T-Tops to Release Disease EP Sept. 28

Posted in Whathaveyou on August 28th, 2018 by JJ Koczan

t-tops

Seven minutes. That’s all it takes for Pittsburgh noisemakers T-Tops to inflict the searing aggression of their new EP, Disease, and if I’m perfectly honest, the job’s done before the songs are actually finished. The trio have a couple strings of dates coming up in the Midwest and on the East Coast — you can basically pick and choose where you want to go when you live in Pittsburgh — and they’ll release Disease soon after in conjunction with Magnetic Eye Records. It’s got three songs, they’re all pissed, and none of them touch three minutes long. Noise rock, man. It’s like anger as a lifestyle. I’ve got Disease on as I write this and it’s like being ground down into puddly ex-human goo. Obviously that’s the point.

So needless to say it’ll be interesting to hear their Floyd cover.

Time and places for such things. For now, here’s this from the wire of PR:

NEW RELEASE: T-Tops “Disease EP”

Pittsburgh’s T-TOPS deliver their latest clutch of full-stack, full-throttle noise-rock, the 3-track EP DISEASE, on September 28th, with tour dates and an unexpected Pink Floyd cover rounding things out.

T-Tops started jamming when Pittsburgh guitarist/vocalist Patrick Waters, who fronted well-regarded and spastic-rock group The Fitt, joined up with bassist/vocalist Jason Orr (Holy Rivals).

Struggling at first to find the right drummer, the pair nearly gave up before coming across a post on a local message board by Jason Jouver, a recording engineer at +/- Studios on the city’s South Side and multi-instrumentalist from bands including Don Caballero, Teddy Duchamp’s Army and German Shepherd. They knew the name but hadn’t even realized he played drums, and gave it a try.

In no time, ravaging riffs, gravely vocals, and thundering beats came together to produce T-Tops’ signature soundtrack for high-velocity destruction.

“There’s not really a theme,” Waters says of the in-your-face, sludgy, hooky heaviness that resulted. “We’re just trying to write catchy, loud, heavy songs.”

The trio’s experience in other bands certainly comes across in both their songwriting and prolific output. Despite moving through a series of drummers, T-Tops have issued a half-dozen EPs, 7-inches, and split releases in just a few short years. Their latest, the Disease EP, is the band’s most urgent helping of raw, furious, garage rock yet, a slab of power best heard at full volume.

T-Tops will be touring to support this killer new EP in September, and also managed to slip an angy, roaring take on Pink Floyd’s “Nile Song” onto the digital version of Magnetic Eye Records’ upcoming Best of Pink Floyd [Redux] project, which lands in November.

Disease releases digitally and on 7-inch via the band in association with Magnetic Eye Records on September 28th.

1. Disease
2. Incest
3. Mouth for Hate

Tour Dates:
Aug 30 Akron, OH @ Hive Mind
Aug 31 Indianapolis, IN @ State Street Pub
Sept 1 Milwaukee, WI @ Cactus Club
Sept 2 Chicago, IL @ Reed’s
Sept 3 Youngstown, OH @ Westside Bowl
Sept 12 State College, PA @ The Brewery
Sept 13 NYC @ El Cortez
Sept 14 East Windsor, NJ @ Toxic Cleanse
Sept 15 Philly, PA @ Century

T-Tops:
Patrick Waters – Guitar/Vocals
Jason Orr – Bass
Austin Bowen – Drums

www.facebook.com/ttopspgh
www.instagram.com/ttopsnoise
https://t-tops.bandcamp.com/
https://www.merhq.net/

T-Tops, Face of Depression (2017)

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Review & Track Premiere: Mountain Tamer, Godfortune Dark Matters

Posted in audiObelisk, Reviews on August 9th, 2018 by JJ Koczan

mountain tamer godfortune dark matters

[Click play above to stream ‘Wretched’ by Mountain Tamer. Their new album, Godfortune Dark Matters, is out Aug. 24 on Magnetic Eye with Nasoni Records vinyl to follow.]

One tends to think of Californian heavy psych these days as kind of a cool-kids club of freakout-jamming skaters, ripping an endless barrage of solos in post-Earthless fashion. Los Angeles trio Mountain Tamer have their shredding aspects, to be sure, but are ultimately on a different, grimmer trip. Shades of cultish metal make their way in amid fuzz-guitar riffing, righteously-turning bass and wide-sounding drum crash as their second album, Godfortune // Dark Matters Comprised of a not-inconsiderable 11 tracks for an also-not-considerable 49-minute run, the Magnetic Eye Records and Nasoni Records release came prefaced by a two-song 2017 demo titled Living in Vain (review here) that had early versions of “Living in Vain Part 1” and “Wretched,” both of which reappear here.

That demo followed their 2016 Argonauta Records self-titled debut (review here) and 2015 Mtn Tmr demo (review here), both of which gave early showings of potential for the progression that would seem to be continuing here. As they push the LP format to its limits, they also push themselves into a more individualized sound, like a brooding take on youngest Nebula, maybe, but looser. There’s a sense in the drums of Casey Garcia that the whole thing could come apart at any time, as heard in “Primitive Control,” which leads off a side B (I think; if not, it provides a transition at the end of side A) made up of longer tracks featuring more exploration in the drums as well as from guitarist/vocalist Andrew Hall and bassist Dave Teget.

They’re not jamming, exactly. Even on 7:44 closer “Head Over Heels,” they choose to go with a slower march rather than fly off the handle on an improv sonic jaunt, but either way, there’s clearly a plan at work; a vision for the album as a whole and its method of expression. After the Sabbath-circa-’75 cacophony of opener “Faith Peddler,” there’s the chunkier riffing of “Funeral of a Dog,” which soon enough delves into tribalist percussion and flute behind echoing chants that in turn give way to a howling solo. And that’s the first two and a half minutes.

From there, they dip back into hard psych and stonerist vibes en route to the more straight-ahead approach of “People Problems,” a quick showcase of hook and instrumental dynamic, Hall layering in two solos, one more effects-drenched than the other, between choruses in the second half of the song before a quick shout and noise assault brings on the trad-metal chug of “Living in Vain Part 1.” It and the immediately following “Living in Vain Part 2” make their connection via Garcia‘s drums, but both also share a propensity for a weirdo vibe and earthy psych-rocking approach. The second part doesn’t have verses so much as repeated lines where they might otherwise be, and its thickened-garage intensity plays out with radiating energy that seems only to build on the song before.

mountain tamer

There’s some hypnotic aspect from the repetition, but Godfortune // Dark Matters is so brash-sounding in its production and delivery that it quickly snaps any trance it might induce. The dividing line between the first half of the record and the second is, suitably enough, centerpiece “Nectar,” which is a 1:43 psychedelic interlude of classic rocking form, just a quick instrumental that, in some ways similar to “Funeral of a Dog,” purposefully shifts the flow of momentum the album has thus far built in order to defy expectation. It’s emblematic of the level of thought Mountain Tamer have put into their second full-length overall, and “Primitive Control” continues the thread by picking up with a shove of cyclical riffing that is nothing short of masterful in its combination of sprawl and compressed atmospherics.

A break shortly before the three-minute mark brings in howling guitar, drum thud and steady bass — the latter is a welcome grounding force throughout — before a final solo finishes and leads to “Wretched,” which is a foreshadow to “Head Over Heels” still to come and a slower rollout altogether. That forces some of the earlier hairpin-turn-style danger elsewhere for the time being, but ultimately makes Godfortune // Dark Matters a richer listen with a wider aesthetic berth. Naturally it comes paired with the freak-assault of “Mydnyte” — two ‘y’s! it’s madnyss — the five and a half minutes of which read like a guidebook for the outer reaches of the known psychedelic cosmos. It switches between solidified riff-chugness and such spacey fare, with a wash of noise at the end that brings on the shorter “Riff Dealer.”

At 4:05, “Riff Dealer” is the only cut on the second half of Godfortune // Dark Matters that checks in at under five minutes, and while one might expect that to mean it’s a return to the relatively grounded structures presented earlier, tying disparate ideas and sonic themes together ahead of the finale, that’s a big no dice. “Riff Dealer” pushes into a slower, druggier haze and saves its swing for the back half, cutting to silence well ahead of the arrival of “Head Over Heels,” which fades in on feedback and buzzing amp fuzz. Once again, Teget‘s bass is a standout factor, but Mountain Tamer all seem aware of the occasion, and while I don’t know whether “Head Over Heels” was specifically written to close the album, it excels in that role, calling to mind some of circa-’92 Monster Magnet‘s righteous arrogance in transposing space rock to suit their own needs, even if that’s not a direct comparison of sound.

Atop a rumble and the already noted more grueling lumber, Hall‘s voice echoes as it seems to shout into an unhearing desert. They ride the central riff to a long fadeout and it’s hard to imagine a more fitting end to a record of such obvious individualist pursuits. That is to say, what’s happening throughout Godfortune // Dark Matters is that Mountain Tamer are working toward carving out a niche for themselves in and around heavy rock and psychedelia. They get there, to be sure, but the journey in no way sounds like it’s over.

Mountain Tamer on Thee Facebooks

Mountain Tamer on Instagram

Mountain Tamer on Bandcamp

Magnetic Eye Records website

Nasoni Records website

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Mountain Tamer to Release Godfortune Dark Matters Aug. 24

Posted in Whathaveyou on July 19th, 2018 by JJ Koczan

mountain tamer

If I was the interview-question-asking type, I might hit up Mountain Tamer and attempt to sate my curiosity as to why they moved from Santa Cruz to Los Angeles sometime in between the 2016 release of their self-titled debut (review here) and now. Somebody get a job? Someone have a line to a better rehearsal space? Better scene? Better connections? I don’t know much about Santa Cruz but if California has a hotbed of underground heavy at the moment, it would either be San Diego or San Francisco, and I can’t imagine Mountain Tamer‘s doom-infused heavy psych grooves wouldn’t go over really well in either town. I see stuff like that and get curious sometimes.

Of much greater import at least as regards this post — hey, moving is a big life-decision — is the fact that Mountain Tamer, after putting out the first full-length on Argonauta, have hooked up with Magnetic Eye Records and Nasoni Records both for the follow-up, which is titled Godfortune Dark Matters and set for an Aug. 24 release. You can see more info and the surprisingly foreboding cover art below. If I was the interview-question-asking type, I might be curious about that as well.

From the PR wire:

mountain tamer godfortune dark matters

California stoner-psych trio MOUNTAIN TAMER to release blistering new album, GODFORTUNE DARK MATTERS, on August 24th.

Hailing from the golden coasts of Los Angeles, heavy psych trio Mountain Tamer has been hypnotizing audiences for several years with their lysergic blend of stoner rock structures and psychedelic freakouts. Their lucid jams, swinging drums and angular yet timeless riffs have helped build momentum among fans and critics in anticipation of their new full-length album, Godfortune Darkmatters.

Formed in 2011 just outside San Francisco, Mountain Tamer found early success touring with acts like Dead Meadow, The Budos Band, and Weedeater. After cutting their teeth on the road for a few years, they released their demo, MTNTMR, to the masses, a critical success that landed the band a deal with Argonauta records.

Argonauta released Mountain Tamer’s self-titled debut album, which was lauded by the underground metal press.

Their growing notoriety found the trio, composed of Andrew hall (guitar/vocals), Casey Garcia (drums), and Dave Teget (bass), relocating to LA and opening for the likes of Nick Oliveri’s Mondo Generator and other Cali-based scene stalwarts.

From their new vantage with Nasoni Records and Magnetic Eye Records, Mountain Tamer have their sights set on more touring and pushing their musical horizons with the release of Godfortune Darkmatters, a strutting, garage-tinged groove-fest that delivers on the promise of everything they’ve put forth.

Godfortune Darkmatters releases digitally on Magnetic Eye Records on August 24th. Vinyl edition to follow via the fine folks at Nasoni Records.

Mountain Tamer will blanket the Southwestern and Southern United States on tour this September! Dates in the works as follows:

9/6/2018 Tempe, AZ Yucca Taproom
9/7/2018 El Paso,TX Rockin CIgar Bar
9/8/2018 San Antonio, TX Faust Tavern
9/9/2018 TBD TBD
9/10/2018 Houston, TX Super Happy Funland
9/11/2018 Austin,TX Lost Well
9/12/2018 TBD TBD
9/13/2018 Lafayette, LA Freetown Boom Boom Room
9/14/2018 New Orleans, LA Santos Bar
9/15/2018 Birmingham, AL The Nick
9/16/2018 Memphis TBD
9/17/2018 Nashville Radio Cafe
9/18/2018 TBD TBD
9/19/2018 Washginton, D.C TBD
9/20/2018 Philadelphia, PA Grape Room
9/21/2018 TBD TBD
9/22/2018 TBD TBD
9/23/2018 New York, NY Pianos
9/24/2018 TBD TBD
9/25/2018 TBD TBD
9/26/2018 TBD TBD
9/27/2018 Chicago, IL TBD
9/28/2018 Des moines, IA Vaudeville Mews
9/29/2018 Denver, CO Lions Lair
9/30/2018 Salt Lake City, UT Urban lounge

https://www.facebook.com/MTNTMR/
https://www.instagram.com/mtntmr/
https://mtntmr.bandcamp.com/
https://www.merhq.net/
https://www.nasoni-records.com/

Mountain Tamer, Mountain Tamer (2016)

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Year of the Cobra Touring Europe with Toke; Playing Freak Valley and More

Posted in Whathaveyou on April 2nd, 2018 by JJ Koczan

year of the cobra

So hey, Seattle duo Year of the Cobra had a limited single go up for presale this past week over at H42 Records. Think maybe you’d like to purchase such a thing? Gone. Gone, gone, goneski. They made 220 of them and there they go.

Maybe the band will have some held back for the merch table on their European tour with Toke, which includes a previously-announced stop at Freak Valley as well as other stops in Germany, Norway, the UK, Denmark, and so on. It’s not Year of the Cobra‘s first European tour, and it’s not their first limited 7″ through H42 Records, but hell, if you’ve got a thing that works, run with it.

And if you’ve got a jones for some Year of the Cobra vinyl, their Burn Your Dead EP (review here) is available on repress from Magnetic Eye. You can also stream it at the bottom of this post.

Info from the PR wire:

year of the cobra toke tour poster

You’ve probably heard that Year of the Cobra will be back in Europe in May 2018 (with co headliner Toke) and will also be part of the honorable FREAK VALLEY FESTIVAL.

Of course, Jon and Amy have something special for you in their luggage: a cool little vinyl 7″ with 45rpm ‘The Descent’ on side A and an exclusive screen print on side B!

The single will be available on tour and from H42 Records. There will be only 220 copies in total so do not oversleep! We have decided to offer you a small part of the singles in advance, so that even those have a chance to get one who have no opportunity to attend a concert on tour.

You have the agony of choice between 4 different editions:
100x clear vinyl with orange screen-print
50x white vinyl with black screen-print
50x black vinyl with orange screen-print
20x special edt. with whitelabel and ‘suprise colored screen-print and alternative cover-art

YEAR OF THE COBRA European tour dates w/ Toke:
5/10/18: Copenhagen, DK @ Stengade
5/11/18: Oslo, NO @ Krosset
5/12/18: Malmo, SE @ Plan B
5/13/18: Kiel, DE @ Kieler Schaubude
5/15/18: Berlin, DE @ Zukunft
5/16/18: Slavonice, CH @ barak
5/17/18: Warsaw PL @ Hydrozagadka
5/18/18: Gdansk PL @ Protokultura
5/19/18: Wroclaw PL @ Ciemna Strona Miasta
5/20/18: Wien, AT @ Venster99
5/21/18: Salzburg, AT @ Rockhouse
5/22/18: Dresden DE @ Ostpol
5/23/18: Bregenz AT @ Between
5/24/18: Freiburg DE @ White Rabbit
5/25/18: Olten CH @ Le coq D’Or
5/26/18: Paris, FR @ L’international
5/27/18: Bristol, UK @ The Old England
5/28/18: London UK @ The Black Heart
5/29/18: Lille France @ TBA
5/30/18: Strasbourg, FR @ Molodoï
5/31/18: Wurzburg, DK @ Immerhin
6/1/18: Utrecht NL @ Db’s
6/2/18: Netphen, DE @ Freak Valley Festival

http://yearofthecobra.com
https://www.facebook.com/yearofthecobraband/
https://yearofthecobra.bandcamp.com/
https://www.merhq.net/
https://www.facebook.com/MagneticEyeRecords/
http://merhqradio.net/
stbrecords.bigcartel.com/
https://stbrecords.bandcamp.com/
http://www.facebook.com/pages/STB-Records/471228012921184

Year of the Cobra, Burn Your Dead (2017)

Year of the Cobra, …In the Shadows Below (2016)

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Six Dumb Questions with Somnuri

Posted in Six Dumb Questions on January 31st, 2018 by JJ Koczan

somnuri

You really wanna know what took me so long to come around to Somnuri‘s Somnuri (review here)? Why I wasn’t immediately on the Brooklyn trio’s Magnetic Eye self-titled debut the way I should’ve been? Is the suspense killing you?

Probably not, but the truth is I knew that when it came to Somnuri, a three-piece featuring guitarist/vocalist Justin Sherrell (Blackout, ex-Bezoar, etc.), bassist Drew Mack (ex-Hull) and drummer Phil SanGiacomo (Family), there was just about no way I wasn’t going to dig the album. Then it was just going to be one more CD that I really wanted that I couldn’t really afford to shell out for, and that would only lead to frustration and ultimately I didn’t immediately give the digital promo the time of day it very much deserved because, well, it was going to kick ass. And you know what? It did.

Released in Sept. 2017, Somnuri‘s Somnuri builds outward atmospherically from the traditions of intensity that permeate New York’s particular brand of noise rock. One can hear shades of modern progressive metal noodling in Sherrell‘s guitar — I don’t know this for a fact, but he strikes as the kind of guy who can pick up just about any instrument in front of him and wail on it — and the accompanying turns in Mack‘s bass and SanGiacomo‘s drumming. The proceedings are furious and contemplative in kind, a thoughtful onslaught that runs about 40 minutes and yeah, makes me want to pick up the CD as soon as possible.

Because, by the way, I still buy CDs. Maybe you’ve got room for all your vinyl in that mansion of yours, but I’m working with what I’ve got here.

Somnuri, who could’ve easily blown my ass off and been like, “yeah buddy, you’re way late on our record and you suck therefore bite it,” were kind enough to tackle the following short interview to give some background on how the songs and the album came together, and where they might be headed from here.

Please enjoy the following Six Dumb Questions:

somnuri somnuri

Six Dumb Questions with Somnuri

Tell me about Somnuri getting together. How did the band form and how did the sound start to take shape? Was there a concept behind the sound before you got started?

Phil SanGiacomo: We all knew each other from playing in local bands and it was probably bound to happen. Justin had a longtime project he wanted to bring to life and asked me to try some drum grooves over his ideas. We’re both natural drummers that play guitar, so the dynamic was great. I was really into the rawness and rhythmic intensity of the riffs and tried to emulate them as best I could on drums. Drew came in to play second guitar but I think we all quickly realized that the low end was priority. Being an adaptive and versatile player, Drew filled this role perfectly and added more texture. We all agreed that we liked the rigidness of the power trio and we were on our way. We’ve never really discussed any defining concepts, but those things do develop naturally over time. Nothing is off the table with Somnuri and in many ways, the sound has shaped itself.

What was the songwriting process like for the self-titled? How long did it take for the album to come together and how much did everyone contribute to the tracks?

Justin Sherrell: I had been writing riffs knowing that they wouldn’t necessarily fit with bands I was in at the time and kind of putting them in the vault. At some point, the vault started to get to full, so when Drew and Phil came in the mix there was maybe three or four pretty complete tunes with skeletons of a few more. It was a little difficult at first, being able to take criticism on things that I never intended for anybody to hear. It didn’t take long to settle into our perspective roles and really push and pull each other to get new, fresh takes on ideas that were kind of just sitting around. All in all, it took about two years to write and record this album. At the end of recording, we ended up with more material than could fit on a record, which we plan on using for a split or an EP. Or fuck it, maybe just give it away.

How was your time in the studio with Jeff Berner? He did the guitars and drums, but who did the bass and vocals? How long were you in the studio altogether and what was the vibe like as the album started to take shape?

Drew Mack: Recording in Studio G with Jeff Berner was like meeting some lost lover in a newly built version of your favorite bar. We all immediately became good pals and Jeff really didn’t seem to mind how much nerding out we did over all of Studio G‘s extensive gear selection. We were however on somewhat of a time crunch/budget so the idea was to mainly just get drums in an awesome room and do most of everything else in our practice space. As it turned out, not only did we settle into the process so easily and quickly, we also have a complete beast of a drummer who does everything in one take with no clicks, no flubs, no prisoners. So we just kept moving right along and decided to track some of the guitars there as well! I think we basically had a total of three whole days in Studio G and then moved on to our practice space where we could spend as much time as we wanted capturing more guitar, bass, and all the vocal layers. Having Phil mix the record gave us a lot of freedom to experiment and get the right takes. Most importantly, we feel we captured our sound well.

Talk about the cover art. The piece by Miriam Corothers is striking and gives the album a very progressive look. Where did it come from and how was it chosen to represent the record? What is the significance of its use to the band?

PS: We loved Miriam’s enthusiasm about the music and ultimately trusted her vision, which was a sort of collage of different shapes, each containing juxtaposed elements of nature. The result was a dreamscape like image. I think it’s a great visual representation of how fluid our sound can be, but still bold and unforgiving.

You guys cast a pretty broad sound throughout these tracks. Can you give me any idea where Somnuri might head from here in terms of sonic direction? Is there anything in particular you want to try next time around coming off of this record?

DM: I personally find it extremely exciting to cast a large sonic shadow over all the silly, albeit usefully coined genres in heavy music today. I think all three of us listen to an extensive range of music styles and personally, I find it more difficult in these sonically saturated times to remain excited throughout an entire album. My only hope in moving forward is that we continue to explore ways to stay excited and proud of the music we create, and, for me, that usually means we have to try to remain DIFFERENT.

Any plans or closing words you want to mention?

JS: Our plans at this point are to keep writing new tunes and keep it fresh! We‘re gonna start hitting the road more and playing out of NYC. Right now, starting with East Coast runs and then putting together some more extensive tours. We’re excited to meet new bands and potential fans alike.

Somnuri, Somnuri (2017)

Somnuri on Thee Facebooks

Somnuri on Bandcamp

Magnetic Eye Records on Thee Facebooks

Magnetic Eye Records website

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Quarterly Review: Wolves in the Throne Room, Gravy Jones, Marmora, Mouth, Les Lekin, Leather Lung, Torso, Jim Healey, Daxma, The Re-Stoned

Posted in Reviews on January 9th, 2018 by JJ Koczan

Lodewijk de Vadder (1605-1655) - 17th Century Etching, Landscape with Two Farms

The Obelisk’s Quarterly Review continues today with day two of five. I don’t mind telling you — in fact I’m pretty happy to tell you — that this one’s all over the place. Black metal, post-metal, singer-songwriter stuff, psych jams, heavy rock. I feel like I’ve had to go to great pains not to use the word “weird” like 17 times. But I guess that’s what’s doing it for me these days. The universe has plenty of riffs. All the better when they start doing something different or new or even just a little strange. I think, anyhow. Alright, enough lollygagging. Time to dive in.

Quarterly Review #11-20:

Wolves in the Throne Room, Thrice Woven

wolves in the throne room thrice woven

True, it’s something of a cliché when it comes to Wolves in the Throne Room to think of their work as “an awaited return,” and perhaps that speaks to the level of anticipation with which their outings are greeted generally. Nonetheless, Thrice Woven arrives via the band’s own Artemisia Records six years after Celestial Lineage, their last proper full-length, and three after its companion, Celestite (review here), so the five-track/42-minute offering from the USBM innovators is legitimately due. The Washington-based troupe’s black-metal-of-the-land remains heavily focused on atmosphere, with a sharp, experimental-feeling turn to ambience and melody in opener “Born from the Serpent’s Eye” and the later drone interlude “Mother Owl, Father Ocean” that precedes the rampaging closer “Fires Roar in the Palace of the Moon,” which caps Thrice Woven with a long fade into the sound of rolling waves. Between them, “The Old Ones are with Us” casts a vision of blackened folk-doom that seems to pull off what Agalloch was always aiming for, and centerpiece “Angrboda” blasts through an early wash before splitting near the midsection to minimalism and rebuilding itself on a slow march. 15 years on from their beginning, Wolves in the Throne Room still sound like no one else, and continue to push themselves forward creatively.

Wolves in the Throne Room on Thee Facebooks

Artemisia Records on Bandcamp

 

Gravy Jones, Funeral Pyre

gravy jones funeral pyre

It’s a crazy world into which Gravy Jones invite their listeners on their self-issued debut full-length, Funeral Pyre, and the fire they bring is born of a molten classic psychedelic rock underpinned by low end weight and further distinguished by its use of organ and proto-metallic vocal proclamations. Opener and longest track (immediate points) “Heavens Bliss” tops 10 minutes in its weirdo roll, and subsequent cuts “The Burning of the Witch” and “It Came from the Sea” do little to dispel the off-center vibe, the former dug into rawer NWOBHM-ism and the latter, the centerpiece of the five-tracker, beaming in from some kind of alt-universe Deep Purple idolatry to lead into the particularly doomed “Gilgamesh” and the shuffle-into-noisefest onslaught of the closing title-track. All told it’s 41 minutes of bizarre excursion that’s deceptively cohesive and feels like the start of a longer-term sonic exploration. Whether or not Gravy Jones even out sound-wise or hold to such an unhinged vibe, they definitely pique interest here.

Gravy Jones on Thee Facebooks

Gravy Jones on Bandcamp

 

Marmora, Criterion

marmora criterion

Criterion – yes, like the collection – is the debut EP from Chicago four-piece Marmora, who released a single in 2013 before the core brotherly trio of Zaid (guitar), Alejandro (bass) and Ulysses (drums) Salazar hooked up with vocalist/guitarist/synthesist Allan Cardenas in 2015. The three-tracker that has resulted begins with its title-cut, which thrusts forth a wash of heavy post-rock that makes an impression in weight as much as space before turning to the more grounded, propulsive, aggressive and punkishly noise-caked “Apathy” and closer “Flowers in Your Garden,” which turns traditional heavy rock riffery on its head with frenetic drum work and rhythmic turns that feel born of modern progressive metal. Significant as the crunch factor and aggro pulsations are, Criterion isn’t at all without a corresponding sense of atmosphere, and though there isn’t much tying these three tracks together, for a first EP, there doesn’t need to be. Let that come later. For now, the boot to the ass is enough.

Marmora on Thee Facebooks

Marmora on Bandcamp

 

Mouth, Live ’71

mouth live 71

Perhaps in part as a holdover between their 2017 second album, Vortex (review here), and the impending Floating to be issued in 2018, German progressive retroists Mouth offer Live ’71. No, it was not actually recorded in 1971. Nor, to my knowledge, was it recorded in 2071 and sent back in time in a slingshot maneuver around the sun. It’s just a play on the raw, captured-from-the-stage sound of the 55-minute set, which opens at a 19-minute sprawl with “Vortex” itself and only deep-dives further from there, whether it’s into the keyboard throb of “Parade,” the nuanced twists of “Into the Light” or the more straightforward riffing of “On the Boat.” There’s room for all this scope and the stomp of “Master Volume Voice” in a Mouth set, it would seem, and if Live ’71 is indeed a stopgap, it’s one that shows off the individualized personality of the long-running band who seem to still be exploring even as they approach the 20-year mark.

Mouth on Thee Facebooks

Mouth on Bandcamp

 

Les Lekin, Died with Fear

les lekin died with fear

A second full-length from Austrian heavy psych trio Les Lekin, Died with Fear is perhaps more threatening in its title than in its overall aesthetic. The four inclusions on the 43-minute follow-up to 2014’s All Black Rainbow Moon (review here) set their mission not necessarily in conveying terror or some overarching sense of darkness – though low end is a major factor throughout – as in cosmic hypnosis born of repetition and chemistry-fueled heavy psychedelic progressivism. Well at home in the extended and atmospheric “Orca” (10:41), “Inert” (10:21), “Vast” (8:59) and “Morph” (13:34), the three-piece of guitarist Peter G., bassist Beat B. and drummer Kerstin W. recorded live and in so doing held fast to what feels very much like a natural and developing dynamic between them, their material all the more fluid for it but carrying more of a sense of craft than most might expect from a release that, ostensibly, is based around jams. Sweeping and switched-on in kind, Died with Fear turns out to be remarkably vibrant for something under a banner so grim.

Les Lekin on Thee Facebooks

Tonzonen Records webstore

 

Leather Lung, Lost in Temptation

leather lung lost in temptation

Oh, they’re mad about it, to be sure. I’m not sure what ‘it’ ultimately is, but whatever, it’s got Leather Lung good and pissed off. Still, the Boston-based onslaught specialists’ debut full-length, Lost in Temptation, has more to its cacophony than sheer violence, and though that intelligence is somewhat undercut by the hey-check-it-out-it’s-cartoon-tits-and-also-because-snakes-are-like-wieners cover art, the marriage between fuckall noise intensity on “Gin and Chronic” and trades between growl-topped thrust and more open and melodic plod on “Shadow of the Scythe” and upbeat rock on “Momentum of Misfortune.” Put it in your “go figure” file that the closer “Destination: Void,” which is marked as an outro, is the longest inclusion on the 28-minute offering, but by then due pummel has been served throughout pieces like “Deaf Adder” and “Freak Flag” amid the willful stoner idolatry of “The Spice Melange,” so there’s texture in the assault as well. Yeah though, that cover. Woof.

Leather Lung on Thee Facebooks

Leather Lung on Bandcamp

 

Torso, Limbs

torso limbs

I won’t deny the strength of approach Austria’s Torso demonstrate across Limbs, their StoneFree Records debut LP, in the straightforward structures of songs like “Meaning Existence” or “Mirror of My Mind” or “Skinny and Bony” and the semi-acoustic penultimate grown-up-grunge alternarocker “Down the Highway,” but it’s hard to listen to the nine-minute spread of “Red Moon” in the midsection of the album and not come away from its patient psychedelic execution thinking of it as a highlight. Shades of post-rock and moodier fare make themselves known in “Come Closer” and the righteously melodic “Ride Up,” and closer “Voices” delivers a resounding payoff, but it’s “Red Moon” that summarizes the atmospheric and emotional scope with which Torso are working and most draws together the various elements at play into a cohesive singularity. One hopes it’s a model they’ll follow going forward, but neither should doing so necessarily draw away from the songwriting prowess they show here. It’s a balance that, having been struck, feels ready to be manipulated.

Torso on Thee Facebooks

StoneFree Records website

 

Jim Healey, Just a Minute More

jim healey just a minute more

Companioned immediately by a digital release of the demos on which it’s based, including four other songs that didn’t make the cut of the final, studio-recorded EP, Jim Healey’s Just a Minute More conveys its sense of longing in the title and moves quickly to stake its place in a long-running canon of singer-songwriterisms. Healey, known for fronting metal and heavy rock acts like We’re all Gonna Die, Black Thai, Set Fire, etc., could easily come across as a case of dual personality in the sweetly, unabashedly sentimental, acoustic-based opener “The Road” or the more-plugged-in “You and I” at the outset, but in the fuzzed-out centerpiece “Swamp Thing,” the emotionally weighted memorable hook of “Faced,” and the piano-topped payoff of closer “Burn Up,” the 18-minute EP unfurls a sense of variety and a full-band sound that sets the project Jim Healey on its own course even apart from the man himself. Some of those other demos aren’t too bad either. Just saying.

Jim Healey on Thee Facebooks

Jim Healey on Bandcamp

 

Daxma, The Head Which Becomes the Skull

daxma-the-head-which-becomes-the-skull

Signed to Magnetic Eye for the release, Oakland post-metal five-piece Daxma answer the ambition of their half-hour single-song 2016 debut EP, The Nowhere of Shangri-La, with the even-fuller-length The Head Which Becomes the Skull, demonstrating a clear intent toward sonic patience and ambient reach that balances subtle builds and crashes with engaging immersiveness and nod. Three of the six total inclusions top 10 minutes, and within opener “Birth” (10:53), “Abandoning All Hope” (11:34) and the penultimate “Our Lives Will be Erased by the Shifting Sands of the Desert” (13:42), one finds significant breadth, but not to be discounted either are the roll of “Wanderings/Beneath the Sky,” the avant feel of the closing title-track or even the 80-second drone interlude “Aufheben,” which like all that surrounds it, feeds into a consuming ambience that undercuts the notion of The Head Which Becomes the Skull as a debut album for its purposefulness and evocative soundscaping.

Daxma on Thee Facebooks

Magnetic Eye Records on Bandcamp

 

The Re-Stoned, Chronoclasm

the re-stoned chronoclasm

For their first new outing since they revisited their debut EP in 2016 with Reptiles Return (review here), Moscow instrumentalists The Re-Stoned cast forth Chronoclasm, a six-track long-player of new material recorded over 2015 and 2016 that ties together its near-hour-long runtime with a consistency of guitarist Ilya Lipkin’s lead tone and a steady interweaving of acoustic elements. “Human Without Body,” “Save Me Under the Emerald Glass,” “Psychedelic Soya Barbecue” and the title-track seem to have some nuance of countrified swing to their groove, but it’s lysergic swirl that ultimately rules the day throughout Chronoclasm, Yaroslav Shevchenko’s drums keeping the material grounded around Lipkin’s guitar and Vladimir Kislyakov’s bass. The trio are joined on percussion by Evgeniy Tkachev on percussion for the CD bonus track “Quartz Crystals,” which picks up from the quiet end of “Chronoclasm” itself and feels like a nine-minute improve extension of its serene mood, adding further progressive sensibility to an already wide scope.

The Re-Stoned on Thee Facebooks

Oak Island Records on Thee Facebooks

 

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The Obelisk Presents: THE TOP 30 ALBUMS OF 2017

Posted in Features on December 28th, 2017 by JJ Koczan

top-30-of-2017

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 2017 to that, please do.

We’re almost at the finish line for 2017, and if I’m honest, it’s not a minute too soon. I think if one more record comes out this year my head is going to explode.

A perpetual onslaught of cool music is, of course, nothing to complain about. It just seemed like every time I thought I had a handle on where the year was going, some other announcement came through and knocked me on my ass. What’s that? The Obsessed are putting out their first album in more than two decades? Oh and Monolord have a new one coming? Radio Moscow just signed to Century Media? Arc of Ascent are back? Samsara Blues Experiment are back? Causa Sui are putting out a live album and a studio album? Sasquatch are going to Europe and sneaking a record along with them? All of a sudden I’m out of breath feeling like I just ran a lap.

It’s been madness this year. Between an emergent neo-psych movement in the wake of King Gizzard and the Lizard Wizard and others, and the ongoing and constant reshaping of doom and heavy rock from practitioners new and old, I don’t know how anyone could ever claim to keep up with any of it.

You know I do the best I can, so when you look through this list, please keep in mind that these are my picks and the result of applying my own standard, which if you’ve ever seen a list on this site before you probably already know is a combination of things like what I view as being important on a critical level and things like what kept me coming back as a listener. What were the year’s biggest releases and what couldn’t I get enough of? Sometimes those two things come together around one record and it’s beautiful. That’s usually your album of the year, or close to, anyhow.

No sense in delaying further. I hope if you haven’t heard some of this stuff you’ll give it a shot, and if you have something you felt strongly about it, you’ll let me know in the comments. Thanks in advance for keeping it civil, and of course for reading.

Here goes:

30. Geezer, Psychoriffadelia
geezer psychoriffadelia

Released by Kozmik Artifactz and STB Records. Reviewed May 16.

Coming off of what was their strongest album to-date in their 2016 self-titled (review here), New York heavy psych blues trio Geezer decided it was time to take the groove for a walk. And so they did. Psychoriffadelia is the result — a looser collection of jams and willfully unrefined heavy blues, reveling in the politically incorrect on “Dirty Penny” only after basking in the post-Monster Magnet hypnosis of “Red Hook” and the earlier roll of the more straightforward “Hair of the Dog” and “Stressknots.” Everything Geezer has done to this point has pushed their sound to new places. Psychoriffadelia is no exception.

29. Orango, The Mules of Nana

orango the mules of nana

Released by Stickman Records. Reviewed March 27.

More than a touch of twang on opener “Heartland” sets a tone of Americana-infusion for Orango‘s sixth LP, The Mules of Nana, but the 10-tracker is ultimately much more about harmony-laced classic heavy smoothness than playing to prairie-minded sensibilities, though roots spread wide through a natural, dirty blues just the same. However they get there, “Hazy Chain of Mountains,” the softshoe-ready funk of “Head on Down” and the peacefully progressive finish of “Ghost Rider” bring ’70s-style thrills in songwriting and their precise, gorgeous execution. Underrated record from an underappreciated band.

28. Radio Moscow, New Beginnings

radio moscow new beginnings

Released by Century Media. Reviewed Oct. 6.

Cali boogie kingpins and all-around marvelous frenetic bastards Radio Moscow were in top form on their Century Media debut, and if it was a new beginning they were searching for, they met it head on with a sound as classic and organic as ever. Arguably the most powerful power trio in their game, they tore through cuts like “No One Knows Where They’ve Been” and “Deceiver” while offering flourish in the trip-out “Woodrose Morning” and subdued blues-psych on the penultimate “Pick up the Pieces.” Very much to form, but cast of a form that still manages to outclass all challengers.

27. Spaceslug, Time Travel Dilemma

spaceslug time travel dilemma

Released by Southcave Records, BSFD Records and Oak Island Records. Reviewed Feb. 10.

And so here we have the first of what will no doubt be several records about which I’m going to say they should be higher on the list. Poland’s Spaceslug have emerged from the moist ground created by their own tonality and on their sophomore full-length, they proffered warm depth of fuzz and a corresponding melodic and psychedelic reach that was resonant even before they brought in ex-Sungrazer bassist Sander Haagmans for a guest spot on the title-track. It’s been out for 10 months and still delivers every time I put it on, which is often.

26. Mothership, High Strangeness

mothership high strangeness
Released by Ripple Music and Heavy Psych Sounds. Reviewed March 7.

Three albums into a tenure marked by hard-driving riffs, scorching solos and relentless road work, there’s little Texas trio Mothership need to do at this point to prove themselves to their audience. At the same time, High Strangeness brought considerable expansion to their range overall, whether it was the exploratory “Eternal Trip” or the semi-metallic insistence behind “Midnight Express,” while staying tied together with lyrical and instrumental hooks. High Strangeness set a new standard for Mothership, plain and simple, and easily surpassed the considerable accomplishments of their 2012 self-titled debut (review here) and 2014’s Mothership II (review here).

25. Eternal Black, Bleed the Days

eternal black bleed the days

Released by Obsidian Sky Records. Reviewed Aug. 1.

There was a lot about Eternal Black‘s Bleed the Days that chugged its way into the post-Wino oeuvre of US-style trad doom, but the gruff, lumbering and impeccably riffed outing was nonetheless one of 2017’s best debut full-lengths, and it was the songwriting that got it there. Already sounding sure in the vibe captured, cuts like the plodding brooder “Sea of Graves” and “Stained Eyes on a Setting Sun” showed potential in mood and atmosphere as much as sheer sonic heft — though of course there was plenty of that to go around as well. Doomers missed it at their peril.

24. Kadavar, Rough Times

kadavar rough times

Released by Nuclear Blast. Reviewed Sept. 6.

It kind of feels like a slight to have Berlin trio Kadavar appear anywhere outside of at least a top 10 on any kind of list whatsoever, ever, but that’s not my intention at all. Rather, their fourth album and third for Nuclear Blast found them at an important stage in their progression — past the novelty of the vintage feel in their early work, after having proven their songwriting could translate to a modern context, and embarking on a process of expanding their sound. Rough Times, which was as current as current could be, met that goal and beat it easily with a barrage of memorable choruses and a dark streak one could only consider suitable for our age.

23. Shroud Eater, Strike the Sun

shroud eater strike the sun

Released by STB Records. Reviewed June 28.

The biggest surprise about Shroud Eater‘s long-awaited sophomore long-player was also its most encouraging aspect — namely how it found the Miami trio bringing together various impulses shown on a number of shorter releases over the course of the six years since their debut, ThunderNoise (review here), came out in 2011, and still managed to utterly crush when it so chose. With a swath from sludge to drone and back again, this was no minor feat, and that the songs they brought to bear were so memorable at their heart as well makes me hope all the more it’s not 2023 before their third album arrives.

22. Enslaved, E

enslaved e

Released by Nuclear Blast. Reviewed Oct. 4.

What’s left to say about Norwegian progressive black metal innovators Enslaved 14 records into their career? Plenty as it turns out. The introduction of new keyboardist/vocalist Håkon Vinje in place of Herbrand Larsen brought a new twist on a signature element of Enslaved‘s approach. Vinje utterly owned his role, and his performance alongside guitarist Ivar Bjørnson, bassist/vocalist Grutle Kjellson, guitarist Arve “Ice Dale” Isdal and drummer Cato Bekkevold resulted in a fresh urgency that made the band’s sound even more potent and set their ongoing creative evolution on a new branch of its self-directed path.

21. Arc of Ascent, Realms of the Metaphysical

arc-of-ascent-realms-of-the-metaphysical

Released by Astral Projection and Clostridium Records. Reviewed April 6.

Some five years on from 2012’s The Higher Key (review here) and seven out from their debut, Circle of the Sun (review here), and with bassist/vocalist Craig Williamson firmly entrenched in his always excellent Lamp of the Universe psych-drone-folk solo-project, I wasn’t sure there would be another offering from New Zealand heavy psych-rock trio Arc of Ascent, but Realms of the Metaphysical took shape from an ether of riffs and echoes atop resilient underlying structures and revitalized the group with new drummer Mark McGeady in the lineup with Williamson and guitarist Matt Cole-Baker. Remains to be seen if this marks a priority shift for Williamson or it’s a one-off, but its arrival was welcome either way.

20. Causa Sui, Vibraciones Doradas

causa sui vibraciones doradas

Released by El Paraiso Records. Reviewed Oct. 20.

With the various glories already offered in 2017 on the Live in Copenhagen (review here) 3LP, one didn’t necessarily expect a new studio outing from Danish instrumental psych masters Causa Sui, but Vibraciones Doradas found them as vibrant as ever, bringing forth a surprising amount of tonal weight on songs like “El Fuego,” warm fuzz for the basking on opener “The Drop” and spaciousness on the closing title-track. Somewhat more straight-ahead in its rocking groove than 2016’s Return to Sky (review here), the five-track/38-minute long-player showed yet again why Causa Sui are always welcome and that any news of a new release from them, live, studio, whatever, is good news. This was the kind of record that could make your day if you let it.

19. Telekinetic Yeti, Abominable

telekinetic yeti abominable

Released by Sump Pump Records. Reviewed April 10.

The Iowa-based duo of guitarist/vocalist Alex Baumann and drummer Anthony Dreyer, operating as Telekinetic Yeti, released what I considered to be the debut of the year, both for the fullness of its tonality and the accomplishment in songcraft it already showed. Powered by cuts like its lumbering title-track and the gloriously fuzzed runner “Stoned and Feathered,” it could’ve been another band’s second or third record for the level of cohesion on display and the obvious awareness on the part of the band of what they wanted to do with their sound and the just-as-obvious result of their bringing it to life.

18. Cloud Catcher, Trails of Kozmic Dust

cloud catcher trails of kozmic dust

Released by Totem Cat Records. Reviewed Dec. 9, 2016.

While I admit I’m still not 100 percent certain on whether to spell “kozmic” in the title with a ‘k’ or with a ‘c’ on the end, that question did nothing ultimately to diminish enjoyment of Denver emergents Cloud Catcher‘s sophomore outing. Topped off by one of the best album covers of the year, the follow-up to their 2015 debut, Enlightened Beyond Existence (discussed here), took the progressive casting of that record to a place entirely more raw and rock-driven, willfully roughing up the edges even as it showed marked creative growth on a relatively quick turnaround. The must-hear bass tone of “Beyond the Electric Sun” and “Super Acid Magick” was icing on a cake of choice riffing and Hendrixian lead swirl, and the shuffle they elicited was enough to make even the most stubborn of asses (i.e. mine) think about moving.

17. Ruby the Hatchet, Planetary Space Child

ruby the hatchet planetary space child

Released by Tee Pee Records. Reviewed Aug. 29.

After the neo-garage manifestations of their 2015 sophomore outing, Valley of the Snake (review here), it was clear Philly psych rockers Ruby the Hatchet were a force when it came to songwriting. What was less obvious was what they’d do with that going forward. On Planetary Space Child, at least, the answer is they’ll take it to Freaktown. The melody-happy, organ-laced swirlmasters conjured presence kosmiche enough to justify the album’s title, and around the cast-in-moon-rock structures of the swinging “Pagan Ritual” and the playfully doomed “Symphony of the Night,” Ruby the Hatchet built a multifaceted weirdoist triumph the likes of which simply doesn’t come along every year, establishing themselves as more reliable and less predictable than ever: an absolute win.

16. Alunah, Solennial

alunah solennial

Released by Svart Records. Reviewed March 1.

It’s been the case more or less all along with UK forest rockers Alunah that their nature-minded material and heavy rolling grooves have had their haunting aspects, but with the production of Conan‘s Chris Fielding behind it, Solennial — their fourth LP and first on Svart — brought this to new levels entirely. The songs, memorable like footprints in the woods, are somewhat bittersweet in context now, since founding guitarist/vocalist Sophie Day announced in September she was leaving the band, but as the group will move forward led by guitarist Dave Day and recently acquired new singer Siân Greenaway, intrigue remains high at what the future might bring and the impact of Solennial is undiminished.

15. Mindkult, Lucifer’s Dream

mindkult-lucifers-dream

Released by Transcending Obscurity Records and Caligari Records.

Virginia-based doomgazing garage cult solo-project Mindkult has thus far managed to keep some of the mystique around its sole inhabitant, Fowst, which is admirable in a way. As the multi-instrmentalist, vocalist and producer this year answered the promise of last year’s Witch’s Oath (review here) debut, he did so around a swath of purposeful miseries, loose devil worship and other dark thematics, casting an atmospheric darkness matched head-on by the tonal murk of his riffs. Through this, however, the songwriting was no less memorable than on the first offering, and as the project moves forward, one can only hope that Fowst will continue to use that as the core aspect buried six feet under his other, formidable stylistic achievements. That certainly was how it worked out on Lucifer’s Dream.

14. Argus, From Fields of Fire

argus from fields of fire
Released by Cruz del Sur Music. Reviewed Sept. 1.

Behold ye perhaps the most underrated band in heavy metal. Regardless of subgenre, style, strata, whatever, it’s hard to listen to From Fields of Fire and think of Pittsburgh’s Argus as anything else. The five-piece’s fourth album continued to owe part of its sound to doom, but was much more encompassing than simply that, touching on aspects of classic metal with a command that left one wondering how they hadn’t yet been tapped to open for Judas Priest on that band’s next tour. Victory abounds on a per-song basis throughout the nine-tracker, and whether it was the emotional crux of “Hour of Longing” or the catchy fistpump righteousness of “Devils of Your Time” or the 11-minute progressive reach of “Infinite Lives/Infinite Doors,” Argus once again crafted a work nigh-unmatched in poise and class.

13. Uffe Lorenzen, Galmandsværk

Uffe-Lorenzen-Galmandsvaerk

Released by Bad Afro Records. Reviewed Nov. 6.

For the first outing ever to be issued under his real name, Denmark’s Uffe Lorenzen — aka Lorenzo Woodrose of garage-psych pioneers Baby Woodrose — danced between acid folk singer-songwriterisms like “Flippertøs” and more expansive jamming on “På Kanten Af Verden,” all the while retaining his distinct structural and arrangement sensibilities and creating a flowing vibe that was nothing less than a pure joy of classic-form psychedelia. The most serene and pastoral freakout one was likely to witness in 2017, easily, Galmandsværk resounded in the Mellotron-laced “Høj Som Et Højhus” and was no less at home in the acoustic spaciousness of the earlier “Remits Tyranni,” able to wander where it pleased and find steady ground in molten surroundings.

12. The Flying Eyes, Burning of the Season

the flying eyes burning of the season

Released by Ripple Music. Reviewed Oct. 11.

A welcome return from a viciously underappreciated band, The Flying EyesBurning of the Season marked the Baltimore four-piece’s first offering for Ripple Music and first since 2013’s Lowlands (review here), a four-year stretch during which the band kept busy touring Europe and South America, the latter also being where they recorded these songs with Gabriel Zander at Estudio Superfuzz in Brazil. The tonal depth resulting from that process was enough to make the collection a highlight, but it was the songs themselves that most stood out, benefiting from the band’s expanded reach and legitimate, hard-won maturity. Especially for a group who’ve done so much work on the road over their years — to be fair, the US has been pretty low priority in that regard — they remain a secret kept too well.

11. Bell Witch, Mirror Reaper

bell witch mirror reaper

Released by Profound Lore. Reviewed Dec. 27.

Doomed extremity simply unmatched in its scope. The song of the year for 2017. An accomplishment the likes of which is prone to happen maybe once or twice in a generation. None of this seems to really speak to the entirety of the achievement that is Bell Witch‘s Mirror Reaper — the single-song, 83-minute full-length issued by the Seattle duo like a challenge in the face of mortality itself. Beautiful, devastating and weighted like the grave, its sprawl utterly consumed the listener, and I firmly believe it will be years before its depths are fully processed. Some offerings are bigger than the year in which they’re released. Mirror Reaper would seem to function on a scale of its own, and though it could easily be read as a litmus test for audience punishment, the truth of the listening experience is both more emotionally complex and more fulfilling than simple hyperbole can capture.

10. Monolord, Rust

monolord rust

Released by RidingEasy Records. Reviewed Oct. 26.

The story all along with Gothenburg’s Monolord has been tone. Tone tone tone. Crush crush crush. Riffs riffs riffs. Nothing wrong with any of that, but their third album, Rust, proves once and for all that there’s more to the trio than “cool riffs bro” and post-Electric Wizard nod. Catchy cuts like “Dear Lucifer” and rolling opener “Where Death Meets the Sea” brought a sense of space leading to the later sprawl of “Forgotten Lands” and “At Niceae,” and the band settled into an individualized, lumbering psychedelia that moved forward from 2015’s Vænir (review here), not leaving behind the heft that earned them their reputation, but not at all being limited by it either in scope or overall approach. Three records in, Rust brought forth Monolord‘s greatest sonic expansion yet and gave rise to the feeling that their true potential was just starting to come to fruition. Also, crush crush crush. Cool riffs, bro.

9. Vokonis, The Sunken Djinn

vokonis-the-sunken-djinn

Released by Ripple Music. Reviewed June 5.

The Sunken Djinn is Vokonis‘ second full-length in as many years, and in addition to serving as their Ripple debut where 2016’s Olde One Ascending (review here) landed via Ozium Records, it was a feast for hungry riff hounds. In defiance of its quick turnaround, it showed a firm evolution taking place within the upstart Swedish trio of guitarist/vocalist Simon Ohlsson, bassist/backing vocalist Jonte Johansson and drummer Emil Larsson, whose range overall was greater in tracks like “Rapturous” and the torrential “Blood Vortex” while nonetheless controlled in its delivery. Their Sleep-y origins still a factor sound-wise, Vokonis were able just the same to push themselves ahead into new sonic ground in fittingly lumbering fashion, and the character they brought to “The Sunken Djinn,” “Calling from the Core” and the noise-caked “Maelstroem” seemed to speak to a burgeoning sense of atmospheric focus taking hold as well. Still so much potential here.

8. Electric Moon, Stardust Rituals

electric moon stardust rituals

Released by Sulatron Records. Reviewed April 7.

Do I even need to remotely justify having Electric Moon‘s first studio album in six years on this list? Was it not just like a love-letter issued by the cosmos itself? What more explanation could possibly be necessary? Not that the German trio haven’t dropped copious, glorious live outings all the while, but to have Dave “Sula Bassana” Schmidt, “Komet Lulu” Neudeck and Marcus Schnitzler follow-up 2011’s The Doomsday Machine (review here) with four cuts culminating in the 22-minute sprawl of “(You Will) Live Forever Now” was high on the list of the year’s most satisfying psychedelic journeys. Constantly exploring, their methods always seem geared toward finding the molten essence of space rock itself, and though the songs on Stardust Rituals were a little more crafted than some of their straight-up improv jams, they nonetheless showed there are many avenues one might take to get to the heart of the sun.

7. Sun Blood Stories, It Runs Around the Room with Us

sun-blood-stories-it-runs-around-the-room-with-us

Self-released. Reviewed May 1.

This one is personal, and by that I mean I love this fucking band. Similar to my experience with their 2015 sophomore outing, Twilight Midnight Morning (review here), the third record by Boise-based trio of Ben Kirby (vocals, guitar, synth, percussion), Amber Pollard (vocals, guitar, theremin, percussion) and Jon Fust (drums, keys, percussion, noise) was one that I simply could not put down. Even now, seeing the name of the record is all I need to have songs like “The Great Destroyer” and the immersive midsection in “Come Like Rain” and “Time Like Smoke” stuck in my head, let alone the ultra-brazen, searingly-pissed “Burn” noise assault that finished the album and in the span of 90 seconds turned all the psychedelic warmth and serenity on its face with a visceral anger completely unforeseen and jarring, turning it from a depth-laden execution of adventurous neo-psych and indie into a project of conceptual artistry with all the efficiency of the chemical reaction it sought to portray. If you missed it, your loss.

6. The Atomic Bitchwax, Force Field

the-atomic-bitchwax-force-field

Released by Tee Pee Records. Reviewed Dec. 7.

Songs like “Alaskan Thunder Fuck,” “Humble Brag” and “Earth Shaker (Which Doobie U Be?)” assured that the defining character of Force Field, the sixth album from New Jersey’s The Atomic Bitchwax, was pure scorch. That made the 12-cut outing a more than worthy follow-up for 2015’s  Gravitron (review here), which introduced this more speed-rock-minded, aggressive delivery from the tight-as-nails trio, and while they proved they could still lock in a slower groove on the organ-topped finisher “Liv a Little,” head-spinners like the instrumental “Fried, Dyed and Layin’ to the Side” and “Houndstooth” came across like the fruit of the band pushing themselves to the limits of their physical ability in terms of tempo, and their ride along the edge of that line brought thrills at every turn. And make no mistake, there were a lot of turns. Fortunately, bassist/vocalist Chris Kosnik, guitarist/vocalist Finn Ryan and drummer Bob Pantella seemingly had a corresponding hook in their pocket for each one of them. This band is a national treasure.

5. Atavismo, Inerte

atavismo inerte

Released by Temple of Torturous. Reviewed Feb. 21.

Warm, fuzzy tones, rhythmic shifts right out of classic progressive rock, melodic intricacy and periodic excursions into glorious psychedelic drift: I’m not sure what wasn’t to like about Inerte, Atavismo‘s second full-length behind 2014’s Desintegración (review here). Comprising five tracks of unmistakable flow and jam-laden fluidity, it was immersive with landmarks along the way to keep the listener from getting too lost, and whether or not one spoke Spanish, the three-piece of Jose “Poti” Moreno (ex-Viaje a 800Mind!), bassist/vocalist Mateo and drummer/vocalist Sandri Pow (also ex-Mind!) made it easy to follow along their purposefully meandering path, offering guidance no less skillful on the 11-minute fuzz-freaker “El Sueño” than the dream-toned linear build of “Belleza Cuatro.” There were very, very few albums I listened to more this year than this one, which is precisely why it is where it is on this list.

4. Samsara Blues Experiment, One with the Universe

samsara-blues-experiment-one-with-the-universe

Released by Electric Magic Records and Abraxas Records. Reviewed May 4.

Four years between records isn’t at all an unheard of stretch. It’s not the longest on this list by any means. But with Berlin heavy psych rockers Samsara Blues Experiment, it really seemed like the band was done, so to have them come back with such force on One with the Universe was, as I know I said at several points throughout the last 12 months, one of the year’s total highlights. Tracked by former bassist Richard Behrens, the group’s fourth album answered the extended-track spread of 2013’s Waiting for the Flood (review here) with a deeper sense of sonic variety, and while the 15-minute title-cut and opener “Vispassana” still had plenty of room for jamming out and even six-minute centerpiece “Glorious Daze” found room for some flourish of organ and sitar, guitarist/vocalist Christian Peters, drummer Thomas Vedder and bassist Hans Eiselt rightly featured the chemistry they’ve built as a trio live and brought to the songs a renewed sense of vigor, sounding — and hopefully being — truly inspired. Waiting for the Flood capped a period of marked productivity across several years. Fingers crossed One with the Universe begins that cycle anew.

3. Elder, Reflections of a Floating World

Elder-Reflections-of-a-Floating-World

Released by Armageddon Shop and Stickman Records. Reviewed May 23.

You just can’t consider Elder‘s Reflections of a Floating World outside the context of the progressive achievement that was their prior outing, 2015’s Lore (review here). Where the trio — based now between Massachusetts and Berlin, Germany — took their first two outings, 2008’s self-titled debut (discussed here) and 2011’s Dead Roots Stirring (review here), to find their sound, which they began to showcase on the 2012 Spires Burn/Release EP (review here), it was Lore that brought to fruition the potential that had always been waiting to be unleashed by the trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto, and Reflections of a Floating World had the daunting task of being the next further step from that landmark moment. To say the band rose to the occasion is perhaps to undersell the cohesion at work in consuming-but-cohesive pieces like opener “Sanctuary” or “Blind” or “Staving off the Truth,” which brought together clear-headed psychedelia around a wash that seemed to stem as much from rhythm as melody. As they’ve matured stylistically and become a major touring presence, Elder have made themselves perhaps the most pivotal American heavy rock act going, and Reflections of a Floating World brings them to the discovery of yet another apex while at the same time giving zero indication it will be the last one they find.

2. Colour Haze, In Her Garden

colour haze in her garden

Released by Elektrohasch Schallplatten. Reviewed March 9.

Of course, the bonus of writing about Colour Haze in just about any context is that you get to put Colour Haze on while you’re doing it, and in the case of the 12th LP from these Munich heavy psych forebears, that’s an even more appealing prospect. After stripping down some of the arrangement flourish with 2014’s To the Highest Gods We Know (review here), the 13-track/73-minute 2LP In Her Garden brought a revitalized sonic expansion, but as ever, it wasn’t just the horns or the strings or the blend of keys and acoustics that made In Her Garden the unbridled joy that it was and continues to be — it was the underlying performance from guitarist/vocalist Stefan Koglek, bassist Philipp Rasthofer and drummer Manfred Merwald that gave the album the stem on which its garden grew. That’s not to say Jan Faszbender‘s work on modular synth, Rhodes, and Hammond or the arrangements of strings, tuba, bass-clarinet and trombone throughout hurt anything, just that as Colour Haze have grown into incorporating these elements into their groundbreaking aesthetic, they haven’t left behind the organic chemistry and necessary live feel that has helped them influence a generation of followers over their more than 20-year career. One came through as much as the other on In Her Garden, and that balance gave the overarching warmth of their self-recorded tonality yet another level on which to engage their audience. I’ll be a sucker for Colour Haze for as long as I live, and I have absolutely no problem admitting to and owning that.

1. All Them Witches, Sleeping Through the War

all them witches sleeping through the war

Released by New West Records. Reviewed Jan. 27.

It was clear early on that Nashville four-piece All Them Witches were contending hard for Album of the Year with Sleeping Through the War, their fourth long-player and second for New West following the mellow vibes of 2015’s Dying Surfer Meets His Maker (review here). What finally sealed it? The songs. Working with producer Dave Cobb, the each-member-essential lineup of bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, key-specialist Allan van Cleave (Rhodes, Mellotron, piano, organ, etc.) and drummer/graphic artist Robby Staebler solidified their approach in exciting new ways on early cuts like the grunge-crunching “Don’t Bring Me Coffee” and the shuffling “Bruce Lee,” which hit in succession following the fluid lead-in of opener “Bulls,” an introduction of the organic psychedelia and heavy blues that the loose-swinging of “3-5-7″‘s nigh-on-gospel chorus and subsequent, almost maddeningly catchy “Am I Going Up?” would continue to push outward, thereby setting a linear course into a consciousness-capturing side B with “Alabaster” and the jammier “Cowboy Kirk” and “Internet” playing between melodic nuance and mindful, go-with-it drift. The unflinching strength of the material was matched perhaps only by the understatement of its delivery, which was the more staggering considering how easily the arrangements of background vocals on “Am I Going Up?” or  “3-5-7” could have come through as overblown or self-indulgent, and by the time they got down to the light weirdo-bluesy stomp of “Internet” — the key lyric and hook being, “Guess I’ll go live on the internet” — there was no doubting the genuine nature of the realization Sleeping Through the War represented for All Them Witches. Coupling that feeling of achievement with the sheer repeatability of the listening experience itself left no doubt that 2017 belonged to these tracks and the marvelous way the band wove between them, and that whatever other sounds All Them Witches may go on to explore and whatever else they may accomplish as a result, Sleeping Through the War was a truly special moment in their evolution that, as with the best of offerings in any year, will continue to resonate long after the calendar page has turned.

The Next 20

You know, I used to feel like once you got past a top 20, the numbers were arbitrary. Then I felt that way about the top 30. This year, I think I agonized more about what to include in numbers 31-50 than I did between 30 and the album of the year. Put that in your “go figure” file while you chew on these picks:

31. Cities of Mars, Temporal Rifts
32. The Midnight Ghost Train, Cypress Ave.
33. Snowy Dunes, Atlantis
34. Rozamov, This Mortal Road
35. PH, Eternal Hayden
36. Sasquatch, Maneuvers
37. Young Hunter, Dayhiker
38. The Devil and the Almighty Blues, II
39. Ufomammut, 8
40. John Garcia, The Coyote Who Spoke in Tongues
41. Paradise Lost, Medusa
42. Beastmaker, Inside the Skull
43. Arduini / Balich, Dawn of Ages
44. Primitive Man, Caustic
45. Motorpsycho, The Tower
46. Arbouretum, Song of the Rose
47. Hymn, Perish
48. Youngblood Supercult, The Great American Death Rattle
49. Pallbearer, Heartless
50. Dool, Here Now There Then

There’s so, so much good stuff here. So much. The Cities of Mars debut was a treasure and the only reason it wasn’t on my top debuts list was because I haven’t had the chance to go back in and put it on. The Young Hunter record? Some of their best work yet. Hell, that Arduini / Balich album alone! Then you’ve got huge releases by Pallbearer, Ufomammut, Paradise Lost, Primitive Man, on and on. Like I said at the outset, one more album and my head was gonna explode this year. Way too much to ever hope to keep up with. One thing though I felt like I really wanted to emphasize including was Dool. They’re in the last spot, but make no mistake, in atmosphere and songwriting that album was something really special and loaded with potential. It’s not there because it came in last. It’s there to highlight the point of how much it should be on this list.

What’s that? More records? Okay…

Honorable Mentions

In case you also weren’t completely overwhelmed this year, maybe another batch of records will do the trick. Here’s some presented alphabetically:

Anathema, The Optimist
Blackfinger, When Colors Fade Away
Child, Blueside
Cortez, The Depths Below
Demon Eye, Prophecies and Lies
Elbrus, Elbrus
Electric Wizard, Wizard Bloody Wizard
Ecstatic Vision, Raw Rock Fury
Five Horse Johnson, Jake Leg Boogie
Mirror Queen, Verdigris
The Obsessed, Sacred
T.G. Olson, Foothills Before the Mountain
Outsideinside, Sniff a Hot Rock
Queens of the Stone Age, Villains
Siena Root, A Dream of Lasting Peace
Six Organs of Admittance, Burning the Threshold
Steak, No God to Save
Summoner, Beyond the Realm of Light
Valborg, Endstrand
With the Dead, Love from With the Dead

Plus: Abronia, Lewis and the Strange Magics, Iron Monkey, Band of Spice, Puta Volcano, Galley Beggar, Heavy Traffic, Coltsblood, REZN, Green Meteor, Demon Head, Lord, Grigax, The Raynbow, Carpet, Norska, Les Lekin, Slow, Ixion, and I’m sure more that I’ll add as the names continue to pop into my head.

I did this back in June as well, but I also want to draw attention to a swath of quality live albums that came out this year. The top pick should be no surprise if you’ve been hanging around the site of late:

Live Albums:
1. SubRosa, Subdued Live at Roadburn
2. Causa Sui, Live in Copenhagen
3. Slomatics, Futurians Live at Roadburn
4. My Sleeping Karma, Mela Ananda – Live
5. Wight, Fusion Rock Invasion
5. Death Alley, Live at Roadburn

Thank You

It’s been a hell of a year, obviously. Musically and otherwise. As always, I cannot possibly come close to thanking you enough for your incredible and ongoing support of The Obelisk, of what this site is, what it’s become over its nearly nine-year run, what it will continue to become going forward from here. It is astounding to me and deeply humbling that you would possibly take time out of your busy day and your busy life to check out what’s going on here, and words fail me continually when it comes to feeling like I can properly convey my appreciation for that. Thank you for reading. Thank you for reading. Thank you for reading. Tattoo it on my forehead.

Thank you to The Patient Mrs. for understanding how much I need to be doing this, to Slevin for keeping the site running on the technical end, to Behrang Alavi for taking over hosting earlier this year, to my family for their ongoing support, to The Pecan for sleeping late some mornings and giving me time to write, and to everyone who ever shared a link on social media or made a comment on a post or anything like that. To long-time readers and to newcomers alike — thank you so much. This year has seen a fair share of ups and downs, but the support this site gets sustains me in ways I never expected it could, and that would be impossible without you. Please know how crucial that is to me.

Well, that should do it. I know there are probably disagreements about where things landed on the list, what was included, what was left out, etc., as there always are. All comments are of course welcome — only thing I’d ask is you please keep it civil and respectful of the opinions of others. Otherwise, have at it. Please.

And one more time, thank you for reading.

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The Obelisk Presents: The Top 20 Short Releases of 2017

Posted in Features on December 22nd, 2017 by JJ Koczan

the obelisk top 20 short releases

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 2017 to that, please do.

This is the hardest list to put together, no question. Don’t get me wrong, I put way too much thought into all of them, but this one is damn near impossible to keep up with. Every digital single, every demo, every EP, every 7″, 10″ one-sided 12″, whatever it is. There’s just too much. I’m not going to claim to have heard everything. Hell, that’s what the comments are for. Let me know what I missed. Invariably, something.

So while the headers might look similar, assuming I can ever remember which fonts I use from one to the next, this list has a much different personality than, say, the one that went up earlier this week with the top 20 debuts of 2017. Not that I heard everyone’s first record either, but we’re talking relative ratios here. The bottom line is please just understand I’ve done my best to hear as much as possible. I’m only one person, and there are only so many hours in the day. Eventually your brain turns into riffy mush.

With that caveat out of the way, I’m happy to present the following roundup of some of what I thought were 2017’s best short releases. That’s EPs, singles, demos, splits — pretty much anything that wasn’t a full-length album, and maybe one or two things that were right on the border of being one. As between genres, the lines are blurry these days. That’s part of what makes it fun.

Okay, enough dawdling. Here we go:

lo-pan-in-tensions

The Obelisk Presents: The Top 20 Short Releases of 2017

1. Lo-Pan, In Tensions
2. Godhunter, Codex Narco
3. Year of the Cobra, Burn Your Dead
4. Shroud Eater, Three Curses
5. Stubb, Burning Moon
6. Canyon, Canyon
7. Solace, Bird of Ill Omen
8. Kings Destroy, None More
9. Tarpit Boogie, Couldn’t Handle… The Heavy Jam
10. Supersonic Blues, Supersonic Blues Theme
11. Come to Grief, The Worst of Times EP
12. Rope Trick, Red Tape
13. Eternal Black, Live at WFMU
14. IAH, IAH
15. Bong Wish, Bong Wish EP
16. Rattlesnake, Outlaw Boogie Demo
17. Hollow Leg, Murder
18. Mars Red Sky, Myramyd
19. Avon, Six Wheeled Action Man Tank 7″
20. Wretch, Bastards Born

Honorable Mention

Across Tundras, Blood for the Sun / Hearts for the Rain
The Discussion, Tour EP
Fungus Hill, Creatures
Switchblade Jesus & Fuzz Evil, The Second Coming of Heavy – Chapter Seven
The Grand Astoria, The Fuzz of Destiny
Test Meat, Demo
Blood Mist, Blood Mist
Sweat Lodge, Tokens for Hell
Dautha, Den Foerste
Scuzzy Yeti, Scuzzy Yeti
Howling Giant, Black Hole Space Wizard Part 2
Decasia, The Lord is Gone
Bible of the Devil/Leeches of Lore, Split 7″

I can’t imagine I won’t add a name or two or five to this section over the next few days as I think of other things and people remind me of stuff and so on, so keep an eye out, but the point is there’s way more than just what made the top 20. That Across Tundras single would probably be on the list proper just on principle, but I heard it like a week ago and it doesn’t seem fair. Speaking of unfair, The Discussion, Howling Giant, The Grand Astoria and the Bible of the Devil/Leeches of Lore split all deserve numbered placement easily. I might have to make this a top 30 in 2018, just to assuage my own guilt at not being able to include everything I want to include. For now though, yeah, this is just the tip of the doomberg.

Notes

To be totally honest with you, that Lo-Pan EP came out Jan. 13 and pretty much had the year wrapped up in my head from that point on. It was going to be hard for anything to top In Tensions, and the Godhunter swansong EP came close for the sense of stylistic adventurousness it wrought alone, and ditto that for Year of the Cobra’s bold aesthetic expansions on Burn Your Dead and Shroud Eater’s droning Three Cvrses, but every time I heard Jeff Martin singing “Pathfinder,” I knew it was Lo-Pan’s year and all doubt left my mind. Of course, for the Ohio four-piece, In Tensions is something of a one-off with the departure already of guitarist Adrian Zambrano, but I still have high hopes for their next record. It would be hard not to.

The top five is rounded out by Stubb’s extended jam/single “Burning Moon,” which was a spacey delight and new ground for them to cover. The self-titled debut EP from Philly psych rockers Canyon, which they’ve already followed up, is next. I haven’t had the chance to hear the new one yet, but Canyon hit a sweet spot of psychedelia and heavy garage that made me look forward to how they might develop, so I’ll get there sooner or later. Solace’s return was nothing to balk at with their cassingle “Bird of Ill Omen” and the Sabbath cover with which they paired it, and though Kings Destroy weirded out suitably on the 14-minute single-song EP None More, I hear even greater departures are in store with their impending fourth LP, currently in progress.

A couple former bandmates of mine feature in Tarpit Boogie in guitarist George Pierro and bassist John Eager, and both are top dudes to be sure, but even if we didn’t have that history, it would be hard to ignore the tonal statement they made on their Couldn’t Handle… The Heavy Jam EP. If you didn’t hear it, go chase it down on Bandcamp. Speaking of statements, Supersonic Blues’ Supersonic Blues Theme 7″ was a hell of an opening salvo of classic boogie that I considered to be one of the most potential-laden offerings of the year. Really. Such warmth to their sound, but still brimming with energy in the most encouraging of ways. Another one that has to be heard to be believed.

The dudes are hardly newcomers, but Grief offshoot Come to Grief sounded pretty fresh — and raw — on their The Worst of Times EP, and the Massachusetts extremists check in right ahead of fellow New Englangers Rope Trick, who are an offshoot themselves of drone experimentalists Queen Elephantine. Red Tape was a demo in the demo tradition, and pretty formative sounding, but seemed to give them plenty of ground on which to develop their aesthetic going forward, and I wouldn’t ask more of it than that.

Eternal Black gave a much-appreciated preview of their Bleed the Days debut long-player with Live at WFMU and earned bonus points for recording it at my favorite radio station, while Argentine trio IAH probably went under a lot of people’s radar with their self-titled EP but sent a fervent reminder that that country’s heavy scene is as vibrant as ever. Boston-based psych/indie folk outfit Bong Wish were just the right combination of strange, melodic and acid-washed to keep me coming back to their self-titled EP on Beyond Beyond is Beyond, and as Adam Kriney of The Golden Grass debuted his new project Rattlesnake with the Outlaw Boogie demo, the consistency of his songcraft continued to deliver a classic feel. Another one to watch out for going into the New Year.

I wasn’t sure if it was fair to include Hollow Leg’s Murder or not since it wound up getting paired with a special release of their latest album, but figured screw it, dudes do good work and no one’s likely to yell about their inclusion here. If you want to quibble, shoot me a comment and quibble away. Mars Red Sky only released Myramyd on vinyl — no CD, no digital — and I never got one, but heard a private stream at one point and dug that enough to include them here anyway. They remain perennial favorites.

Avon, who have a new record out early in 2018 on Heavy Psych Sounds, delivered one of the year’s catchiest tracks with the “Six Wheeled Action Man Tank” single. I feel like I’ve had that song stuck in my head for the last two months, mostly because I have. And Wretch may or may not be defunct at this point — I saw word that drummer Chris Gordon was leaving the band but post that seems to have disappeared now, so the situation may be in flux — but their three-songer Bastards Born EP was a welcome arrival either way. They round out the top 20 because, well, doom. Would be awesome to get another LP out of them, but we’ll see I guess.

One hopes that nothing too egregious was left off, but one again, if there’s something you feel like should be here that isn’t, please consider the invitation to leave a comment open and let me know about it. Hell, you know what? Give me your favorites either way, whether you agree with this list or not. It’s list season, do it up. I know there’s the Year-End Poll going, and you should definitely contribute to that if you haven’t, but what was your favorite EP of the year? The top five? Top 10? I’m genuinely curious. Let’s talk about it.

Whether you have a pick or not (and I hope you do), thanks as always for reading. May the assault of short releases continue unabated in 2018 and beyond.

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