October to open for Satan, which only emphasizes the fact that you never really know when they’re going to show up until they do. Ditto that their next album, I suppose. Hopefully this year it happens. Armageddom Shop website, on Thee Facebooks.

32. The Midnight Ghost Train, Cold was the Ground

Opmaak 1

Riotous Southern heavy rockers The Midnight Ghost Train have outdone themselves with their Napalm Records debut, Cold was the Ground, taking the rager blues of 2012’s Buffalo (review here) to new heights of manic push. After several years of steady touring, the Kansas-based trio of guitarist/vocalist Steve Moss, drummer Brandon Burghart and bassist Mike Boyne are an explosive live act, and as the recent video premiere for “Gladstone” showcased, their third album reaps the rewards of their labors. It’s due to release March 10 in North America, but I really don’t need to note the date, because you’ll hear it coming a mile away like the freight train that it is. The Midnight Ghost Train on Thee Facebooks, Napalm Records.

33. Minsk, TBA

minsk logo

A new Minsk full-length is an utterly fascinating thought. Sorry if that sounds cold or overly clinical, but it’s true. Consider that it’s been six years since the Chicago post-metallers last released an album. That record, 2009’s With Echoes in the Movement of Stone (review here), hit at what was arguably the pinnacle of post-metal’s stylistic movement, the waters having since receded in no small part because Minsk wasn’t around to push forward creatively. Now, with slots booked at Roadburn and Desertfest, they’ll make a return to the studio as well, and I have absolutely zero idea of what to expect from them. A partially-revamped, Sanford Parker-less lineup only adds further intrigue. Minsk on Thee Facebooks, on Bandcamp.

34. Mondo Drag, Mondo Drag

mondo-drag-mondo-drag

This is one of I think two or three releases on this list that’s already out. The self-titled Mondo Drag (review here) nonetheless warrants inclusion for its heavy psych boogie concoctions and natural-toned spirit, not full-on retro but still well-indebted to the heavy ’70s in its use of organ and guitar and the swing of its rhythm section. That rhythm section? Zack Anderson and Cory Berry, who, fresh out of Radio Moscow, stepped in to record with fellow Iowans Mondo Drag in 2012 before founding Blues Pills. A shortlived moment in Mondo Drag‘s history, perhaps, but they got a killer record out of it, and while the recordings are already three years old, they’re well worth the time to appreciate. Mondo Drag on Thee Facebooks, Bilocation Records.

35. Monolord, Vaenir

monolord vaenir

Swedish trio Monolord won over hearts and minds bigtime with their 2014 RidingEasy Records debut, Empress Rising, earning a spot on the 2014 Readers Poll right between Eyehategod and Mastodon. That’s rather significant company to keep — and all the more so for a band’s first record — and with Vaenir, we’ll get to hear how the intervening year has seen them progress. They’ve already proven a favorite among the converted, and they’ll tour in Feb./March with Salem’s Pot ahead of an appearance at Roadburn prior to Vaenir‘s April 28 arrival date, so it looks like they’ll keep their momentum moving forward through the release and most likely beyond. Monolord on Thee Facebooks, RidingEasy Records.

36. Neurosis, TBA

neurosis

Okay. I don’t know that Neurosis‘ next album will be out in 2015. It’s just not a thing I know. What I know is that the ultra-seminal five-piece are getting together to write in Feb., and that they’re a no-bullshit band when it comes to writing and recording, so the timing works that, if they make new songs happen this winter, their record would probably be ready for release sometime in the summer or early fall. That’s what I’m going on. It might be that they write half the album now and half in 2016, but from what I hear they’re planning on doing some more significant touring this year, so it would stand to reason they’d want to do it with a follow-up to 2012’s Honor Found in Decay (review here) under their collective belt. We’ll see what we get. Neurosis on Thee Facebooks, Neurot Recordings.

37. Pentagram, TBA

pentagram

I saw Pentagram play 20 shows last year. Believe me when I say the pairing of frontman Bobby Liebling and guitarist Victor Griffin has never seemed stronger musically, and with bassist Greg Turley and drummer Sean SaleyPentagram head into the making of their next album firing on all proverbial cylinders. Metal Blade, who also issued their 2011 comeback album, Last Rites (review here), seems the likely outlet for the yet-untitled offering, which the band will herald with a headlining performance at Psycho California alongside Sleep and Cult of Luna on May 15-17, and which will no doubt dig deep into Pentagram‘s long history of doom for a trove of classic-style riffs. Pentagram on Thee Facebooks, Metal Blade Records.

38. Ruby the Hatchet, Valley of the Snake

ruby the hatchet valley of the snake

A not-so-subtle Uncle Acid and the Deadbeats influence permeates Ruby the Hatchet‘s Tee Pee Records debut, Valley of the Snake, which is something the Philly-based band seems to acknowledge willfully on “Vast Acid,” frontwoman Jillian Taylor crooning “I’ll cut you down” toward the end of the song in a call-out of one of the UK outfit’s most resonant hooks. Otherwise, the organ-laced five-piece get down on more psychedelic vibes, though the heavy ’70s swing in the drums could be taken as another common factor, if you really wanted to stretch it. Either way, a laid back, less murderous atmosphere persists, and that suits me just fine. Out Feb. 24. Bonus points for the gorgeous Adam Burke cover art. Ruby the Hatchet on Thee Facebooks, Tee Pee Records.

39. Saturnalia Temple, To the Other

saturnalia-temple-to-the-other

The entire meaning of being a “cult” band has changed since Sweden’s Saturnalia Temple released their UR demo in 2007, but after their 2011 debut, Aion of Drakon, hit with such a low-end wash of psychedelic obscurity, I’m intrigued to hear what they’ve come up with on To the Other, the cover’s foreboding darkness, consuming swirl and bizarre patterning seeming a fit for their sonic methodology. To the Other is out April 7 on The Ajna Offensive, and features Tim Call of The Howling Wind and Aldebaran on drums alongside Saturnalia Temple guitarist/vocalist Tommie Ericksson and bassist PeterSaturnalia Temple on Thee Facebooks, The Ajna Offensive.

40. Six Organs of Admittance, Hexadic

six organs of admittance hexadic

I’ll make no claims toward understanding the theoretical basis driving the latest outing from the Ben Chasny-helmed project Six Organs of Admittance, which in its 17-year history has gone from bedroom folk and avant electronics to the far-ranging heavy psych jamming of 2012’s Ascent (review here). Chasny, joined by members of Assemble Head in Sunburst Sound and Deerhoof on the album — which is due out Feb. 17 on Drag City – seems to have developed a compositional method based around a system involving playing cards and varying tonal intensities. No idea what the hell any of it means, but it sounds like a freakout to me, so I’m in. Six Organs of Admittance website, Drag City Records.

41. Snail, Feral

snail

Come on, Snail. Even if Feral‘s not coming out until later in the year, you can send it to me. I won’t tell anybody if you don’t want me to. I can keep it to myself. Hell, I won’t even review it until I get word that it’s cool to do so, I just want to hear the damn thing. Alright, Snail, have it your way. I’ll just sit here and remember how awesome Terminus (review here) was when that came out in 2012, and Blood (review here) before that in 2009 back when I did snarky headlines for reviews. That’s cool. I’ve waited this long for your Small Stone debut to make its way into my ears, I guess I’ll just keep waiting until it shows up. Which it would be awfully nice if it did as soon as possible. Today works. Now works. Snail on Thee Facebooks, Small Stone Records.

42. Sourvein, Aquatic Fanatic

sourvein-aquatic-occult

At the risk of being sincere, I’ll say it warms my cold, doomed heart to know that Sourvein‘s next album is going to be released by Metal Blade Records. After trudging the Southern sludge underground for, what, 20 years?, the Cape Fear-based outfit led by T-Roy Medlin (whose lineage goes back to Buzzov*en, lest we forget their role in establishing the sound) are finally poised to get their due, and I think it’s fucking awesome. Mike Dean‘s producing the thing, and you know Sourvein are going to tour the hell out of it because that’s what they do whether they’ve got a new record or not. I’m calling it the feelgood story of the year, which is perfect since the music will most likely be utterly scathing. Sourvein on Thee Facebooks, Metal Blade Records.

43. Spidergawd, II

spidergawd ii

Just stop reading and go fucking listen to Spidergawd. Here, I did a track premiere a little bit ago for the song “Tourniquet.” It rules. Go listen to that. For the life of me I have no idea why this band’s name isn’t on the lips of every boogie-loving heavy rocker in the universe. Stickman has the new album, Spidergawd II, sold out in the special edition preorders, but there’s a regular version still available and apparently en route from the plant, and for the love of all things riffed, it’s glorious. So get on it. I implore you. And no, I don’t have any idea what’s going on with the album cover, so don’t ask. No time for questions anyway. Get listening. Spidergawd on Thee Facebooks, Stickman Records.

44. Stoned Jesus, The Harvest

stoned jesus the harvest

Ukrainian heavy rockers Stoned Jesus posted the opening track from their third album, The Harvest, a while back on their Bandcamp page, and my goodness it does swing. They’ll make their way to the US for the first time in support of The Harvest, appearing at the Psycho California fest and hopefully elsewhere, and they do so having built up a steady following with their first two long-players, 2010’s First Communion (noted here) and 2012’s Seven Thunders Roar (review here), their most stonerly of names spread far and wide ahead of the latest offering’s early March arrival following 2013’s jams collection, The Seeds, Vol. 1Stoned Jesus on Thee Facebooks, on Bandcamp.

45. Torche, Restarter

torche restarter

I haven’t heard it yet, but Torche‘s awaited Relapse Records debut, Restarter, is due out Feb. 24 and the band are kicking into gear once again to mark its coming. They’ve already announced US and European tours to carry them through June, and I don’t imagine there are many markets they’ll leave un-hit  by the time they’re through. Their last album, 2012’s Harmonicraft (review here), was a solid showing of what’s come to be expected of them in terms of hooks, upbeat heaviness and melodies, but especially with the ambitious title, the new label and the energized-seeming schedule, I’m hoping that Restarter gives the band the same kind of boot to the ass they’ve been to delivering the heavy underground for the last decade. Torche on Thee Facebooks, Relapse Records.

46. Ufomammut, Ecate

ufomammut (Photo by Andrea Tomas Prato)

Very, very much looking forward to hearing Ecate, the newest outing from Ufomammut and their “second” album for Neurot Recordings behind the 2012 two-parter Oro (reviews here and here). Why is kind of a silly question — new Ufomammut is its own excuse for anticipation — but truth be told, they’ve always managed to get bigger-sounding and more expansive with each LP, and after having to break their last album in half and release the two pieces months apart from each other, I’m dying to know where they go with Ecate, what shifts in their sound the last couple years — including last year, which was their 15th anniversary — have brought and where in the cosmos they might be headed now. Ufomammut on Thee Facebooks, Neurot Recordings.

47. Valkyrie, TBA

valkyrie

During what I guess we’ll call Valkyrie‘s original run, the Virginia two-guitar four-piece released a pair of albums, 2006’s Valkyrie and 2008’s Man of Two Visions – both of which were reissued through MeteorCity in 2010 — before guitarist Peter Adams, who founded the band with his brother, guitarist/vocalist Jake Adams, got signed to Relapse with his other group, Baroness. Now back with Earthling‘s Alan Fary on bass and drummer Warren Hawkins, they’ve got their new LP recorded with Sanford Parker and reportedly in the can for an early 2015 release, also through Relapse. They’ll no doubt be greeted as heroes when they play the Maryland Doom Fest in June, and understandably so. Valkyrie on Thee Facebooks, Relapse Records.

48. VA, Electric Ladyland Redux & The Best of James Marshall Hendrix

various artists the best of james marshall hendrix

Magnetic Eye Records launched a Kickstarter campaign last fall with the ambitious aim of paying homage to Jimi Hendrix by having current heavy rock artists (ElderEarthlessWo FatGozu and more; full list here) re-record Electric Ladyland in its entirety. The project, on track to be released this year to coincide with what would’ve been Hendrix‘s 73rd birthday in November, expanded to include a tribute best-of collection as well, and has grown in repute ahead of its actually being issued to stand as a gathering of some of the finest the underground has to offer playing some of the best rock and roll ever crafted. From the idea to the impending reality of it, there’s really no arguing with this one. Magnetic Eye Records on Thee Facebooks, Magnetic Eye webstore.

49. Wino & Conny Ochs, Freedom Conspiracy

wino and conny ochs

When Scott “Wino” Weinrich entered rehab late last fall, he mentioned in a public statement several projects in the works. Spirit Caravan‘s reunion is ongoing. Saint Vitus are due for a next album, but he also noted the second release for his collaboration with German singer-songwriter Conny OchsFreedom Conspiracy, as being in early 2015. Particularly after the ultra-intimate, solo feel of Wino‘s 2010 acoustic debut, Adrift (review here), the first collaboration with Ochs, 2012’s Heavy Kingdom (review here), was an unexpected expansion of the form that paid sonic dividends in both the songwriting and performance of both players. A second installment should benefit from the chemistry they built on the road for the debut. Conny Ochs on Thee Facebooks, Exile on Mainstream.

50. Wizard Eye, TBA
wizard eye

Heard it. Slays. Actually, I’m not sure if the version of Wizard Eye‘s sophomore full-length I got was final, but the songs were killer either way, and the Philly stoner-toner three-piece will have the album out on vinyl later this year through a newcomer label that I don’t think I’m supposed to mention yet so I won’t. Either way, they’re included here because the more heads they reach the better, their blend of rolling grooves, sludged out vocals and the occasional bout of theremin is just right for the riff-loving purist in all of us. Their recent live outing, Riff Occult Live (review here) says it better than I could, so make a note to yourself to dig into that at your next convenience. It’s name-your-price on Bandcamp. Wizard Eye on Thee Facebooks, on Bandcamp.

51. Wretch, TBA

wretch

Listed as the “bastard spawn” of The Gates of SlumberWretch finds that band’s guitarist/vocalist Karl Simon teamed with bassist Bryce Clark and drummer Chris Gordon, the prior outfit having been laid to rest in 2013 after what seemed like an excellent return to form in 2011’s The Wretch (review here) and subsequent Scion-sponsored EP. I haven’t heard the new band yet, but some demos have made their way out thus far, and you’d have to figure it won’t be too long before SimonClark and Gordon make their proper debut as Wretch and start a new chapter in one of modern traditional doom’s most pivotal legacies. Wretch on Thee Facebooks, Tone Deaf Touring.

52. Zun, TBA

zun

Early in 2013, a song called “Come through the Water” (review here) appeared as the first audio from a new project helmed by guitarist Gary Arce of Yawning Man called Zun. It was to be used as Zun‘s portion of a split with Fatso Jetson and while I’m not sure that ever materialized, it drew immediate attention for the collaboration between Arce and vocalist Sera Timms of Ides of Gemini and Black Mare, also formerly of Black Math Horseman. A significant duo for sure. With Bill Stinson (also Yawning Man) on drums, they’re set to debut later this year on Small Stone with their first album, and if Timms and Arce aren’t enough to draw your attention so late in the feature — the hazards of alphabetics — the one and only John Garcia is set for a guest appearance on the record. Dig that, desert rockers. Yawning Man on Thee Facebooks, Small Stone Records.

 

Going Into Overload…

So, okay. At this point, you could literally buy a different record each week of this year and hear something that, unless there’s some disaster between the idea of the album and the actual thing itself, is most likely worth your time. That’s not too bad. But we’re not at 88 yet, so with those 52 already set, I’ve got 36 more that you might want to keep on your radar.

Some of these are solidly lined up, some are slated to be recorded, etc., so the same rule of “things don’t always work out the way they’re supposed to” applies. With that caveat:

 

53. Abrahma, TBA — Their second album for Small Stone is due sometime this year.

 

54. Bedroom Rehab Corporation, Fortunate Some — From what I hear, the Connecticut twosome have their second record in the can.

 

55. Black Black Black, TBA — Brooklyn outfit featuring former members of Disengage should have a sophomore album out in 2015.

 

56. Black Pyramid, New 7″ — The trio will release a new single to coincide with their Euro tour that includes a stop at Desertfest.

 

57. Bright Curse, New 10″ EP — It was mentioned the new lineup would record an EP before taking on their next album.

 

58. Camel of Doom, TBA — Was announced in December there’d be a new Camel of Doom along with a vinyl of their last album.

 

59. Cherry Choke, Raising the Waters — Should be out this month on Elektrohasch.

 

60. La Chinga, TBA — Vancouver group’s Small Stone debut is reportedly being mixed.

 

61. Curse the Son, TBA — I’m hoping this one gets out by the end of the year. It will be the CT trio’s first with their new bassist.

 

62. EgyptEndless Flight – North Dakota’s favored sons will return with a new full-length this summer. Album trailer posted with a clip of the new song “Tres Madres.”

 

63. Enos, TBA — Not sure where they’re at with it, but worth keeping an eye out.

 

64. Foghound, TBA — The Maryland rockers have finished tracking their new album with Mike Dean of Corrosion of Conformity at the helm.

 

65. Funeral Horse, TBA — They’ve been full of surprises on their first two releases and they work quick, so I wouldn’t be surprised if something new showed up.

 

66. Fuzz Evil, TBA — Interested to see where they go on an LP after their split with Chiefs.

 

67. The Glasspack, Moon Patrol — A snippet clip has been posted that bodes well. Supposed to be done recording in the spring. They’re currently sorting out label whatnots.

 

68. Graves at Sea, TBA — Yeah, it’s been more than a decade since their demo, but a split and an EP into their reunion, they just signed to Relapse, so now might be the time a debut album shows up.

 

69. House of Broken Promises, TBA — Should be a change from the first album after swapping out bassist/vocalists. They killed live last I saw.

 

70. Ice Dragon, TBA — No solid word of a new release from the Boston garage doom forerunners, but they’re always up to something.

 

71. Killer Boogie, Detroit — The debut from this Black Rainbows offshoot is out this month on Heavy Psych Sounds.

 

72. Krautzone, TBA — German synth-heavy prog-jammers have hit a groove and hopefully they continue to ride it as well as they have thus far.

 

73. Leeches of Lore, TBA — Wishful thinking on my part? Maybe. Got my fingers crossed, though.

 

74. Legion of Andromeda, Iron Scorn — They’re about as extreme as extreme doom gets. Album out next month.

 

75. Lord Fowl, TBA — I think they’re writing. Might be 2016 before it gets here, but I’ll take it whenever it comes. They’re worth a mention either way.

 

76. The Machine, TBA — Been a minute since we last heard from the Dutch heavy psych jammers. They were on this list last year as well.

 

77. Mirror Queen, Scaffolds of the Sky — Should be out in April on Tee Pee, and that suits me just fine. Choice grooves for springtime.

 

78. Mountain God, Forest of the Lost — A single-song EP from the Brooklyn post-sludgers is out in Feb. with a release show booked.

 

79. Om, TBA — I’ve yet to see solid evidence that a new Om is in the pipeline, but no one knew that Sleep single was coming last year either.

 

80. Planes of Satori, Planes of Satori — Dug their single, hope the full-length follows suit.

 

81. Pombagira, Flesh Throne Press – Their sixth album and Svart debut is due on March 23 as per this week’s announcement.

 

82. Righteous Bloom, TBA — My understanding was the Beelzefuzz offshoot are writing. Would be good if they can pick up where the prior act left off.

 

83. Royal Thunder, Crooked Doors – The Atlanta outfit’s second album for Relapse is due out April 7.

 

84. Sandrider/Kinski, Split — Don’t know much about Kinski, but new Sandrider is enough to sell me on it. Out Feb. 17 on Good to Die.

 

85. SardoniS, TBA — Expect big lumbering riffs from this Belgian duo, always. A new album is en route, last I heard.

 

86. Sun Voyager, TBA — Didn’t get to hear their last tape, but a five-song EP is due out sometime soon.

 

87. Sweat Lodge, Talismana — Not much word since they signed to Ripple, but they said this year, so until I hear otherwise…

 

88. Throttlerod, TBA — A teaser clip of new riffage came out over this past weekend. New Throttlerod is never something to complain about.

 

89. Venomous Maximus, Firewalker — When they signed to Shadow Kingdom in November, they gave it the ol’ “sometime in 2015.”

 

90. Weedeater, TBA — After a whole series of reissues, their Season of Mist debut is due.

 

91. Wight, Love is Not Only What You Know — Alphabetically last but not at all last in my heart, Germany’s Wight have their third record in progress. More in the comments.

 

92. Wo Fat, Live Juju at Freak Valley – Wo Fat‘s live set from the 2014 Freak Valley fest in Germany is due to release on vinyl March 17 in an edition of 500 copies.

 

Others to Keep an Eye On…

Guitarist Ian Gerber of Indianapolis’ The Heavy Co. has a couple side-projects going, but new stuff from his main band doesn’t seem unlikely either. New York’s Geezer might also have something new before December in addition to Ripple‘s CD version of their Gage release, and labelmates King Buffalo are continuing their relationship with STB Records via a new spit next month, so hopefully a debut LP follows that. Let it Breathe should make their debut on the label too in 2015.

Recently streamed trio Wake up Lucid release their EP on March 31. Last I heard The Body had a new one coming too in collaboration with Thou. Sixty Watt Shaman have plans to record tracks for a split due out later this year, and they’ll reissue their first album, 1998’s Ultra Electric, as well. Look out for Godhunter‘s split/collaboration with Amigo the Devil, and the second offering from Black Moon Circle is on the way. Balam‘s full-length should also be out sometime this year, and I anxiously await news of a solid release date for the third Clamfight record.

Murmurings abound also for new ones from GraveyardGreenleafThe Sword, Vhöl and others.

Plus, Sleep still exist and that simple fact probably makes them worth more of a mention than this quick aside. Their 2014 single The Clarity was an offering of pure Iommic idolatry. A sign of things to come? Who the hell knows.

If you don’t have enough to go by yet, labels like Sulatron, Tee PeeEl Paraiso, Ripple, Small Stone, STB, Napalm and so on are always worth a keen watch what’s next. There’s always something.

 

Which I guess is the point of this whole thing. I’m sure, even as huge as this list is, someone is going to drop a comment immediately that will make me slap my forehead and wonder how I ever forgot whatever it is. It’s always something. It looks like it’s going to be a tremendous year, so if you’ll pardon me, I’ll cut out quick and get started making my way through it.

No doubt I’ll add to this post over the next couple days, so if the numbers change, don’t be surprised. In any case, if you made it this far, thanks again for reading. May your 2015 be filled with excellent music and even better times.

 

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Front to Back: Eye of the Stoned Goat 4 in Worcester, MA, 05.03.14

Posted in Reviews on May 5th, 2014 by H.P. Taskmaster

It was a 20-band bill spread out evenly across two days, so right away, The Eye of the Stoned Goat 4 was going to be a considerable undertaking. Fortunately for me, it was close. Worcester is precisely 75 minutes from where I live. I’ve driven further to see three bands, let alone 20, so a trip down the Masspike and there I was, back in Worcester. It had been a decade-plus since the last time I was in that town — famed in metal circles most probably for the New England Metal and Hardcore Festival held at the Palladium — and it was way less of a dump than it was back then, though with much to see in Ralph’s Rock Diner, I obviously wasn’t taking a tour of the local infrastructure. Ralph’s had plenty to catch the eye anyway, even apart from the Saturday lineup with Birch Hill Dam, SET, John Wilkes Booth, Second Grave, Beelzefuzz, Lord Fowl, Ogre, Kings Destroy, Cortez and Sixty Watt Shaman.

There is, sure enough, a classic-style dining car when you walk in, and building that’s sort of sprouted up out of it, the way one tree grows out of another. Turn a corner, you’re in a bar, tv on, pool table, etc., but find your way up a flight of stairs and you’re in the venue itself. Decent-size stage, bar in back along the side wall with plenty of room for merch, a little side-stage area for equipment, and the best lighting I’ve seen since I moved to this state last year — this being my first time at Ralph’s, I was immediately relieved at the quality of the place. Very, very cool room, and sound to match. It made a fitting home for Eye of the Stoned Goat, which last nestled itself into Brooklyn’s The Acheron in July 2013 (review here) and this year was expanded to two days for the first time, organizer Brendan Burns of Snakecharmer Booking and the band Wasted Theory pulling out the stops in mixing locals and out-of-towners, which I’ve found is a balance one should be careful to maintain around these parts. Fortunately there’s no shortage of quality acts.

A 5PM start got underway on time with Birch Hill Dam leading off, and there was no turning back from there:

Birch Hill Dam

As I made my way through the downstairs part of the venue and bought my weekend pass, I was handed a copy of Birch Hill Dam‘s 2011 CD, Colossus, which the MA natives had donated as a door giveaway. A nice touch. I had known I wanted to see them anyway — been more or less waiting to run into Birch Hill Dam again since I moved here — but even if I hadn’t, that would certainly make me more inclined to check them out. My last experience with the band was in 2012 at Stoner Hands of Doom XII in Connecticut, and my prevailing impression was a Kyuss influence. That was far less the case this time around. With some Down/C.O.C. chug in their thick-toned riffs and some double-guitar antics featured later on in the set, Birch Hill Dam were way further into their own sound than when last we met. Frontman Mike Nygard was one of the weekend’s few standalone vocalists (six out of the 20 bands, most of them on Saturday), and he held down his position well with unforced throatiness and just a hint of metal underneath all that rock. They played a decent amount of new material along with “2600” and finale “Boozehound,” both culled from Colossus, and as slick as that album was, I’ll be fascinated to hear the direction their new stuff takes in the studio.

SET

There were two bands on the Saturday bill I’d never seen before — Worcester’s SET (which they seem to prefer written all-caps) and headliners Sixty Watt Shaman — and SET were the surprise of the weekend. Part of that owes to the fact that in my head, I had imagined they were a completely different band, but to find their newer-class doom tempered with thrash and even some crusty black metal, I was blown away by the quality and cohesion in what they were doing, and how natural they made it sound. A two-guitar, two-vocal four-piece, they seemed to have clearly worked on their tone and presentation, and if it had been the West Coast instead of the East, I’d call the results “gnarly.” They were tight, worked fluidly in moving between fast and slower tempos, and looked to be working from a fairly wide swath of influences. They had tapes for sale in the back at $3 each, but I missed my shot at one. Still, I’ll look forward to seeing them again and knowing a little bit more of what I’m getting when they kick into the badass roll of “Wolves behind the Sheep,” taken from their Valley of the Stone debut long-player, apparently set to release on vinyl this summer. I don’t know if they tour, but they should.

John Wilkes Booth


Among the few things I’ll never argue against is a chance to catch John Wilkes Booth live. The house band of Mr. Beery’s out on Long Island and I go way back at this point, but they were another one I hadn’t seen since SHoD in Connecticut, so I felt somewhat overdue. They were doing their thing, which is fine by me since they’re good at it. They had a fair amount of what seemed to me to be newer material, and as he stood in front of the weekend’s most elaborate pedal board, vocalist Kerry Merkle plugged a new EP in the works that would BE done “as soon as [they] get [their] shit together.” I had thought that was going to be a full-length, but it’s been long enough at this point that I’d take whatever came. I’ve seen them burn rooms to the ground with brash riffing, thick groove and megaphoned-incantations, but this was a somewhat moodier set, more exploratory feeling, and that suited them just as well, as they managed to maintain their underlying crunch. I’ve said it of the Booth before that they’re a ’90s NYC noise rock band and they just don’t know it, and I got that vibe again at Ralph’s, but they showed a brooding side to complement, and that made the heavier parts land that much harder in comparison. Made me wonder where their EP might be headed.

Second Grave


Eye of the Stoned Goat 4 marked two last shows, both of them for Massachusetts’ own David Gein. The now-former Black Pyramid four-stringer was playing his final (never say never in rock and roll, but at least for the time being) gigs with Second Grave on Saturday and with The Scimitar on Sunday ahead of a move to the West Coast, so it was twice the occasion. I don’t know if you could really call anything Second Grave do “celebratory,” however, unless you’re celebrating slow, plodding and every now and again viciously extreme metal — which, now that I think about it, is fun to do — but the four-piece did justice to their bass player in delivering a crisp, tight-wound set, the clean vocals and apex-topping screams of guitarist Krista Van Guilder cutting through a morass of tonal bite courtesy of her own and Chris Drzal‘s guitars and Gein‘s bass while drummer Chuck Ferreira shoved the lumbering progressions forward. During their last song — was it “Mountains of Madness?” — the lights went blood red and the visual change helped put their final payoff over the top. I’m not sure how, being in a band that can be so utterly ruthless, they resist the temptation to be that way all the time, but Second Grave‘s restraint, however momentary it may or may not be in a given track, is part of why the band works so well.

Beelzefuzz

Maryland trio Beelzefuzz released one of 2013’s best in the form of their self-titled debut (review here), and having spent so much time with that material since the record came out last August, I felt like I was seeing them in a different context than before. I wasn’t the only one in the crowd who knew the songs, whether it was “Hard Luck Melody,” or “Hypnotized” and “All the Feeling Returns” from the album, they got a welcoming response from the ESG4 crowd. Between Dana Ortt‘s guitar tone, bassist Pug Kirby‘s trancelike-state stage presence and the classy, carefully-understated drumming of Darin McCloskey (also of Pale Divine), Beelzefuzz took the stage at Ralph’s well in command of their sound and bizarre, progressive take on traditional doom. Ortt thanked the audience for being so “cool,” and mentioned he’d taken some pills before going on — Claritin, for hay fever — but if he was under the weather, there was little sign of it as they tackled “Ride the Sky” by Lucifer’s Friend to close out. I couldn’t help but think of their taking on the same song last year at Days of the Doomed III in Wisconsin with Trouble‘s Eric Wagner joining in on vocals, but they handled it well on their own as well, though I’m not sure if that was as much a highlight as “Reborn” from the self-titled, which would remain stuck in my head for the rest of the evening.

Lord Fowl

Granted, after Beelzefuzz just about anything is a left turn, but I was curious to see how Connecticut’s Lord Fowl — who, if you’ve never seen them, are a boot to the ass; an absolutely kinetic live band — would follow their more languid predecessors. I’m not sure what I was hung up on, but about two seconds into Lord Fowl‘s set, they had the crowd on their side, and they had no trouble keeping them there for the duration of their all-too-short half-hour set. It hasn’t quite been a year since the last Stoned Goat fest, which the two-guitar foursome also played, but I would’ve hoped to see them again before this weekend, fantastic as they are on stage. I was glad to see them get a response when they kicked into the title-track from 2012’s excellent Small Stone debut, Moon Queen (review here), with guitarists Vechel Jaynes and Mike Pellegrino trading vocals back and forth in the chorus while bassist John Conine and drummer Don Freeman thrashed suitably on the Ralph’s stage. For an act who puts so much effort into their shows, it’s worth noting that Lord Fowl don’t come across as forced, or like they’re trying to cloy their way into fan-appreciation. It’s just a good time, and that goes even more for the boogie-fied new jam they locked into. Still instrumental and formative though it was, it was also plain to see why they’d want to break it out.

Ogre

The Portland, Maine, trio were pretty fresh on my mind, having seen them in March at the release show for their fourth album, The Last Neanderthal (review here), but a quick check-in was cool by me, particularly with “Nine Princes in Amber” as the opening song — that hook was among the day’s most irresistible. They dipped back to their 2003 Dawn of the Proto-Men debut for “The Jaded Beast,” and “Dogmen (of Planet Earth)” from 2006’s Seven Hells was time well spent, but as had been the case last time, it was the new stuff that had them excited, the raw Sabbathery of “Bad Trip” and the classic metal of “Warpath” coming through with what felt like an especially fervent delivery. For Ogre to emerge as the most singularly indebted to Sabbath on a fest like this is saying something — and they did, at least for Day One if not for both — but the closing cover of The Bags‘ “Naked Lady” which they once again squeezed in the few remaining minutes of their time found them in a higher gear distinct from some of the doomy wanderings of “Bad Trip” and “The Jaded Beast,” formidable as the impressions those tracks left were, particularly “The Jaded Beast” with bassist Ed Cunningham moving into and out of screams in the chorus while guitarist Ross Markonish belted out a steady series of solos and drummer Will Broadbent stomped away behind.

Kings Destroy

I had missed hearing “Embers.” After being so lucky to accompany Kings Destroy on their West Coast run earlier this Spring, I guess I had been spoiled hearing their new material each night, but I took out my earplugs for song on the first day of Eye of the Stoned Goat 4, and that was for “Embers,” from the New York five-piece’s reportedly-recorded but as-yet-untitled third album. Aside from being good to see them, as people, I was delighted to catch them on stage for the eighth time this year. All the more for the new songs “W2″ and “Smokey Robinson,” which I hadn’t heard yet, as well as opener “Old Yeller,” and the closing whallop of “Blood of Recompense” — another one I’d missed — and “Turul,” which is so wonderfully strange that I almost enjoy watching people hear it as much as hearing it myself. Probably goes without saying that the follow-up to 2013’s A Time of Hunting is among my most anticipated releases for the rest of 2014, but I’ll say it anyway and add to that how fortunate I feel to have seen this band come into their own over the last few years. They’ve hit the point where their sound is utterly separate from what one might classify it genre-wise, and the weirder they go into their blend of slow, mournful heavy, brash confrontationalism and dead-on rock — watch out for “Mr. O.” when the album hits — the more righteous they become. There’s not a lot about New York that I miss, but I miss Kings Destroy.

Cortez

When the weekend was over, it would be Cortez who pulled the best crowd. Massachusetts’ reputation for loving its own is well earned, but even more than that, the four-turned-fivesome legitimately rocked the pants off of Ralph’s, guitarists Scott O’Dowd and Alasdair Swan trading leads as the set progressed with a completely fluid charge, bassist Jay Furlo joining vocalist Matt Harrington on vocals in a chorus here and there all the while sticks tossing into the air behind from drummer Jeremy Hemond. Putting Cortez in the context of outfits like Roadsaw and Lamont, they’re just about everything right in Boston’s brand of heavy rock. They opened with “Johnny” from their 2012 self-titled debut (review here), which Darryl Shepard and I agreed should be the closer, and offered new material in “Vanishing Point” from their split 7″ with Borracho (discussed here) and “Keeping Up,” which carried no shortage of swagger. It was “Monolith” that finished out their time in grand fashion, and propelled by Hemond‘s cymbal wash, theirs was as big a big-rock-finish as the two days of Eye of the Stoned Goat 4 would boast. They played the veterans they are despite only having one LP out, and that’s my polite way of saying they should do more. Frankly, they’re a better band than most people know. Fortunately, the crowd at Ralph’s seemed reasonably well informed.

Sixty Watt Shaman

Before they went on, Sixty Watt Shaman drummer Chuck Dukehart III — who’d pull double-duty on Sunday in Foghound — had the room cracking up with some classic Paul Stanley stage rants: “Do you people like the taste of AL-CO-HOL?” “Alright listen,” and so on. Fucking great. The reunited Maryland (etc.) bruisers were in a rough spot following Cortez and starting after midnight as the headliners, and while they started out to a packed house, by the time they were done much of the evening was as well. Still, for a band who haven’t played more than a handful of shows in the last decade, it was hard to argue with what Sixty Watt Shaman — bassist Rev. Jim Forrester (interview here), Dukehart, guitarist Todd Ingram (also of King Giant) and vocalist Daniel Soren — were getting up to with a barrage of dudely grooves that only underscored the influence they’ve had on Maryland and Southern heavy rock in general over the last 10-plus years. Though still newly-reactivated, they were tight and fresh from the London and Berlin Desertfest‘s as well as Dukehart‘s own Moving the Earth festival in Baltimore (go O’s!) prior. The title-track from 2000’s Seed of Decades was a highlight for me, though neither “Cactus Mexicali,” “Southern Gentleman” nor “Pull the Strings” from 1998’s Ultra Electric prompted argument. As they’d have to, they closed out with “Red Colony” from Seed of Decades and capped a day full of heavy with some of its burliest groove. Some bands you don’t expect to ever get the chance to see, and given the limited nature of their doings as of now — two shows in Europe, two in the US, this being one — I felt lucky to see them and they were fitting closer for a raucous night.

I pulled out of the Ralph’s Rock Diner parking lot at 1:30AM, having left shortly after Sixty Watt Shaman finished. The ride home was uneventful, which is probably for the best, and I managed to knock two or three minutes off the trip. That doesn’t seem like much now, but as I crashed out in anticipation of waking up and making my way back to Worcester for Day Two of Eye of the Stoned Goat 4, I knew every little bit was going to count.

Day Two coverage tomorrow, and more pics after the jump. Thanks for reading.

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Live Review: The Eye of the Stoned Goat 3 in Brooklyn, 07.27.13

Posted in Reviews on July 29th, 2013 by H.P. Taskmaster

Though most of the acts were out-of-town imports, there was a strong familial vibe at The Acheron even before The Eye of the Stoned Goat 3 got started. Not knowing what traffic wonders awaited on a Saturday evening — could be nothing, could be armageddon — I headed into Brooklyn early so as to catch the start of the nine-band bill and got there well in advance of commencement. Plenty of time to sit outside and chat with fest organizer Brendan Burns, who’d later take the stage with his band Wasted Theory, Pat Harrington of Geezer and the Electric Beard of Doom podcast — who were among the presenters of the show along with The Obelisk, Small Stone Records, Wendigo and Burns‘ own Snakecharmer Booking — the cats from Lo-Pan and plenty of others coming through.

It was still sunny out with a few hours of daylight to come, but people were beginning to assemble. Word of the show had spread pretty well, so although people came and went throughout the evening and seemed to split their time between The Acheron‘s venue room and The Anchord Inn, which occupies the other half of the space, there wasn’t any point where I’d say it cleared out, and right up to when Lo-Pan took the stage as headliners, there was a steady build of heads filling the room. The bar next to the stage was certainly busy all night.

Soon enough, though, it was time to go inside as the night started to get underway with Philly merchants of stone, Wizard Eye. From there, it was a one-after-the-next succession of heavy. Here’s how it all went down:

Wizard Eye

They’re veterans of Eye of the Stoned Goat by now, but where the second installment earlier this year in Delaware had them teamed with fellow Philadelphia natives Heavy Temple, Thee Nosebleeds and Clamfight, in Brooklyn, they were on their own in representing the City of Brotherly Love. Not only that, but it was their third show with new drummer Mike in the trio with the dreaded guitarist/vocalist Erik Caplan and bassist/backing vocalist Dave. If there was any anxiety on their part, they didn’t show it. Wizard Eye seemed as comfortable as ever as they nestled into their thick, air-pushing Sleep-style stoner grooves, Caplan moving from his guitar to the theremin at just the moment when it seemed the former wouldn’t deliver anymore wail than that which had already been extracted from it. My overarching impression of the band remains the same as when I saw them in February — they need to get an album out. It’s time and even being 33 percent new, their presentation was tight enough to make me think they’re more than ready to go. Hopefully soon.

Geezer

If Wizard Eye were the stonerly start, then NYC’s Geezer were the answer for anyone looking for a taste of blues, guitarist/vocalist Pat Harrington working in a liberal use of slide while bassist Freddy Villano and drummer Turco filled out a heavy rocking stomp behind the classically fuzzed distortion and gravelly vocals. The band is still fresh off the release of their impressive 2013 Gage EP (discussed here), and they brought that jammier sensibility to their set, seeming right at home in slower progressions that they made move when they needed them to and offering unpretentious drinkin’ man’s music well met by the getting-started crowd. Harrington‘s was among the most believable “whiskey-soaked” style singing that I’ve heard in years, and he and Villano (who also play in Gaggle of Cocks together) obviously had years’ worth of chemistry working in their favor, despite Geezer being a relatively recent advent. Closer “Ghost Rider Solar Plexus” was a highlight, and as they’re reportedly working on a vinyl release for Gage, they seem to be building some momentum going into whatever they have in the works for after that. A solid blues-based heavy rock jam is something I’ll never argue with, and Geezer had that in spades.

Wasted Theory


Up from their home in Bear, Delaware, double-guitar unit Wasted Theory handled themselves well on The Acheron‘s stage, as Eye of the Stoned Goat 3 organizer Brendan Burns sat back for drums behind guitarist/vocalist Jackson, lead guitarist M. Kramer and bassist J., the four-piece striking hard on a balance of post-Down Southern metal and more driving stoner fare. They seemed in good spirits after having performed about a month ago at the Moving the Earth festival in Baltimore, and as they hit into songs off this year’s GodSpeed EP and Jackson swung his guitar around his back, they seemed to have come far even since I got my first glimpse of them earlier this year, locking in some fervent Pepper Keenan-style chugging on guitar while J. gave the riffs a thick foundation to rest on. They were energetic and engaged the whole way through, and though they didn’t pull in the biggest crowd of the night, they capped off with a motor-boogieing new song, Jackson half on guitar, that positioned them well coming out of GodSpeed. By the time they were done with their short set, the fest seemed like it was moving along quickly.

Borracho


I’d reviewed it the day before, so I don’t think Borracho‘s second album, Oculus, would’ve been any fresher on my mind if I’d listened to it on the way to the show. The D.C.-based trio had been out the weekend before for a set of four gigs with Lo-Pan, so I expected they’d be pretty tight and they did not disappoint. Owing to time constraints, they only played three or four songs, starting out with “Empty” and “Stockpile,” the opener and centerpiece from Oculus. Guitarist Steve Fisher has taken to the vocalist role well, and he seemed right at home on both of the Oculus cuts, the set as well giving me a whole new appreciation for the richness of bassist Tim Martin‘s tone. Dense and packed with low end push, it created the waves on which Borracho‘s slower grooves rode, punctuated and given further physicality during the jammier stretches of “Stockpile” by drummer Mario Trubiano. Dipping back to their 2011 debut, Splitting Sky, the trio capped off with the quick burst of “Concentric Circles,” Fisher showing no hesitation to deliver the lines shouting up into a dangling microphone, Motörhead-style. The earlier sets were all pretty short — 25 minutes for the first couple bands, then 30 for the next several — but Borracho had enough time to pack in maximum riffage and give anyone there who’d never seen them before a good idea of where they were coming from as a three-piece.

Lord Fowl

Here’s where I’m at with New Haven, Connecticut, four-piece Lord Fowl. They’re so tight and so professional that on stage they look like they could be playing one of those all-day amphitheater commercial radio shows with a goofy name. You know the ones: “WFUK presents the Summer Fling this Saturday at the Giant Corporate Bank Park,” and so on. Only snag is Lord Fowl don’t suck and all those bands do. It’s been over two years since I first saw them, and while they may not have the same kind of surprise factor going as they did that night, my enjoyment for what they do has only increased as they’ve gotten signed to Small Stone and last year released, Moon Queen (review here). Opening with the same wow-that-cop-is-saying-some-racist-shit sample that starts the song on the album, they kicked into the funk-riffed “Dirty Driving” as guitarists Vechel Jaynes and Mike Pellegrino traded off vocal parts, setting the tone for the rest of their all-too-short set. “Split” and “Hollow Horn” were welcome inclusions, bassist John Conine and drummer Don Freeman locking in with the starts and stops of the latter, balancing classic rock and modern heavy off each other with born-to-do-it ease. I asked Jaynes afterwards and he said a new record’s in the works, which was some of the best news I heard all night.

Supermachine

To my knowledge, no such award was handed out, but if Eye of the Stoned Goat wanted to start handing out prizes for the prettiest guitars, one would almost certainly have gone to Supermachine‘s Jay Fortin. I don’t even play guitar and the sight of his gold-trimmed, hollow-body Gretsch had me in awe, both in look and sound. As Fortin, bassist Dave Jarvis, drummer Mike McNeil and vocalist David Nebbia stepped into the New Hampshire biker rock groove of “Buffalo,” I could hear a touch of the tonality Fortin and Jarvis brought to their prior outfit together, Scissorfight, and while I’m not sure I’ll ever be able to listen to Supermachine and not consider that context — which isn’t really fair to the band, who are going for a different style altogether; it’s also why I’ve not to date reviewed their self-titled debut — there’s no doubt they’re a crisp, clear-headed and heavy four-piece who can put together a dead-on, ballsy set. “Crutch” was absurdly catchy and correspondingly full sounding, new song “Broiled Alive” was, well, also those things, and I came away from their set glad I had seen them before and had some sense of what to expect, since it allowed me more of a chance to relax and take Supermachine in on their own level. That being the case, I wondered if maybe repeat exposure would continue the trend, and if so, I could think of far worse things.

Black Black Black

The first two words in the page of notes I took during the Black Black Black set were “holy” and “shit.” The only New York band on the bill besides Geezer — also the only other act playing Eye of the Stoned Goat 3 besides Geezer that I hadn’t seen live before — Black Black Black took the stage in unassuming-enough fashion and proceeded to demolish the space around them. It was like they decided to bring their self-titled debut (see here, here and here) to life and then punch everyone in the face with it. “Light Light Light” crushed in a manner that threw down a gauntlet that dared Gozu and Lo-Pan to match its weight, and “Pentagram On,” “Wisdom, Knowledge and Fucked,” the raging “ReDeath” and “Son of Bad” brought a zero-genre-allegiance sonic versatility that was lethal in kind to the band’s presentation of the material. As their time wore on — it went quickly, make no mistake — and guitarist Jacob Cox manipulated feedback to add atmosphere to the pummel, I tried to think back to the last time I got a recommendation as good as when Jesse Bartz from Lo-Pan put me onto them. I couldn’t come up with anything. With no loss of energy or assault in their delivery, Black Black Black – Cox, vocalist Jason Alexander Byers, bassist Jonathan Swafford and drummer Jeff Ottenbacher – included two new songs near the end, the latter of which offset a shuffling riff with vocals that bordered on airy before they shifted into their final round of intense bludgeoning. It was, in short, a fucking delight.

Gozu

It made a strange kind of sense to me as I watched Boston’s Gozu load onto the stage that, last weekend, I should be in Boston watching The Brought Low at a show which members of Gozu were attending just to hang out, while this weekend, I’m in New York watching Gozu, who are from Boston, and here’s Ben Smith from The Brought Low, come to check out the gig. I feel like there’s some element of symmetry there and I just don’t have a brain able to process mathematics complex enough to enjoy it. Nonetheless, at The Acheron, Gozu played the heaviest set I’ve ever seen them play. Whether it was “Bald Bull,” the thrashing “Charles Bronson Pinchot” or the boogie-ready “Snake Plissken” from this year’s The Fury of a Patient Man (review here), or “Regal Beagle” from their 2010 Locust Season debut, everything they played seemed to pack some extra bite, and particularly in the case of drummer Barry Spillberg, the band hand-delivered a rager that set back some of their soul influence in favor of showing off hardcore roots, closing out with “Mr. Riddle” from Locust Season, which had thrust enough to its groove alone to justify Gozu’s place on the bill. I don’t generally think of Gozu as putting such an emphasis on heaviness — yeah, they’re a heavy rock band and guitarists Marc Gaffney and Doug Sherman and bassist Jay Grotto obviously have heft to their tones — but this was a different league entirely. They were almost metal, but if metal pulled its head out of its ass and remembered how good it felt to groove every now and again. Whatever symmetry I may have enjoyed in seeing them in New York this weekend, that was trumped easily by their actual performance, which was downright threatening.

Lo-Pan

It had been a long day. Lo-Pan were slated to hit the stage at midnight, and by the time they did — give or take a few minutes, but basically on time — I was long since beat, but already eight bands deep, there was no way I was missing anything the Ohio fuzz rockers had to offer. And I was even gladder I didn’t cut out early once they actually started playing; the setlist was packed with new material. “Eastern Seas” and “Colossus” were aired — familiar titles from recent shows — but “Hunters,” which if I’m not mistaken Jeff Martin said was being played for the first time (don’t quote me), brought out guttural, soulful shouts from the singer powerful enough to cut through the volume of the three players — bassist Scott Thompson, drummer Jesse Bartz and guitarist Brian “It’s His Tone, We’re Just Living in It” Fristoe — positioned in front of him. Light moshing occurred, which I guess is what happens when people 25 and under show up to gigs. New songs were joined by the familiar rush of “Deciduous” and “Generations” from 2011’s there’s-no-hyperbole-left-for-me-to-use-so-I’ll-just-say-it’s-fucking-awesome Small Stone debut, Salvador (review here), but Lo-Pan returned to new material to close out, ending off their set with “The Duke,” on which Martin‘s voice was presented sort of answering itself in delay. The final locked-in groove of that song justified its position as the finale, but when Lo-Pan were done, the shouts of “one more!” were immediate. Bartz had already gotten off the stage, but he came back up and Martin said they’d only do one more if someone bought Scott a shot of whiskey. It arrived during the first verse of “Kurtz” and was fed into his mouth as he played. More moshing ensued — heathens! — and Lo-Pan capped a killer night with a spectacle well worth sticking around to see. Until next time.

The efforts of Brendan Burns in making Eye of the Stoned Goat 3 happen are worth reiterating and commending. The Acheron also made an excellent host for the show — the sound straight through left nothing wanting in either volume, devastation or clarity — and each of the bands stepped up to deliver a fitting answer to the one in front of them, starting with Wizard Eye and ending with Lo-Pan. I got out of Brooklyn on the quick since it was already pushing 1AM, got back to my humble river valley a little after two and crashed out, satisfied that there was no more I could’ve asked of the night.

More pics after the jump. Thanks for reading.

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Small Stone Records Announce Date for Fall Detroit Showcase

Posted in Whathaveyou on July 16th, 2013 by H.P. Taskmaster

This is just the preliminary of the preliminary announcements, but a Small Stone label showcase is always a good time — seriously, I’m the most miserable bastard you could ever hope to (not) meet and I have a blast whenever I’m fortunate enough to attend one of the things — so I figured better to get the word out early so anyone interested in making the trip could mark the calendar now. The lineup for this year’s Detroit gig is still coming together, but already you’ve got Gozu, Lord Fowl, Lo-Pan and Luder on the bill, so for a whopping $10, it officially qualifies as what I believe the kids might call a “sick show.”

Oct. 12 is the date, The Magic Stick is the place. Here it is from the source:

Date: 10/12/2013
Venue: The Magic Stick
Location: Detroit, MI
Line Up: Gozu, Lord Fowl, Lo-Pan, Luder, TBA (most likely Freedom Hawk or Sasquatch).
Doors: 7:30 – All Ages
Price: $10.00

Small Stone Records

Small Stone on Thee Facebooks

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Revisiting the Top 20 of 2012

Posted in Features on June 27th, 2013 by H.P. Taskmaster

They always say you there’s no going back. I don’t know who they are, but they’re right. As I searched back through posts to find the Top 20 of 2012, I realized it had been way too long since I heard some of these records. It’s so easy to get caught up with what’s current and what’s coming next that sometimes I forget to actually listen to albums I already enjoyed. That happened a couple times along the way.

When a year ends and the lists start coming out, it’s like records as numbered, stocked and then forgotten. I guess I’m guilty of it too. With that in mind, here’s a quick revisit to what I had as my favorites of 2012:

The Top 20 of 2012 Revisited

20. Mos Generator, Nomads
I can’t even look at this album cover without hearing the chorus to “Lonely One Kenobi” play in my head. Still a sentimental favorite.

19. Golden Void, Golden Void
Haven’t put it on in a while, but probably should.

18. Wight, Through the Woods into Deep Water
Ditto. This record was great and if I made the list today, it would probably be higher than it is here.

17. Lord Fowl, Moon Queen
Didn’t I start this week off with Moon Queen? Well, I guess it’s pretty fresh on my mind.

16. Pallbearer, Sorrow and Extinction
I’ve seen them three times so far this year and they’ve delivered each time, but haven’t put on the album itself in a while. Still looking forward to new stuff though.

15. Kadavar, Kadavar
I think I’ve had more fascinating conversations about Kadavar than any other band in the last year. So many opinions, so widely varied. I dig the self-titled, will probably have the follow-up on my list at the end of 2013. Nuclear Blast needs to bring them over to tour, maybe opening for Witchcraft?

14. Stubb, Stubb
Yay fuzz! Catchy songs, easy formula, well structured and impeccably performed.My favorite straight-up heavy rock record of 2012.

13. Orange Goblin, A Eulogy for the Damned
Hard to fuck with these dudes. The production here was a presence, but the songs still hold up.

12. Ararat, II
No shit, I live in terror of having Ararat release their third album and missing it. Like all of a sudden the album will have been out for three months and I’d have no idea.

11. Ufomammut, Oro
Haven’t listened to Opus Primum or Opus Alter since. Can’t help but think if Oro was released as one record, I’d put it on from time to time.

10. Conan, Monnos
I put this in the top 10 for a reason. Because it’s fucking ridiculously heavy. I stand by my reasoning. Looking forward to their new one.

9. My Sleeping Karma, Soma
An album I couldn’t manage to put down even when I wanted to, and one I still pick up from time to time. Glad I finally gave in an bought a copy to get away from the shitty digital promo version.

8. Graveyard, Lights Out
Maybe I burnt myself out on this? I went on a binge after their show in January for a bit and then put Lights Out away and that was that.

7. Saint Vitus, Lillie: F-65
Every time I’m in a record store, flip through the Vitus selection and see my quote on the sticker on the front of the jewel case of Lillie: F-65, I feel like an entire decade of shitty career decisions is justified. No bullshit.

6. Ancestors, In Dreams and Time
Brilliant. Mostly brilliant for closer “First Light,” but that song was brilliant enough to get this spot on the list anyway.

5. High on Fire, De Vermis Mysteriis
Hard to argue with its intensity. Not much staying power as I would’ve thought, but god damn that’s a heavy record.

4. Neurosis, Honor Found in Decay
An overwhelming listen. I have to prepare my head for putting it on, but I continue to find it worth the effort.

3. Greenleaf, Nest of Vipers
It was the highlight of my year last year to see this material live. Greenleaf have a new lineup now and another album in the works, but if Nest of Vipersis how the last one was going out, they killed it.

2. Om, Advaitic Songs
Sometimes I fantasize about living in a temple where I wake up and Advaitic Songs is playing every day. That is 100 percent true.

1. Colour Haze, She Said
I’d probably listen to it even more if it was on one CD, but god damn, this record is amazing. Another one that’s kind of overwhelming, but it gets regular play as I expect it will continue to do into perpetuity.

All in all, pretty great year. Some stuff that’s fallen by the wayside, but a few landmarks as well that have carried over, and more importantly, some that seem like they’ll continue to carry over and grow in appeal as more time passes. Wight should’ve been higher on the list, but other than that, I’ll take it.

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Mundee Lord Fowl

Posted in audiObelisk on June 24th, 2013 by H.P. Taskmaster

Lord Fowl, Moon Queen (2012)

At some point this weekend, I heard the opening title-track of Lord Fowl‘s Moon Queen and that was it — it’s been stuck in my head ever since. Doesn’t take much to do it from that record (review here), since the whole thing more or less is hooks, and as I’m planning sometime in the next couple days to take another look at my Best of 2012 list as I’m wont to do each year six months after the fact, it seemed only appropriate to give Moon Queen a revisit to start of what was an exhausting week even before it started.

For what it’s worth, I only flipped off one other motorist on the drive back from Cudahy, Wisconsin, where Days of the Doomed III was held. Not bad for 15 hours in the car. I made it all the way to the Delaware Water Gap, but when I came up behind a guy doing 60 in the left lane (it’s a 65mph zone), waited for him to move to let me pass and then whipped around him when he didn’t and had him flash his brights from behind me, that was pretty much it. Sorry, but it was Sunday night at one in the morning. Move the fuck over or get passed. I wouldn’t have been on the road at all if I didn’t have somewhere to be.

I made it back to my humble river valley otherwise without incident and crashed out hard sometime after 3AM to get up in time for work this morning and refresh that overwhelmed feeling I know so well and can’t fucking stand. Over 750 emails later, I’m not quite caught up and, as usual, questioning my life decisions and whether or not I should quit every job I have, cut my hair, take up jogging and go find something where the compensation is remotely commensurate with the effort put in — or, wow — become an actual writer. I won’t. But I should. Also, fuck everything.

Reviews this week of Steak – would like to do it today, but it’s already almost 2 and I probably won’t have time, so tomorrow — and Goatess, plus a Buried Treasure on Sleaze and maybe another on the haul from the Midwest this year, which is staggering. There doesn’t seem to be any way in hell I’ll get to it, but I’ll plug that forthcoming Dust interview just in case, and tomorrow I’ve got tracks going up for streaming from The Flying Eyes‘ new split with Golden Animals. Thursday night, The Atomic Bitchwax are playing a Rocks Off Concert Cruise around Manhattan with Mirror Queen (more info to follow shortly) and you can bet your ass I’m going to that. Will have a review up on Friday.

This weekend was my grandmother’s 98th birthday. It was also the largest full moon in something like 800 years. I wanted to mention both of those things in my Days of the Doomed III conclusion but was too tired to remember at the time. We always think of the best stuff after the fact.

So while I sit here and debate the finer points of tweeting “YOU FUCKING PEOPLE ARE DISGUSTING. EAT SHIT AND DIE.” to the Heritage Foundation 100 times in a row (take ‘em down a peg!) and also try to actually accomplish, well, anything, today, I’ll just take a second to say I hope you have a fantastic, truly wonderful week and that just because I’m out of my head doesn’t mean I don’t appreciate you checking in on the site. Thanks again to everyone who took a gander at the updates from the fest this weekend. This site was what got me out of bed this morning.

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The Eye of the Stoned Goat 3 to Hit Brooklyn’s The Acheron July 27

Posted in Whathaveyou on May 6th, 2013 by H.P. Taskmaster

I’m very, very proud to be involved in helping promote The Eye of the Stoned Goat 3 in the way that I am. After checking out the second in the festival series back in February, it’s an honor to have signed on to help spread the word about the third, which boasts a strong lineup of bands at a choice venue on what I’ve no doubt will be a sweltering weekend night of heavy rock and roll. The fest sent over a victory lap of a press release, which you’ll find below:

The Eye of the Stoned Goat 3 set for Brooklyn, NY

Snake Charmer Booking announces its 3rd installment of its stoner rock and doom metal themed concert event “The Eye of the Stoned Goat”. The event will take place at The Acheron in Brooklyn New York on Saturday, July 27th 2013 at 6pm.

The Acheron, known to the locals as “the second coming of CBGB’s” is the perfect spot to host such a powerhouse line up, including Small Stone Records bands: Lo-Pan, Gozu, SuperMachine, and Lord Fowl. Washington, D.C.’s own Borracho, Delaware band Wasted Theory, and Philadelphia’s Wizard Eye will be making the trip up, while local support will be provided by Brooklyn’s Black Black Black, and Kingston, New York’s own Geezer.

In February 2013, Snake Charmer Booking hosted the second Eye of the Stoned Goat show in Delaware, home of event organizer Brendan Burns. Only a month later, Burns teamed up with Pat Harrington at the ‘Electric Beard of Doom’ podcast to announce that they would be bringing the event to New York.

Some of the bands who have previously played the ‘Stoned Goat events include- Pale Divine, Iron Man, Clamfight, Beelzefuzz, Blackhand, Skeleton Hands, Thee Nosebleeds and Black Cowgirl to name a few. “I’ve been fortunate being able to work with so many great bands, and this time around is no different” according to Burns. “This roster of artists are bands that I enjoy listening to regularly, and I am just absolutely thrilled to be working with them, it’s a promoter’s dream to work with bands that you listen to in your daily life”. Burns has also begun working on his roster for the Eye of the Stoned Goat 4 for 2014.

This summer’s event will also features such sponsors as Small Stone Records, The Obelisk, Wendigo Promotions and Electric Beard of Doom Podcast.

Tickets go on sale May 1st 2013 for $12.00 (online price), and will also be available at the door for $15.00 to first come first served.  For more information, visit www.TheEyeoftheStonedGoat.com.

Ticket Link:
www.ticketfly.com/event/265667-eye-stoned-goat-2013-lo-brooklyn/

Facebook Event Page:
https://www.facebook.com/events/353125964803490/

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VISUAL EVIDENCE: Backwoods Payback, Supermachine, Lord Fowl and Sun Gods in Exile Tour Booked for April

Posted in Visual Evidence on April 8th, 2013 by H.P. Taskmaster

My only hope is that as Backwoods Payback, Supermachine, Lord Fowl and Sun Gods in Exile head out for these four shows, they bring the poster with them. Seems the Small Stone Records bannerfolk have united under the flag of their label and are hitting the Northeast for a bill they’re dubbing “4 Bands, 4 States, 4 Shows, 1 Label.” Call it a tour by the numbers.

Since Supermachine, Lord Fowl and Sun Gods in Exile all live in New England, so with Backwoods Payback tagged on from Pennsylvania, you can pretty well imagine this one’s going to be a debauched-type good time. A long weekend that no one involved will recall by the time it’s over. Nonetheless, if you’ve gotta have something to remember it by, the following Alexander von Wieding poster is a gorgeous reminder.

Octopus reigns supreme among green-lady headwear:

4 bands. 4 states. 4 shows. 1 label.

SMALL STONE RECORDS NORTH EAST US TOUR

featuring:
BACKWOODS PAYBACK
SUPER MACHINE
LORD FOWL
SUN GODS IN EXILE

04.25.13 – The Dover Brickhouse, Dover NH
04.26.13 – KCs Tap, Pawtucket RI
04.27.13 – The Winchester, Woodbridge CT
04.28.13 – Leftfield NYC, Manhattan NY

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The Eye of the Stoned Goat 3 Coming to Brooklyn in July

Posted in Whathaveyou on March 14th, 2013 by H.P. Taskmaster

Presented by Snakecharmer Booking, Small Stone Records, the Electric Beard of Doom podcast and yours truly once I manage to track down my hi res Obelisk logos, the Eye of the Stoned Goat 3 is set to take place July 27 at The Acheron in Brooklyn. It will have only been months since Eye of the Stoned Goat 2 suckerpunched Delaware upside its still-bragging-about-being-the-first-state head (review here), but with a lineup that includes Lo-Pan, Gozu, Supermachine, Black Black Black, Borracho, Wizard Eye, Lord Fowl, Geezer and Wasted Theory, I’m not about to complain.

As I’ll be helping present the damn thing, expect much more to come, including interviews with the artists, reviews and updates on their whathaveyou and maybe even a giveaway if I can square it with the powers that be. Till then, stare at the preliminary flyer below marvel at the wonders summer will bring:

More info at the Thee Facebooks event page, and the Eye of the Stoned Goat website.

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Lord Fowl Get VHS Ready in New Video for “Moon Queen”

Posted in Bootleg Theater on March 5th, 2013 by H.P. Taskmaster

Star-wipe alert!

It’s a scientific fact that Connecticut-based heavy rocking foursome Lord Fowl have enough cool on hand at any given moment they could rent it out to other bands running low. I think what I like best — aside from the star-wipes — about the double-guitar slinging outfit’s new video for the title-track of 2012’s Moon Queen sophomore full-length (review here), also their debut on Small Stone, is that every time I watch it I could swear I’ve somehow just slipped back in time and I’m watching something I taped off local access circa 1991.

Between the vintage effects, the soundstage look and the stacks of amps behind, it hits all its marks in much the same way Moon Queen did when it dropped last year, so all the better. In case you missed the news a little while back, Lord Fowl are heading out on the road later this week with Irata and their fuzz-loving Virginian labelmates in Freedom Hawk, which makes the timing on the new video coming out even better. You’d almost swear these things were planned out ahead of time.

So as Lord Fowl prepare to hit up SXSW, Fuzzed Out! fest and more, here’s the clip for “Moon Queen,” followed by the tour dates:

Freedom Hawk, Lord Fowl & Irata: SXSW & More
03/08 Chapel Hill, NC @ Nightlight w/ Collossus
03/09 Murrell’s Inlet, SC @ Rockin Hard Saloon
03/10 Columbia, SC @ New Brookland Tavern w/ Carolina Chupacabra
03/11 Athens, GA @ Caledonia Lounge w/ Savagist, Guzik
03/12 Birmingham, AL @ Nick w/ Aethenoth
03/13 Lake Charles, LA @ Luna Live w/ Large Marge
03/14 Austin, TX @ Headhunters – Small Stone SXSW Showcase
03/15 San Antonio, TX @ Nightrocker Live – SXSA Small Stone Showcase w/ Wo Fat & Las Cruces
03/16 Austin, TX @ Scoot Inn – Converse/Thrasher “Deathmatch” @ SXSW – The Power of the Riff – Free Day show 12-4pm.
03/16 Fort Worth, TX @ The Grotto – Fuzzed Out! Fest w/ Wo Fat and Southern Train Gypsy, Ape Machine, Been Obscene, Mothership
03/17 Nashville, TN @ TBA

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Freedom Hawk and Lord Fowl Touring to SXSW, Fuzzed Out Fest and More

Posted in Whathaveyou on February 12th, 2013 by H.P. Taskmaster

Always cool to see good bands hitting the road together, and Lord Fowl and Freedom Hawk will be joining forces with some killer acts along the way, including Ape Machine, who just signed to Ripple Music, and their Small Stone labelmates and stewards of Texas heavy, Wo Fat.

Joining them on the trek will be North Carolina’s Irata. Dig the sass in the press release below:

Freedom Hawk, Lord Fowl & Irata to Tour Your Pants Off

During Small Stone Records time the Ides of March circa 2013, Freedom Hawk hath been summoned by the Lord Fowl to bring their fuzzy, groovy, soulful heavy rock vibes with the reincarnated Irata coming along to help carry the torch. This spring they commence a sensory experiment, a flashback of sorts to an age when there was no CD players, smartypants phones or 24-hour news cycles.

Cruzin’ shall commence in cities Down, Left and Middle with a range of cohorts from Aethenoth to labelmates Wo Fat and like-minded Austrian groovehounds Been Obscene. Fests and showcases will be played, brains will be blown and hearts will be broken. Dig it if you dare:

Freedom Hawk, Lord Fowl & Irata: SXSW & More
03/08 Chapel Hill, NC @ Nightlight w/ Collossus
03/09 Murrell’s Inlet, SC @ Rockin Hard Saloon
03/10 Columbia, SC @ New Brookland Tavern w/ Carolina Chupacabra
03/11 Athens, GA @ Caledonia Lounge w/ Savagist, Guzik
03/12 Birmingham, AL @ Nick w/ Aethenoth
03/13 Lake Charles, LA @ Luna Live w/ Large Marge
03/14 Austin, TX @ Headhunters – Small Stone SXSW Showcase
03/15 San Antonio, TX @ Nightrocker Live – SXSA Small Stone Showcase w/ Wo Fat & Las Cruces
03/16 Austin, TX @ Scoot Inn – Converse/Thrasher “Deathmatch” @ SXSW – The Power of the Riff – Free Day show 12-4pm.
03/16 Fort Worth, TX @ The Grotto – Fuzzed Out! Fest w/ Wo Fat and Southern Train Gypsy, Ape Machine, Been Obscene, Mothership
03/17 Nashville, TN @ TBA

Come Rawk out with your Hawk out, Bow to the Fowl, and rock Irata more!

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Small Stone Finalizes SXSW Showcase Lineup; Poster Revealed

Posted in Whathaveyou on January 21st, 2013 by H.P. Taskmaster

Truth be told, they’ve been putting on shows during SXSW since 1997, but 2013 makes it a full decade that Small Stone has been doing an official SXSW showcase, and the venerable Detroit imprint are celebrating in style. I always get a little wistful thinking about my days in Austin at these parties — I went four years from 2003-’07 — and from seeing Suplecs touring on the strength of a post-Man’s Ruin demo to watching Sasquatch and The Brought Low lay waste to the room. Good friends, cheap beer, occasionally Mexican food. Some of the best times I’ve had at shows were at those things, and not just for the refried beans.

I won’t be making the trip this year, but consider it highly recommended nonetheless if you can get down that way. Brian Mercer has once again provided the poster for the shindig, which is below, followed by the lineup and set times:

Also available in purple.

Marking 10 years of official SXSW showcases, Detroit’s Small Stone Records returns to Headhunters (720 Red River) on March 14 with some of the finest in heavy rock. This year’s Small Stone showcase is headlined by New Orleans veterans Suplecs and Connecticut upstarts Lord Fowl, and features Virginia’s Freedom Hawk and Texan natives Wo Fat along with Luder, Supermachine and Mellow Bravo. For lovers of classic guitar and motor-ready grooves, it gets no better than Small Stone, and with a decade under their belts, they still throw a party like none other. Expect the epic.

Date: Thursday March, 14th, 2013
Venue: Headhunters – 720 Red River – Austin, TX – 78701
1 am: Suplecs (New Orleans, LA)
12 mid: Lord Fowl (New Haven, CT)
11pm: Freedom Hawk (Virginia Beach, VA)
10pm: Wo Fat (Dallas, TX)
9pm: Luder (Ferndale, MI)
8pm: Supermachine (Dover, NH)
7pm: Mellow Bravo (Boston, MA)

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The Obelisk Presents: The Top 20 of 2012

Posted in Features on December 20th, 2012 by H.P. Taskmaster

Please note: This list is my personal picks, not the Readers Poll, which is ongoing — if you haven’t added your list yet, please do.

As ever, I’ve kept a Post-It note on my wall all year long, and as the weeks and months have ticked away, I’ve added names of bands to it in preparation for putting together my Top 20 of 2012. There was a glut of excellent material this year, and I know for a fact I didn’t hear everything, but from bold forays into new sonic territory to triumphant returns to startling debuts, 2012 simply astounded. Even as I type this, I’m getting emails about new, exciting releases. It’s enough to make you lose your breath.

Before we get down to it and start in with the numbers, the hyperbole, etc., I want to underscore the point that this list is mine. I made it. It’s not the Readers Poll results, which will be out early in January. It’s based on how I hear things, how much I listened to each of these records, the impressions they left on me — critical opinion enters into it, because whether or not I want to I can’t help but consider things on that level when I listen to a new album these days — but it’s just as much about what I put on when I wanted to hear a band kick ass as it is about which records carried the most critical significance or import within their respective genres.

With that caveat in mind, let’s do this thing:

20. Mos Generator, Nomads

Released by Ripple Music. Reviewed Sept. 7

Over the last couple years, I’ve come to think of the #20 spot as where I put my sentimental favorite. That was the case with Suplecs last year, and in 2012, the return of Mos Generator earns the spot. The band being led by guitarist/vocalist Tony Reed, Nomads marked a rehifting of Reed‘s priorities from Stone Axe, with whom he’d proffered ’70s worship for several years prior, and wound up as a collection of some of my favorite heavy rock songs of 2012 — tracks like “Cosmic Ark,” “Torches” and “Lonely One Kenobi” were as strong in their hooks as they were thorough in their lack of pretense. But the bottom line is I’m a nerd for Reed‘s songwriting, playing and production (more on that to come), and at this point it’s not really something I can even pretend to judge impartially. Still, the record’s friggin’ awesome and you should hear it as soon as you can.

19. Golden Void, Golden Void

Released by Thrill Jockey. Reviewed Nov. 20.

Seems like it would make sense to say Golden Void would be higher on the list if I’d spent more time with it — written up just a month ago, it’s the most recent review here — but the fact is I’ve sat with Golden Void‘s self-titled debut a lot over the course of the last month-plus, and I’ve been digging the hell out of it. Really, the only reason it’s not further up is because I don’t feel like I have distance enough from it to judge how it holds up over a longer haul, but either way, the Isaiah Mitchell-led outfit’s blend of heavy psych, driving classic rock and retro style gave some hope for beefing up the US’ take on ’70s swagger — usually left to indie bands who, well, suck at it — and also showed Mitchell as a more than capable vocalist where those who knew him from his work in Earthless may only have experienced his instrumental side. A stellar debut, a wonderful surprise, and a band I can’t wait to hear more from in the years to come.

18. Wight, Through the Woods into Deep Water

Released by Fat & Holy/Bilocation. Reviewed Aug. 3.

This was basically the soundtrack to my summer. From the catch-you-off-guard aggression in opener “I Spit on Your Grave” to the extended stoneralia of “Master of Nuggets” and the jammy “Southern Comfort and Northern Lights,” the follow-up to Wight‘s self-produced debut Wight Weedy Wight (review here) showed an astonishing amount of growth, and though it had the laid back, loose feel that distinguishes the best of current European heavy psych, Through the Woods into Deep Water was also coherent, cohesive and impeccably structured. I thought it was one of the year’s strongest albums when it was released, and its appeal has only endured — as much as I listened to it when it was warm over the summer, now in December I put it on wishing the temperature would change to match. The songs showed remarkable potential from the German three-piece and cast them in an entirely different light than did their first out. Really looking forward to where they might go from here, but in the meantime, I’m nowhere near done with Through the Woods into Deep Water yet.

17. Lord Fowl, Moon Queen

Released by Small Stone. Reviewed Aug. 29.

“Oh, Moon Queen! Flyin’ down the world on a moonbeam!” Somehow the first lines of the opening title-track to Lord Fowl‘s Moon Queen always seem to wind up stuck in my head. The Connecticut foursome made their debut on Small Stone with the loosely thematic full-length, and touched on a sense of unabashedly grandiose ’70s heavy rock in the process. That said, Moon Queen wasn’t shooting for retro in the slightest — rather, guitarist/vocalists Vechel Jaynes and Mike Pellegrino fronted the band’s classic sensibilities with a wholly modern edge, like something out of an alternate dimension where rock never started to suck. The classic metal guitar in “Streets of Evermore” and the swaying groove from bassist Jon Conine and drummer Don Freeman under the wandering leads of “Hollow Horn” made Moon Queen more stylistically diverse than it might otherwise have been, but at its core, it was a collection of stellar heavy rock songs, unashamed of its hooks and unafraid to put its passions front and center. They packed a lot into a 47-minute runtime, but I’ve yet to dig into Moon Queen and regret having pressed play. Another band to watch out for.

16. Pallbearer, Sorrow and Extinction

Released by Profound Lore. Reviewed Feb. 14.

It was impossible not to be swept up in the hype surrounding Pallbearer‘s Profound Lore debut, but one listen to Sorrow and Extinction and it was clear that its resounding praise was well earned. By blending thickened psychedelic tonality and emotionally resonant melodies, the Little Rock, Arkansas, four-piece concocted the single most important American doom release of the year. Their efforts did not go unnoticed, and as they supported the album on tour, the swell of the crowds spoke to the right-idea-right-time moment they were able to capture in songs like the stunning “An Offering of Grief” and “The Legend.” There’s room for growth — I wouldn’t be surprised to find guitarist Brett Campbell‘s vocal range greatly developed next time out — but Pallbearer have already left a mark on doom, and if they can keep the momentum going into wherever they go from here, it won’t be long before they’re being cited as having a significant impact on the genre and influencing others in their wake.

15. Kadavar, Kadavar

Released by Tee Pee. Track streamed July 9.

I already singled out Kadavar‘s Kadavar as the 2012 Debut of the Year, so if you need any sense of the reverence I think the German trio earned, take whatever you will from that. There really isn’t much to add — though I could nerd out about Kadavar‘s ultra-effective retroisms all day if you’re up for it — but something I haven’t really touched on yet about the record: When I was out in Philly last weekend, the DJ cleverly mixed Kadavar into a set of early ’70s jams, and it was all but indistinguishable in sound from the actual classics. That in itself is an achievement, but Kadavar‘s level of craft also stands them out among their modern peers, and it was drummer Tiger‘s snare sound that I first recognized in “All Our Thoughts,” so right down to the most intricate details, Kadavar‘s Kadavar was a gripping and enticing affair that proved there’s still ground to cover in proto-heavy worship.

14. Stubb, Stubb

Released by Superhot Records. Reviewed Feb. 2.

The fuzz was great — don’t get me wrong, I loved the fuzz — but with Stubb‘s Stubb, it was even more about the songs themselves. Whether it was the interplay between guitarist Jack Dickinson and bassist Peter Holland (also of Trippy Wicked) on vocals for the chorus of “Scale the Mountain” or the thickened shuffle in “Soul Mover” punctuated by drummer Chris West‘s (also Trippy Wicked and Groan) ever-ready fills, there wasn’t a clunker in the bunch, and though it’s an album I’ve basically been hearing since the beginning of the year, its appeal has endured throughout and I still find myself going back to it where many others have already been forgotten. With the acoustic “Crosses You Bear” and more laid-bare emotionality of “Crying River,” Stubb showed there was more them than excellence of tone and with the seven-minute finale “Galloping Horses,” they showed they were ready to jam with the best. Truly memorable songs — and also one of the live highlights of my year.

13. Orange Goblin, A Eulogy for the Damned

Released by Candlelight Records. Reviewed Dec. 15, 2011.

Orange Goblin‘s purpose seemed reborn on their seventh album and Candlelight Records debut, A Eulogy for the Damned. Culling the best elements from their last couple albums, 2007’s Healing Through Fire and 2004’s Thieving from the House of God, the long-running London troublemakers upped the production value and seemed bent from the start on taking hold of the day’s sympathy toward their brand of heavy. With tales of alcoholic regret, classic horrors and a bit of cosmic exploration for good measure, they marked their ascent to the top of the British scene and took well to the role of statesmen, headlining Desertfest and proceeding to smash audiences to pieces around the continent at fests and on tours. Look for them to do the same when they bring the show Stateside in 2013 with Clutch. Their plunder is well earned, and I still rarely go 48 hours without hearing the bridge of “The Fog” in my head. Can’t wait to see them again.

12. Ararat, II

Released by Elektrohasch Schallplatten. Reviewed March 28.

While I still miss Los Natas, my grief for their passing has been much eased over the last two years by frontman Sergio Chotsourian‘s doomier explorations in Ararat. The first album, 2009’s Musica de la Resistencia (review here), ran concurrent to Los Natas‘ swansong, Nuevo Orden de la Libertad, but with II, the new three-piece came into their own, setting space rock synth against low-end sprawl, thick drumming and Chotsourian‘s penchant for experimenting with structure. Extended tracks “Caballos” and “La Ira del Dragon (Uno)” were positively encompassing, and showed Ararat not only as a distinct entity from Los Natas, but a turn stylistically for Chotsourian into elephantine plod, wide-open atmospherics and a likewise expansive creative sensibility. The acoustic “El Inmigrante” and piano-led “Atenas” offered sonic diversity while enriching the mood, and closer “Tres de Mayo” hinted at some of the melding of the various sides that might be in store in Ararat‘s future. If the jump from the first record to the second is any indicator, expect something expansive and huge to come.

11. Ufomammut, Oro

Released by Neurot. Reviewed April 3 & Aug. 16.

Italian cosmic doom meganauts Ufomammut outdid themselves yet again with Oro, breaking up a single full-length into two separate releases, Oro: Opus Primum and Oro: Opus Alter. But the album — which I’ve decided to list as the single entity Oro rather than its two component parts basically to save myself some brain space — was more than just big in terms of its runtime. More importantly, Ufomammut were able to hold firm to their commitment to stylistic growth, drawing on their greatest triumph yet, 2010’s Eve (review here), the trio pushed themselves even further on their Neurot Recordings debut, resulting in an album worthy of the legacy of those releasing it. I don’t know if Oro will come to define Ufomammut as Eve already seems to have — dividing it as they did may have made it harder for listeners to grasp it as a single piece — but it shows that there’s simply no scaring the band out of themselves. Brilliantly tied together around a central progression that showed up in “Empireum” from Opus Primum and “Sublime” on Opus Alter, I have the feeling Ufomammut will probably have another album out before Oro‘s breadth has fully set in.

 10. Conan, Monnos

Released by Burning World/Gravedancer. Reviewed March 1.

Behold the standard bearers of heavy. It wasn’t long after hearing UK trio Conan for the first time that I began using them as a touchstone to see how other bands stacked up, and to be honest, almost no one has. Led by the inimitable lumber provided by the tone of guitarist/vocalist Jon Davis (interview here), Conan stripped down their approach for Monnos, returning to Foel Studio in Wales to work with producer Chris Fielding — who’d also helmed their 2010 Horseback Battle Hammer EP — and the resulting effort was both trim and humongous. Early tracks like “Hawk as Weapon,” “Battle in the Swamp” (an old demo given new life) and “Grim Tormentor” actually managed to be catchy as well as sonically looming, and the more extended closing duo of “Headless Hunter” and “Invincible Throne” showed that Conan could both use their tone to build forward momentum and plod their way into ultra-slow, ultra-grim despairing nothingness. Monnos affirmed Conan as one of the most pivotal acts in doom, and with new material and a home studio reportedly in the works, as well as further European touring on the docket for early 2013, their onslaught shows no signs of letting up. Right fucking on.

9. My Sleeping Karma, Soma

Released by Napalm Records. Reviewed Sept. 6.

In some ways, it seems like the easiest thing in the world, but with My Sleeping Karma‘s fourth full-length, Soma, it really was just a question of a band taking their sound to a completely new level. The German heavy psych instrumentalists brought forth the sweetness of tone their guitars have harnessed over the course of their three prior offerings, but the progressive keyboard flourishes, the warmth in the bass, the tight pop of the drums — it all clicked on Soma in a way that the other records hinted was possible and made the album the payoff to the four-piece’s long-established potential. Wrapped around the titular theme of a drink of the gods and with its tracks spaced out by varying ambient interludes, no moment on the album felt like it wasn’t serving the greater purpose of the whole, and the whole proved to be a worthy purpose indeed. Hands down my favorite instrumental release of the year and an effort that pushed My Sleeping Karma to the front of the pack in the crowded European heavy psych scene.

8. Graveyard, Lights Out

Released by Nuclear Blast. Reviewed Oct. 11.

The damnedest thing happens every time I turn on Graveyard‘s third album, Lights Out, in that before I’m halfway through opener “An Industry of Murder,” I have to turn it up. The reigning kings of Swedish retro heavy wasted no time following up 2011’s stunning sophomore outing, Hisingen Blues (review here), and with the four-year gap between their self-titled debut and the second record, it was a surprise from the moment it was announced, but more than that, Lights Out showed remarkable development in Graveyard‘s sound, offering elements of classic soul on songs like “Slow Motion Coundown” and “Hard Times Lovin'” to stand alongside the brash rock and roll of “Seven Seven” or the irresistible hook provided by “The Suits, the Law and the Uniforms” or the single “Goliath.” A landmark vocal performance from guitarist Joakim Nilsson and newly surfaced political bent to the lyrics hinted that Graveyard were nowhere near done growing, but seriously, if they put out four or five more records in the vein of Lights Out, I doubt there’d be too many complaints. Already one can hear the influence they’ve had on European heavy rock, and Lights Out isn’t likely to slow that process in the slightest.

7. Saint Vitus, Lillie: F-65

Released by Season of Mist. Reviewed March 26.

Three drum hits and then the lurching “Let Them Fall” — the leadoff track on the first Saint Vitus studio album since 1995 — is underway, and it’s exactly that lack of pomp, that lack of pretense, that makes Lillie: F-65 so righteous. Admittedly, it’s a reunion album. They toured for a couple years playing old material, then finally decided to settle in and let guitarist Dave Chandler (interview here) start coming up with a batch of songs, but you can’t argue with the results. They nailed it. With Tony Reed‘s perfect production (discussed here), Vitus captured the classic tonality in Chandler‘s guitar and Mark Adams‘ bass and kept to their sans-bullshit ethic: A short, 33-minute album that leaves their audience wondering where the hell that assault of noise just came from. Scott “Wino” Weinrich‘s presence up front was unmistakable with Chandler‘s punkish, no-frills lyrics (as well as his own on “Blessed Night,” the first song they wrote for the album), and drummer Henry Vasquez not only filled the shoes of the late Armando Acosta but established his own persona behind the kit. I hope it’s not their last record, but if it is, Saint Vitus came into and left Lillie: F-65 as doom legends, and their work remains timeless.

6. Ancestors, In Dreams and Time

Released by Tee Pee. Reviewed March 23.

Talk about a band who shirked expectation. Guitarist/vocalist Justin Maranga and I discussed that aspect of Ancestors a bit in an interview over the summer, but it’s worth underscoring. There was next to nothing in either of Ancestors‘ first two albums to hint at where they’d go with the third. Both Neptune with Fire and Of Sound Mind (review here) were rousing, riff-led efforts that headed toward a particular heavy sensibility, but it was with last year’s Invisible White EP (review here) that the L.A. outfit began to show the progressive direction they were heading. And In Dreams and Time is even a departure from that! It’s kind of a departure from reality as well, with the Moog/organ/synth mesh from Matt Barks and Jason Watkins (also vocals), dreamy basslines from Nick Long and hold-it-all-together drumming of Jamie Miller — since out of the band. Closer “First Light” was my pick for song of the year, and had the album been comprised of that track along, it’d probably still be on this list somewhere, but with the complement given to it by the piano sprawl of “On the Wind” and driving riffs and vocal interplay of “Correyvreckan” (if you haven’t heard Long‘s bass on the latter as well, you should), there was little left to question that this was the strongest Ancestors release of their career to date and hopefully the beginning of a new era in their sound. They’ve never been what people wanted them to be, but I for one like not knowing what to expect before it shows up, at least where these guys are concerned.

5. High on Fire, De Vermis Mysteriis

Released by E1 Music. Reviewed March 12.

After what I saw as a lackluster production for 2010’s Snakes for the Divine, Oakland, CA, trio High on Fire aligned themselves with producer Kurt Ballou (Converge) for De Vermis Mysteriis and completely renewed the vitality in their attack. Built on the insistence of “Bloody Knuckles,” furious fuckall of “Fertile Green,” unmitigated piracy of “Serums of Laio” and eerie crawl in “King of Days,” De Vermis Mysteriis was both aggressive in High on Fire‘s raid-your-brain-for-THC tradition and extreme in ways they’ve never been before. Groovers like the instrumental “Samsara” and earlier “Madness of an Architect” offered bombast where the thrash may have relented, while “Spiritual Rites” proved that guitarist/vocalist Matt Pike (also Sleep; interview here), bassist Jeff Matz and drummer Des Kensell had arrived at a new threshold of speed and intensity. Whatever personal issues may have been in play at the time, High on Fire delivered a blistering full-length that stands up to and in many ways surpasses any prior viciousness in their catalog, and their level of performance on their current tour makes it plain to see that the band is ready for ascendency to the heights of metal. They are conquerors to the last, and if De Vermis Mysteriis is what I get for wavering, then I’ll consider my lesson hammered home in every second of feedback, tom thud and grueling second of distortion topped with Pike‘s signature growl.

4. Neurosis, Honor Found in Decay

Released by Neurot. Reviewed Sept. 21.

When I interviewed interviewed Steve Von Till about Honor Found in Decay, the Neurosis guitarist/vocalist called the band “a chaos process” in reference to their songwriting. I have no trouble believing that, because while Neurosis stand among the most influential heavy metal bands of their generation — having had as much of an effect on what’s come after them as, say, Meshuggah or Sleep, while also having little sonically in common with either of them — it’s also nearly impossible to pinpoint one aspect of their sound that defines them. The churning rhythms in the riffing of Von Till and his fellow frontman, guitarist/vocalist Scott Kelly (interview here), Dave Edwardson‘s intensity on bass and periodic vocal, the assured percussive creativity of Jason Roeder and the experimental edge brought to bear in Noah Landis‘ synth and sampling all prove to be essential elements of the whole. On Honor Found in Decay — and this isn’t to take away anything from any other particular member’s songwriting contributions — it would be Landis standing out with his greatest contributions yet, becoming as much a defining element in songs like “At the Well,” “Bleeding the Pigs” and “Casting of the Ages” as either Kelly or Von Till‘s guitars. Had I never seen the band before, I’d have a hard time believing Honor Found in Decay could possibly be representative of their live sound, but they are every bit as crushing, as oppressive and as emotionally visceral on stage — if not more so — as they are on the album, and while their legacy has long since been set among the most important heavy acts ever, period, as they climb closer to the 30-year mark (they’ll get there in 2015), Neurosis continue to refuse to bow to what’s expected of them or write material that doesn’t further their decades-long progression. They are worthy of every homage paid them, and more.

3. Greenleaf, Nest of Vipers

Released by Small Stone. Reviewed Feb. 28.

It’s hard for me to properly convey just how happy listening to Greenleaf‘s Nest of Vipers makes me, and I’ve got several false starts already deleted to prove it. The Swedish supergroup of vocalist Oskar Cedermalm (Truckfighters), guitarists Tommi Holappa and Johan Rockner (both Dozer), bassist Bengt Bäcke (engineer for Dozer, Demon Cleaner, etc.) and drummer Olle Mårthans (Dozer) last released an album in 2007. That was Agents of Ahriman, which was one of my favorite albums of the last decade. No shit. Not year, decade. With a slightly revamped lineup and Dozer‘s maybe-final album, 2008’s Beyond Colossal, and the never-got-off-the-ground side-project Dahli between, Nest of Vipers landed this past winter and with the shared membership, Karl Daniel Lidén production and consistency of songwriting from Holappa (interview here), I immediately saw it as a sequel to the last Dozer, but really it goes well beyond that. Tracks like “Dreamcatcher,” “Case of Fidelity,” “The Timeline’s History” and soaring opener “Jack Staff” show that although they’d never really toured to that point and been through various lineups over the years, Greenleaf was nonetheless an entity unto its own. Cedermalm‘s vocals were a triumph, Mårthans‘ drumming unhinged and yet grounded, and guest appearances from organist Per Wiberg and vocalists Peder Bergstrand (Lowrider/I are Droid) and Fredrik Nordin (Dozer) only enriched the album for repeat listens, which I’m thrilled to say it gets to this very day. If I called it a worthy successor both to Dozer and to Agents of Ahriman, those words alone would probably fall short of conveying quite how much that means on a personal level, so let its placement stand as testimony instead. This is one I’ll be enjoying for years to come, and when I’m done writing this feature, this is the one I’m gonna put back on to listen through again. It has been, and no doubt will continue to be, a constant.

2. Om, Advaitic Songs

Released by Drag City. Reviewed Aug. 13.

Go figure that the Om record two albums after the one called Pilgrimage would feel so much like a journey. Further including multi-instrumentalist/vocalist Robert A. A. Lowe (also of experimental one-man outfit Lichens) alongside the established core duo of drummer Emil Amos (also of Grails) and bassist/vocalist Al Cisneros (also of Sleep), as well as incorporating a range of guest appearances from the likes of Grayceon‘s Jackie Perez Gratz on cello and Worm Ouroboros‘ Lorraine Rath (who appeared on 2010’s God is Good as well) on flute, Om fleshed out what was once a signature minimalism to the point of being a lush, constantly moving and markedly fluid entity. Cisneros, as the remaining founder and lead vocalist, served as a unifying presence in the material — his bass still was still very much as the center of  “Gethsemane” or the more straightforward and distorted “State of Non-Return” — but those songs and “Addis,” “Sinai” and gloriously melodic closer “Haqq al-Yaqin” amounted to more than any single performance, and where prior Om outings had dug themselves deep into a kind of solitary contemplation, Advaitic Songs looked outward with a palpable sense of musical joy and a richness of experience that could only be called spiritual, however physically or emotionally arresting it might also prove. I’ve found it works best in the morning, as a way to transition from that state of early half-there into the waking world — which no doubt has more harshness in mind than the sweet acoustics and tabla at the end of “Haqq al-Yaqin” — so that some of that sweetness can remain and help me face whatever might come throughout the day. A morning ceremony and a bit of meditation to reorder the consciousness.

1. Colour Haze, She Said


Released by Elektrohasch Schallplatten. Reviewed Sept. 18.

Didn’t it have to be Colour Haze? Didn’t it? Two discs of the finest heavy psychedelic rock the world has to offer — yes I mean that — plus all they went through to get it out, the drama of building and rebuilding a studio, recording and re-recording, pressing and repressing, what else could it have been but She Said? After two-plus years of waiting, I was just so glad when it actually existed. Late in 2008, the Munich trio released All, and that was my album of the year that year as well (kudos to anyone who has that issue of Metal Maniacs), but I feel like even if you strip all that away and take away all the drama and the band’s influence, their standing in the European scene, guitarist/vocalist Stefan Koglek (interview here) fostering next-gen talent on Elektrohasch and whatever else you want or need to remove, She Said still holds up. Just the songs themselves. The extra percussion layered in with Manfred Merwald‘s drums on “She Said,” the horns and Duna Jam-ambience on “Transformation,” the unpretentious boogie of “This” on disc one, or the rush of “Slowdown” on disc two and the culmination the whole album gets when the strings kick in on “Grace.” Those strings. God damn. Suddenly a 2CD release makes sense, when each is given its own progression, its own destination at which to arrive, and tired as I am I still tear up like clockwork when I put on “Grace” just to hear it while I type about it. Beautifully arranged, wonderfully executed, She Said couldn’t be anywhere but at the top spot on this list. The warmth in Koglek‘s guitar and Philipp Rasthofer‘s bass on “Breath” and the way their jams always seem to have someplace to go, I feel like I’m listening to a moment exquisitely captured. There isn’t a doubt in my mind Colour Haze are the most potent heavy rock power trio in the world, and that their chemistry has already and will continue to inspire others around them, but most importantly, She Said met the true album-of-the-year criteria in not seeming at all limited to the confines of 2012 — as though it had some kind of expiration date. Not so. Even though I’ve already been through them more times than I know or would care to share had I counted, I look forward to getting to know the songs on She Said over the years to come, and as I have with Colour Haze‘s works in the past, seeing their appeal change over time the way the best of friends do. It couldn’t have been anything but Colour Haze. Whatever hype other albums or bands have, for me, it’s this, and that’s it.

Honorable Mentions

If this list went to 25, the next five would be:

21. Snail, Terminus
22. Revelation, Inner Harbor
23. Wo Fat, The Black Code
24. Groan, The Divine Right of Kings
25. Caltrop, Ten Million Years and Eight Minutes

Honorable mention goes to: Trippy Wicked and the Cosmic Children of the Knight (another one about whom I have a hard time being impartial), Mighty High, At Devil Dirt, Bell Witch, Samothrace, Enslaved, Viaje a 800, and Larman Clamor.

Also worth noting some conspicuous absences: Witchcraft, Swans, Baroness, Royal Thunder, The Sword, Torche. These albums garnered a strong response and have done well in the Readers Poll looking at the results so far, but please keep in mind, this is my list, I took a night to sleep on it, I stand by it and I’ve got my reasons for selecting what I did. You’ll find about 5,000 words of them above.

Thank you as always for reading. If you disagree with any picks, want to add your own take on any of the above, or anything else — really, whatever’s cool — please leave a comment below.

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One Afternoon out on Long Island

Posted in Whathaveyou on November 21st, 2012 by H.P. Taskmaster

There is a sticker on my desk that reads as follows:

“F the Booth” is a simple enough slogan to remember, though I’ve yet to hear anything from Long Island noise rockers John Wilkes Booth (other than their name) that would actually inspire me to say it. The four-piece are reportedly at work on their next album after delays for things like hurricanes, jobs, playing SHoD, etc., and ever ones for an afternoon’s distraction, they’ve booked a Sunday matinee for Dec. 2 with a pretty right on lineup of bands.

The show will take place at Mr. Beery’s in Bethpage, and anytime Lord Fowl and Lo-Pan show up in the same place, you can be pretty well assured it’s a good time. All exclamations and times that follow were hijacked from the Thee Facebooks event page:

Afternoon Rock Show to end all Rock Shows!!!!!!!

Join us for 6 killer bands including Small Stone Artist Lord Fowl & Lo-Pan!!!!!!  This is a one off for Lo-Pan from their tour with High On Fire & Goatwhore!!

If you miss this it is pretty obvious that you are an idiot.

3 Jones Crusher
4 Warsaw Sage (Cliff & Andy from Wormsmeat)
5 Lord Fowl {Conneticut} (Small Stone Recs.)
6 John Wilkes Booth
7 Lo-Pan {OHIO} (Small Stone Recs.)
8 Half Ton Session

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