Posted in Whathaveyou on February 22nd, 2017 by JJ Koczan
This is probably the most prickish thing I’ll say today — actually, strike that; I say all kinds of prickish shit on a given day and no way am I willing to commit to this being the most — but I’m kind of glad Isis have stayed broken up. Not that I wasn’t a fan of the post-metal pioneering they did on records like 2000’s Celestial, 2002’s Oceanic and 2004’s Panopticon, but where so many other bands have called it a quits, sat on their hands and then come back together for the invariably successful reunion tour, Isis have (to-date) stuck to their guns, remained inactive in this form, and gotten on with their creative lives.
Yeah, they’re still putting out live records like this one, and they’ve still got a buttload of merch for sale, but there’s a big difference between that and continuing to pursue what, by the time 2009’s Wavering Radiant came around, seemed to have run its natural course. Maybe they’ll get back together at some point. Hell, probably. But it’s been almost seven full years since they announced their breakup, and quite frankly that’s already longer than I thought they’d be away. Presumably staying busy helps, and the ex-members of Isis certainly do that.
Just my two cents, which is worth about half of one on a good day. Don’t mean to sound like a prick, but yeah Isis. Stay broken up. Rock on.
From the PR wire, which is quick to point out that Ipecac Recordings is in no way releasing live albums from terrorist organizations:
IPECAC RECORDINGS TO RELEASE LIVE VII BY ISIS (THE BAND) ON MARCH 31
LIMITED EDITION COLLECTION, THE SEVENTH RELEASE IN ONGOING LIVE SERIES, FEATURES MUSIC SPANNING DISCOGRAPHY; PRE-ORDERS AVAILABLE NOW
One of heavy music’s most influential artists of the past 20 years, Isis (the band), are to release the seventh in their ongoing series of live albums with Live VII (Ipecac Recordings, March 31st).
The collection will see a limited worldwide release of 3000 CD copies, 2000 vinyl copies (vinyl will be available at a later date) with an additional 600 made available exclusively to indie retailers. Pre-orders are available now via Ipecac’s web store and Bandcamp. The nine-song set was recorded on Feb. 25, 2010, at The Corner hotel in Melbourne, Australia during the band’s stint on the venerable Soundwave Festival. The band’s own Aaron Harris mixed the album.
Live VII track list: 1. Hall of the Dead 2. Hand of the Host 3. Holy Tears 4. 20 Minutes / 40 Years 5. Ghost Key 6. Wills Dissolve 7. Threshold of Transformation 8. Carry 9. Celestial (The Tower)
The members of Isis (the band) continue to push the boundaries of modern music with Aaron Harris working as a film and television composer for Methodic Doubt while continuing work with Palms alongside his former bandmates’ Jeff Caxide and Bryant Clifford Meyer. Meyer also creates music under the Taiga moniker. Aaron Turner continues recording, releasing records and touring with numerous groups, most prominently SUMAC and Mammifer. Mike Gallagher’s Mustard Gas and Roses released their new album, Becoming, in late 2016.
Posted in Whathaveyou on February 6th, 2017 by JJ Koczan
So now the pieces come together. Been waiting on European tour dates for Los Angeles-based space rockers Farflung for a while now, it feels like, and the announcement of dates and venues fits about what was expected. The band head abroad again under the banner of Heavy Psych Sounds to herald the release of their forthcoming Unwound Celluloid Frown EP, following up on last year’s full-length, 5 (review here), which offered trippy joys for all willing to lose themselves in its cosmic expanse. Unwound Celluloid Frown is due out in April, and we knew from prior announcements that Farflung would appear at Desertfest Berlin 2017 — also in April — so yeah, confirmation that they’ll be on tour around that isn’t a huge surprise. Welcome news all the same.
Oh, and the EP rules. Stay tuned for more on it.
Dates and details come courtesy of Heavy Psych Sounds:
Farflung – April 2017 European Tour
HEAVY PSYCH SOUNDS Records & Booking is happy to announce the European dates for FARFLUNG
21.04.2017 IT Torino-Blah Blah 22.04.2017 IT Brianza 23.04.2017 DE Friburg-White Rabbit 24.04.2017 DE Frankfurt-Yachtklub 25.04.2017 BE Bruxelles-Magasin 4 26.04.2017 DE Koln-Sonic Ballroom 27.04.2017 DE Cottbus-Zum Faulen August 28.04.2017 DE Bielefeld-Forum 29.04.2017 DE Berlin-DESERT FEST 01.05.2017 DE Dresden-Hippie Village Party 02.05.2017 CH St Gallen-Rumpeltum 03.05.2017 IT Trieste-Teris 04.05.2017 AT Salzburg-Rockhouse 05.05.2017 AU Steyr-Kulturverein Röda 06.05.2017 CH Winterthur-Gaswerk
Cosmic space lords Farflung return with their new Ep ‘Unwound Celluloid Frown’ 33 minutes of lysergic grooves and slamming riffs. Imagine, as if the bastard child of Amon Duul ii and Hawkwind arose from the ashes of America. Stark and glimmering, bathed in the energetic glow of the Stooges, one last cup raised to the lunatics and wishing for wounds. They have set their course for the farthest reaches of the universe.
Are you ready? Are you ready to climb aboard their craft? Fasten your safety belts, engage your breathing apparatus. The lift off is about to begin.
Recorded at Saturn Moon Studio and EMU4 Tritium in 016/017 produced by Grenas/Esther/Nakata. With Special Guests: Abby Travis (Track 3) / Jensen Bell. (Track 3)
Posted in Whathaveyou on February 2nd, 2017 by JJ Koczan
A full European tour from Los Angeles two-piece Big Business hasn’t necessarily been unexpected. They were announced back in December as taking part in Roadburn 2017 (info here) in the Netherlands, and other dates have been trickling out along the way, but it’s good to see it’s all actually happening around a pretty significant month-long run that finds them supporting last year’s Command Your Weather album, which was released by Joyful Noise. They’ll start off in the UK and be joined by Whores for the duration, playing two sets at Droneburg Festival the weekend before the aforementioned Roadburn and making their way west toward Iberia before looping back to finish in Paris, from whence they’ll no doubt catch a flight at Charles de Gaulle off to their next adventure.
And by adventure, I probably mean tour. Dudes tour a lot. That’s my big insight on Big Business. Thanks for reading The Obelisk.
The PR wire has dates and details:
BIG BUSINESS COMMAND YOUR WEATHER TOUR DATES
Following the release of Command Your Weather (July, Joyful Noise) last year, bass-drum rascals, Big Business have announced tour dates with special guests Whores. Full dates below…
BIG BUSINESS COMMAND YOUR WEATHER EUROPEAN TOUR 2017 SPECIAL GUEST: WHORES 31.03. UK Bristol The Fleece 01.04. UK Leeds Brudenell Social Club 02.04. UK Manchester Star And Garter 03.04. UK Glasgow Audio 04.04. UK Birmingham Mama Roux’s 05.04. UK London Underworld 06.04. Be Antwerp Trix 07.04. FR Lyon Le Periscope 08.04. IT Torino Spazio 211 09.04. IT Milano Magnolia 10.04. AT Wien Arena 11.04. CZ Prague 007 13.04. DE Berlin Droneberg Festival 14.04. DE Hamburg Droneburg Festival 15.04. DE Dresden Beatpol 16.04. DE Köln Underground 17.04. DE München Feierwerk 18.04. CH Lausanne Le Romandie 21.04. NL Tilburg Roadburn Festival 22.04. FR Nantes Le Ferailleur 23.04. FR Bordeaux Void 24.04. ES San Sebastian Dabadaba 25.04. PT Lisbon Sabotage Club 26.04. ES Madrid Boite Live! 27.04. ES Barcelona Rocksound 28.04. FR Montpellier Black Sheep 29.04. FR Orleans L’Astrolabe 30.04. FR Paris Le Glazart
Fans will already know Jared Warren and Coady Willis are the masters of fusing torrentially heavy sonics and rumbling bellows with an undeniable groove that forever dazzles listeners and spectators alike. The pair demonstrate that the distorted low-end can be fun and joyous without compromising on the exceedingly behemoth and frantic riffs that oozes out.
Recorded in Joshua Tree, CA, Command Your Weather sees Big Business return to its original line-up of Jared Warren and Coady Willis. Recorded by Dave Curran of Unsane/Pigs (who has worked on Big Business’ previous output), the album was co-released via the band’s own label Gold Metal Records alongside Joyful Noise Recordings.
Founded in 2003 in Seattle, WA. Big Business has spent the last 13 years touring the world and making records including the full-lengths Head for the Shallow (2005), Here Come the Waterworks (2007), Mind the Drift (2009) and 2013’s Battlefields Forever – the first full-length LP they released on their Gold Metal Records label, with the former all released via Hydra Head. In 2006 Jared and Coady joined forces with the Melvins, whereby they have been an integral part of the family and an autonomous two-unit band ever since. In recent years, the duo have also toured extensively alongside Mastodon and Clutch.
Posted in Whathaveyou on January 30th, 2017 by JJ Koczan
Underrated (at least in the US) Los Angeles space rockers Farflung continue their association with Italian imprint Heavy Psych Sounds with the forthcoming EP, Unwound Celluloid Frown, which is out in April, and an impending European tour to coincide. Makes sense to me. If I was Farflung, I’d go back to Europe too. Hell, I’d go back to Europe if I was me, and I am, so uh… space rock, right? That’s what I get for actually listening to Farflung while I write this post: scrambled brains.
Anyhoozle, Unwound Celluloid Frown follows-up the band’s entrancingly cosmic 2016 full-length, 5 (review here), which Heavy Psych Sounds also issued. It’s a pretty quick turnaround for 33 minutes of new music, even for a space rock band, so I don’t know if it’s from the same sessions as the album or what, but whatever. New Farflung is cool by me whatever its point of origin. Take what I can get.
This was beamed in via the PR wire:
Space Rock Lords “FARFLUNG” announce a new ep called “Unwound Celluloid Frown” out April 7th on Heavy Psych Sounds Records
pre sales start February 24th
The new Ep will be released in Black Vinyl, Ltd Coloured Vinyl, Cd, Digital.
Cosmic space lords Farflung return with their new Ep ‘Unwound Celluloid Frown’ 33 minutes of lysergic grooves and slamming riffs…. Imagine, as if the bastard child of Amon Duul ii and Hawkwind arose from the ashes of America….stark and glimmering……bathed in the energetic glow of the Stooges….one last cup raised to the lunatics and wishing for wounds…. They have set their course for the farthest reaches of the universe….
Are you ready? Are you ready to climb aboard their craft? Fasten your safety belts, engage your breathing apparatus…the lift off is about to begin….
Recorded at Saturn Moon Studio and EMU4 Tritium in 016/017. Produced by Grenas/Esther/Nakata. With Special Guests Abby Travis (Track 3), Jensen Bell. (Track 3)
FARFLUNG are also ready to announce the dates for their upcoming european tour in spring!
FARFLUNG IS Tommy Grenas Michael Esther Chris Nakata
The punkish underpinnings of Sinner Sinners can certainly speak for themselves without help from the likes of me, and as regards the Los Angeles-based duo-plus and their new video for “Last Drop,” the boozy heavy rock swing of the track comes through with likewise clarity. They’re not hiding it. They are, however, clearly in denial about their problematic drinking, though that doesn’t seem to have impaired their songcraft any, since “Last Drop” is nothing if not tight in its structural execution and crisp in the delivery of its verses and choruses.
Founded by Steve Thill and Sam Thill, Sinner Sinners have their roots in the Netherlands and France, and there’s maybe some of that European commercial heavy rock possibility to what they do as well — the idea that pop and heavy rock aren’t necessarily mutually exclusive, one represented by a vapid mainstream, the other by an unrecognized underground. That notion, brought together with the sunshine of the American West Coast — not this week, but generally — and the already-noted root influences, gives “Last Drop” a personality of its own to coincide with its classic aspects, which are basically writ large across this track.
I haven’t heard the full album as yet, but they set a pretty high standard here. More info (including preorders for vinyl) follows the clip below.
Sinner Sinners, “Last Drop” official video
Listen to “Last Drop” the first single out of our new album “Optimism Disorder”!
The LP was recorded at Rancho De La Luna in Joshua Tree, California (mostly known for giving birth to the Desert Sessions and recording artists such as Queens of the Stone Age, Iggy Pop, Kyuss, Arctic Monkeys), assorted Los Angeles hide-outs, and engineered in Clermont-Ferrand France. Optimism Disorder was produced by Adam Greenspan (Refused, INVSN, Maximo Park) and Thomas Bellier (Spindrift, Blaak Heat), mixed by Pascal Mondaz in France, and mastered by Simon Capony at @Basalte Studio. The album also features additional engineering by Nic Jodoin (Black Rebel Motorcycle Club) and Jon Russo. Last but very not least, vocalist/guitarist Jesse Hughes of rock n‘ roll groundbreakers Eagles Of Death Metal makes his mark on Optimism Disorder via flute contributions. Video by Jettho (Jeremy Thomas).
Optimism Disorder will hit stores on March 7, 2017 via Cadavra Records in North America in digital and CD formats. In addition, Optimism Disorder will also be available on limited edition, colored 12-inch vinyl via Last Hurrah Records in North America. Visitwww.lasthurrahrecords.comto order your vinyl copy. European fans can order their vinyl via Left Front Door Records here:http://leftfrontdoorrecords.bigcartel.com.
Sinner Sinners is: Steve Thill (Vocals / Guitar) Sam Thill (Vocals / Keys)
with Macy Mullen (Lead guitar), Michael Amster (Drums), Mike McCrary (bass) and Ben Palmer (Rhythm guitar)
Posted in Whathaveyou on January 19th, 2017 by JJ Koczan
We’ve known for a while now that Californian heavy psych/punk rockers The Freeks would be heading abroad to support their 2016 album, Shattered (review here), and with the release out through Italian label Heavy Psych Sounds, it’s even more reasonable to have that label’s booking wing presenting the shows. All makes a lot of sense, I guess is the point, including the significant stretch of the tour that takes place in Italy before hitting Switzerland, France, Austria and Germany, starting Feb. 28 in Rome and going from there. Looks like an awesome run, and no doubt The Freeks will kill it along the way.
They go in the company of Netherlands-based Komatsu, who released their debut full-length, Recipe for Murder One (review here), on Argonauta, and between some of the expanse The Freeks offer and the at times intense tonal weight brought forth by Komatsu, they should make for a fitting and complementary lineup. I won’t get to see the shows, of course, but I’ll look forward at least to the customary tour-end picture of both bands in front of a van or empty stage celebrating the end of a successful time together.
Heavy Psych Sounds announced it like this:
THE FREEKS + Komatsu European Dates Announced!
Heavy Psych Sounds Booking is proud to announce the EU dates for the Californian 70’s fuzzsters The Freeks! The band is just out with their last record “Shattered.” Supporting the entire tour, the heavy rockers from Netherlands, Komatsu!
The Freeks feature Ruben Romano former drummer of Fu Manchu and Nebula as well as Tom Davies, bass player of Nebula.
The Freeks & Komatsu live: 28.02.2017 IT Roma-Traffic 01.03.2017 IT Torino-Café Liber 02.03.2017 IT Erba-Centrale Rock 03.03.2017 IT Bologna-Freak Out 04.03.2017 IT Fidenza-Arci Taun 05.03.2017 IT Castel D’Ario-Hostaria 06.03.2017 IT Zerobranco-Altroquando 07.03.2017 IT Trieste-Tetris 08.03.2017 IT Savignano-Sidro 09.03.2017 CH Basel-Hirschneck 10.03.2017 FR Ensisheim-Woodstock Guitar Shop 11.03.2017 CH Luzern-Bruch Bros 12.03.2017 AT Feldkirch-Graf Hugo 13.03.2017 Looking for a show! 14.03.2017 AT Leipzig-Zoro 15.03.2017 DE Halle-Huhnermanhattan 16.03.2017 DE Berlin 17.03.2017 DE Dresden-Sabotage 18.03.2017 DE Erfurt-Tiko 19.03.2017 DE Munster-Rare Guitar Shop
This Friday, Jan. 20, Los Angeles heavy rockers Aboleth oversee the release of their EP I (discussed here) on CD. Offered last summer digitally and on cassette, the three-track collection introduced a somewhat different direction for the touring rhythm section of psych-jammers The Ultra Electric Mega Galactic, with baguitarist Collyn McCoy and drummer/engineer Dan Joeright joining forces behind powerhouse vocalist Brigitte Roka to elicit classic vibes and a fervent, grooving drive. Clarity of sound and clarity of intent were likewise prevalent, and between the three of them and Matt Lynch of Snail, who mixed and mastered, they left little doubt as to the direction they were headed.
As to that? Less heavy rock and roll in the Californian desert style and more foundational hard rock. That is, rock that doesn’t need to be so aesthetically loyal to one end or the other. Rock that wouldn’t be out of place either in a skate video or in some raucous tv scene. Rock that might, just might, have an appeal beyond the already converted. These probably shouldn’t feel like brave steps for a band to take, even on their first outing, but Aboleth — as much as their name sounds like they should be playing black metal in a forest somewhere — come across as especially bold throughout EP I, which only serves to complement their songwriting and overarching energetic feel.
Roka and McCoy would seem to have parted ways with Joeright, and have been playing shows with the formidable backing of Sasquatch‘s Rick Ferrante. Neither Joeright nor Ferrante appear in the video for “No Good,” directed by Dugan Nasche, so it seems to be up in the air as to who will take that spot permanently, but the clip has plenty of attitude and plenty of hanging out in the desert to work from, and there’s just about nothing more I’d ask of it than that.
And yeah, I know I just went on about how Aboleth don’t necessarily sound like a desert rock band and now I’m posting a video of them actually performing in the desert. You’ll just have to take my word for it when I say they could just as easily have gone any number of places. But I guess when the desert’s nearby, you go to the desert. Fair enough.
Full credits and more info follow the video below. Please enjoy:
Aboleth, “No Good” official video
Aboleth release video for “No Good” from self-titled EP (available on CD Friday, January 20th, 2017)
Los Angeles desert doom band ABOLETH released its first official video for the song “No Good” from their debut EP.
Video was shot on location in Reefer City, CA (yes, it’s a real place, Google it) by infamous cult/occult filmmaker director Dugan Nasche (aka Dugan Na$H). Director of Photography was Mariana Fiel, First AD was Duffey Westlake.
The lo-fi, 70s-exploitation-style video focuses on the antics of vocalist Brigitte Roka and baguitarist Collyn McCoy (Trash Titan, Ultra Electric Mega Galactic, Otep) in a high-desert post apocalyptic landscape.
Said director Dugan Na$H: “I hadn’t done a music video in a few years. I’d been living as a recluse in my desert compound, working with found footage, tape loops. stop-motion animation pornography… anything but music videos, really. So I was skeptical at first. But when I met with Brigitte and Collyn, they had an energy that I wanted to capture. Also, they brought me weed and ammo. I don’t get out much so that was appreciated.”
“The video doesn’t have a concept per se. But the subtext is there. I see them as part of desert witch cult, like a post-apocalyptic Manson family, piecing together what they can of the pop culture flotsam from a bygone era to form something new.”
Aboleth vocalist/resident visual artist Brigitte Roka had this to say: “Working with Dugan was interesting. On the first day of shooting I asked him about one of the shots we filmed and he said he envisioned it that way because it would please his favorite desert demon, the Goat of Lust, as he often referred to it. Never look that guy straight in the eye unless you want to hear a 45-minute long explanation about who the Goat of Lust is. I learned the hard way.”
Aboleth’s debut EP, which was previously available only as a limited-edition cassette, will be available on CD on January 20th, 2017.
Aboleth’s McCoy said of the re-release: “Timing it to coincide with Donald Trump’s inauguration is no accident. The CD edition of the EP contains Satanic back-masking — basically a black magical spell to combat the negative energies generated by Trump presidency. In order for it to work, though, the record has to be cranked loud and often.”
Posted in Features on December 20th, 2016 by JJ Koczan
Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2016 to that, please do.
I say this every year: These are my picks. If you’re unfamiliar with this site, or you don’t come here that often, or if you do and just normally don’t give a crap — all of which is cool — you should know it’s all run by one person. One human being. Me. My name is JJ, and this is a list of what I think are the best albums that were released in 2016.
Since before 2016 began, I’ve kept a running list of releases. My criteria for what gets included in this list is largely unchanged — it’s a balance between what I feel are important records on the level of what they achieve, what I listened to most, what held some other personal appeal, and what I think did the best job of meeting the goals it set for itself. Pretty vague, right? That’s the idea.
The nature of worldwide heavy has become so broad that to encompass it all under some universal standard is laughable. Judging psychedelia, garage rock, heavy psych, doom, sludge and so on by the same measure makes no sense, and as genres continue to splinter and remake themselves as we’ve seen them doing all year and over the last several years, one must be malleable in one’s own taste. We’ve seen a new generation of heavy rock bands emerge in the last three-plus years. It’s been amazing, and there are a few pivotal second and third records that came out in 2016 to affirm that movement underway. Look for it to continue into 2017 and beyond.
This year more than any other seemed to want to bring the different sides together. A laudable goal. Thick riffing marked with flourish of psychedelia. Spacious doom bred against folk impulses. There’s been experimentation around melds that have led to considerable triumphs, and it just doesn’t seem to me that rigid standards can apply. It’s why I don’t grade reviews and never did.
Sound is evolving now as it always has been and as it will keep doing, but like any year, 2016 had a full share of landmarks to offer as a part of that process. As universal development hopefully remains ongoing, it’s only right that we celebrate the accomplishments helping to push it along its winding and sometimes divergent-seeming paths.
I have no doubt you know what I mean. Let’s get to the list:
Seems only fair to start with a record I couldn’t put down. Finnish trio Talmud Beach‘s second album and Svart debut, Chief, hit on just the right blend of laid back, semi-acoustic groove-blues, psychedelia and classic progressive folk rock, but with the exception of its sprawling dreamscape title-track (a welcome arrival at the finale), it also kept the songwriting simple, resulting in a natural, pastoral feel that only highlighted their melodic range in songs like “Mountain Man” and “Snow Snow Snow.” I think it flew under a lot of people’s radar, but I’ve kept going back to it over the course of the year and I see no reason to stop.
Space is still the place. I’ve already highlighted closer “Artificial Light” from Comet Control‘s sophomore LP, Center of the Maze as my favorite song of 2016, so I’ll spare you the longwinded treatise on its languid cosmic glories — this time — but consider this a reminder that that song was by no means the limit of what the eight-track release had to offer in terms of breadth. From the opening push of “Dig out Your Head” to the dream-drift of “Sick in Space,” it unfolded tonal presence and a melodic depth that engaged a gorgeous, multifaceted sonic wash as it moved onward toward that landmark conclusion.
There was not a level on which Madison, Wisconsin’s Droids Attack didn’t make it clear they were going all-out, all-in on Sci-Fi or Die. Even the title speaks to the stakes involved. And sure enough, the trio executed their fourth album with a sense of urgency and professionalism in songcraft, production, artwork (discussed here) and nuance of presentation that managed to make even a song called “Clawhammer Suicide” a classy affair. As guitarist/vocalist Brad Van said on the hidden title-track, “Death to false stoner thrash.” Droids Attack brought that ethic and more to life across the entire record.
A winding road brought Beelzefuzz around to following up their 2013 self-titled debut (review here), and as The Righteous Bloom brought guitarist/vocalist Dana Ortt and drummer Darin McCloskey together with bassist Bert Hall and lead guitarist Greg Diener, it found their songwriting more expansive, more progressive and dug further into their own particular oddball sense of grandeur. I’ve said on multiple occasions that no one out there is doing what Beelzefuzz are doing and that continues to be true. Even as a first offering from a new lineup of the band, The Righteous Bloom took bold and exciting forward steps.
Down to business. Immediately. Not a moment to spare. Taking part in what can only be considered a landmark year for Ripple Music, Baltimore’s Foghound issued The World Unseen as an answer to their 2013 debut, Quick, Dirty and High (review here), and upped their game across the board. From the intensity in the hooks of “Message in the Sky” and Rockin’ and Rollin'” to the quiet interlude of “Bridge of Stonebows” and the mid-paced heavy rock nod of “Never Return,” they made a strong case for themselves among their label’s foremost acts and found individualism in the growth of their songwriting. It was a kick in the ass you weren’t going to forget.
Put out by the band digitally in Dec. 2015 and issued on vinyl in 2016, Egypt‘s second LP, Endless Flight may be somewhat debatable in terms of when it actually landed (hence “25a.,” above), but the quality of the six-tracker more than warrants inclusion anyway. Rolling dense, massively-fuzzed groove, its nine-minute opening title-track set the course for the Fargo, North Dakota, three-piece, and they only grew the heavy revelry from there, as heard on the penultimate “Black Words,” which seemed to be chewing on rocks even as it played back and forth in tempo, build and push. The converted never had it so good.
There seems to be no stopping the Chiliomodi-based 1000mods, who with their third album have stepped to the forefront of Greece’s populous and vibrant heavy rock underground. Progressed well beyond where even 2014’s impressive Vultures (review here) found them, they seemed to hit a stride with Repeated Exposure To… thanks in part to road time and the ability to bring that energy directly into songs like the eight-minute roller “Loose” and the sizable crashes of “Groundhog Day.” Momentum working in their favor could be heard front-to-back from “Above 179” to “Into the Spell,” moving them toward something ever-more crucial and marking a considerable achievement along that path. 2017 might be a good time for them to test the waters with initial US shows.
Quick turnaround from Roman heavy psych magnate Gabriele Fiori (guitar/vocals) and company, but though it hit just about 13 months after their fourth full-length, Hawkdope (review here), Black Rainbows, Stellar Prophecy wholly succeeded in making an impact of its own, cuts like the oozing, organ-laced “Woman” and 11-minute jam-out triumph “Golden Widow” showcasing an approach in a continuous state of refinement that seems to get rawer as it goes, shifting like a rogue planetoid toward some maddening cosmic realization. How something can seem both so frenetic and so blissful is still a mystery, and perhaps that’s part of what makes Stellar Prophecy resonate as it does, but either way, Black Rainbows brought together some of the year’s most efficient psychedelic immersion.
Borracho don’t seem to release an album until they have something to say. That was to their credit on Atacama, their third LP and label debut for Kozmik Artifactz debut. Also their second collection issued as a trio behind 2013’s Oculus (review here), it distinguished itself from its predecessor in its sense of overarching flow, shifting between the ahead-thrust of “Gold from Sand” into the 10-minute sample-laden jam “Overload” to start out with such ease that the listener had little choice but to follow along. With an expanded scope on “Drifted away from the Sun” and the lightly-strummed memento mori “Flower,” Borracho found new avenues of expression to complement their well established dense, heavy riffing, and took obvious care in crafting their most realized LP yet.
Nothing Brooklyn’s The Golden Grass does feels like happenstance, and though their classic-styled boogie is imbued with a vibrant, friendly positive energy, there’s an underlying meticulousness in their arrangements and in their songwriting that came further into focus on Coming Back Again, their sophomore release 2014’s self-titled debut (review here). A more progressive take showed itself in “Reflections” and “Down the Line,” and taken in combination with the bookends “Get it Together” and “See it Through,” the three-piece stood on ground that was even more their own than on the first record, striking a careful balance between the willful exploration of new elements and the outright need for tracks to directly engage their listeners with catchy hooks and upbeat vibes. They did it. Expect continued growth.
For something so awash in fuzz, so nodding in its rhythms, so let’s-push-the-vocals-back-under-this-huge-awesome-fucking-riff, Curse the Son‘s Isolator was also remarkably clearheaded in its purposes. With the added vocal harmonies of “Callous Unemotional Traits,” the far-off spaces of “Hull Crush Depth” and the stoner metal despair of “Aislamiento,” the Connecticut three-piece of guitarist/vocalist Ron Vanacore, capital-‘d’ Drummer Michael Petrucci and newcomer bassist Brendan Keefe drew a direct, intentional line to sometimes-grueling (hello, “Sleepwalker Wakes”) weighted tonality and found justification for their largesse in its own being. Like 2012’s Psychache (review here), I expect to be returning to Isolator over a longer term than this single year of release.
I feel like I need to explain myself here. Make no mistake, Neurosis‘ Fires Within Fires is among the year’s most accomplished offerings. There’s just about no way it wouldn’t be. So why not top 10? Top five? It’s a question of timing. With the long-running post-metal progenitors, it’s always a longer digestion period. It was about two years before 2012’s Honor Found in Decay (review here) really sunk in, and I expect Fires Within Fires will work similarly over the greater term. Maybe a little guilt on my part for the disparity between its quality and its placement, but rest assured, Neurosis remain among the most imperative bands walking the earth, and as they took on the full brunt of 30 years of unmitigated progression through Fires Within Fires, they were no less brazen in pushing themselves creatively than they’ve ever been.
Though the narrative of Conan has remained largely unchanged since their inception — hack, slash, kill, riff — and they still bask in nigh-on-unmatched tonal slaughter, their third full-length brings a few key developments. Perhaps most notable from opener “Throne of Fire” onward is the vocal interplay between guitarist/founder Jon Davis and bassist/longtime-engineer Chris Fielding, who joined after 2014’s Blood Eagle (review here). Adding Fielding‘s deeper growls allowed Davis to subtly move into a cleaner shout, and the emergent dynamic between them made Revengeance a decidedly expanded affair compared to Conan‘s past work. Adding drummer Rich Lewis to the mix was no minor shift either, and as much as Conan had already established their sheer dominance, they also sounded refreshed and set themselves up to keep growing.
Some records just feel like gifts, and though many of its lyrical positions were cynical — “Reality,” “21st Century Slave,” “Mind Control Machine,” “Red the Sign Post,” etc. — Freedom marked the 15th anniversary of Danish garage-psych rockers Baby Woodrose with dripping lysergic aplomb, reminding some four years after their last LP, 2012’s Third Eye Surgery (review here), that bandleader Lorenzo Woodrose is unparalleled when it comes to manifesting his take on the psychedelic victories of 13th Floor Elevators and classic-era Hawkwind — firmly at home levitating on the edge of time. Its swirl and underlying foundation of songwriting, its Richie Havens cover title-track, and its sprawling interstellar “Termination” were like a welcome check-in from another dimension, and I only hope it’s not four years before Woodrose sends the next signal. Earth needs this band.
I’m not going to discount the shuffle of “Sunday Speed Demon” or sleeze of “Sunday Speed Demon,” but where Geezer‘s self-titled third full-length really showed how far the New York heavy blues-psych trio have come was in its extended midsection jams, “Sun Gods,” “Bi-Polar Vortex” and “Dust,” each of which showed a distinct approach while feeding into an engaging flow between them, offering a blend of trailmarker hooks as they drifted into realms of organic chemistry previously uncharted by the band. The slow-motion swing of “Hangnail Crisis,” raucous push of “Superjam Maximus” and concluding bounce of “Stoney Pony” brought them back down to earth to finish out with a symmetry to the album’s opening, but Geezer kept a collective hand on the controls the whole voyage and when they landed, it was an arrival indeed, and very much what their two previous records were building toward.
Beautifully experimental with its 27-minute finisher “As Sure as the Sun,” EYE‘s Vision and the Ageless Light seemed throughout its whole 46-minute run to be executing a cohesive vision in its synth-soaked progressive textures. Between the intro “Book of the Dead” and the subsequent “Kill the Slavemaster,” “Searching,” “Dweller of the Twilight Void” and the already-noted closer, each piece had something different to offer that added to the full impact of the whole, and with guitarist Jon Finely and bassist Michael Sliclen joining founding drummer/vocalist Brandon Smith and synth/Mellotron/Moog-ist Lisa Bella Donna (also vocals and acoustic guitar), EYE added to the scope of 2013’s Second Sight (review here) and found a place for themselves where prog complexity didn’t need to come at the expense of memorable songwriting and spaced-out vibes. An absolute joy, front to back.
Even Fatso Jetson themselves would probably have to admit that six years — even a six years that saw several splits, singles, etc. — was too long between albums. Fortunately, Idle Hands saw the desert rock forebears in top form as regards their quirk-fueled songwriting, angular approach to punk and inimitable groove. Following 2010’s Archaic Volumes (review here) was no easy task, but with additional depth to the material from the contributions of guitarist Dino von Lalli — son of founding guitarist/vocalist Mario Lalli and nephew of founding bassist Larry Lalli — guest spots from his sister Olive Lalli as well as Sean Wheeler (the latter moves second cut “Portuguese Dream” into high-echelon strangeness) and the ever-propulsive drumming of Tony Tornay, Fatso Jetson were both all over the place and right at the core of where they most ought to be sonically. At 56 minutes, it hardly seemed long enough.
Each song was like a different persona the band adopted momentarily, whether it was the Bowie-goes-proto-goth-prog of organ-ic opener “Transparent Eyeball” or the grim pastoralia of “Mirror Boy” and the condemnations/proclamations of “Drugged up on the Universe,” but wherever Hexvessel went on their third full-length and Century Media debut, When We are Death, that unifying theme went with them. Death. It was everywhere in the Finland-based genre-benders’ deeply varied approach, though its presence made their material in no way off-putting, and in the case of cuts like “Cosmic Truth” or the later “Mushroom Spirit Doors,” not even dark, and as it drew the tracks together despite working in different sounds and style, it became apparent that When We are Death worked because of a universal quality in songwriting and presentation allowing for such drastic shifts without any risk of losing the audience.
Yawning Man guitarist Gary Arce — a key figure in the development of desert rock and a player of unmatched tone, period — had quite a year, between Zun‘s Burial Sunrise, his main outfit and his collaboration with Fatso Jetson vs. HifiKlub, but it was the dreamscape drift of songs like “Come Through the Water” and “All that You Say I Am” as well as the subtle hooks of “Into the Wasteland” and “All for Nothing” that, for me, made this the highlight. Sure, bringing in vocalists Sera Timms (Ides of Gemini, Black Mare) and John Garcia (ex-Kyuss, Slo Burn, Vista Chino, etc.) and having them swap back and forth between the tracks didn’t hurt either, but the wash of ethereal presence in Arce‘s guitar was an excellent showcase for his patience and improvisational sensibilities, and the spaces Burial Sunrise covered seemed to have an infinite horizon all their own. Will hope for a follow-up, will hope Garcia and Timms return, and will hope for a duet.
One had reasonably high expectations for the debut full-length from London’s Elephant Tree after their 2014 EP Theia (review here) so deftly blended spacious, sitar-laced heavy psychedelic rock with more visceral sludge impulses — a difficult mix to pull off — but I think it would’ve been impossible to see the quality of this self-titled outing coming in any substantive way. Gone were the screams, in was a depth of tone and nigh-on-perfect tempo — see “Dawn” and “Aphotic Blues,” as well as the acoustic “Circles” between them — and where some first albums have a kind of tentative, feeling-it-out vibe, guitarist/vocalist Jack Townley (interview here), bassist/vocalist Peter Holland, drummer Sam Hart and sitarist/vocalist/engineer Riley MacIntyre took utter command of the proceedings. They won’t have the element of surprise working for them next time, but as Elephant Tree made perfectly clear in its biggest surprise of all, neither do they need it.
If you were to ask me to summarize in one word the last four-plus years of Mos Generator‘s tenure, since their reactivation with 2012’s Nomads (review here) and the subsequent lineup changes and hard-touring that followed 2014’s Electric Mountain Majesty (review here), I’d say “go.” I might say it three times: Go-go-go. One of three LP-ish offerings out this year, the studio album Abyssinia embodied this ethic as it started with immediate momentum on “Strangest Times” and “You’ve Got a Right” and seemed to push itself into new ground as it went. Guitarist/vocalist/founder Tony Reed brought heavy boogie to bear at a frenetic clip, but Abyssinia offset its early mania with later progressive stylization on “There’s No Return from Nowhere,” “Time and Other Thieves” and harmonized closer “Outlander,” so that in addition to representing their furious creativity, it also brought them to places they’ve never been before in sound.
In some ways, Future Echo Returns was simply picking up where Belfast’s Slomatics left off with 2014’s Estron (review here), as heard on the riff of lead-in track “Estronomicon,” but as the third in a purported trilogy following that record and 2012’s A Hocht, it also brought the tonecrushing three-piece to Skyhammer Studio to work with producer Chris Fielding (Conan) and presented a linear storyline that, while rife with standout moments in cuts like “Electric Breath,” the ambient “Ritual Beginnings” and ultra-catchy “Supernothing,” found a genuine sense of resolution in the finale “Into the Eternal” that spoke to the scope the entire work was meant to represent — not just itself, but an entirety spanning three albums. Not a minor feat, but what also made Future Echo Returns so resonant was how well the material stood on its own, so that even without the narrative context, it was immersive, hypnotic and unbridled in its heft.
After two landmarks issued by Small Stone in 2014’s The Conjuring (review here) and 2012’s The Black Code (reviews here and here), Texas forerunners of riff Wo Fat gave a concise rundown of their appeal in the six-track Ripple debut and sixth LP overall, Midnight Cometh. Their ongoing development as found them bringing together a two-sided personality of memorable songs and open, fluid jams, and cuts like “There’s Something Sinister in the Wind,” “Of Smoke and Fog,” “Three Minutes to Midnight” and “Nightcomer” emphasized the next stage of this process, while the shuffling “Riffborn” and swaggering blues rock of “La Dilleme de Detenu” gave listeners a chance to touch ground every now and again. Over the last two-plus years, Wo Fat have become a point of influence for other, particularly American, acts — see labelmates Geezer — and Midnight Cometh assured that will be the case going forward too; a status well-earned.
Offered up this summer as a limited self-release and picked up by no less than Stickman Records (Motorpsycho, Elder), Orion might be the most molten inclusion on this list. It’s also my pick for 2016 Debut of the Year, and to hear cuts like “She Sleeps on a Vine,” “Kerosene,” the sprawling closer “Drinking from the River Rising,” or even just to take the whole record front-to-back, which was clearly how the band intended it be experienced, there’s just about no competition in that regard that stands up. The Rochester, NY, three-piece showed marked promise on their 2013 demo (review here) and 2015 split with Lé Betre (review here), but the listenability of Orion — which earned every single one of its repeat visits — made it a triumph on a different level entirely, and distinguished King Buffalo as a formidable presence in the sphere of US heavy psychedelia, fostering a sound no less soulful for its outward cosmic reach and to-be-measured-in-lightyears scale of potential.
7. Wight, Love is Not Only What You Know
Released by Fat and Holy Records, Kozmik Artifactz, Import Export Music and SPV. Reviewed Sept. 7.
German outfit Wight answered significant anticipation on their third album, Love is Not Only What You Know, some four years after 2012’s Through the Woods into Deep Water (review here) and undertook a significant evolution in sound. A transition from a trio to a four-piece and adding a strong current of funk to their heavy psych groove and boogie resulted in cuts like “The Muse and the Mule,” the jammed-out “Kelele” and “The Love for Life Leads to Reincarnation,” which were as danceable as they were nod-ready, and when complemented by shorter classic rockers like “Helicopter Mama” and “I Wanna Know What You Feel” (still plenty funky) and the Eastern-tinged interlude “Three Quarters,” gave Love is Not Only What You Know scope to match its ass-shaking encouragement. It was a spirit unto itself among 2016 releases, but ultimately, the key to understanding the record was right there in the title: It was all about love, and wherever Wight went in a given track, they never lost sight of that.
A decade and a half after 2001’s Revolution Rock (discussed here), Sweden’s Greenleaf most embodied that ethic with Rise Above the Meadow, their sixth long-player and Napalm Records debut. 2014’s Trails and Passes (review here) represented the key step of founding guitarist Tommi Holappa (interview here) bringing vocalist Arvid Johnsson into the lineup, but Rise Above the Meadow built exponentially on what that album achieved, bolstered by work as a touring band and a revitalized songwriting process heard in “Howl,” “A Million Fireflies,” “You’re Gonna be My Ruin,” the stomping “Golden Throne” and “Tyrants Tongue,” among others. I refuse to discount the quality of Trails and Passes, 2012’s Nest of Vipers (review here) or 2007’s landmark Agents of Ahriman (review here), but as Greenleaf shifted toward a style more reminiscent of Holappa‘s later output with Dozer, they also seemed to stake their claim on the forefront of European heavy rock and roll, which was just waiting for them to do so.
Perhaps the most believable lyric of 2016 was the opening line of leadoff cut “The Gree Heen” from Brant Bjork‘s Tao of the Devil: “I got all that I need. I got the gree-heen.” From the prominent pot leaf on the cover to that single clause — which set the tone for that song’s mega-nod as much as everything that followed in the boogie of “Humble Pie” and “Stackt,” the so-laid-back-it’s-almost-unconscious title-track and the longer-form explorations of “Dave’s War” and the wah’ed-out “Evening Jam” — the inimitable Bjork seems to have embraced the role of stoner guru and the Godfather of Desert Rock. Tao of the Devil was his second release through Napalm behind 2014’s Black Power Flower (review here), which introduced the Low Desert Punk Band, and far from hanging its hat on the man’s historical accomplishments from his days in Kyuss, Fu Manchu, Che, Vista Chino, etc., the 50-minute eight-tracker came fueled by the soul most typified in Bjork‘s solo catalog, which it’s increasingly easy to argue is his greatest contribution to the desert aesthetic. Definitely in his wheelhouse, but what a wheelhouse.
What a relief it was to have Asteroid back, and what a relief it was to have III arrive some six years after II (review here) and find the Örebro, Sweden, trio’s certified-organic chemistry undulled by that long stretch. The songs — “Pale Moon,” “Last Days,” “Til Dawn,” “Wolf and Snake,” “Silver and Gold,” “Them Calling,” “Mr. Strange” — there wasn’t a miss in the bunch, and in addition to the reignited craftsmanship, III made clear a progression as players and the intent to move forward from guitarist/vocalist Robin Hirse, bassist/vocalist Johannes Nilsson and drummer Elvis Campbell (since replaced by Jimmi Kolscheen), so that the material didn’t just let listeners know Asteroid was a band again after having unceremoniously faded out for a half-decade, but gave a signal that perhaps they were just getting started. One can only hope that turns out to be the case, but either way, III felt like a reward dolled out to their fanbase after a long absent stretch, and one that, like II and their 2007 self-titled debut (discussed here) before it, will reverberate its echoes for years to come. Hands down 2016’s most welcome return.
Though it would carry the context of its scorching opener “Nature Boy” with it for the duration and, accordingly, hit with a more intense feel than its 2013 predecessor, The Fury of a Patient Man (review here), Gozu‘s fourth album overall and Ripple label debut was a kick in the ass on more than just that one level. It found the Boston foursome with the finally-solidified lineup of vocalist/guitarist Marc Gaffney, guitarist Doug Sherman, bassist Joe Grotto and drummer Mike Hubbard, and while one could argue they still wound up under the banner of a heavy rock band, that became happenstance to the songs themselves. That is, even more than The Fury of a Patient Man or 2010’s Locust Season (review here), Gozu came across as writing not to style, but to their own impulses, as demonstrated in “Big Casino,” the echoing soul of “Tin Chicken” and shuffle-thrust of “Oldie,” and as they moved beyond their initial swath of influence into this individualized sonic persona, they reaped the benefits of the locked-in lineup and a process of craft that never sounded so purposeful. Revival was indeed typified by its vitality, but it was also the sound of a band maturing as a unit, becoming who they were meant to be, and there is almost nothing more exciting than that for a single album to represent. Plus, it had a song called “By Mennen,” and, you know, references.
2. Mars Red Sky, Apex III (Praise for the Burning Soul)
It was unreasonable to expect the third full-length from Bordeaux, France, trio Mars Red Sky to surpass 2014’s Stranded in Arcadia (review here) and the progressive crux that album brought to the warm tones and sweet melodicism of their 2011 self-titled debut (review here), but Apex III (Praise for the Burning Soul) reinforced the elements that worked so well on previous outings while pushing inarguably onto what the band seemed to know was “Alien Ground” if the title of their intro was anything to go by. More over, it did so with a natural fluidity and poise that were as striking as they were encompassing in sound. Tying to earlier 2016’s Providence EP (review here) in concept and execution through that intro and the title-track following it, Apex III presented the to-date pinnacle of Mars Red Sky‘s growth in songs like “The Whinery,” “Mindreader,” the tear-inducing “Under the Hood,” the swing-happy “Friendly Fire,” the willful atmospheric crash of closer “Prodigal Sun” — each one a crucial advancing step from the trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Mathieu “Matgaz” Gazeau — and brilliantly fed them one into the other, so that in addition to the standout impressions of each, there developed a personality to the whole span of the album; a world of Mars Red Sky‘s own creation, where they dwelt for what seemed too short a time before returning to earth and on from here to who knows where next.
Most of all, For this We Fought the Battle of Ages was fearless. For their fourth album, Salt Lake City’s SubRosa adapted themes from 1924’s We by Yevgeny Zamyatin, which laid out a futuristic dystopia wherein all identity is subsumed to the state and even love is outlawed when not properly sanctioned. This framework, obscure if influential, gave guitarist/vocalist Rebecca Vernon, violinist/vocalist Sarah Pendleton, violinist/backing vocalist Kim Pack, bassist/vocalist Levi Hanna, drummer/engineer Andy Patterson (formerly of Iota, among others), and a range of other contributors, a space in which to explore gender and LGBT issues across the six included tracks, and from the opening build and crush of the chorus to “Despair is a Siren” through the depiction of privilege in “Wound of the Warden,” the 97-second Italian-language ballad “Il Cappio” (translated: “the noose”) and into the gut-wrenching finale of “Troubled Cells,” their musical accomplishment was no less stunning than lyrics like, “Isn’t it good to be acquainted with darkness?/To caress it gently/To slit its throat,” from “Black Majesty.” Tense in its quiet stretches, harmonized vocally, given orchestral presence through its use of strings, flute, French horn, and so on, For this We Fought the Battle of Ages worked fluidly in what for most acts would be a contradictory modus of careful, meticulous arrangements and raw, emotional realism. No matter how deep it dove — and by the time identity was being erased and the state was taking control of the body on “Killing Rapture,” it was diving pretty deep — SubRosa never lost their sense of poise, so that the defiance in the last movement of “Troubled Cells” in which Heaven itself is rejected with the clearest of justifications, “Paradise is a lie if you’re not by my side,” the band seemed to stand as straight and tall as their multi-tiered righteousness would warrant. But even if one took For this We Fought the Battle of Ages with politics aside, its achievement in marrying post-metallic structures, gothic texture and progressive atmospherics was on a plane of its own making, operating under its own rules and in its own definitive space. Albums like it do not happen every year, and forward motion for genre as a whole is rarely so visible as it was in this special offering, which seems only fair to regard as a landmark for the band and anyone whose ears and hearts it touched.
The Next 20
Like any good Top 30, mine goes to 50. Here is the next batch:
31. Blaak Heat, Shifting Mirrors
32. Truckfighters, V
33. West, Space & Love, Vol. II
34. Seedy Jeezus with Isaiah Mitchell, Tranquonauts
35. Yawning Man, Historical Graffiti
36. Causa Sui, Return to Sky
37. Vokonis, Olde One Ascending
38. Hotel Wrecking City Traders, Phantomonium
39. The Wounded Kings, Visions in Bone
40. It’s Not Night: It’s Space, Our Birth is but a Sleep and a Forgetting
41. Beastwars, The Death of all Things
42. Naxatras, II
43. Holy Grove, Holy Grove
44. Worshipper, Shadow Hymns
45. Wretch, Wretch
46. Colour Haze, Live Vol. I: Europa Tournee 2015
47. Zaum, Eidolon
48. Bellringer, Jettison
49. Young Hunter, Young Hunter
50. Mammoth Weed Wizard Bastard, Y Proffwyd Dwyll
From the kinetic desert artistry of Blaak Heat to Mammoth Weed Wizard Bastard’s ethereal synth-laden doom, there are more than a few essentials here. I’ve never before done a year-end list that had so many releases on it, but my motivation in doing so this time around couldn’t have been simpler: They were simply too good and had too much to offer to leave out. It would’ve been an oversight to do so.
Even a Top 50 fails to grasp the full scope of what 2016 brought about musically, so here are even more, alphabetically:
Ancient Warlocks, II
Black Moon Circle, Sea of Clouds
Sergio Ch., Aurora
Lamp of the Universe, Hidden Knowledge
Mondo Drag, The Occultation of Light
Øresund Space Collective, Visions Of…
-(16)-, Lifespan of a Moth
The Well, Pagan Science
Wovenhand, Star Treatment
And if that’s still not enough, here are 60-plus more names who shouldn’t be left out of the discussion, also alphabetically:
Akris, Atala, Atomikylä, Backwoods Payback, Beastmaker, BigPig, Black Cobra, Black Lung, Blood Ceremony, Blues Pills, Bright Curse, Bus, Dee Calhoun, Captain Crimson, Child, La Chinga, Church of Misery, Conclave, Cough, Devil to Pay, Domkraft, Dot Legacy, Electric Citizen, Estoner, Eternal Elysium, Fatso Jetson & Gary Arce vs. Hifiklub, Fox 45, Goatess, Goblin Cock, Graves at Sea, Heavy Temple (they’ll be back on next year’s list), High Fighter, Holy Serpent, Hotel Wrecking City Traders, Inter Arma, Joy, Kaleidobolt, Khemmis, King Dead, Lord, Lord Vicar, Merchant, Mirrors for Psychic Warfare, Helen Money, Monkey3, Moon Coven, Mother Mooch, Necro, New Keepers of the Water Towers, T.G. Olson, Oranssi Pazuzu, Pooty Owldom, Russian Circles, Salem’s Pot, Samavayo, Seremonia, Skuggsjá, Sourvein, Spirit Adrift, Stone Machine Electric, Suma, Surya Kris Peters, Swans, Throttlerod, Virus, Wasted Theory, Wretch, and Zaum.
In case none of the above has made it clear, I’ll just say flat out that 2016 has been an amazing year for music, and that every time I feel like maybe underground heavy has hit a wall and there’s nowhere left for it to go, sure enough about three minutes later another record shows up that slaps me in the face with a reminder of just how wrong that notion is.
If you’re still reading — how could you be? — thank you so much for your incredible support throughout 2016 and all the years The Obelisk has been in progress. I already know that 2017 is going to bring some incredible music as well, but that’s another list for another time, so I’ll just say again how much I appreciate your being a part of this ongoing project, how much it means to me to have you here. Thank you, thank you, and thank you.
And please, if there’s anything I forgot, got wrong, misspelled, or if you just think I used the word “breadth” too many times, please let me know about it in the comments.