Posted in Reviews on March 11th, 2014 by H.P. Taskmaster
There can be little question that Stranded in Arcadiais not the album that Mars Red Sky set out to make, or at very least that it wasn’t made under the intended conditions. The best laid plan of the forerunning French heavy psych rockers was to do a week of shows in South America before heading north to the California desert to track their second full-length and Listenable Records debut, but the usual visa issues (what my country has against importing quality guitar tone, I’ll never know) kept them in Rio de Janeiro for that week instead, and rather than go home without a record done, they hit Estúdio Superfuzz to put to tape with Gabriel Zander what eventually became the eight-song/45-minute long-player that takes its title from the circumstances of its creation. Stranded in Arcadiasounds better in any case than “stuck in Rio” would have, and speaking as someone who’s become a fan of the band since the 2011 release of their self-titled debut (review here), it’s hard to argue with the results in the finished product. Even from last year’s Be My GuideEP (review here), Stranded in Arcadiamarks audible progress in the psychedelic, airy feel from guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Matgaz, who makes his proper debut here after first appearing on part of the shorter 2013 release.
What has made Mars Red Sky such an utter joy on the ears to this point has been the smoothness with which they tie that heavy psychedelia to both a melodic sweetness and a huge-tone desert rock groove. Listening to Stranded in Arcadia tracks like “Hovering Satellites” the later “Seen a Ghost” and the ultra-swinging “Holy Mondays,” on which Kinast joins Pras for vocals in the verse only to take the lead for the chorus — something also done on the self-titled’s “Marble Sky,” but achieved more confidently here — I’m glad to find these elements are enhanced if anything, and that while there’s more impact to the tones and the notes seem to land with more of a thud than the prior LP or EP, that comes at no sacrifice of melody. Indeed, on “Join the Race,” Mars Red Sky are their most unabashedly blissful yet, tapping a psych-era Beatles influence for one of Stranded in Arcadia‘s most effective hooks. Those are not in short supply, incidentally. Where the self-titled nestled into the rolling grooves of “Way to Rome,” “Strong Reflection” and the extra dreamy “Up the Stairs,” the second outing seems to build on these accomplishments with the expansive but efficient craft of “Circles,” “Join the Race” and opener and longest track at 8:04 (immediate points) “The Light Beyond,” which explodes from an initial far-off guitar line into otherworldly vocals and elephantine plod, only then to unfold the first of Stranded in Arcadia‘s highlight choruses in tones more weighted but no less patient than one could hope given the band’s work up to this point.
If I seem locked into comparing Stranded in Arcadiawith its predecessor releases from Mars Red Sky, perhaps that’s because there’s so little else one might relate in terms of the band’s methods. Mars Red Sky have very quickly, very masterfully become a singular act within heavy psych, and quite frankly there’s nobody else so able to maintain their balance of lush melody, tonal heft, jammy sensibility, memorable songwriting and unmistakable groove. That Stranded in Arcadiaheld firm to these is triumph enough, but to hear “Hovering Satellites” kick in with Matgaz‘s double-bass drumming and send its quicker roll headfirst into the wide-open chorus easily positions the album among the most satisfying I’ve heard thus far into 2014. An already fervent appreciation deepens as “Hovering Satellites” moves into a wah-soaked guitar-led jam, only to have the instruments drop out as Pras begins a return to the chorus with just his echoing vocals, setting up a build that will play out over the remaining 90-plus seconds. “Holy Mondays” is the shortest of the actual songs here — closer “Beyond the Light” is a two-and-a-half-minute reprieve of “The Light Beyond” — but solidifies around the dually-delivered singing of Kinast and Pras to set in stone a specific point of progression on the part of the band and one I hope they continue to develop going forward, Kinast‘s lower register approach meshing well with Pras‘ higher range, which gets further showcase on the aforementioned chorus of “Join the Race,” which follows.
Posted in Whathaveyou on January 28th, 2014 by H.P. Taskmaster
There wasn’t really any doubt that Mars Red Sky, who toured the world more or less as an independent band, were going to end up on some label, just a question of which and when. Those questions have been answered by the announcement this morning that the Bordeaux trio have inked a deal with Listenable Records in time to have their second full-length out in April, preceded by a limited 7″ with exclusive material. Good news all around, and most importantly, it gets the album here sooner than later. Should make for a good spring soundtrack.
O! PR wire! Sing unto me of fuzz and laid back groovy rock and roll!
MARS RED SKY sign to Listenable Records; new album released this Spring.
France’s stoner rock emblematic trio MARS RED SKY just inked a deal with European record label Listenable Records, on which the band will release its brand new full-length as well as a 7’’ EP, both set for release this spring.
Considered as one of the greats of the European stoner rock scene, France based MARS RED SKY have gained international recognition thanks to a unique sound imprint based on thick infectious grooves and melodic aerial guitar riffs. This is truly a one of a kind experience, wrapped up by Julien Pras’ ethereal vocals, Matgaz’ powerful rhythms and Jimmy Kinast’s pachydermic bass lines. Somewhere between doom metal and 70’s psyche pop, the Mars Red Sound intrigues to begin with, after which it irremediably attracts the masses to celebrate this cosmic ritual of solar burning fuzz and reverberated atmospheres.
Driven by the huge success of their eponymous debut record, which was recorded in Spain’s mystic Bardenas desert and released in 2011, the Bordelais were quickly invited to play on the largest European stages with Kyuss Lives!, Dinosaur Jr, Sleep, and popular festivals such as Eurockéennes de Belfort (Fr), Roadburn (NL), London and Berlin Desertfest, Sziget Festival (Hun), SXSW (USA), leading them to play in more than 20 countries.
With their incredibly heavy and hypnotic performances, MARS RED SKY have been considered as one of the most thrilling live acts among the international stoner rock scene. In 2012, they paired up with French doom metal monsters Year Of No Light to release a 3-track split record, which sold out in a blink of an eye.
The release of their EP “Be My Guide” in the spring of 2013 prophetically opened the path for an extensive tour across Europe, then across the Atlantic Ocean for a few exciting gigs in Latin America, where they recorded their new album, due out in April 2014 on LISTENABLE RECORDS (Ghost, Gojira, Behemoth…).
A limited edition 7” EP containing exclusive material will be released in March, more details coming shortly.
MARS RED SKY upcoming tour dates:
Feb. 05 – La Roche Sur Yon, Le Fuzz Yon (Fr) Feb. 27 – Larissa, Stage Club (Greece) Feb. 28 – Thessaloniki, Eightball Club (Greece) Mar. 01 – Athens, Six D.O.G.S (Greece) Mar. 21 – La Teste de Buch, Le Zik Zak (Fr) Jun. 20 – Clisson, Hellfest Open Air (Fr)
Posted in Features on January 13th, 2014 by H.P. Taskmaster
Getting ready to type this list is like standing on the precipice of a canyon. Maybe that’s a little dramatic, but you get the idea. Last year was an all-out assault of music. I couldn’t have heard it all even if I’d wanted to, and while it’ll probably be June before I feel like I’m sufficiently caught up on 2013, the new-car-smelling rush of 2014 is already underway.
And the only thing to do is press on — though I’ve tried on several occasions, I can’t seem to stop time and review everything that I’m fortunate enough to encounter — and that means glancing ahead to what’s coming in 2014. I know I said so before, but once again, Happy New Year.
One of my favorite things to do is to look forward to a new album. I consider it a sign of the endurance of the human spirit not only that new creative works are being completed and distributed at such a constant rate, but that we can still anticipate the resonance of those works upon their arrival. I don’t mind telling you this is the largest of any such list I’ve ever written for this site. Even as I start it, I’m finding more to add, and I’m sure when it’s done it won’t be complete. So it goes.
There’s more to say, but I’ve delayed enough. We’ll go alphabetically, which is only unfortunate because it puts YOB last. Thanks in advance for reading.
1. Acid King, TBA
We start the same place we started in 2013, with Acid King. The San Francisco giants have sworn up and down they’ll have a new record out this year, and while I’ve yet to see any solid word of its coming manifest, I remain hopeful that it happens. Of course, that was also pretty much the case going into 2013, but they toured Europe last fall and even came out to the East Coast for a show and played some new material (review here), so if it’s to be that IIIfinally gets a follow-up some nine years later, it’s worth keeping an eye out ahead of time. Acid King on Thee Facebooks.
2. Alcest, Shelter
To be released this coming week on Prophecy Productions, the fourth Alcest full-length, Shelter (review here), is billed as a major sonic turn away from the France-based outfit’s black metal influences toward brighter sonic fare. It is that, but the nostalgic melodies and crucial emotionality that has always been the root of Alcest’s sound remains intact. It will be interesting to see what the response is upon its release, but Shelteris an early point of fascination for 2014. Alcest on Thee Facebooks.
3. All Them Witches, TBA
I’m not sure what they’re doing in the studio, if it’s a single, an EP or a full-length album, but this past weekend, on Jan. 11, Nashville heavy psych rockers All Them Witches posted the above picture with the simple tagline “Recording.” Fair enough. It seems soon for them to have another LP after 2013′s excellent Lightning at the Door (discussed here), but that album seemed to arrive soon after 2012′s Our Mother Electricity (reissued by Elektrohasch in 2013; review here), so who knows? It’ll be fun to find out either way. All Them Witches on Bandcamp.
4. Alunah, TBA
UK doomers Alunah will make their debut on Napalm Records with yet-untitled third album. With wider distribution at their disposal than that received by their 2012 outing, White Hoarhound (review here), I wouldn’t be surprised to see Alunah really leave a mark on 2014, but more fascinating to me than how many people get to hear it is how the band — who’ve swapped out bassists since their last outing — will follow-up the tremendously memorable songs on White Hoarhound. No doubt they can do it, it’s just hard not to be impatient. Alunah on Thee Facebooks.
5. Blackwolfgoat, Drone Maintenance
I was fortunate enough to be invited down to Amps vs. Ohms in Boston when Blackwolfgoat (aka Darryl Shepard, also of Black Pyramid, The Scimitar, ex-Hackman, Roadsaw, etc. and a new project I don’t think I’m allowed to talk about yet) was tracking the follow-up to 2011′s Dronolith, which was released on this site’s in-house label, The Maple Forum. Raw tracks can sometimes prove to tell little about the finished product of an album, but each piece on Drone Maintenancethat I heard had a distinct atmosphere, and “Cyclopean Utopia” was heavy enough on its own to warrant inclusion here. Rumor also has it that Black Pyramid offshoot The Scimitar will release a studio debut this year. Blackwolfgoat on Bandcamp.
6. Causa Sui, Live at Freak Valley
Holding the promise of over 90 minutes of live-recorded material from the 2013 Freak Valley festival in Germany, Causa Sui‘s Live at Freak Valley will see release through the band’s own El Paraiso Records and should provide further insight as a companion piece to their 2013 studio full-length, Euporie Tide. As that album boasted such an engaging live and progressive feel, successfully meshing desert and krautrock influences, I’d expect no less from the live outing, which though they’ve put out studio jams before — their three-volume 2008-2009 Summer Sessionsis a joy worthy of the season — is their first official concert recording. El Paraiso Records website.
7. Conan, Blood Eagle
Six devastating tracks that both continue Conan‘s sonic dominance and usher in a new era for the band. Not only is their second full-length, Blood Eagle, their debut on Napalm Records, but it’s also the first Conan LP to be recorded at Skyhammer Studios, which was built and is owned by guitarist/vocalist Jon Davis. Producer Chris Fielding worked with the band previously on 2012′s Monnos (review here) and 2010′s Horseback Battle Hammer EP (review here), and Blood Eagle benefits from that now familiar collaboration, bridging the gap between the faster, catchy sides of Monnos and the complementing ultra-plod of its longer tracks. Album opener “Crown of Talons” also ranks among the heaviest things they’ve ever done, and “Foehammer” takes it’s name from Gandalf’s sword, Glamdring, so I don’t know what more you could ever ask of a full-length than that. Conan on Thee Facebooks.
8. Eggnogg, You’re all Invited
With the addition of bassist Corey Dozier to the rhythm section with drummer Jason Prushko, Brooklynite doom-funk stompers Eggnogg have been able to move vocalist Bill O’Sullivan to guitar from bass, giving Justin Karol a chance to act all the more as a lead player. How this new four-piece dynamic might play out on You’re all Invited — or even if Dozier played on it — remains to be seen, but from what I’ve caught live, it’s turned them into a thicker, fuller-sounding band, and on new material and old, Eggnogg are coming into their own. They’re still a better band than they know, and one hopes they can get some road time in as well as release the LP to continue to refine their approach. Eggnogg on Thee Facebooks.
9. Elder, Live at Roadburn 2013
Granted it’s been available through Burning World Records digitally since last November, but Elder‘s Live at Roadburn 2013 is set for physical issue early this year through the label, and having stood in front of the stage to witness the set myself at Het Patronaat in Tilburg and then seen the line running outside the venue and down the block, I can tell you it’s a beast. Put it on vinyl with cover art by Adrian Dexter and maybe a photo or two by yours truly and you’ve got a good way to get a preview for what their sets at the two Desertfests might hold this year. Elder on Thee Facebooks.
10. 40 Watt Sun, TBA
Speaking of Roadburn, emotive UK doomers 40 Watt Sun are set to make a return appearance at the fabled fest in the Netherlands, and the word was they’d do so with material from the follow-up to their 2011 Metal Blade debut, The Inside Room (review here), which established the band, led by guitarist/vocalist Patrick Walker (Warning), as a deeply affecting act with a rich sonic texture. No word of an exact release date for the sophomore effort yet, but one expects it will receive no shortage of fanfare prior to and upon its arrival. 40 Watt Sun on Thee Facebooks.
11. The Golden Grass, TBA
Brooklyn trio The Golden Grass‘ One More Time b/w Tornado debut single was one of the best short releases of 2013, and the sunshiny classic heavy rockers will look to follow it with a first long-player this year. Recording is completed — the tracking was helmed by Andréa Zavareei, who also did the 7″ — and so is mixing, done by Jeff Berner (Naam, etc.), so with mastering in progress, hopefully it’s not too long before The Golden Grass can offer a right-on cure for wintry blues. It will be interesting to hear how they sustain and work within their positive vibes over the course of a complete LP. The Golden Grass on Thee Facebooks.
12. Greenleaf, Trails and Passes
Trails and Passes will be Greenleaf‘s first outing since 2003′s Secret Alphabets not to be fronted by Oskar Cedermalm (also of Truckfighters) and also finds the Swedish unit both with a new drummer (hello, Sebastian Olsson) and down from two guitars to one. It was five years between their third album, 2007′s Agents of Ahriman and 2012′s Nest of Vipers (review here), so with a quicker turnaround and a stripped-down songwriting approach that seems geared more toward a live-sounding heavy rock presentation, Greenleaf could easily be positioning themselves as a full(er)-time touring act. The more the merrier. Greenleaf on Thee Facebooks.
13. Grifter, The Return of the Bearded Brethren
UK power trio Grifter surprised some with the quality of songwriting on their 2011 self-titled debut (review here), the lacking pretense of which was in proportion to its classic heavy rock influence, but The Return of the Bearded Brethren, which is set to release on Ripple Music, won’t have the advantage of sneaking up. If they’re throwing down a gauntlet, the confrontational pose of the shirtless tattooed beardo on their LP cover would seem to indicate it’s a considerable one indeed, but I wouldn’t be shocked if Grifter made following up on their self-titled sound as easy as they made infectious hooks sound the last time out. Grifter on Thee Facebooks.
14. Hull, TBA
Down from a five-piece to a foursome after having lost one of their three guitars since the release of 2011′s stellar second LP, Beyond the Lightless Sky (review here), 2014 marks an interesting point for singular Brooklyn post-thrashers Hull. With a Roadburn appearance slated and a limited vinyl reissue of their 2007 Viking Funeral debut EP in hand, they’ll look to bring their conceptual songwriting into a new presentational arc, and while that’s a fascinating prospect, I’m also looking forward to their new album because it promises to be heavy as fuck whenever it happens to arrive, hopefully by the end of the year. Hull on Thee Facebooks.
15. Lowrider, TBA
Were this list numbered in anticipatory rather than alphabetical order, Lowrider would be much closer to the top than lucky number 13. The Swedish four-piece will be recording their first outing since 2000′s genre-landmark Ode to Io this year after reuniting on stage at Desertfest 2013 — they’ll return to London next month with Dozer — and while I don’t know if it’ll be out by the time 2014 is done, I do know that the sheer prospect of a new Lowrider makes this year much better than it would be otherwise. I already invited myself to Sweden for an in-studio. More to come. Lowrider on Thee Facebooks.
16. The Machine, TBA
A couple weeks back, Dutch heavy psych rockers The Machine — whose split with now-defunct countrymen Sungrazer (review here) was my favorite short release last year — held a poll on their Thee Facebooks page to name their upcoming fifth album, which will follow 2012′s Calmer than You Are (review here) on Elektrohasch. My suggestion? Come to Light. It has the advantage of sounding psychedelic with an undertone of enlightenment to speak to the band’s continuing progression and it keeps with the prior album in being a reference to The Big Lebowski. No word on whether or not they’ll use it, but I’ve got my fingers crossed. The Machine’s website.
17. Mars Red Sky, TBA
Currently in the mixing stage, the second Mars Red Sky long-player will arrive on the heels of 2013′s Be My Guide EP (review here) and the Bordeaux fuzz trio’s self-titled 2011 debut (review here) and a host of tours and festival appearances. While their plans to record in the California desert reportedly didn’t pan out, the trio put much of the album to tape over the course of a week in Brazil following dates in South America, so it should boast plenty of sunshine either way. The album is due for release in April — a pro-shot live video of the new song “Satellites” was recently unveiled — and Mars Red Sky will also play at Hellfest in their native France in June. Mars Red Sky on Bandcamp.
18. Mos Generator, Electric Mountain Majesty
The Washington trio’s first album for Listenable Records and their second since picking back up after several years of inactivity while guitarist/vocalist Tony Reed concentrated on Stone Axe, Electric Mountain Majesty is done and mastered as of Jan. 5. Recorded by Reed himself, it will follow a pair of live outings in 2013 (reviews here and here) and 2012′s infectious return, Nomads(review here). I am fully prepared to have these songs stuck in my head for most of 2014, so bring it on. A March release has been floated, which would come ahead of an appearance at Freak Valley in late May. Mos Generator on Thee Facebooks.
19. Mr. Peter Hayden, Archdimension Now
Triumphantly creative Finnish cosmic doomers Mr. Peter Hayden will complete a trilogy with Archdimension Now that began with 2010′s Faster than Speed (review here) and 2012′s single-song 68-minute LP, Born a Trip (review here). Crushing tones and a formidable scope don’t seem like unreasonable expectations, though what really interests me is how the Satakunta five-piece will expand on the sound of their last album, which still seems to reveal something new each time I put it on. Their new single “We Fly High,” was streamed here recently and bodes well. Mr. Peter Hayden on Bandcamp.
20. Pallbearer, TBA
Pallbearer have toured hard since their 2012 debut, Sorrow and Extinction (review here), hit a nerve with doomers across the globe, and the four-piece from Arkansas are set to begin recording their next LP (presumably) for Profound Lore in February. If that puts a release for sometime in late Spring/early Summer, I would imagine it will come coupled with no shortage of live dates, since the band seems most at home on tour. Should be intriguing to have a document of how all that stage time has manifested in solidifying and adding confidence to their approach, and this is another one preceded by much anticipation. Pallbearer on Thee Facebooks.
21. Papir, IIII
It would seem I have some purchases to make in order to catch up with Danish heavy psych jammers Papir. Aside from their recent collaboration with Electric Moon, the upcoming IIII will sure enough be their fourth album. Available now to preorder through El Paraiso Records, it is a vinyl-ready 47 minutes of smoothly shifting transitions between lush atmospherics and driving fuzz-heavy rock, ready to stand in line with progressive European instrumentalists like 35007, My Sleeping Karma and indeed their label honchos, Causa Sui. I had caught wind of 2013′s IIIpreviously, but deeper back catalog investigation is definitely warranted. Papir on Thee Facebooks.
22. Pilgrim, TBA
Just before they left to tour Europe with Windhand, Providence, Rhode Island, doomers Pilgrim recorded their sophomore full-length at Moonlight Mile Recording in scenic Jersey City, NJ. After the huge response garnered — and, I should say, earned — by their 2012 debut, Misery Wizard, the band jumped from Alan Averill of Primordial‘s Metal Blade imprint, Poison Tongue Records, to Metal Blade proper for the new one, which along with Pallbearer, 40 Watt Sun, Serpent Venom and The Wounded Kings (and no doubt others) makes a prospect for a thoroughly doomed 2014. So be it. Pilgrim on Thee Facebooks.
23. Radio Moscow, TBA
As I type these words, heavy rockers Radio Moscow are mixing their yet-untitled fourth album (fifth if you count 2012′s 3 & 3 Quarters, which was comprised of early unreleased material) at Big Fish Recording in Encinitas, CA. Details on the release are sketchy at best at this point, and by that I mean nil, but at least there’s progress being made, and since it’s still January, it seems entirely likely the album will surface one way or another in the next 11 months, barring disaster. The bombastic blues jammers led by Parker Griggs toured Europe last fall and rumor is there’s a run in the works for the US at the end of February into March. Radio Moscow on Thee Facebooks.
24. Sigiriya, Darkness Died Today
What’s not to like about a new Sigiriya album? The UK four-piece premiered “Tribe of the Old Oak” from Darkness Died Todayhere last month, and in addition to the considerable pipes of new vocalist Matt Williams, the track showcased a somewhat moodier psychedelic vibe from the band, who continue to distance themselves from Acrimony, of which bassist Paul Bidmead, guitarist Stuart O’Hara and drummer Darren Ivey were members, while also exploring new avenues from those of Sigiriya‘s debut, 2011′s Return to Earth(review here). I haven’t heard the whole thing yet, but they set a high standard last time. Sigiriya on Thee Facebooks.
25. Sixty Watt Shaman, TBA
Reason to Live, was released by Spitfire Records (remember them?) in… wait for it… 2002. Some 12 years ago. Now, these dudes have been kicking around in other bands since Sixty Watt Shaman sort of melted away in the manner that underrated bands often unfortunately do, but with the announcement of their appearances this year at Desertfest (info here) in April and The Eye of the Stoned Goat 4 in May (info here) came word of a new studio release. EP or LP unknown at present. As killer as Reason to Live was, it just doesn’t seem fair to expect Sixty Watt Shaman to be the same band they were more than a decade ago. As such, I don’t know what’s coming, but I’m keen to find out. Sixty Watt Shaman on Thee Facebooks.
26. Skraeckoedlan, Gigantos
The 2011 debut from upstart Swedish heavy-hitters Skraeckoedlan, titled Äppelträdet (review here), was recorded by Oskar Cedermalm of Truckfighters and had much of that band’s fuzzy compression in blend with their own Mastodon-ic plod. It was a combination that worked so well I thought for sure the young outfit would return to Studio Bombshelter for their next outing, but no dice. As a result, I’m not sure what to expect from Gigantos, but I dug what I heard in a recent live video from them, so we’ll see how it turns out when the LP is done and I’m not about to judge either way until then. Skraeckoedlan on Thee Facebooks.
27. The Skull, TBA
I have no interest in downplaying any of the original members of Trouble‘s contributions to that legendary Chicago doom band (nor the work they’re doing now or those contributing to it), but there can be no question that Eric Wagner‘s voice is a signature element, and right now, that’s something The Skull has over the outfit from whence they sprang. Add to that Ron Holzner‘s bass and Jeff “Oly” Olson‘s drums and you’re well on your way to some foundational heavy. Among the best signs is that The Skull were recording with Billy Anderson (Sleep, the Melvins, Acid King, etc.), who obviously knows his shit and is likely to capture their sound as it should be: Completely doomed. Also keep an eye out for Wagner‘s side-project, Blackfinger, who have an LP coming. The Skull on Thee Facebooks.
28. Sleep, TBA
This would be the mother of them all, I guess. A new Sleep album. In addition to hinting at new studio outings by his own three-piece Om and Matt Pike‘s High on Fire, bassist/vocalist Al Cisneros let it slip casual-style in an interview somewhere that Sleep were working on new material, thus snapping my Thee Facebooks feed in half. Fair enough. Working on material doesn’t mean we’ll see a record this year, or at all, but obviously if there’s a chance a new album might happen (I’ve been nerding out about the idea for a while; see here and here), it would be proof of justice in the universe. Seems an obvious thing that Billy Anderson would record this as well, and all the better. Can the Sons of Sabbath prove there’s life after Dopesmoker? For now, only the Antarcticans know. Sleep’s website.
29. Slough Feg, Digital Resistance
Slated for release through Metal Blade — they’re taking preorders — what if I’m not mistaken is the 32nd Slough Feg LP is due on Feb. 18. As much as I’m looking forward to the release of the record itself, having very, very much enjoyed 2010′s The Animal Spirits (review here), I’m even more interested to see if I finally get up the gumption to interview guitarist/vocalist Mike Scalzi. Something about a dude who doubles as a philosophy professor and who’s been putting out records in his band since I was nine and long before anyone gave a shit I’ve always found intimidating. We’ll see if I’m up to it this year. @Slough_Feg.
30. Snail, Feral
Last summer, West Coast riffers Snail announced the departure of guitarist Eric Clausen, which means that their fourth outing, Feral, will be their first as the trio of guitarist/vocalist Mark Johnson, bassist Matt Lynch and drummer Marty Dodson since their 1993 self-titled debut full-length (reissue review here). Should be interesting to see how the shift to their original lineup changes the tenor of Feral as opposed to their two albums with Clausen, 2009′s comebacker Blood (review here) and 2012′s Terminus (review here), but as the first audio from the record begins to surface, Snail‘s sound seems to still very much have its core intact. Terminusbrought in something of a rawer heavy metal influence coming off the languid, dreamy Blood, but as they’ve been back together now for going on half a decade, no doubt a few more twists are in store. Snail on Thee Facebooks.
31. Steak, TBA
Quickly emerging at the fore of London’s enviable up and coming heavy rock scene — and, in the case of guitarist Reece Tee, helping shape it as one of the architects of Desertfest — Steak are set to debut this year on Napalm Records with what will be their first full-length following two EPs, 2012′s Disastronaught (review here) and 2013′s Corned Beef Colossus (review here). They’ve put in time on tour — they’ll play in Spain with Monster Magnet and in London with Lowrider and Dozer in February — and seem to be ready to take the next step in releasing an album, and after the conceptual elements of both EPs, I’m eager to see where the next chapter of their story goes. Steak on Bandcamp.
32. Stubb, TBA
Tracking is to begin a few weeks from now for Stubb‘s second album at Jon Davis of Conan‘s Skyhammer Studios. After the release of their 2013 single, Under a Spell (review here), and the departure of drummer Chris West, guitarist/vocalist Jack Dickinson and bassist/vocalist Peter Holland acquired Tom Fyfe to fill the position, and subsequently found a label home on Ripple Music. It’ll be a different Stubb than they were on their 2012 self-titled debut (review here), but the fuzz runs strong in them however the changes might manifest in the finished product from the studio, and I can’t even think of “Under a Spell” without hearing the chorus in my head, so yeah, I’m on board.Stubb on Thee Facebooks.
33. SunnO))) & Ulver,Terrestrials
A collaboration between drone lords SunnO))) and Norwegian post-black metal progenitors Ulver probably isn’t the kind of thing that’s going to make you crush a beer can on your forehead and call your bros to come over and check it out (actually, I don’t know what kind of music does that, but it probably sucks), but Terrestrials has the potential to be one of 2014′s most unique releases all the same. After Ulver‘s delving into orchestral minimalism on 2013′s Messe I-IX, it’s really anyone’s best guess what this will sound like when it comes out on Feb. 4. SunnO))) explored some cinematic ground with 2009′s Monoliths and Dimensions (review here), but still, to speculate seems like setting myself up to be a fool later. Southern Lord Recordings website.
34. Tombs, Savage Gold
For their third album for Relapse, Brooklyn three-turned-four-piece Tombs headed south to Florida to record with Hate Eternal‘s Erik Rutan. If vague Thee Facebook posts are anything to go by, the resulting LP is 57:18 and titled Savage Gold. I’m not sure when it’ll be out, but as the follow-up to 2011′s widely and loudly lauded Path of Totality, whatever it’s called and whenever the new Tombs shows up, chances are it’s going to receive as much extremity as it doles out. Tombs on Thee Facebooks.
35. Triptykon, Melana Chasmata
Heirs to the black, shiny and probably spiky throne of Celtic Frost, ultra-dark metallers Triptykon will answer 2010′s Eparistera Daimones (review here) with Melana Chasmata, which though it’s somewhat easier to type is no doubt even more gleefully excruciating a listen. As with the debut, they’ll mark the release with an appearance at Roadburn (info here). No audio has surfaced yet, but with a release date set for April 24, that can’t be too far off. Will Tom G. Warrior push Triptykon further away from their Celtic Frost lineage? I don’t know, but if there’s beauty in darkness, he’s the one to find it. Triptykon on Thee Facebooks.
36. Truckfighters, Universe
Feb. 4 is the stated release date for Universe (review here), the fourth album from Örebro fuzzdudes Truckfighters. The Swedish three-piece explore ground that at the same time is more emotionally complex than their last outing, 2009′s Mania (review here), and also more straightforward in the songwriting, resulting in a collection of tracks not necessarily as upbeat as some of what they’ve done in the past, but ultimately working toward a different kind of realization. No doubt hard touring will follow throughout the rest of this year, so if you want to catch Truckfighters, you’re likely to get your chance. Truckfighters on Thee Facebooks.
37. Valley of the Sun, Electric Talons of the Thunderhawk
Like Truckfighters, Midwestern heavy rockers Valley of the Sun will issue their new album, the somewhat cumbersomely-titled Electric Talons of the Thunderhawk on Fuzzorama Records, and the two acts are slated to tour together in Europe from Feb. 8 through March 14 ahead of Valley of the Sun‘s April 1 release date. If you contributed to their crowdfunding campaign, you might already have a copy of Electric Talons of the Thunderhawkon vinyl, but either way, the official release is worthy of note, particularly for as much growth as the full-length (their debut) shows from 2011′s already-impressive The Sayings of the Seers (review here). Valley of the Sun on Thee Facebooks.
38. Weedeater, TBA
Not certain how to tell you this, but I’m not sure we’re going to see a new Weedeater album this year. Between the North Carolina sludgers’ busy tour schedule and Season of Mist reissuing their other four albums, it seems like an awful lot for Weedeater to then also write and record a follow-up to 2011′s Jason… the Dragon (review here). I’m not saying it can’t be done — hell, for all I know they’ve finished writing and the studio is booked — but if a new Weedeater arrives, although it was mentioned with their West Coast tour dates that start this week, right now it seems like it would be later in 2014 or maybe early 2015 by the time it gets here. Hey, I could be wrong. I’d prefer it that way. Weedeater on Thee Facebooks.
39. Wolves in the Throne Room, TBA
They put out BBC Session 2011 Anno Domini last year as a kind of holdover release, but last month brought news of new songs for 2014, which would be Wolves in the Throne Room‘s first since Celestial Lineage in 2011. They toured their heaviest yet that record, so a bit of a break wasn’t necessarily out of order, but for an act who inspire the kind of loyalty that Wolves in the Throne Room do, three years can be a long time. Not much by way of specifics on the new release, whether it’s a full-length or not, when they might record, where, or when it might surface, but we know they’ve got new material, and that’s a step. Wolves in the Throne Room’s website.
40. The Wounded Kings, Consolamentum
Due Feb. 24 on Candlelight, Consolamentum is the fourth long-player in the tumultuous career of British progressive doomers The Wounded Kings, who despite a seemingly endless series of lineup shifts have managed to release their four albums in a span of six years. With guitarist/founder Steve Mills at the core and the eerie but powerful vocals of Sharie Neyland over top, The Wounded Kings have tapped into a doom quick to separate itself from the pack, and Consolamentum conjures some of their most oppressive atmospherics yet, with expansive cuts like “Gnosis” and “The Silence” fed into by ambient passages and interludes. The Wounded Kings on Thee Facebooks.
41. Yawning Man, Gravity is Good for You
Desert legends Yawning Man released a split with Fatso Jetson in 2013 — only appropriate, since the two acts share Mario Lalli — but Gravity is Good for You, like whatever Acid King might have in store, is a holdover from last year’s list. Guitarist Gary Arce of the long-running and hugely influential instrumental jammers has reportedly been in the studio with Lalli and Third Ear Experience drummer Erik Mouness (video surfaced), but there’s yet to be concrete word on when Gravity is Good for You, reportedly a double album and the band’s follow-up to 2010′s Nomadic Pursuits(review here), might be finished. Got my fingers crossed it’s this year. Yawning Man on Thee Facebooks.
42. YOB, TBA
Feels like a terribly long way to go only to get to one of the albums I’m most looking forward to hearing, but the alphabet works in mysterious ways sometimes. On Jan. 7, Eugene, Oregon, überdoomers YOB posted the following on their Thee Facebooks: “Had an amazing YOB practice. The new songs are fully in focus. 2 mega DOOM bludgeoners, one “faster” song, and the most beautiful arrangement we’ve ever written to close. 4 songs, 55 minutes.” Last I heard, they were to begin recording for their seventh (man, time flies) LP this week with a release in the months to follow, and since YOB haven’t put out an album since 2004 that I didn’t pick it as my Album of the Year, you can bet your ass I’m looking forward to what they do next. Particularly that part about “the most beautiful arrangement we’ve ever written.” Sold. YOB on Thee Facebooks.
Others to keep an eye on, some mentioned above, some not:
Ararat, III (Another 2013 holdover) The Atlas Moth, The Old Believer (Out in June) Brant Bjork, Jakoozi Blackfinger, Blackfinger Godhunter, City of Dust Ice Dragon (Some older releases are being physically pressed and new stuff is never far off) King Buffalo (Their demo ruled) King Dead (First audio just surfacing, but holds promise) Lo-Pan (Been a while in the making at this point, hopefully 2014) Pet the Preacher, The Cave and the Sunlight The Proselyte (EP coming on Gypsyblood Records) Rainbows are Free, Waves ahead of the Ocean Saint Vitus (Began writing last Fall) Salem’s Pot, Lurar ut dig på prärien The Scimitar (Debut from Black Pyramid offshoot) Seedy Jeezus (Recording in Australia now with Tony Reed) Serpent Venom, Of Things Seen and Unseen Spirit Caravan (Nothing announced but you never know)
Various Artists, Songs of Townes Van Zandt Pt. II Wino & Conny Ochs (Maybe, maybe not) The Wisdoom, Hypothalamus Wo Fat (New album recorded)
I’m quite positive that the first thing to happen after this is posted is that someone will chime in with something I forgot. At least I hope that’s what happens. As large as this list has turned out to be (much, much larger than I thought it would be when I started taking notes for it), there’s no way it could cover everything, and I hope if there’s an upcoming release in particular that you’re looking forward to, you’ll please let me know in the comments.
Thank you so much for reading and for all of your support. Here’s to an amazing 2014.
Posted in Whathaveyou on January 8th, 2014 by H.P. Taskmaster
When it’s released in April, I’ll be even more interested to hear how Mars Red Sky‘s second album has turned out. The French inner-peace-through-fuzz-tone gurus were set to record the follow-up to their 2011 self-titled debut (review here) in the Californian desert to coincide with a West Coast tour following a run last fall in South America. It would seem the Dept. of Homeland Security had other ideas.
As I understand it, Mars Red Sky wound up spending a week in Rio de Janeiro (clearly a hardship, judging by the photo above) and did some work at Estúdio Superfuzz with Gabriel Zander before returning to France and presumably finishing it there. Not at all what they had planned, and though it seems to have worked out, I can’t imagine it wasn’t viciously frustrating at the time. Another heavy band falls victim to the fascist American security state.
To lead the way for the new record, the title of which has yet to be revealed, Mars Red Sky will issue a 7″ with a studio version of the track “Satellites,” which you can hear live below, coupled with an instrumental captured at Desertfest 2013 in London. I remember that. It was awesome.
They’ve also got some tour dates lined up for Spain and Greece, but here’s just a sliver of news about what’s easily one of my most anticipated records for this year:
New album for us in April and a first 7′ for march (including this song called “Satellites” in a studio version + an instrumental live track from London Desert Fest. as B Side). Thanks so much for your support !
Feel free to share and spread, we re almost 10000 on this page ! Next shows :
01/23 DONOSTIA (Sp) Mogambo 01/24 BARCELONA (Sp) Rocksound 01/25 ZARAGOZA (Sp) Pub Eccos 01/26 MADRID (Sp) Wurlitzer Balroom 02/05 LA ROCHE SUR YON (85) Le Fuzz Yon 02/27 LARISSA (Gr) Stage Club 02/28 THESSALONIKI (Gr) Eightball Club 03/01 ATHENES (Gr) Six D.O.G.S 03/01 LA TESTE DE BUCH (33) Le Zik Zac 06/20 HELLFEST !!!!!!!!
Posted in Features on January 2nd, 2014 by H.P. Taskmaster
I’ve been trying to get this one on the page for a couple weeks now — really since last year if you want to go back that far — and I finally just decided to do it. Granted, it’s already 2014, but I’m pretty used to being behind the times, so I hope you’ll indulge me on this one.
The thing is, of course we already did the Top 20 Albums of 2013, but that leaves an awful lot out in terms of quality shorter releases. Demos, singles, EPs, splits — whatever it might be — there’s a lot more to the story of a year in music than who’s putting out what full-length. That might be true now more than ever, with digital releases and artists having the ability to more or less give a song-by-song feed of new material should they so choose. Since this is the first time I’ve done this list, I’ve kept the presentation pretty basic, but there’s a lot to dig into here anyway in terms of the quality of the music and what people were able to accomplish in, in some cases, just one or two tracks.
My basis for judgment here is basically the same as with the full-albums list, and by that I mean how much I listened to something played a huge role, and it’s not just how important I think an EP or a split or a demo was that got it included on this list — though of course that stuff matters as well. Like spelling, repeat listens count. And it goes without saying these are my picks and have nothing to do with the Readers Poll, the results of which are here.
Okay, let’s do this:
The Top 20 Short Releases of 2013
1. The Machine/Sungrazer, Split
2. Dozer, Vultures
3. Mars Red Sky, Be My Guide
4. Black Thai, Seasons of Might
5. Wo Fat/Egypt, Cyclopean Riffs Split 12″
6. Young Hunter, Embers at the Foot of Dark Mountain
7. Shroud Eater, Dead Ends
8. Steak, Corned Beef Colossus
9. Geezer, Gage
10. The Golden Grass, One More Time b/w Tornado 7″
11. Trippy Wicked and the Cosmic Children of the Knight, Underground
12. King Buffalo, Demo
13. Groan, Ride the Snake
14. Crypt Sermon, Demo MMXIII
15. Stubb, Under a Spell b/w Bullets Rain 7″
16. Salem’s Pot, Watch Me Kill You Tape
17. Undersmile/Coma Wall, Wood and Wire Split
18. Second Grave, Antithesis
19. Sinister Haze, Demo
20. Olde Growth, Owl
Honorable mention has to go to the Fatso Jetson/Yawning Man split, C.O.C.‘s MegalodonEP, which was right on but which I didn’t really hear enough to include. The Gates of Slumber‘s Stormcrow as well.
Just a couple notes: In the case of Olde Growth, putting them last was actually more about not being sure when the official release date of Owlwas than anything else. I actually listened to that quite a bit, and “Tears of Blood” remains my favorite work of the duo’s to date. In terms of demos, it was a good year for doom debuts, with Crypt Sermon and Sinister Haze both showing some malevolent classicism, and King Buffalo‘s demo grew on me almost immediately upon hearing it and right away made me look forward to whatever might come next from them.
I was a little hesitant to put a split in the number one spot, but The Machine‘s riff for “Awe” alone made it necessary. I’ve kept this disc on my person for almost the entire year and continue to have no regrets in doing so. For Dozer, yeah, it was a collection of older material, but I still enjoyed the crap out of it. Both Mars Red Sky and Black Thai signaled considerable creative growth in four-song EPs, and the Wo Fat and Egypt split more than lived up to its mission. The riff lives in bands like that, and as we get further into stylistic nuance and subgenre development, it’s those groups who are holding on to the Heavy.
Young Hunter are one of the most promising bands I’ve heard in the last three years. Flat out. Killer release. Ditto that in a much different context for Shroud Eater, whose take on heavy only got more sinister and more effective with Dead Ends. Steak emerge as tops among the five British bands — a quarter of the list! — here. Their Corned Beef Colossus also had the best title I heard all year, and though Trippy Wicked, Groan, Stubb, and Undersmile/Coma Wall (the latter earning bonus points for putting out a split with themselves) all thrilled, Steak‘s potential got them that spot. Time for a full-length, guys.
Not to leave out New York — though the geographical alignment is a coincidence — Geezer‘s Gagetapped into a jammier feel that I thought suited the band remarkably well, and The Golden Grass‘ debut single offered one of the most charming irony-free good times I’ve heard in a long while. The Salem’s Pot cassette was one of my most-listened-to tapes this year, last mentioned but not at all least, Second Grave‘s Antithesisprobably would’ve clocked in higher if I’d had more time with it, but was definitely one I wanted to put in here anyway.
As I said, a lot of really astounding shorter outings, and worthy of attention in their own right. If I missed anything, I hope you’ll let me know in the comments.
Posted in Whathaveyou on November 7th, 2013 by H.P. Taskmaster
Don’t get me wrong, it’s very cool that inner-peace-bringing French heavy psych rockers Mars Red Sky are heading out on another European tour starting this month and have already booked a slot at next year’s Hellfest. That’s awesome. I’m stoked that a lot of people will get to see them and I hope the shows are packed. What I’d really like to see, however, is an update about the recording of their second full-length album, which took place early in October at Thunder Underground in California, following a handful of shows in South America. How was the studio? Is it finished? How do the mixes sound? Is it mastered yet? Can I hear it? Can I hear it now? How about now?
The last three questions I consider the most pressing.
I guess it’s not mixed yet, so okay, it’s awesome that the trio are hitting the road again this winter and spending the cold months on tour. Here are the dates and the gorgeous Johan Jaccob tour poster, courtesy of the PR wire:
MARS RED SKY European winter tour to kick off on November 20th.
French stoner rock trio MARS RED SKY just announced the tour dates for their European winter tour across eleven countries.
On November 20th, fuzzed-out psychedelic Frenchies will embark on a two weeks tour across Northern Europe, after what they’ll soon hit the studios for the mixing of their new full-length record (recorded in Brasil earlier this year). Early 2014 will see the band head South for a few dates in Spain and Greece. More dates coming soon, stay tuned!
MARS RED SKY on tour 2013 11/20 LIEGE (B) La Zone 11/21 BRUSSEL (B) Salle Rogier + Naam 11/22 ERFURT (D) Stadtgarten + Monkey 3 11/23 BERLIN (D) White Trash + Monkey 3 11/24 WARSAW (Pl) Harenda Club 11/25 RIGA (LVA) Nabaklab 11/26 TALLIN (EST) Snakehouse 11/27 JYVÄSKYLÄ (Fin) Lutakko 11/28 HELSINKI (Fin) Bar Loose 11/29 TURKU (Fin) Klubi Ilta puoli 11/30 MARIEHAMN (Fin) Dino’s Bar 12/01 VÄXJO (SWE) Cafe Deluxe 12/02 KOPENHAGEN (Dk) Dødsmaskinen 12/03 BREMEN (D) Römer TBC 12/04 REIMS (Fr) L’Appart Café 12/05 BREST (Fr) La Carène
2014 01/23 DONOSTIA / SAN SEBASTIAN (Sp) Mogambo 01/24 BARCELONA (Sp) Rocksound 01/25 ZARAGOZA (Sp) Pub Eccos 01/26 MADRID (Sp) Wurlitzer Balroom 02/14 ATHENS (Gr) 02/15 LARISSA (Gr) 02/16 THESSALONIKI (Gr) 06/20 HELLFEST OPEN AIR (Fr)
Don’t get me wrong, I’d be pretty happy to see Mars Red Sky anywhere. London, Tilburg, maybe somewhere on their recently-announced West Coast stint following the recording of their second album in the Californian desert, or maybe in the back yard. I’m not picky. Wherever. But to see them in their native Bordeaux, with fellow French fuzz countrymen Glowsun sounds particularly awesome. The band in conjunction with a slew of others are presenting a series of shows over the next couple months called “Make it Sabbathy” — sound advice — and they’ve just revealed a trailer for the first installment, which indeed finds them paired with Glowsun – VvvV will also be on the bill — whose song “Dragon Witch” provides the score for the teaser below, which also features a dancing lady and the square carting her around. Certainly a more apt visual metaphor for stoner rock vs. society than I could ever put together. Good fun.
Also a good reminder to revisit that Glowsun album, which I didn’t give its due attention owing to that whole I-hate-digital-promos thing. They’re my square in the driver’s seat.
Here’s the trailer and show info, should you be lucky enough to be in Bordeaux anytime over the next few months:
Make it Sabbathy! #1 teaser
MRS Red Sound is proud to present the first monthly heavy and psychedelic shows in Bordeaux, France : MAKE IT SABBATHY ! On September 18th, French stoner references MARS RED SKY and GLOWSUN will be the first guests of this fuzzy rendez-vous, along with local progressive krautrock sensation VvvV.
We concocted some wild asphalt-burning teaser on this occasion, so it would be much appreciated if you could share this on your website ! For the love of heavy riffs and stoned atmospheres…
? MAKE IT SABBATHY shows ? September 18 – Mars Red Sky + Glowsun + VvvV October 8 – Dead Meadow + Black Jaguar’s Revenge November 18 – Samsara Blues Experiment + Dätcha Mandala
Posted in Whathaveyou on September 10th, 2013 by H.P. Taskmaster
Bordeaux fuzz rockers Mars Red Sky have a busy few months coming up. Next week, the trio will do a few shows in their native France, including sharing the stage in Paris with Dead Meadow, before flying to South America to play five shows in Argentina and Brazil. After that, Mars Red Sky will head north, to the Californian desert, where they’ll spend a week putting their second full-length to tape at Thunder Underground in Palm Springs — where the likes of Vista Chino, Brant Bjork, Nick Oliveri, Dwarves, Waxy and others have recorded — also playing a show at The Hood in Palm Desert in the meantime.
That would probably be enough for exhaustion, but while they’re on the West Coast anyway, Mars Red Sky will embark on their second tour of the region after playing SXSW in Austin, Texas, last year and doing a string of gigs afterwards (The Patient Mrs. saw them in Portland). They’ll be joined by Ancient Warlocks for those shows, which are dubbed the “For the Record” tour, and because hey, why not?, Mars Red Sky have also lined up some shows in Finland, Germany, Belgium and France for November and December. Like I say, a busy few months.
Makes sense that the three-piece would head to the desert to record, though. Their self-titled debut (review here), which was one of the best albums released that year, was put to tape in Spain in a similar landscape, and even their earlier-2013 Be My GuideEP (review here) honed in on similar atmospheres and laid back heaviness. Though I’d disappointed to have these guys in the country and not get to see them play (maybe a Boston show to break up the flight back to Europe?), I’ll look forward very much to hearing how the second album comes out when it’s finished.
Here are the tour dates:
Very happy to announce “FOR THE RECORD” Tour & Recording Project for the 2nd Album !
September : 09.18 BORDEAUX (F) “Make it Sabbathy #1!” 09.20 POITIERS (F) Le Plan B 09.21 ANGERS (F) Psych-Fest – Lévitation 09.22 PARIS (F) Le Point FMR with Dead Meadow 09.24 BUENOS AIRES (Ar) Uniclub 09.25 PORTO ALEGRE (Br) Black Bull Pub 09.27 SAO PAULO (Br) Club Inferno 09.28 RIO DE JANEIRO (Br) Mofo (Lapa) 09.29 BELO HORIZONTE (Br) Matriz
October : 10.01 to 10.08 Recording @ Thunder Underground Studio (Palm Spring, CA) 10.04 PALM DESERT, CA The Hood 10.09 SAN DIEGO, CA The Saloon in Encinitas*** 10.10 LOS ANGELES, CA 5 Star Club*** 10.11 SAN FRANCISCO, CA TBA*** 10.12 PORTLAND, OR Ash St.*** 10.13 SEATTLE, WA Shop Suey***
November : 11.20 LIEGE (B) La Zone 11.21 BRUSSEL (B) with Naam 11.23 BERLIN (D) White Trash with Monkey Three 11.27 JYVÄSKYLÄ (Fin) – Lutakko 11.28 HELSINKI (Fin) Bar Loose 11.29 TURKU (Fin) Klubi – Ilta puoli
December: 12.05 BREST (F) La Carène
*** = shows with Ancient Warlocks from Seattle. More shows to be announced soon….
Posted in Whathaveyou on May 22nd, 2013 by H.P. Taskmaster
French fuzz rockers Mars Red Sky will start a five-day run of gigs tonight in Dijon with White Fence before meeting up with Glowsun for a couple nights and playing on the 30th with Dinosaur Jr., which sounds like a cool way to spend an evening in Bordeaux should you happen to be out that way. This run kicks off the trio’s summer of shows in support of the new Be My GuideEP (review here), the rest of the dates for which you can find below, joined by the excellent news that Mars Red Sky will be recording a new full-length in the coming months and that they’re hoping to return to the US for a few West Coast dates later this fall, as well as hit South America for the first time.
As I don’t live in any of those places (perhaps most regrettably Bordeaux), the new record is what has my interest piqued, but take a look at the update the band sent down the PR wire and see where you’re at:
MARS RED SKY – News
Please find some infos about MRS !
- Next Shows : 05.22 DIJON (21) Le Deep Inside with White Fence 05.23 STUTTGART (D) Keller Club with Glowsun 05.24 ST GALLEN (CH) Rümpelturm with Glowsun 05.25 GRIES AM BRENNER (A) Floiten Jam with Glowsun 05.26 GRENOBLE (38) Drak-Art 05.30 BORDEAUX (33) Le Krakatoa with Dinosaur Jr 07.07 AUBANGE (Bel) Festival Wave 07.18 LILLE (59) La Péniche 07.20 WARSAW (PL) Day of Ceremony Festival 08.02 OR 03 STAMSRIED (D) Void Fest 08.10 GEEL (Bel) Yellowstock Festival 08.23 SANTA MARIA DEL PARAMO (SP) Taberna Belfast 08.24 MOLEDO (Pt) Sonic Blast
Posted in Reviews on May 10th, 2013 by H.P. Taskmaster
I don’t know how many times I’ve said so – probably at least once for each time I’ve actually brought myself to do it – but I hate reviewing compilations. For most of them, there’s no flow between the tracks, being that it’s different artists, different recordings and sometimes different genres, and even when you get a gem, a non-album track or something like that, there’s no real context for being able to enjoy it, because once it’s over, you’re swept abruptly off to the next thing. Most of the enjoyment I get out of them is in hindsight, years later, when that non-album track is legitimately rare and hard to track down, or the alternate version has never appeared anywhere, or when the comp itself has built up some mystique as a landmark moment – those are even fewer and farther between, but it happens sometimes – either for an artist or the genre. Even if they’re alright to listen to, reviewing them is terrible. You’re either promoting the release outright – “hey, these people are doing good work and you should spend your money on it” – or doing little more than listing the bands involved – “this comp is cool because it has so-and-so involved and they do this song, whereas this band does another song,” and so on. I’ve never been able to find a middle ground in comp reviews and while I do genuinely think there are people out there putting in significant effort to promote artists they believe in, the pain in my ass that reviewing a compilation becomes is enough that I generally try to avoid it as much as possible.
So this is the part where, post-disclaimer, I tell you the case is wholly different with Kept in a Cave, Vol. 1, the 13-track mining operation of Europe’s heavy underground undertaken by Stonerrock.eu, right? Sort of. Kept in a Cave certainly gets a flow going, thanks in part to the similarities in fuzz and jam-minded process of the bands that make up its midsection – Sungrazer into The:Egocentrics into Been Obscene into Electric Moon works rather well and with a healthy dose of Elektrohasch and Elektrohasch-style heavy, there’s not much room for stuff to be out of place – but I still find myself in the position of wanting either to run through the tracklist or just promote it because I respect the effort on their behalf in making the release and its four-panel digipak with giant-mantis artwork happen. To counteract the first, here’s the rundown of artists and songs in its entirety, taken directly off the back of the package:
1. Grandloom, “Larry Fairy” (7:07)
2. Under Brooklyn Palms, “Restlessness” (6:20)
3. Mars Red Sky, “Sadaba” (5:07)
4. Kosmic Elephant, “Bloot Pilot” (6:38)
5. Sungrazer, “Wild Goose” (5:19)
6. The:Egocentrics, “Lost and Found” (4:54)
7. Been Obscene, “Endless Scheme” (6:55)
8. Electric Moon, “Triptriptrip” (8:45)
9. Samsara Blues Experiment, “Hangin’ on the Wire” (5:30)
10. Stonehenge, “Concrete Krieger” (7:36)
11. The Machine, “5 & 4” (6:14)
12. DxBxSx, “Problemkind” (2:16)
13. Sahara Surfers, “Gas” (6:00)
All this adds up to a 79-minute front-to-back listen, about as much as a single-CD will hold. Of the included artists, Sungrazer, Been Obscene, The Machine and DxBxSx are signed to Elektrohasch, and certainly familiar acts like Mars Red Sky, Samsara Blues Experiment and Electric Moon fit aesthetically with that fuzzy, jammy sound as well, so though it’s long, Kept in a Cave makes for a decent listen if you’re going to take it on as a whole, put it on for a party – I’m told music at parties is something human beings do – or whathaveyou, and even the likes of Grandloom, Under Brooklyn Palms (who, yes, are German), Kosmic Elephant, Stonehenge and Sahara Surfers fit on a sonic level. Nothing here is really out of place and obvious consideration has been given to how one song is met by the next – for emphasis, I’ll cite putting the punkier DxBxSx as the second-to-last cut, giving a short burst of energy after the fuzzfests preceding – so the project becomes even more admirable.
Housekeeping kicked me out of my hotel room. While I’m staying somewhere, I usually don’t like to have people come through and clean — I’m not making that much of a mess, and what mess I make, I can clean up myself — but sometimes it just has to be done. So they gave me the boot, but I was still early to head down for the official start of London Desertfest 2013. Or late, depending on how you want to look at it. I’ll explain as we go along, though before we get down to it and the rest of my night gets its course, let me just say that some of what I saw today is the kind of stuff that I’ve no doubt will stay with me for as long as I have the capacity to remember it. Really. It was like that. From watching friends kick ass to seeing bands I never thought I’d be lucky enough to see, it was the perfect start to a landmark weekend.
In the spirit of doom, let’s do a slow count-in: 1… 2… 3… 4…
Native British trio Crystal Head were my favorite find of last year’s Desertfest — a band about whom I really knew nothing who just blew me away on stage. Obviously the surprise factor wasn’t there this go around, but the Londoners were perhaps even more satisfying to watch in 2013 since I knew most of the songs, which came from their 2011 self-titled debut (review here). As such, they made a great launch point for day one of this year’s Desertfest and though the setting was different at the Jazz Cafe, guitarist/vocalist Tom Cameron, bassist/backing vocalist Jon Deal and drummer Dean Deal nonetheless made short work of the room. Self-titled opener “Perfect Weirdo,” was a highlight, and Cameron‘s hollow-body Gretsch was as righteous as I remembered. Curiously, since I thought it was a shoo-in, they didn’t play “True to Say,” but I guess the DJ beforehand had gotten wind of the fact that they weren’t going to, and it was aired over the P.A. nonetheless before they took the stage. I had thought that was weird. Along with “Wouldn’t You Know” — which I might very well have stuck in my head for the rest of this weekend — they kicked into a new song called “Bellicose” that was introduced as being, “about how nice the world is.” So be it. Moody as they get, and they get plenty, Crystal Head never stray too far from the next hook, and even “Bellicose” had a solid crash groove from Dean that slammed into half-speed at just the right moment. When they closed with “Truth Hurts,” I wanted to hear a new record as badly as I wanted to hear the self-titled after they finished at The Underworld in 2012.
I went back and looked, and I haven’t called a band a hoot yet on this trip. Well, that’s what Groan were. They were a hoot. Just lots and lots and lots of fun. Fun to watch, fun to hear, fun from the moment of their ultra-pretentious classical intro to every over-the-top grandiose song of their set. I dug the hell of it. Not like I’d seen them before, but the now-fivesome have been through some lineup changes since they released The Divine Right of Kings (review here) in the latter half of 2012, shifting drummer Christopher West (also of Trippy Wicked) over to guitar while bringing on new drummer Zel Kaute and new guitarist Mike Pilat to join forces with bassist Leigh Jones and frontman extraordinaire Andreas “Mazzereth” Maslen. They brought the house down early with their unabashed heavy metal shuffle, dipping into their split with Vinum Sabbatum (review here) for “Cosmic Boogie” before “Magic Man” showed off some of the more metallic riotousness that showed up on the last album. They were a top-notch stage act, Mazz playing host to a chaotic carnival while Jones followed suit and the three relative newcomers kept the material in check while adding to the energy. Pilat contributed some vocals along with Jones in a few choruses, and it was cool to hear older songs from 2010′s The Sleeping Wizard(review here) like “Witchy Woman” and their finale, “Sleeping Wizard,” get treated to the band’s newer tones. Foremost, though, Groan were a really good time as they rushed through their set, and Mazz got in the last word of wisdom before they walked off stage: “Let’s have a party!” It seemed like we just had.
Mars Red Sky
The warmth. I guess in the intervening year since I saw them at Roadburn, I’d somehow tricked my brain into thinking there was no way France’s foremost ministers of fuzz Mars Red Sky could actually sound that thick and still be so languid, dreamy, psychedelic on stage. But no, they were. At The Underworld, bassist/vocalist Jimmy Kinast (left above), vocalist/guitarist Julien Pras (middle above) and drummer Matgaz (right above) had the perfect balance of tonal weight and melodic sweetness, and of all the fuzz I’m bound to hear in the next few days, I’ve no doubt that at the end, theirs will have been some of the most satisfying. Most of the new Be My Guide EP (review here) was played, including “Clean White Hands” and the title-track before the trio moved on to “Curse” and “Marble Sky” from their 2011 self-titled debut (review here), Kinast coming to the fore vocally for the latter. “Strong Reflection” from the full-length was even slower coming from the stage, which I didn’t expect, but that only made the rolling, nod-inducer of a riff even richer, Pras‘ vocals echoing but still conveying a single-layer’s fragility that doubling inherently removes from the studio versions of the material, giving what’s already ultra-natural-sounding a rawer vibe. The EP is still new, but the album cuts got a great response, and as Mars Red Sky capped with “Way to Rome,” I felt like I was being issued a reminder that summer is on the way and will be here before I know it. All the better for having Mars Red Sky‘s temperate fuzz to bake in solar scorch. They also let me take their picture outside the venue later. Right on.
Trippy Wicked and the Cosmic Children of the Knight
My original intention had been to watch cumbersomely-named appreciated amigos Trippy Wicked and the Cosmic Children of the Knight (oft just Trippy Wicked) start the day with an acoustic set at the Vans store in Camden. The downside to this plan? I had no idea where said retail outlet was. This was a two-fold downer: First, because I like Trippy Wicked‘s acoustic stuff a lot — they break out a ukulele and really make it interesting and moody and varied — and Second, because the friggin’ Vans store in Camden was right in front of my god damn face the whole time. I walked past it on my way to Jazz Cafe for the start of Crystal Head and actually did a facepalm. I don’t know how many times I’ve gone back and forth in front of it since getting into town, but it’s several. Fortunately, my feeling like a jackass (familiar as it is) was tempered by knowing that Trippy Wicked were also booked for a full-on slot at The Black Heart, which is where I caught the St Albans trio, whose drummer Chris West and guitarist/vocalist Peter Holland had been kind enough to host me earlier this week. Time was a factor, but I did get to see them play a new song, and that was awesome, and I got to see them fill up The Black Heart such that people were queued (yeah, I’m in the UK) through the door and into the hallway to get in. Not really surprising, since last year they played The Purple Turtle (not a part of Desertfest 2013, which has already saved a few long walks, I’m sure) and garnered much the same reaction, and if not for the power of their oh-so-heavy rock and roll, certainly the fancy shirts of Holland and bassist Dicky King would’ve packed the house. I don’t know if anything will ever beat seeing them in Eindhoven last year, but whenever I get to watch them play I’m glad to be there. My only regret of the day was I didn’t get my dose of “Hillbilly Moonshine.”
What could’ve possibly drawn me away from such rock-your-socksery? The thing is, to say I have an enduring affection for the Sons of Alpha Centauri/Gary Arce collaboration — he being the “Yawning,” as in his main outfit, Yawning Man, and they being the “Sons” as in the first word of the name of their band — and their 2009 debut album, Ceremony to the Sunset (review here), is to grossly understate the situation. Theirs was the first in a trio of desert-based sets (Sons of Alpha Centauri are from the UK, but Arce counts in atmosphere as well as geography, so we’ll give them credit at least this time), that went from Yawning Sons to Yawning Man to Fatso Jetson as the closers for The Underworld. Frankly, it wasn’t the kind of thing I was going to be able to live with myself if I missed, and it seemed I was lucky when I got there and Yawning Sons hadn’t started yet. Unfortunately, in a couple short seconds within beginning to play, Arce‘s guitar cut out. Gone. The Sons portion of the lineup — guitarist Marlon King, bassist Nick Hannon, soundscaper Andrew Blake and the drummer who held together much of the jams that would ensue — locked in the gorgeousness of “Tomahawk Watercress” on their own while Arce figured out his situation, and just when it seemed to be up and running, off his guitar went again. It went on like that for a while, and was a genuine, visible bummer that cut into their set time. King and company were pros all the way, and the tech crew for Desertfest and even Arce‘s Yawning Man bandmate, Mario Lalli (also of Fatso Jetson), came out to help. Finally they got the guitar working and were able to build a bit of momentum over the remainder of their set. Lalli returned to guest on vocals for “Meadows” from the album, and that helped, and they ended with just King and Arce playing off each other on guitar, which was a cool moment to see, though I don’t think the set turned out the way anyone had anticipated or hoped. Still, I can’t call it a disappointment from where I stood. Getting to see Yawning Sons play any of their material at all was an automatic win.
I don’t know if it gets more of-the-desert than the Yawning Man lineup of Gary Arce, Mario Lalli and drummer Alfredo Hernandez. There’s plenty of acts and artists who’ve emerged from that vast, beautiful wasteland expanse, but aside from being pivotal to the creation of desert rock — period — is there anyone who so singularly embodies the heavy sound associated with that region? Maybe having Yawning Man play Desertfest 2013 was a way to find out, and if so, I’ll take it. I know they’re American and I’m American, but America’s a big country, and I honestly didn’t ever think I’d get to watching Yawning Man live, so this was something really special for me to witness — these three players jamming out still-unheralded classics for an audience that, if they went through and hand-picked a crowd, they couldn’t have found one more appreciative of what they do and what they’ve done for heavy rock and heavy psychedelia as a whole. And their albums, 2005′s Rock Formationsand 2010′s Nomadic Pursuits(review here) — even the latter, for which I still carry a nerd’s torch, don’t do them justice live. The songs are heavier, yeah, but also just plain deeper tonally, Arce‘s guitar expanding to full echo breadth as he signaled changes to Lalli and Hernandez for when to move to the next part. I know Yawning Man have had some lineup shuffles in their time and even recently, but to have these guys come out and start running through “Sand Whip” and “Perpetual Oyster” and get a real flow going from one jam into the next, the massive influence they’ve had on the probably thousands of bands who’ve taken bits and pieces of their sound over the course of a generation — some without even knowing they did it — made a lot of sense. By way of new material, they played “Dark Meet” from their split 12″ with Fatso Jetson, which is only the second piece of vinyl I’ve bought since I left home, and before they started, I got to hold Gary Arce‘s guitar for him while he went and grabbed a replacement part, and I felt honored just for standing where I was even more than I had already.
Boomer’s Blues! Boomer’s Boogie! Moving to guitar and getting a microphone for vocals, Mario Lalli commenced Fatso Jetson‘s set by asking the existential question, “What is desert rock, anyway?” I was going to yell out, “rebranded post-punk!” but thought better of it. In any case, Lalli isn’t quite post his punk. Joined in this iteration of his seminal outfit by drummer Tony Tornay, bassist/cousin LarryLalli, both mainstays,and his son, guitarist/backing vocalist Dino von Lalli — who may or may not be 16 now; Mario said something on stage about pulling him out of high school to do this show — Lalli and the band answered his question to whatever degree Yawning Man could possibly have left it unanswered. They ran through a fortified, boogie-fied groover set that touched on Fatso Jetson albums like Cruel and Delicious (2002), Toasted(2001), Flames for All(1999) and Power of Three(1997), but conspicuously absent was anything from 2010′s Archaic Volumes(review here). I don’t know if maybe the band decided to leave that material be on account of not having Vince Meghrouni on-hand to contribute sax and vocals as he did on the record, “New Age Android,” “I’ve Got the Shame” and “Tutta Dorma” go a long way. There wasn’t any new material to be had, but having seen them at Roadburn in 2010, I knew Fatso Jetson delivered live, and they did precisely that. To my misfortune, I was standing up front next to The Most Fucked Up Couple In London™ (my only challenge was deciding which between the two was, in local parlance, the bigger cunt) and promptly had beer spilled all down my back, so I wasn’t long for being there, and once wrenched off the floor level of The Underworld, soon decided to pick up that Yawning Man/Fatso Jetson split and head back to The Black Heart to close out the night in local style.
It was a little like walking into Mos Eisley with the lights off, going back to The Black Heart. All around me, drunken murmurs and shouts in a variety of mumbled languages couldn’t be placed to their source, and even as I turned the corner to go down the alleyway to get to the bar, I knew I was in for it. I’d already been doused — I mean, covered — in beer, so whatever was coming, I felt like I was ready. I saw Steak here last year and dug them, and dug as well their sci-fi/comic thematic Disastronaught EP (review here), and with a new one coming called Corned Beef Colossus, figured this would be a chance both to get in some last-minute fuzz for the day and sample their latest material. The band features guitarist Reece Tee, who also organized Desertfest (not totally on his own, as no great feat is accomplished single-handedly, but still), vocalist Kippa, who set up his mic on the monitor box at the front of the stage, bassist Cam and new drummer Sammy, replacing Dan Kinsey, now of Wizard Fight, and Sammy would soon make the presence of his doubly-floor-tommed kit felt in more than just a busted hammer on a kick pedal as the London four-piece unrolled tones and grooves sliced even thicker than I remembered. Kippa, not content to be on the box, climbed onto the monitor itself to get to the ceiling, and the assembled masses seemed to treat it more as a start to the inevitable after party than the final set of the night. No doubt that was exactly the intent. This is their scene, their friends, their party, and the moment was well earned, both on Tee‘s part and the band’s.
It’s nearly four in the morning as I type this and I still have pictures to sort. Tomorrow is fewer bands, more full sets, and I’m looking forward to that for sure, but today was fantastic front to back, so I’m not about to complain. You can really get a sense being here of the spirit of appreciation with which this fest is executed, and I hope that comes across both in this and in the posts to come tomorrow night and Sunday. Thanks as always for reading.
Posted in Reviews on March 14th, 2013 by H.P. Taskmaster
Mars Red Sky showed with last year’s split/collaboration EP with French countrymen Year of No Light that although their prior self-titled debut was typified by sweet melodies, memorable progressions, and a dense low end presented with a warm, laid back feel, that was by no means the extent of the trio’s breadth. That album (review here) was among 2011’s most pleasant surprises, and even though the aforementioned Green Rune White Totem split (more on it here) inevitably expanded the band’s reach, that expansion never seemed to come at the sacrifice of the elements that gave the full-length its lasting appeal. Admittedly, it’s a record I still put on, so when it comes to Mars Red Sky’s proper follow-up, the new Be My Guide EP, I’m glad to find the case is much the same as with the split – there’s growth evident, but neither have they abandoned what worked so well about their first outing. The EP, released vinyl-only as the first catalog number for the band’s own Mars Red Sound imprint, is four tracks of gorgeous, fuzzed-out heavy psychedelia that clock in just under 27 minutes.
The LP is presented with due symmetry, each of the two sides featuring two tracks, the first a new cut with the lineup of Julien Pras (guitar/vocals), Jimmy Kinast (bass) and Matgaz (drums) and the second a departure from the form and process. On side A, that comes in the shape of the seven-minute “Seen a Ghost,” which was recorded with previous drummer Benoît Busser in a separate session from the other three cuts on Be My Guide, and closing out side B, it’s “Stranger” a cover of 17 Hippies‘ “Ton Étrangère” with lyrics translated into English. Both “Seen a Ghost” — which it doesn’t seem unreasonable to assume was put to tape earlier than the other three, since it was obviously done before Busser was no longer in the band — and “Stranger” mark a musical shift, not so much away from the bliss-through-simplicity fuzzy bounce of “Be My Guide” or the wah swirl that takes hold in side B opener “Clean White Hands,” but definitely moving with those pieces to someplace they haven’t gone before.
That’s not to say “Be My Guide” and “Clean White Hands” don’t also show growth in Mars Red Sky‘s songwriting methods or the general atmosphere those methods create. Far from it. In “Be My Guide,” a quick drum fill opens to immediate mid-paced fuzz engagement, thickening and moving smoothly into a verse the cadence of which proves no less a hook than the fluid chorus. Thick, wah’ed out and topped by Pras‘ ambience-ready vocals, the simple lines, “Amber, anger, be my guide,” leave a lasting impression even as the tone behind them comes forward thicker and slower leading to a resuming of pace in an instrumental break with a wah solo from Pras backed by the rolling groove fostered by Kinast and Matgaz. The latter, as the newest member of the band, seems to have had no trouble fitting in, if “Be My Guide” is anything to judge by, and similar to their carry-you-with-it flow between “Strong Reflection” and “Curse” leading off the self-titled, the opening title-track of Be My Guidemakes an inviting impression that’s hard to ignore and all but impossible to refuse.
It’s worth noting though that Be My Guideisn’t a full-length, despite its everybody-come-along tendencies, and that the goals it’s working toward are different. You could probably listen to “Be My Guide,” the song, right into “Seen a Ghost” without thinking twice about it, but once the full stomp of the second track takes hold after the circular groove of the introduction, it’s apparent that the band aren’t just nestling themselves into a formula. Pras echoes deep in the mix behind his guitar and Kinast‘s bass, but after about a minute and a half, they jump into a sudden start-stop cadence that meets with overlaying psychedelic layers of vocals, the stark rhythmic chug of the verse standing in striking contrast to the fullness of “Be My Guide” before it and “Clean White Hands” to follow on the EP’s second side. What the songs have in common — and why it still works — is tone and groove, so that when “Seen a Ghost” moves into its dreamy midsection, although more than just the drummer has changed, the track never stops making sense.
Once again the verse picks up, and Mars Red Sky seem to enjoy toying with the stomp and meeting that with a likewise shift in lyrical approach, filling the space that the music occupies elsewhere with words. Where a verse to the opener looked like “See her/In a field of plaster/Early morning ride,” in “Seen a Ghost,” one hears, “Attack my brain, release my mind/Enhance the screaming of bleeding heart/For everyone to hear wherever they are.” Longer and more compact lines, still sweetly-delivered, mean more prominent vocals. The instruments still find room to breathe, however, in the post-verse break. With no chorus to speak of — those starts and stops are plenty catchy — it’s that instrumental psych part offering the answer back to the rhythmic march, and it’s longer the second time around, leading to a final reprise of the verse in the last minute that satisfies all the more for how Kinast reintroduces the progression and Pras’ layered singing.
Starting side B, “Clean White Hands” comes on with a bluesier riff and more open progression in its riff, backing off some of the insistence of “Seen a Ghost” and building a wash of gorgeous lead guitar tone over an initial bassline not wholly dissimilar from “Way to Rome” from the self-titled. Not arguing with it. Matgaz meets the languid groove head on, and punctuates a quieter verse with hard-hit snare while Pras‘ vocals echo behind, keeping a consistent beat as Pras and Kinast click on a fuller sound for the chorus. Here, Mars Red Sky seem wholly in their element, and “Clean White Hands,” which is longer than “Be My Guide” by nearly two full minutes, has room for jammier instrumental exploration that the trio puts to good use, Pras‘ guitar ringing out ethereal lines as Kinast and Matgaz hold down the beat before quieting even further for return to the verse in the second half that makes the chorus seem all the louder by comparison. Its appeal isn’t as immediate as “Be My Guide,” but “Clean White Hands” proves to be no dip in quality and it’s a prime example of the band developing their songwriting style for its balance of familiar structures and weighted grooves with a feeling of purposeful meandering.
“Ton Étrangère” opened the Berlin collective 17 Hippies‘ 2011 album, Phantom Songs, though with considerably fewer hippies on board, Mars Red Sky give it a considerable rearrangement. Not only more viscous, thicker and slower, than the original, “Stranger” as it appears on Be My Guidealso translates the lyrics to English from French and takes the prior folkish sensibilities, banjo, zither, etc., to someplace far more vague. The rumble below Pras‘ vocals and the lullaby guitar line that marks the verse’s sway are darker in their mood and the chorus “Let me be your stranger/From the heart to the page” has a kind of unsettling feel at the ultra-sleepy pace. A wah solo leads to a quieter verse with less low end similar to post-break “Clean White Hands,” but the context is different, even if the methods are similar. They end big, but still solemn — a wash of wah metered out with bass and drum culmination — Kinast keeping the line consistent while Matgaz signals the final movement and Pras seems to bask in the glow his guitar has created.
If “Seen a Ghost” and “Stranger” are testing the waters for an expansion of Mars Red Sky‘s sound, then I’d call them successful, each for its own reasons. Where “Be My Guide” and “Clean White Hands” affirm the modus the trio established on their debut and assure that a creative evolution of that is underway as well, “Seen a Ghost” and “Stranger” speak to a bolder will on the part of the band to foray to unknown grounds. Even if “Seen a Ghost” is older, it’s where and how the track is presented that allows it to demonstrate these properties, and with “Stranger,” Mars Red Sky show that on an atmospheric level they’re not limited to open desert vibing. Because they manage to strike this balance in under half an hour and because they maintain the sun-baked warmth of tone, Be My Guideis a fitting response to the establishing facets of Mars Red Sky‘s previous full-length (have I mentioned it yet?) and I find after repeat listening that I’m all the more hopeful for how these experiments and developments might play out over the course of their next LP.
Posted in Features on March 12th, 2013 by H.P. Taskmaster
…Yeah, I know, 24 is a buttload of records to buy in the span of about a month and a half. To do the division, it would mean buying a new album every 2.04 days. Probably not feasible in terms of time, let alone budget, but hell, it’s a nice thought and seeing the onslaught of new stuff coming between now and the end of April, I thought maybe a list would help keep it all straight. Even if I’m only helping myself, I could probably spend my time in worse ways.
Worth noting that even with 24 albums, presented below in order of release, I feel like there’s stuff I’m forgetting. Frankly, it’s an overwhelming amount of material, so if I’ve missed something or there’s something you’d like to see added to the list, as always, that’s why there’s a comments feature.
Okay. These are numbered just for fun, but listed by date:
1. Orange Goblin, A Eulogy for the Fans (March 12)
My understanding is that London’s foremost doom scoundrels, none other than Orange Goblin, have been selling copies of A Eulogy for the Fans since starting their US tour with Clutch on March 8 in Cincinnati, Ohio, but today is the official release date, and I can think of no better place to start than with the four-piece’s ferocious performance at the 2012 Bloodstock festival, captured audio and video in all its bloodsoaked glory. Not to be missed or taken lightly because it’s a live record. Album review here.
2. Borracho, Mob Gathering 7″ (March 13)
Even though it’s comprised of older tracks, the new Mob Gathering 7″ from Borracho is welcome by me for two reasons: I’ve never heard the songs before and Borracho rocks. The Washington D.C.-based riffers recorded “Mob Gathering” and “Short Ride (When it’s Over)” in 2009 and are set to release the cuts on a limited platter in black and orange swirl through Spain’s Ghost Highway Recordings and Germany’s No Balls Records. They’ve been playing live as a mostly-instrumental outfit while guitarist/vocalist Noah is out of the country on what I can only assume is an awesome spy mission, so if you need a Borracho fix — and it’s obvious from the way your hands are shaking that you do — this might be the way to go. More info here.
3. Inter Arma, Sky Burial (March 15)
Like Windhand below, Inter Arma are recent Relapse Records signees from Richmond, Virginia, and Sky Burial will serve as their first release for the label. Literally and figuratively, the album is expansive, topping 69 minutes and pummeling the whole way through with a genre-transcending concoction of bleakness that’s not so much aligned to any particular heavy aesthetic so much as it is set to its own atmospheric purposes. Through this, Inter Arma emerge terrifyingly cohesive where many others would falter, and their second LP behind 2010′s Sundown (review here) leaves a progressive impression despite an almost complete lack of sonic pretense. Mostly, it’s fucking heavy. Track stream and info here.
4. Clutch, Earth Rocker (March 19)
If 2013 ended tomorrow, Clutch‘s Earth Rocker would be my album of the year. That’s not saying the situation will be the same nine months from now when I actually start putting that list together (already dreading it), but as of March 12, it’s the cat’s pajamas and no foolin’. The long-running Marylanders outdid themselves and put together a surprisingly fast, energetic collection of songs that don’t forsake the bluesy tendencies of their last album, 2009′s Strange Cousins from the West, so much as they put some of the jamming on lockdown in favor of all-out pro-grade heavy rock and roll. The velocity is crucial and the wolfman is out, but it feels like the party’s just starting. Look for them on tour sometime between now and forever. Album review here.
5. Black Mare, Field of the Host (March 20)
Black Math Horseman and Ides of Gemini frontwoman Sera Timms (who’s also recently collaborated with Yawning Man‘s Gary Arce in the new outfit Zun) steps further out on her own with the solo-project Black Mare, from whom Field of the Host is the first album. Due March 20 on LP through The Crossing and on cassette through Breathe Plastic, limited in both cases and sure to be gone shortly after release if they’re not already taken through pre-orders. Fans of Timms‘ past works will be glad to hear the misty wash of melody and dreamy, somehow sad, languid roll of “Blind One,” for starters. Audio and info on the forum.
6. Kvelertak, Meir (March 26)
Short of setting themselves on fire, Norwegian triple-guitar six-piece Kvelertak did just about everything they could to get noticed in support of their 2010 self-titled debut LP (review here), and sure enough, their work paid off in getting signed to Roadrunner Records for all territories outside their native Scandinavia (where Indie Recordings holds sway) and trumpeting up a wave of anticipation for their second full-length, Meir. Their energetic, genre-crossing approach might not be for everybody, but the band have turned a lot of heads and I wouldn’t at all be surprised to find them on bigger tours this year with Roadrunner behind them. More info on the forum.
7. Black Pyramid, Adversarial (April 2)
This is actually the first time the Eli Wood cover art for Black Pyramid‘s Adversarial has been seen in full, so you know. The Hydro-Phonic Records release of the third Black Pyramid album and first to be fronted by guitarist/vocalist Darryl Shepard along with bassist David Gein and drummer Clay Neely punctuates the beginning of a new era for the Massachusetts trio. If the advance listen to closing track “Onyx and Obsidian” is anything to go by, they could very well be at their most potent yet, and though I’d hardly consider myself an impartial observer, as a fan of the band, this is one I’ve been looking forward to for a while now. More to come. Track stream here.
8. Moss, Horrible Night (April 2)
I’ve yet to hear the complete album, but UK trio Moss seem poised to surprise with a cleaner vocal approach on Horrible Night, their first offering since 2008′s impressive Sub Templum LP and two EPs in 2009, so in addition to wondering how they’ll pull it off, the level of the shift remains to be seen. That is, how big a deal is it? Should I call my mom? Is this something grandma needs to know about? Time will tell, but for it having been five years since the last time a Moss record reared its doomly head, it seems only fair to give the band a little breathing room on their evolution. More info and video here.
9. Mars Red Sky, Be My Guide EP (April 8)
How glad am I that French fuzz rockers Mars Red Sky have a new EP coming? Well, I’m not as happy that it’s coming as I am that it’s frickin’ awesome. The trio keep the weighted bass tones that gave so much depth to their 2011 self-titled debut (review here), but they’ve also clearly set to work expanding the formula as well, adding stomp to second track “Seen a Ghost” and an eerie repetitive sense to side B closer “Stranger,” while also broadening their melodic reach and taking claim of whichever side of the line they want between fuzz rock and heavy psychedelia while remaining so much more to the ears than either genre descriptor can offer to the eyes. At half an hour, my only complaint with it is it’s not a full-length album. Video trailer and info here.
10. Blaak Heat Shujaa, The Edge of an Era (April 9)
A sample of the poet Ron Whitehead — who also featured on Blaak Heat Shujaa‘s late-2012 debut EP for Tee Pee Records, The Storm Generation (review here) — comes to clarity just in time for the gonzo Boomer poet to let us all know that, “America is an illusion” (that may be, but it’s an illusion with an army of flying killer robots), and from there, the youngin’ desert transplants embark on a low-end-heavy freakout topped with sweet surf rock guitars and set to use in intricate, sometimes surprisingly jagged, rhythmic dances. Mario Lalli of Fatso Jetson guests, Scott Reeder produced. Review is forthcoming, but till then, there’s more info here.
11. Devil to Pay, Fate is Your Muse (April 9)
Fate is Your Muse serves not only as Indianapolis rockers Devil to Pay‘s Ripple Music debut, but also as the double-guitar foursome’s first outing since 2009′s Heavily Ever After. With tales of lizardmen attacks and the alleged end of the world, it’s got its fair share of personality, and set to the chugging riffs, melodic vocals and straightforward heavy grooves, that personality still goes a long way. I’ll have a review up before this week is out (I hope), but still, I wanted to make sure to include Devil to Pay here too, since their songs command both attention and respect. To wit, I just can’t seem to get “This Train Won’t Stop” out of my head. Video and info here.
12. Cough & Windhand, Reflection of the Negative Split (April 15)
Virginian doomers Cough and Windhand share a hometown in Richmond, a love of volume, a bassist in Parker Chandler and now a label in Relapse Records, so yeah, a split makes sense. Reflection of the Negative will be Windhand‘s first release through Relapse ahead of their sophomore full-length, scheduled for later this year (info here). For Cough, this split marks their first outing since 2010′s An Introduction to the Black Arts split with UK masters The Wounded Kings (review here), and they’ll present the 18-minute “Athame,” while Windhand bring forth “Amaranth” and “Shepherd’s Crook.” More info here.
13. Uncle Acid and the Deadbeats, Mind Control (April 15)
What the last Uncle Acid and the Deadbeats album, 2011′s Blood Lust (semi-review here), did so well was capture the atmosphere and the grainy imagery of late ’60s/early ’70s psychedelic horror and put it into audio form. For that, Blood Lust earned massive praise, but I still think that without the central core of songwriting underneath the genre trappings, it would’ve fallen flat. When it comes to Mind Control, the question waiting to be answered is if the band wants to stick to the blueprint they’ve established or go brazenly into uncharted weirdness. I’m not really sure they can lose, either way. Info and music here.
14. Kadavar, Abra Kadavar (April 16)
Their debut on new label Nuclear Blast and the quick-arriving answer to my pick for 2012 debut of the year, Abra Kadavar arrives with plenty of anticipation leading the way. The retro-rocking German trio have their work cut out for them in following that self-titled, but however it turns out in the comparison, it will be fascinating to learn how Kadavar develops the band’s sound and whether or not they prove able to push the boundaries of their aesthetic while simultaneously setting a new standard for promo photos. New video here.
15. Spiritual Beggars, Earth Blues (April 16)
I guess when it comes to these long-running Swedes, everybody’s got their favorite lineup, their favorite tunes, etc., but for me, I’m just impressed that Michael Amott — now more than 20 years on from starting Spiritual Beggars as a side-project while still in grindcore pioneers Carcass — still has any interest in keeping the classic rock Hammond-loving outfit grooving. Their last outing, 2010′s Return to Zero (review here), was the first to feature vocalist Apollo Papathanasio, formerly of Firewind, and though those songs were solid, I wouldn’t be surprised if they’re more settled in on Earth Blues when it drops via InsideOut Music on April 16. More info on the forum.
16. Beastwars, Blood Becomes Fire (April 19)
Alternating between periods of brooding intensity and all-out crushing heaviness, the second full-length from New Zealand’s Beastwars, Blood Becomes Fire, is nasty, nasty, nasty. It’s nasty when it’s quiet and it’s nasty when it’s loud. It’s the kind of record you put on and you’re like, “Damn that’s nasty.” And you’re not wrong. The four-piece — touring shortly with Unida — upped their game even from 2011′s self-titled debut (review here), and for anyone who heard that record, you know that’s saying something. I’m still in the “getting to know it” phase, but so far all that nasty feels pretty right on. More info here.
17. Ghost, Infestissumam (April 19)
Man, this one just kind of happened, huh? I suck — and I mean S-U-C-K suck — at keeping up with band hype. I’m the dude who hears the record three months later and goes, “Yeah, I guess that’s cool,” as countless reviews here can attest, including the one for Ghost‘s 2010 debut, Opus Eponymous, but with the Swedish cult heavyweights, all of a sudden I turned around and blamo, major label deal, semi-name change to Ghost B.C., and enough slathering over the impending Infestissumam to make the first album seem like less than the hyperbole it was treated to initially. Funny how that happens. Out in April? I’m sure I’ll review in June and go, “Yeah, I guess that’s cool.” More info on the forum.
18. One Inch Giant, The Great White Beyond (April 19)
Now signed to Soulseller Records, Swedish heavy rockers One Inch Giant will unveil their debut full-length on April 19 and as three of my favorite words in the English language are “Swedish heavy rockers,” I’m excited to find out how this Gothenburg four-piece follow-up their Malva EP, and if they can capture some of the extreme dynamic they brought to their live show when they toured the US last summer — a run of shows that included a stop at SHoD. Hard not to pull for a band after they come over to play club dates. More info and music here.
19. The Heavy Co., Midwest Electric (April 20)
It was actually the other day writing about The Heavy Co.‘s Midwest Electric that I had the idea for this feature, so however high the profile might be for some of these albums — Ghost walks by on their way to cash a check — it was these unpretentious Hoosier rockers and their new outing, Midwest Electric, that started me off. From what I’ve heard so far, the new collection sounds a little more confident in exploring psychedelia than did the trio’s 2011 debut EP, The Heavy (Please Tune In…) (review here), so I’m looking forward to hearing if and how that plays out over the course of the whole thing. Video trailer here.
20. Gozu, The Fury of a Patient Man (April 23)
I have an interview slated for later this week with Gozu guitarist/vocalist Marc Gaffney, and I’m even more excited for this time than I was when we last spoke, around their 2009 Small Stone debut, Locust Season (review here), since in everything but its goofball song titles, the sophomore outing marks a huge developmental step in the band’s melodic reach and songwriting chemistry. Stay tuned for that interview and check out the Bandcamp stream included with the album review here.
21. Yawning Man & Fatso Jetson, European Tour Split 7″ (April 26)
Note: I don’t actually know that April 26 is the day that what’s sure to be 2013′s most desert-rocking split is due to arrive, I just know that it’s Fatso Jetson and Yawning Man‘s European tour split, and that’s the day the Euro dates start — with performances at Desertfests London and Berlin, to be more specific. Given both the greatness of Fatso Jetson‘s last record, 2010′s Archaic Volumes (review here), and of Yawning Man‘s own 2010 outing, Nomadic Pursuits (review here), the bands’ shared lineage and the relative infrequency of their touring, it doesn’t seem unreasonable to hope that, even for a single, they pull out all the stops. And starts. And riffs. More info on the forum.
22. Serpent Throne, Brother Lucifer (April 29)
Philly-based instrumental heavy rockers Serpent Throne will follow-up 2010′s White Summer/Black Winter (review here) with Brother Lucifer, and while no one can ever really know what to expect, it’s a safe bet that the dual-guitar outfit will have the solos front and center once again. Having seen them do a couple new songs back in December, I can’t blame them in the slightest. Looking forward to letting these songs sink in for a while and having those solos stuck in my head. Track stream here.
23. Melvins, Everybody Loves Sausages (April 30)
Hey wow, a Melvins covers album. Finally, an opportunity for the band to let their hair down and go wild a bit, right? I mean, at long last, they can really feel free to indulge a little and explore their musical roots in a free and creative way. Okay, you get the point. In all seriousness, it’s a pretty cool idea and anything that teams the Melvins with Scott Kelly to do a Venom song is probably going to be a worthy cause. The most amazing part of it is they haven’t already done a version of “Black Betty.” More info on the forum.
24. Revelation, Inner Harbor (April 30)
Their most progressive outing yet and their first album since 2009, Revelation‘s Inner Harbor (review here) is bound to surprise some who thought they knew what to expect from the Maryland doom stalwarts who double as the classically rocking Against Nature. Good thing Inner Harbor had a digital release last year through the band’s Bland Hand Records to act as a precursor to this Shadow Kingdom CD issue. Rumor has it vinyl’s on the way as well, so keep an eye out, since John Brenner‘s guitar tone should be heard on as natural-sounding an apparatus as possible. More info here.
Okay, so you’re saying to yourself, “Golly, that’s a lot of stuff.” You’re absolutely right. But even as I was typing up this feature, I got word of a new Queen Elephantine full-length coming in April, so even as much as this is, it’s not everything. And that’s not even to mention May, which will bring a new Shroud Eater EP, a new Kylesa record and a new Mark Lanegan collaboration, among however much else. Tons of stuff to keep your ears out for, and like I said way back at the top of this thing, if you have something to add, a comment’s always appreciated.
It’s been a while since I’ve had a fully functional turntable, and by that I mean one that worked at all. Platters have been coming in for review for The Obelisk and I’ve managed to figure something out, either listening somewhere other than my office or whathaveyou, but really, it’s something that I’ve been missing up to this point. I tried several times to acquire a working one to no avail, until just this past week, Slevin rolled through with one he wasn’t using and set it up. Toss in a new cartridge, dust it off, and as you can see above, whamo, a working player of vinyl records.
Nifty, right? I traded him the busted Technics that formerly resided at the top of my office shelf system and he gave me this working Optimus, and since I don’t know the difference, I’m just happy to have one that actually can play an albums. I’ve had a pile of stuff here waiting to be written up or even just listened to, so at the end of last week, there was a bit of a binge in vinyl listening, one after another after another and so on. Can’t help it. Sometimes I get excited.
In the spirit of sharing, I thought I’d post the first five records I put on once I had the ability to do so. Needless to say, there have been several more since:
1. YOB, Demo
I haven’t asked to confirm, but I think this was actually the one that got Slevin on board for giving my pathetic ass in the first place. A couple weeks ago, I put up a rant, basically pissing and moaning at having bought myself the 2009 vinyl reissue of YOB‘s demo despite not being able to hear it, so when I finally could, it was the first thing I grabbed. Sure enough, the four tracks on the release — the three of the initial 2000 demo and one live track to close out side B recorded in 2005 — were as primitive as one would have to expect, way more Sleep-derived even than YOB‘s first full-length, but still a joy to hear after so long. Even as a curio, this one was worth the wait and since I’m planning on having this turntable for a while, I was glad I got to play this one first.
2. Asteroid, Move a Mountain 7″
Maybe this one was kind of obvious, since a review went up the other day, but wow, I was looking forward to hearing the latest from Asteroid. Aside from thinking they’re one of the best Swedish heavy rock acts going these days — balancing heavy psych jams with memorable songwriting and sounding so incredibly natural doing it as they do — I wanted to hear how they were developing with their new drummer and was glad to find that even on such a short, two-song release, they hadn’t lost that combination of structure and laid back exploration that has made both of their albums to date so much fun, indeed pushing it further on the B-side, “One Foot in the Grave,” which was some of their fastest material yet. I was already looking forward to their third full-length. Now even more so.
3. Mars Red Sky/Year of No Light, Green Rune White Totem
Mars Red Sky — whose new EP, Be My Guide, is due in April, in case you missed the news that just went up — were kind enough to send me a vinyl copy of their Green Rune White Totem collaboration with their countrymen black metal experimentalists Year of No Light, and I think it must have gotten lost in the shuffle around the time the hurricane hit, and then when I finally would’ve had the chance to hear it, there wasn’t a working record player to make it happen. I was bummed out, because although Green Run White Totem is up on the YuberToubes, I was dying to hear the real thing. The textures that Year of No Light bring to Mars Red Sky‘s rich, deep tonality make the 12-minute collaborative piece all the more fascinating, and the black and red vinyl give it a truly special feel. It’s one I’ll be returning to for sure, especially as Mars Red Sky get set for Desertfest next month and that aforementioned EP release.
4. Clutch, Strange Cousins from the West
The heartbreak of slightly ripping the sleeve when taking out the second of the two LPs in the special edition of Clutch‘s 2009 outing aide, Strange Cousins from the West was a listen a long time in the making. The packaging on the Weathermaker vinyl is astounding (and now ripped, god damn it) with foil and a six-panel gatefold, and when the first side of the first LP started, I swore up and down it was the wrong platter because it was “Freakonomics” instead of “Motherless Child.” Nope, just a different tracklisting than the CD. Given that this is an album with which I’ve spent significant time over the four years since its original release, it was probably the first one on this list that I could really get a sense for the difference the vinyl makes, the compression in the cymbals and warm pops, etc. Particularly in light of their new one (review here), it was cool to revisit Strange Cousins and hear the older material in a new light.
5. Black Sabbath, Dehumanizer
If I’m honest, I don’t even really know where this vinyl copy of Dehumanizer came from. Must have been a reissue that came through at some point, but it’s been in my office for a while now and so it was something of a matter of principle that it should get a play on initial run with the new turntable. The 1992 reunion album between Black Sabbath and vocalist Ronnie James Dio isn’t the best work of either party — and wow, that really came out on side B; I can’t even remember the last time I purposefully listened to “Too Late” or “Buried Alive,” and I named my dog after Dio — but for cuts like “I,” “Master of Insanity,” “Computer God” and “Sins of the Father,” Dehumanizer was well worth another visit. Now I just need to get a copy on tape and I’m all set.
Even though I have a working turntable in my possession, I don’t see myself going overboard as a vinyl collector or anything like that, but if someone’s got a 7″ for sale at a show or something is vinyl-only, at least I know I’ll be able to give it some due time without using someone else’s player or scrambling for a download. But mostly it’s just a review thing for stuff that comes in on LP. It’s not like I’m looking to start a vinyl library. Not like I’m already eying up Hypnos 69 splits on eBay or anything. Me? No way. Ha.
I was just about to put up a post (partially) concerning France’s foremost fuzzers Mars Red Sky, when lo, the trio unveiled a new video trailer for their forthcoming Be My GuideEP. Timing is everything. The three-piece will issueBe My Guide on April 8, 2013, through their own Mars Red Sounds imprint in a vinyl edition of 100 numbered and signed colored vinyls, and the release will feature four tracks, as listed below: