The official issue date for Riff Fist‘s new album, King Tide, is listed as April 21, but you might look at the entirety of their upcoming European tour as a release party. The shows will happen in and on multiple stages throughout Poland, Germany and the Netherlands, as the Melbourne, Australia, three-piece make their return trip to the continent to play Desertfest Berlin 2017 after featuring two years ago at the same festival. Nothing like a command return, and all the better as they team up for gigs with Major Kong in their native Poland and fellow Aussie troublemakers Mammoth Mammoth for other gigs post-Desertfest, all en route to a headlining show in Berlin on May 12 that closes out the run.
It’s a busy time for the band, to be sure, but you’d never know it listening to “King Tide” itself. The title-track of Riff Fist‘s latest unfolds patiently over the course of 11 minutes as bassist/vocalist Cozza, guitarist Casey and drummer Joel dig into a languid psychedelic flow distinct from the prior work of the band’s own Dollars-trilogy-themed short releases, 2015’s The Good, the Loud and the Riff, 2014’s For a Few Riffs More and 2013’s Fistful of Riffs (review here), which tapped into some similar elements but only hinted at such range of approach. Rest assured, there’s still plenty of post-Orange Goblin burl to bask in during songs like “Chugg” and “Fist Bier (Noch Eins)” as the 33-minute King Tide plays out, and some of that in the title-cut as well, but Riff Fist offer a markedly expanded scope with “King Tide,” and in bringing it along with them as they hit Europe once again, it’s easy to imagine they’ll turn heads all the more in their direction as a result.
Below, the band premieres the track “King Tide” in a new video featuring the album artwork by Berlin-based artist BoozyBags. Spoiler alert: there’s a fist involved. Underneath the player itself, you’ll find some exposition from Riff Fist and the upcoming tour dates.
The highlight, however, is “King Tide” itself, and I hope you enjoy:
Riff Fist, “King Tide” official video
Riff Fist on “King Tide”:
‘King Tide’ is the epic track that we have long considered as our opus work and we finally look forward to presenting it to our fans. The track now recorded beautifully at the Black Lodge in Melbourne is shown in music video with a slow reveal first look of the new album artwork by Berlin artist BoozyBags. We look forward to fans experiencing its raw power presented with live Riff Fist energy on stages in Europe over the next 4 weeks.
From the upcoming release ‘King Tide’ available April 2017.
Hands up who wants to RIFF?
The knuckle sandwich to the eardrums that is Riff Fist are excited to announce their latest release ‘King Tide’. Recorded at The Black Lodge Studios in Melbourne, Australia by drummer and audio engineer Joel Taylor, the release features a true stoner rock epic title track that demonstrates the power trio’s dynamic range and solid groove. The rest of the album features the fuzzed out stoner riffage and fat low end the band are known for combining influences from the golden era of stoner rock as well as a solid dose of ?O’s heavy classics.
Celebrating the release the band are embarking on a European tour through Poland, Germany and The Netherlands including their second performance at Desertfest Berlin. After a fantastic reception to their previous European shows, the boys can’t wait to unleash the ‘King Tide’ at the following dates:
RIFF FIST EURO TOUR 2017: w/Major Kong and Red Scalp 21/4 – Poznan (POL) 22/4 – Wroclaw (POL) 23/4 – Krakow (POL) Desertfest 28/4 – Desertfest Berlin (GER) w/Mammoth Mammoth 2/5 – Dresden (GER) 3/5 – Osnabrueck (GER) 4/5 – Cologne (GER) 5/5 – Duesseldorf (GER) 7/5 – Utrecht (NL) 8/5 – Frankfurt (GER) 9/5 – Hamburg (GER) w/Urza and Kkröte 12/5 – Berlin
Posted in Whathaveyou on February 8th, 2017 by JJ Koczan
I’ve got it on pretty good authority — and by that I mean I asked the band — that Melbourne cosmic doomers Merchant are just a scant few weeks away from announcing the details of their next release. Whatever it’s called, whenever it hits, expect a crater to form. Their prior debut long-player, last year’s Suzerain (review here), was a forceful statement of cosmic doom intent, from its 20-minute title-track outward into the crushing expanse of the songs surrounding. It was as light on compromise as it was heavy on tone.
That should only make Merchant all the more a fitting pairing with fellow Melbourners Watchtower. The two bands will head to New Zealand in April — Watchtower supporting their 2015 EP, Radiant Moon (review here), which in the States was picked up by Magnetic Eye Records for a release — and though it’s just a three-date run through Auckland, Hamilton and Wellington, they look like they’re spending their time well, keeping good company with the locals and whatnot. A few packed bills here for a weekender.
But I guess if you’re gonna go, and even if you’re only going from the relative proximity of Melbourne — still three and a half hours to Auckland by plane; I looked it up — you should make it count. So be it.
More to come on Merchant‘s next offering, and for that matter, Watchtower‘s, when I hear it. Until then, the dates:
Merchant & Watchtower announce New Zealand Tour
Melbourne based sludge slingers Merchant and Watchtower have teamed up to lay waste to New Zealand for the first time in April. Presented by BoredSound, the deadly double header will see venues crushed by volume in Auckland, Hamilton and Wellington on consecutive evenings. With both Merchant and Watchtower quickly rising to notoriety in the Australian heavy underground due to their all consuming live shows and coupled with swag of killer local supports, this tour isn’t something that fans of heavy music should miss.
Merchant & Watchtower New Zealand tour: Saturday, April 22 @ Whammy Bar, Auckland with NIISA, Reaving & Bloodnut Sunday, April 23 @ Nivara Lounge, Hamilton with Bloodnut, Sick Old Man & Wolf Wizard Monday, April 24 @ Valhalla, Wellington with Opium Eater & Ritual Abuse
Posted in Reviews on December 27th, 2016 by JJ Koczan
Feeling good going into day two of the Quarterly Review. The good news about how heavy music has become such a vast universe is that there’s always plenty to cover without having to really dig into stuff I don’t find interesting. Of course, the other side of that is feeling constantly behind the curve and overwhelmed by it all, but let’s not talk about that for the moment. Point is that as we make our way through this week and into the next — because, remember, it’s six days this time, not five — a big part of me still feels like I’m just scratching the surface of everything that’s out there. It still seems just to be a fraction of the whole story being told around the world in the riffiest of languages. We all do what we can, I guess. Let’s get started.
Quarterly Review #11-20:
Red Fang, Only Ghosts
Four albums into one of the decade’s most successful and influential heavy rock careers, doesn’t it seem like Portland, Oregon’s Red Fang are due for a truly great record? Their 2013 outing, Whales and Leeches (discussed here), was rushed by the band’s own admission – their focus, as ever, on touring – and Only Ghosts (on Relapse) unites them with producer Ross Robinson and mixer Joe Barresi, two considerable names to bring heft and presence to the 10-track/42-minute outing. And I’ve no doubt that “Shadows” and the bigger-grooving “The Smell of the Sound” and opener “Flies” kick ass when delivered from the stage, and it’s true they sound more considered with the ambience of “Flames” positioned early, but Only Ghosts still comes across like a collection of songs united mostly by the timeframe in which they were written. Doesn’t mean they don’t build on Whales and Leeches, but now five years on from 2011’s Murder the Mountains (review here), and with their dynamic, charged and momentum-driven sound firmly established, Red Fang still seem to be at the threshold of some crucial forward step rather than stomping all over it as one might hope.
After releasing a self-titled debut (review here) and the follow-up Andromeda (review here) in 2014, 2016’s Sea of Clouds (on Crispin Glover/Stickman) is the third proper studio full-length from Norway’s Black Moon Circle – though at that point, define “proper.” In 2015, the trio/four-piece – Trondheim-based guitarist Vemund Engan, bassist Øyvin Engan and drummer Per Andreas Gulbrandsen, plus Scott “Dr. Space” Heller of Øresund Space Collective on synth – also released The Studio Jams Vol. I (discussed here) and in addition to the four tracks of Sea of Clouds, they’ve also had a Vol. II (review here) out this year. The definitions become fluid, is what I’m saying, and that couldn’t be more appropriate for the sound of “Lunar Rocket,” the outward-gazing space rock of “The Magnificent Dude,” “Moondog” and “Warp Speed,” which indeed offer enough kosmiche expanse to make one wonder where the song ends and the jam begins. Or, you know, reality. One has to wonder if Black Moon Circle might bridge the gap at some point between studio improv and more plotted songwriting, but as it stands, neither side of their dual personality fails to engage with its flow and drift.
A one-sided 12” EP issued by STB Records in late 2015 as the follow-up to Richmond dirge-fuzzer trio Druglord’s debut album, Enter Venus (review here), the three-track Deepest Regrets represents the band’s final studio material with bassist Greta Brinkman (ex-L7) in the lineup, who’s since been replaced by Julian Cook. That distinction matters in no small part because so much of Druglord’s purposes on Deepest Regrets’ three component songs – “Regret to Dismember,” “Speedballs to Hell” and “Heaven Tonight” – is about reveling in low end. Rawer than was the album preceding, they find guitarist/vocalist/organist Tommy Hamilton, Brinkman and drummer Bobby Hufnell emitting an oozing lurch, blasting out thickened motor-riffing, and fortifying a darkly psychedelic drear – in that order. True to EP form, each song gives a sampling of some of what Druglord has to offer coming off the album, and with a recording job by Garrett Morris, who also helmed the LP, it remains a fair look at where they might head next, despite the shift in lineup.
Melbourne’s Holy Serpent return with Temples (on RidingEasy), their second full-length after 2015’s self-titled debut (review here), and continue to offer an engaging blend of well-blazed psychedelia and heavier-rolling groove. Especially considering they’ve still only been a band for two years, the four-piece of guitarists Nick Donoughue and Scott Penberthy (the latter also vocals), bassist Dave Barlett and Lance Leembrugen remain striking in their cohesion of purpose, and Temples opener “Purification by Fire” and ensuing cuts like the fuzz-wall centerpiece “Toward the Sands” and echo-laden “The Black Stone” only continue to stretch their intentions toward ever more acid-ic flow. They called it “shroom doom” last time out, and seem to have moved away from that self-branding, but however one wants to label Temples, its five tracks/43 minutes push ahead from where Holy Serpent were just a year ago and, rounding out with the slower churn of “Sativan Harvest,” still reminds that mind expansion and deeply weighted tonecraft are by no means mutually exclusive.
Self-releasing Croatian instrumental trio Drone Hunter devise vigilantly straightforward riffing on their second album, Welcome to the Hole, finding room for some charm in titles like “Wine Dick,” “Crazy Ants with Shotguns” and the closing “A Burning Sensation,” the latter of which seems to draw particularly from the playbook of Karma to Burn. That comparison is almost inevitable for any riff-led/sans-vocal three-piece working in this form, but the crunch in “Fog Horn” and “Waltz of the Iron Countess” isn’t without its own personality either, and as with a host of acts from the Croatian underground, they seem to have a current of metal to their approach that, in the case of Welcome to the Hole, only makes the entire affair seem tighter and more precise while maintaining tonal presence. Fitz (guitar), Klen (bass) and Rus (drums) might not be much for words or last names, but their sophomore full-length comprises solid riffs and grooves and doesn’t seem to ask anything more than a nod from its audience. A price easily paid.
Lugweight is comprised solely of Brooklyn-via-Richmond-Virginia transplant Eric Benson, and the project makes its full-length debut with the evocatively-titled drone wash of Yesterday following one EP and preceding another. Fair to call it an experimental release, since that’s kind of the nature of the aesthetic, but Benson demonstrates a pretty clear notion of the sort of noise he’s interested in making, and there’s plenty of it on Yesterday in “Sleeping on Cocaine,” on which one can hear the undulating wavelengths emanating from speaker cones, or the penultimate “Love Song for the Insane,” which features chanting vocals in echoes cutting through a tonal morass but still somehow obscure. A 33-minute five-tracker, Yesterday doesn’t overstay its welcome, but alternates between sonic horrors and warmer immersion in the shorter centerpiece “Bleed My Sorrow” and closer “Show Me Where the Shovel Is,” coming dangerously close in the latter to doom riffing that one might almost dare to put drums to. Solo drone guitar, even when this thick, is never for everyone, but one doubts Benson was shooting for accessibility anyhow.
To hear Australia’s Megaritual tell it, the 25-minute single-song Eclipse EP was recorded on Mt. Jerusalem in New South Wales this past summer, the one-man outfit of vocalist/guitarist/sitarist/drummer Dale Paul Walker working with bassist/Monotronist Govinda Das to follow-up his prior two Mantra Music EPs, recently compiled onto an LP (review here) by White Dwarf Records. Whether or not that’s the case, “Eclipse” itself is suitably mountainous, building along a linear course from sea level to a grand peak with droning patience and gradual volume swells, lush and immersive psychedelia in slow-motion trails, a sparse verse, percussion, sitar, guitar, bass, and so on coming to a glorious vista around the 17:30 mark only to recede again circa six minutes later in a more precipitous dropoff. The digital edition (and that’s the only edition thus far) comes with a cover of Pink Floyd’s “Set the Controls for the Heart of the Sun,” which makes good company for the hypnotic titular exploration and the quick progression it represents after the other two short releases.
Heavy psychedelic pastoralists Red Lama enter the conversation of 2016’s best debut albums with Dreams are Free, initially released on All Good Clean Records and subsequently picked up by Stickman. Leaning more toward the liquid end of psych-blues, the Danish seven-piece immediately transcend with opener “Inca” (video here) and quickly showcase a subtlety for build that only gets more potent as they move through “Sonic Revolution” and “The World is Yours,” unfolding due heft in the latter without losing the laid back sensibility that the vocals bring sweetly, melodically, to the material. The later “Mekong River” seems almost like it’s going to shoegaze itself into post-rock oblivion, but Red Lama hold their sound together even into the 10-minute closer “Dalai Delay” – aptly-titled twice over – and deliver with striking patience a languid flow with hints of underlying prog experimentation. How that will come to fruition will have to remain to be seen/heard, but Dreams are Free also dips into funkier groove on “Dar Enteha,” so while they probably could be if they were feeling lazy, Red Lama don’t at all seem to be finished growing. All the better.
Lacy is an experimental solo-project from former Lord guitarist Stephen Sullivan, based in Fredericksburg, Virginia, and part of a deep sludge underground that goes back well over a decade. Andromeda is his third album with the outfit and the second to be released in 2016, though unlike the preceding Volume 2. Blue, its 12 tracks were recorded in a matter of months, not years. All instruments, arrangements, vocals and the raw recording were handled by Sullivan himself (he also took the photo on the cover) but cuts like “Gyre Hell” and the acoustic “Push Me Away” veer around self-indulgence or hyper-navelgazing – I’d call “Offal and the Goat Brains” experimental, but not narcissistic – and he seems more interested in writing songs than making a show of being outside this or that imaginary box. Still, Andromeda offers diversity of instrumentation and arrangement, unplugging once more for “Healer” before closer “Always” finishes the album as a rumbling and grunge-laden love song.
After catching on late to German metallers Valborg’s 2015 fifth album, Romantik, I told myself I wasn’t going to miss whatever they did next. The single Werwolf (on Temple of Torturous and Zeitgeister) might be a quick check-in of just two songs – “Ich Bin Total” and “Werwolf” itself – but the classic European-style death-doom chug of the latter and the vicious crash of the former I still consider a reward for keeping an eye out. “Ich Bin Total” is less than three and a half minutes long, and “Werwolf” just over five, but both feature choice chug riffing, darkened atmospherics and art-metal growls that only add to the clenched-teeth intensity of the instruments surrounding. They spare neither impact nor ambience nor lives as Werwolf plays out, the title cut riding its massive progression forward to a sensory-overload of nod before finally offering some release to the tension in a second-half guitar lead, only to revive the brutality once more, repetitions of “werwolf” chanted in growls over it. Awesome.
Posted in Features on December 20th, 2016 by JJ Koczan
Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2016 to that, please do.
I say this every year: These are my picks. If you’re unfamiliar with this site, or you don’t come here that often, or if you do and just normally don’t give a crap — all of which is cool — you should know it’s all run by one person. One human being. Me. My name is JJ, and this is a list of what I think are the best albums that were released in 2016.
Since before 2016 began, I’ve kept a running list of releases. My criteria for what gets included in this list is largely unchanged — it’s a balance between what I feel are important records on the level of what they achieve, what I listened to most, what held some other personal appeal, and what I think did the best job of meeting the goals it set for itself. Pretty vague, right? That’s the idea.
The nature of worldwide heavy has become so broad that to encompass it all under some universal standard is laughable. Judging psychedelia, garage rock, heavy psych, doom, sludge and so on by the same measure makes no sense, and as genres continue to splinter and remake themselves as we’ve seen them doing all year and over the last several years, one must be malleable in one’s own taste. We’ve seen a new generation of heavy rock bands emerge in the last three-plus years. It’s been amazing, and there are a few pivotal second and third records that came out in 2016 to affirm that movement underway. Look for it to continue into 2017 and beyond.
This year more than any other seemed to want to bring the different sides together. A laudable goal. Thick riffing marked with flourish of psychedelia. Spacious doom bred against folk impulses. There’s been experimentation around melds that have led to considerable triumphs, and it just doesn’t seem to me that rigid standards can apply. It’s why I don’t grade reviews and never did.
Sound is evolving now as it always has been and as it will keep doing, but like any year, 2016 had a full share of landmarks to offer as a part of that process. As universal development hopefully remains ongoing, it’s only right that we celebrate the accomplishments helping to push it along its winding and sometimes divergent-seeming paths.
I have no doubt you know what I mean. Let’s get to the list:
Seems only fair to start with a record I couldn’t put down. Finnish trio Talmud Beach‘s second album and Svart debut, Chief, hit on just the right blend of laid back, semi-acoustic groove-blues, psychedelia and classic progressive folk rock, but with the exception of its sprawling dreamscape title-track (a welcome arrival at the finale), it also kept the songwriting simple, resulting in a natural, pastoral feel that only highlighted their melodic range in songs like “Mountain Man” and “Snow Snow Snow.” I think it flew under a lot of people’s radar, but I’ve kept going back to it over the course of the year and I see no reason to stop.
Space is still the place. I’ve already highlighted closer “Artificial Light” from Comet Control‘s sophomore LP, Center of the Maze as my favorite song of 2016, so I’ll spare you the longwinded treatise on its languid cosmic glories — this time — but consider this a reminder that that song was by no means the limit of what the eight-track release had to offer in terms of breadth. From the opening push of “Dig out Your Head” to the dream-drift of “Sick in Space,” it unfolded tonal presence and a melodic depth that engaged a gorgeous, multifaceted sonic wash as it moved onward toward that landmark conclusion.
There was not a level on which Madison, Wisconsin’s Droids Attack didn’t make it clear they were going all-out, all-in on Sci-Fi or Die. Even the title speaks to the stakes involved. And sure enough, the trio executed their fourth album with a sense of urgency and professionalism in songcraft, production, artwork (discussed here) and nuance of presentation that managed to make even a song called “Clawhammer Suicide” a classy affair. As guitarist/vocalist Brad Van said on the hidden title-track, “Death to false stoner thrash.” Droids Attack brought that ethic and more to life across the entire record.
A winding road brought Beelzefuzz around to following up their 2013 self-titled debut (review here), and as The Righteous Bloom brought guitarist/vocalist Dana Ortt and drummer Darin McCloskey together with bassist Bert Hall and lead guitarist Greg Diener, it found their songwriting more expansive, more progressive and dug further into their own particular oddball sense of grandeur. I’ve said on multiple occasions that no one out there is doing what Beelzefuzz are doing and that continues to be true. Even as a first offering from a new lineup of the band, The Righteous Bloom took bold and exciting forward steps.
Down to business. Immediately. Not a moment to spare. Taking part in what can only be considered a landmark year for Ripple Music, Baltimore’s Foghound issued The World Unseen as an answer to their 2013 debut, Quick, Dirty and High (review here), and upped their game across the board. From the intensity in the hooks of “Message in the Sky” and Rockin’ and Rollin'” to the quiet interlude of “Bridge of Stonebows” and the mid-paced heavy rock nod of “Never Return,” they made a strong case for themselves among their label’s foremost acts and found individualism in the growth of their songwriting. It was a kick in the ass you weren’t going to forget.
Put out by the band digitally in Dec. 2015 and issued on vinyl in 2016, Egypt‘s second LP, Endless Flight may be somewhat debatable in terms of when it actually landed (hence “25a.,” above), but the quality of the six-tracker more than warrants inclusion anyway. Rolling dense, massively-fuzzed groove, its nine-minute opening title-track set the course for the Fargo, North Dakota, three-piece, and they only grew the heavy revelry from there, as heard on the penultimate “Black Words,” which seemed to be chewing on rocks even as it played back and forth in tempo, build and push. The converted never had it so good.
There seems to be no stopping the Chiliomodi-based 1000mods, who with their third album have stepped to the forefront of Greece’s populous and vibrant heavy rock underground. Progressed well beyond where even 2014’s impressive Vultures (review here) found them, they seemed to hit a stride with Repeated Exposure To… thanks in part to road time and the ability to bring that energy directly into songs like the eight-minute roller “Loose” and the sizable crashes of “Groundhog Day.” Momentum working in their favor could be heard front-to-back from “Above 179” to “Into the Spell,” moving them toward something ever-more crucial and marking a considerable achievement along that path. 2017 might be a good time for them to test the waters with initial US shows.
Quick turnaround from Roman heavy psych magnate Gabriele Fiori (guitar/vocals) and company, but though it hit just about 13 months after their fourth full-length, Hawkdope (review here), Black Rainbows, Stellar Prophecy wholly succeeded in making an impact of its own, cuts like the oozing, organ-laced “Woman” and 11-minute jam-out triumph “Golden Widow” showcasing an approach in a continuous state of refinement that seems to get rawer as it goes, shifting like a rogue planetoid toward some maddening cosmic realization. How something can seem both so frenetic and so blissful is still a mystery, and perhaps that’s part of what makes Stellar Prophecy resonate as it does, but either way, Black Rainbows brought together some of the year’s most efficient psychedelic immersion.
Borracho don’t seem to release an album until they have something to say. That was to their credit on Atacama, their third LP and label debut for Kozmik Artifactz debut. Also their second collection issued as a trio behind 2013’s Oculus (review here), it distinguished itself from its predecessor in its sense of overarching flow, shifting between the ahead-thrust of “Gold from Sand” into the 10-minute sample-laden jam “Overload” to start out with such ease that the listener had little choice but to follow along. With an expanded scope on “Drifted away from the Sun” and the lightly-strummed memento mori “Flower,” Borracho found new avenues of expression to complement their well established dense, heavy riffing, and took obvious care in crafting their most realized LP yet.
Nothing Brooklyn’s The Golden Grass does feels like happenstance, and though their classic-styled boogie is imbued with a vibrant, friendly positive energy, there’s an underlying meticulousness in their arrangements and in their songwriting that came further into focus on Coming Back Again, their sophomore release 2014’s self-titled debut (review here). A more progressive take showed itself in “Reflections” and “Down the Line,” and taken in combination with the bookends “Get it Together” and “See it Through,” the three-piece stood on ground that was even more their own than on the first record, striking a careful balance between the willful exploration of new elements and the outright need for tracks to directly engage their listeners with catchy hooks and upbeat vibes. They did it. Expect continued growth.
For something so awash in fuzz, so nodding in its rhythms, so let’s-push-the-vocals-back-under-this-huge-awesome-fucking-riff, Curse the Son‘s Isolator was also remarkably clearheaded in its purposes. With the added vocal harmonies of “Callous Unemotional Traits,” the far-off spaces of “Hull Crush Depth” and the stoner metal despair of “Aislamiento,” the Connecticut three-piece of guitarist/vocalist Ron Vanacore, capital-‘d’ Drummer Michael Petrucci and newcomer bassist Brendan Keefe drew a direct, intentional line to sometimes-grueling (hello, “Sleepwalker Wakes”) weighted tonality and found justification for their largesse in its own being. Like 2012’s Psychache (review here), I expect to be returning to Isolator over a longer term than this single year of release.
I feel like I need to explain myself here. Make no mistake, Neurosis‘ Fires Within Fires is among the year’s most accomplished offerings. There’s just about no way it wouldn’t be. So why not top 10? Top five? It’s a question of timing. With the long-running post-metal progenitors, it’s always a longer digestion period. It was about two years before 2012’s Honor Found in Decay (review here) really sunk in, and I expect Fires Within Fires will work similarly over the greater term. Maybe a little guilt on my part for the disparity between its quality and its placement, but rest assured, Neurosis remain among the most imperative bands walking the earth, and as they took on the full brunt of 30 years of unmitigated progression through Fires Within Fires, they were no less brazen in pushing themselves creatively than they’ve ever been.
Though the narrative of Conan has remained largely unchanged since their inception — hack, slash, kill, riff — and they still bask in nigh-on-unmatched tonal slaughter, their third full-length brings a few key developments. Perhaps most notable from opener “Throne of Fire” onward is the vocal interplay between guitarist/founder Jon Davis and bassist/longtime-engineer Chris Fielding, who joined after 2014’s Blood Eagle (review here). Adding Fielding‘s deeper growls allowed Davis to subtly move into a cleaner shout, and the emergent dynamic between them made Revengeance a decidedly expanded affair compared to Conan‘s past work. Adding drummer Rich Lewis to the mix was no minor shift either, and as much as Conan had already established their sheer dominance, they also sounded refreshed and set themselves up to keep growing.
Some records just feel like gifts, and though many of its lyrical positions were cynical — “Reality,” “21st Century Slave,” “Mind Control Machine,” “Red the Sign Post,” etc. — Freedom marked the 15th anniversary of Danish garage-psych rockers Baby Woodrose with dripping lysergic aplomb, reminding some four years after their last LP, 2012’s Third Eye Surgery (review here), that bandleader Lorenzo Woodrose is unparalleled when it comes to manifesting his take on the psychedelic victories of 13th Floor Elevators and classic-era Hawkwind — firmly at home levitating on the edge of time. Its swirl and underlying foundation of songwriting, its Richie Havens cover title-track, and its sprawling interstellar “Termination” were like a welcome check-in from another dimension, and I only hope it’s not four years before Woodrose sends the next signal. Earth needs this band.
I’m not going to discount the shuffle of “Sunday Speed Demon” or sleeze of “Sunday Speed Demon,” but where Geezer‘s self-titled third full-length really showed how far the New York heavy blues-psych trio have come was in its extended midsection jams, “Sun Gods,” “Bi-Polar Vortex” and “Dust,” each of which showed a distinct approach while feeding into an engaging flow between them, offering a blend of trailmarker hooks as they drifted into realms of organic chemistry previously uncharted by the band. The slow-motion swing of “Hangnail Crisis,” raucous push of “Superjam Maximus” and concluding bounce of “Stoney Pony” brought them back down to earth to finish out with a symmetry to the album’s opening, but Geezer kept a collective hand on the controls the whole voyage and when they landed, it was an arrival indeed, and very much what their two previous records were building toward.
Beautifully experimental with its 27-minute finisher “As Sure as the Sun,” EYE‘s Vision and the Ageless Light seemed throughout its whole 46-minute run to be executing a cohesive vision in its synth-soaked progressive textures. Between the intro “Book of the Dead” and the subsequent “Kill the Slavemaster,” “Searching,” “Dweller of the Twilight Void” and the already-noted closer, each piece had something different to offer that added to the full impact of the whole, and with guitarist Jon Finely and bassist Michael Sliclen joining founding drummer/vocalist Brandon Smith and synth/Mellotron/Moog-ist Lisa Bella Donna (also vocals and acoustic guitar), EYE added to the scope of 2013’s Second Sight (review here) and found a place for themselves where prog complexity didn’t need to come at the expense of memorable songwriting and spaced-out vibes. An absolute joy, front to back.
Even Fatso Jetson themselves would probably have to admit that six years — even a six years that saw several splits, singles, etc. — was too long between albums. Fortunately, Idle Hands saw the desert rock forebears in top form as regards their quirk-fueled songwriting, angular approach to punk and inimitable groove. Following 2010’s Archaic Volumes (review here) was no easy task, but with additional depth to the material from the contributions of guitarist Dino von Lalli — son of founding guitarist/vocalist Mario Lalli and nephew of founding bassist Larry Lalli — guest spots from his sister Olive Lalli as well as Sean Wheeler (the latter moves second cut “Portuguese Dream” into high-echelon strangeness) and the ever-propulsive drumming of Tony Tornay, Fatso Jetson were both all over the place and right at the core of where they most ought to be sonically. At 56 minutes, it hardly seemed long enough.
Each song was like a different persona the band adopted momentarily, whether it was the Bowie-goes-proto-goth-prog of organ-ic opener “Transparent Eyeball” or the grim pastoralia of “Mirror Boy” and the condemnations/proclamations of “Drugged up on the Universe,” but wherever Hexvessel went on their third full-length and Century Media debut, When We are Death, that unifying theme went with them. Death. It was everywhere in the Finland-based genre-benders’ deeply varied approach, though its presence made their material in no way off-putting, and in the case of cuts like “Cosmic Truth” or the later “Mushroom Spirit Doors,” not even dark, and as it drew the tracks together despite working in different sounds and style, it became apparent that When We are Death worked because of a universal quality in songwriting and presentation allowing for such drastic shifts without any risk of losing the audience.
Yawning Man guitarist Gary Arce — a key figure in the development of desert rock and a player of unmatched tone, period — had quite a year, between Zun‘s Burial Sunrise, his main outfit and his collaboration with Fatso Jetson vs. HifiKlub, but it was the dreamscape drift of songs like “Come Through the Water” and “All that You Say I Am” as well as the subtle hooks of “Into the Wasteland” and “All for Nothing” that, for me, made this the highlight. Sure, bringing in vocalists Sera Timms (Ides of Gemini, Black Mare) and John Garcia (ex-Kyuss, Slo Burn, Vista Chino, etc.) and having them swap back and forth between the tracks didn’t hurt either, but the wash of ethereal presence in Arce‘s guitar was an excellent showcase for his patience and improvisational sensibilities, and the spaces Burial Sunrise covered seemed to have an infinite horizon all their own. Will hope for a follow-up, will hope Garcia and Timms return, and will hope for a duet.
One had reasonably high expectations for the debut full-length from London’s Elephant Tree after their 2014 EP Theia (review here) so deftly blended spacious, sitar-laced heavy psychedelic rock with more visceral sludge impulses — a difficult mix to pull off — but I think it would’ve been impossible to see the quality of this self-titled outing coming in any substantive way. Gone were the screams, in was a depth of tone and nigh-on-perfect tempo — see “Dawn” and “Aphotic Blues,” as well as the acoustic “Circles” between them — and where some first albums have a kind of tentative, feeling-it-out vibe, guitarist/vocalist Jack Townley (interview here), bassist/vocalist Peter Holland, drummer Sam Hart and sitarist/vocalist/engineer Riley MacIntyre took utter command of the proceedings. They won’t have the element of surprise working for them next time, but as Elephant Tree made perfectly clear in its biggest surprise of all, neither do they need it.
If you were to ask me to summarize in one word the last four-plus years of Mos Generator‘s tenure, since their reactivation with 2012’s Nomads (review here) and the subsequent lineup changes and hard-touring that followed 2014’s Electric Mountain Majesty (review here), I’d say “go.” I might say it three times: Go-go-go. One of three LP-ish offerings out this year, the studio album Abyssinia embodied this ethic as it started with immediate momentum on “Strangest Times” and “You’ve Got a Right” and seemed to push itself into new ground as it went. Guitarist/vocalist/founder Tony Reed brought heavy boogie to bear at a frenetic clip, but Abyssinia offset its early mania with later progressive stylization on “There’s No Return from Nowhere,” “Time and Other Thieves” and harmonized closer “Outlander,” so that in addition to representing their furious creativity, it also brought them to places they’ve never been before in sound.
In some ways, Future Echo Returns was simply picking up where Belfast’s Slomatics left off with 2014’s Estron (review here), as heard on the riff of lead-in track “Estronomicon,” but as the third in a purported trilogy following that record and 2012’s A Hocht, it also brought the tonecrushing three-piece to Skyhammer Studio to work with producer Chris Fielding (Conan) and presented a linear storyline that, while rife with standout moments in cuts like “Electric Breath,” the ambient “Ritual Beginnings” and ultra-catchy “Supernothing,” found a genuine sense of resolution in the finale “Into the Eternal” that spoke to the scope the entire work was meant to represent — not just itself, but an entirety spanning three albums. Not a minor feat, but what also made Future Echo Returns so resonant was how well the material stood on its own, so that even without the narrative context, it was immersive, hypnotic and unbridled in its heft.
After two landmarks issued by Small Stone in 2014’s The Conjuring (review here) and 2012’s The Black Code (reviews here and here), Texas forerunners of riff Wo Fat gave a concise rundown of their appeal in the six-track Ripple debut and sixth LP overall, Midnight Cometh. Their ongoing development as found them bringing together a two-sided personality of memorable songs and open, fluid jams, and cuts like “There’s Something Sinister in the Wind,” “Of Smoke and Fog,” “Three Minutes to Midnight” and “Nightcomer” emphasized the next stage of this process, while the shuffling “Riffborn” and swaggering blues rock of “La Dilleme de Detenu” gave listeners a chance to touch ground every now and again. Over the last two-plus years, Wo Fat have become a point of influence for other, particularly American, acts — see labelmates Geezer — and Midnight Cometh assured that will be the case going forward too; a status well-earned.
Offered up this summer as a limited self-release and picked up by no less than Stickman Records (Motorpsycho, Elder), Orion might be the most molten inclusion on this list. It’s also my pick for 2016 Debut of the Year, and to hear cuts like “She Sleeps on a Vine,” “Kerosene,” the sprawling closer “Drinking from the River Rising,” or even just to take the whole record front-to-back, which was clearly how the band intended it be experienced, there’s just about no competition in that regard that stands up. The Rochester, NY, three-piece showed marked promise on their 2013 demo (review here) and 2015 split with Lé Betre (review here), but the listenability of Orion — which earned every single one of its repeat visits — made it a triumph on a different level entirely, and distinguished King Buffalo as a formidable presence in the sphere of US heavy psychedelia, fostering a sound no less soulful for its outward cosmic reach and to-be-measured-in-lightyears scale of potential.
7. Wight, Love is Not Only What You Know
Released by Fat and Holy Records, Kozmik Artifactz, Import Export Music and SPV. Reviewed Sept. 7.
German outfit Wight answered significant anticipation on their third album, Love is Not Only What You Know, some four years after 2012’s Through the Woods into Deep Water (review here) and undertook a significant evolution in sound. A transition from a trio to a four-piece and adding a strong current of funk to their heavy psych groove and boogie resulted in cuts like “The Muse and the Mule,” the jammed-out “Kelele” and “The Love for Life Leads to Reincarnation,” which were as danceable as they were nod-ready, and when complemented by shorter classic rockers like “Helicopter Mama” and “I Wanna Know What You Feel” (still plenty funky) and the Eastern-tinged interlude “Three Quarters,” gave Love is Not Only What You Know scope to match its ass-shaking encouragement. It was a spirit unto itself among 2016 releases, but ultimately, the key to understanding the record was right there in the title: It was all about love, and wherever Wight went in a given track, they never lost sight of that.
A decade and a half after 2001’s Revolution Rock (discussed here), Sweden’s Greenleaf most embodied that ethic with Rise Above the Meadow, their sixth long-player and Napalm Records debut. 2014’s Trails and Passes (review here) represented the key step of founding guitarist Tommi Holappa (interview here) bringing vocalist Arvid Johnsson into the lineup, but Rise Above the Meadow built exponentially on what that album achieved, bolstered by work as a touring band and a revitalized songwriting process heard in “Howl,” “A Million Fireflies,” “You’re Gonna be My Ruin,” the stomping “Golden Throne” and “Tyrants Tongue,” among others. I refuse to discount the quality of Trails and Passes, 2012’s Nest of Vipers (review here) or 2007’s landmark Agents of Ahriman (review here), but as Greenleaf shifted toward a style more reminiscent of Holappa‘s later output with Dozer, they also seemed to stake their claim on the forefront of European heavy rock and roll, which was just waiting for them to do so.
Perhaps the most believable lyric of 2016 was the opening line of leadoff cut “The Gree Heen” from Brant Bjork‘s Tao of the Devil: “I got all that I need. I got the gree-heen.” From the prominent pot leaf on the cover to that single clause — which set the tone for that song’s mega-nod as much as everything that followed in the boogie of “Humble Pie” and “Stackt,” the so-laid-back-it’s-almost-unconscious title-track and the longer-form explorations of “Dave’s War” and the wah’ed-out “Evening Jam” — the inimitable Bjork seems to have embraced the role of stoner guru and the Godfather of Desert Rock. Tao of the Devil was his second release through Napalm behind 2014’s Black Power Flower (review here), which introduced the Low Desert Punk Band, and far from hanging its hat on the man’s historical accomplishments from his days in Kyuss, Fu Manchu, Che, Vista Chino, etc., the 50-minute eight-tracker came fueled by the soul most typified in Bjork‘s solo catalog, which it’s increasingly easy to argue is his greatest contribution to the desert aesthetic. Definitely in his wheelhouse, but what a wheelhouse.
What a relief it was to have Asteroid back, and what a relief it was to have III arrive some six years after II (review here) and find the Örebro, Sweden, trio’s certified-organic chemistry undulled by that long stretch. The songs — “Pale Moon,” “Last Days,” “Til Dawn,” “Wolf and Snake,” “Silver and Gold,” “Them Calling,” “Mr. Strange” — there wasn’t a miss in the bunch, and in addition to the reignited craftsmanship, III made clear a progression as players and the intent to move forward from guitarist/vocalist Robin Hirse, bassist/vocalist Johannes Nilsson and drummer Elvis Campbell (since replaced by Jimmi Kolscheen), so that the material didn’t just let listeners know Asteroid was a band again after having unceremoniously faded out for a half-decade, but gave a signal that perhaps they were just getting started. One can only hope that turns out to be the case, but either way, III felt like a reward dolled out to their fanbase after a long absent stretch, and one that, like II and their 2007 self-titled debut (discussed here) before it, will reverberate its echoes for years to come. Hands down 2016’s most welcome return.
Though it would carry the context of its scorching opener “Nature Boy” with it for the duration and, accordingly, hit with a more intense feel than its 2013 predecessor, The Fury of a Patient Man (review here), Gozu‘s fourth album overall and Ripple label debut was a kick in the ass on more than just that one level. It found the Boston foursome with the finally-solidified lineup of vocalist/guitarist Marc Gaffney, guitarist Doug Sherman, bassist Joe Grotto and drummer Mike Hubbard, and while one could argue they still wound up under the banner of a heavy rock band, that became happenstance to the songs themselves. That is, even more than The Fury of a Patient Man or 2010’s Locust Season (review here), Gozu came across as writing not to style, but to their own impulses, as demonstrated in “Big Casino,” the echoing soul of “Tin Chicken” and shuffle-thrust of “Oldie,” and as they moved beyond their initial swath of influence into this individualized sonic persona, they reaped the benefits of the locked-in lineup and a process of craft that never sounded so purposeful. Revival was indeed typified by its vitality, but it was also the sound of a band maturing as a unit, becoming who they were meant to be, and there is almost nothing more exciting than that for a single album to represent. Plus, it had a song called “By Mennen,” and, you know, references.
2. Mars Red Sky, Apex III (Praise for the Burning Soul)
It was unreasonable to expect the third full-length from Bordeaux, France, trio Mars Red Sky to surpass 2014’s Stranded in Arcadia (review here) and the progressive crux that album brought to the warm tones and sweet melodicism of their 2011 self-titled debut (review here), but Apex III (Praise for the Burning Soul) reinforced the elements that worked so well on previous outings while pushing inarguably onto what the band seemed to know was “Alien Ground” if the title of their intro was anything to go by. More over, it did so with a natural fluidity and poise that were as striking as they were encompassing in sound. Tying to earlier 2016’s Providence EP (review here) in concept and execution through that intro and the title-track following it, Apex III presented the to-date pinnacle of Mars Red Sky‘s growth in songs like “The Whinery,” “Mindreader,” the tear-inducing “Under the Hood,” the swing-happy “Friendly Fire,” the willful atmospheric crash of closer “Prodigal Sun” — each one a crucial advancing step from the trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Mathieu “Matgaz” Gazeau — and brilliantly fed them one into the other, so that in addition to the standout impressions of each, there developed a personality to the whole span of the album; a world of Mars Red Sky‘s own creation, where they dwelt for what seemed too short a time before returning to earth and on from here to who knows where next.
Most of all, For this We Fought the Battle of Ages was fearless. For their fourth album, Salt Lake City’s SubRosa adapted themes from 1924’s We by Yevgeny Zamyatin, which laid out a futuristic dystopia wherein all identity is subsumed to the state and even love is outlawed when not properly sanctioned. This framework, obscure if influential, gave guitarist/vocalist Rebecca Vernon, violinist/vocalist Sarah Pendleton, violinist/backing vocalist Kim Pack, bassist/vocalist Levi Hanna, drummer/engineer Andy Patterson (formerly of Iota, among others), and a range of other contributors, a space in which to explore gender and LGBT issues across the six included tracks, and from the opening build and crush of the chorus to “Despair is a Siren” through the depiction of privilege in “Wound of the Warden,” the 97-second Italian-language ballad “Il Cappio” (translated: “the noose”) and into the gut-wrenching finale of “Troubled Cells,” their musical accomplishment was no less stunning than lyrics like, “Isn’t it good to be acquainted with darkness?/To caress it gently/To slit its throat,” from “Black Majesty.” Tense in its quiet stretches, harmonized vocally, given orchestral presence through its use of strings, flute, French horn, and so on, For this We Fought the Battle of Ages worked fluidly in what for most acts would be a contradictory modus of careful, meticulous arrangements and raw, emotional realism. No matter how deep it dove — and by the time identity was being erased and the state was taking control of the body on “Killing Rapture,” it was diving pretty deep — SubRosa never lost their sense of poise, so that the defiance in the last movement of “Troubled Cells” in which Heaven itself is rejected with the clearest of justifications, “Paradise is a lie if you’re not by my side,” the band seemed to stand as straight and tall as their multi-tiered righteousness would warrant. But even if one took For this We Fought the Battle of Ages with politics aside, its achievement in marrying post-metallic structures, gothic texture and progressive atmospherics was on a plane of its own making, operating under its own rules and in its own definitive space. Albums like it do not happen every year, and forward motion for genre as a whole is rarely so visible as it was in this special offering, which seems only fair to regard as a landmark for the band and anyone whose ears and hearts it touched.
The Next 20
Like any good Top 30, mine goes to 50. Here is the next batch:
31. Blaak Heat, Shifting Mirrors
32. Truckfighters, V
33. West, Space & Love, Vol. II
34. Seedy Jeezus with Isaiah Mitchell, Tranquonauts
35. Yawning Man, Historical Graffiti
36. Causa Sui, Return to Sky
37. Vokonis, Olde One Ascending
38. Hotel Wrecking City Traders, Phantomonium
39. The Wounded Kings, Visions in Bone
40. It’s Not Night: It’s Space, Our Birth is but a Sleep and a Forgetting
41. Beastwars, The Death of all Things
42. Naxatras, II
43. Holy Grove, Holy Grove
44. Worshipper, Shadow Hymns
45. Wretch, Wretch
46. Colour Haze, Live Vol. I: Europa Tournee 2015
47. Zaum, Eidolon
48. Bellringer, Jettison
49. Young Hunter, Young Hunter
50. Mammoth Weed Wizard Bastard, Y Proffwyd Dwyll
From the kinetic desert artistry of Blaak Heat to Mammoth Weed Wizard Bastard’s ethereal synth-laden doom, there are more than a few essentials here. I’ve never before done a year-end list that had so many releases on it, but my motivation in doing so this time around couldn’t have been simpler: They were simply too good and had too much to offer to leave out. It would’ve been an oversight to do so.
Even a Top 50 fails to grasp the full scope of what 2016 brought about musically, so here are even more, alphabetically:
Ancient Warlocks, II
Black Moon Circle, Sea of Clouds
Sergio Ch., Aurora
Lamp of the Universe, Hidden Knowledge
Mondo Drag, The Occultation of Light
Øresund Space Collective, Visions Of…
-(16)-, Lifespan of a Moth
The Well, Pagan Science
Wovenhand, Star Treatment
And if that’s still not enough, here are 60-plus more names who shouldn’t be left out of the discussion, also alphabetically:
Akris, Atala, Atomikylä, Backwoods Payback, Beastmaker, BigPig, Black Cobra, Black Lung, Blood Ceremony, Blues Pills, Bright Curse, Bus, Dee Calhoun, Captain Crimson, Child, La Chinga, Church of Misery, Conclave, Cough, Devil to Pay, Domkraft, Dot Legacy, Electric Citizen, Estoner, Eternal Elysium, Fatso Jetson & Gary Arce vs. Hifiklub, Fox 45, Goatess, Goblin Cock, Graves at Sea, Heavy Temple (they’ll be back on next year’s list), High Fighter, Holy Serpent, Hotel Wrecking City Traders, Inter Arma, Joy, Kaleidobolt, Khemmis, King Dead, Lord, Lord Vicar, Merchant, Mirrors for Psychic Warfare, Helen Money, Monkey3, Moon Coven, Mother Mooch, Necro, New Keepers of the Water Towers, T.G. Olson, Oranssi Pazuzu, Pooty Owldom, Russian Circles, Salem’s Pot, Samavayo, Seremonia, Skuggsjá, Sourvein, Spirit Adrift, Stone Machine Electric, Suma, Surya Kris Peters, Swans, Throttlerod, Virus, Wasted Theory, Wretch, and Zaum.
In case none of the above has made it clear, I’ll just say flat out that 2016 has been an amazing year for music, and that every time I feel like maybe underground heavy has hit a wall and there’s nowhere left for it to go, sure enough about three minutes later another record shows up that slaps me in the face with a reminder of just how wrong that notion is.
If you’re still reading — how could you be? — thank you so much for your incredible support throughout 2016 and all the years The Obelisk has been in progress. I already know that 2017 is going to bring some incredible music as well, but that’s another list for another time, so I’ll just say again how much I appreciate your being a part of this ongoing project, how much it means to me to have you here. Thank you, thank you, and thank you.
And please, if there’s anything I forgot, got wrong, misspelled, or if you just think I used the word “breadth” too many times, please let me know about it in the comments.
Posted in Features on December 15th, 2016 by JJ Koczan
Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2016 to that, please do.
Of all the lists I do to wrap up or start any given year, this is the hardest. As someone obviously more concerned with first impressions than I am and thus probably better-dressed once said, you only get one chance at them. For bands, that can be a vicious bite in the ass on multiple levels.
To wit, you put out a great debut, fine, but there’s a whole segment of your listeners who’re bound to think you’ll never live up to it again. You put out a meh debut, you sell yourself short. Or maybe your debut is awesome but doesn’t really represent where you want to be as a band, so it’s a really good first impression, but a mistaken one. There are so many things that can go wrong or go right with any LP, but with debuts, the stakes are that much higher because it’s the only time you’ll get the chance to engage your audience for the first time. That matters.
And when it comes to putting together a list of the best debuts of the year, how does one begin to judge? True, some of these acts have done EPs and singles and splits and things like that before, and that’s at least something to go on, but can one really be expected to measure an act’s potential based on a single collection of songs? Is that fair to anyone involved? Or on the other side, is it even possible to take a debut entirely on its own merits, without any consideration for where it might lead the band in question going forward? I know that’s not something I’ve ever been able to do, certainly. Or particularly interested in doing. I like context.
Still, one presses on. I guess the point is that, like picking any kind of prospects, some will pan out and some won’t. I’ve done this for enough years now that I’ve seen groups flame or fade out while others have risen to new heights with each subsequent release. It’s always a mix. But at the same time, it’s important to step back and say that, as of today, this is where it’s at.
And so it is:
The Obelisk Presents: The Top 20 Debut Albums of 2016
1. King Buffalo, Orion
2. Elephant Tree, Elephant Tree
3. Heavy Temple, Chassit
4. Holy Grove, Holy Grove
5. Worshipper, Shadow Hymns
6. Vokonis, Olde One Ascending
7. Wretch, Wretch
8. Year of the Cobra, In the Shadows Below
9. BigPig, Grande Puerco
10. Fuzz Evil, Fuzz Evil
11. Bright Curse, Before the Shore
12. Conclave, Sins of the Elders
13. Pale Grey Lore, Pale Grey Lore
14. High Fighter, Scars and Crosses
15. Spirit Adrift, Chained to Oblivion
16. Bellringer, Jettison
17. Church of the Cosmic Skull, Is Satan Real?
18. Merchant, Suzerain
19. Beastmaker, Lusus Naturae
20. King Dead, Woe and Judgment
There are many. First, the self-titled from Pooty Owldom, which had so much weirdo charm it made my head want to explode. And Iron Man frontman Dee Calhoun‘s acoustic solo record was technically a debut. And Atala‘s record. And Horehound. And Mother Mooch. And Domkraft. And Spaceslug. And Graves at Sea? Shit. More than a decade after their demo, they finally put out a debut album. And Second Grave‘s full-length would turn out to be their swansong, but that doesn’t take away from the quality of the thing. There were a lot of records to consider in putting this list together. As always, it could’ve been a much longer list.
For example, here are 20 more: Swan Valley Heights, Arctic, Blues Funeral, Teacher, Psychedelic Witchcraft, Nonsun, Duel, Banquet, Floodlore, Mindkult‘s EP, Mountain Dust, Red Lama, Red Wizard, Limestone Whale, Dunbarrow, Comacozer, Sinister Haze, Pants Exploder, Akasava, Katla and No Man’s Valley. That’s not even the end of it. I could go on.
It was a fight to the finish. There’s always one, and as late as yesterday I could be found kicking back and forth between King Buffalo and Elephant Tree in the top spot. What was it that finally put King Buffalo‘s Orion over Elephant Tree‘s self-titled? I don’t know. Ask me tomorrow and the answer might be completely different.
They had a lot in common. Not necessarily in terms of style — King Buffalo basked in spacious Americana-infused heavy psych jams while Elephant Tree proffered more earthbound riffing and melodies — but each executed memorable songs across its span in a way that would be unfair to ask of a debut. The potential for what both bands can turn into down the line played a part in the picks, but something else they share between them is that the quality of the work they’re doing now warrants the top spots. Orion and Elephant Tree were great albums, not just great first albums.
From there, we see a wide swath of next-generation encouragement for the future of heavy rock, whether it’s coming from Sweden’s Vokonis or Philadelphia’s Heavy Temple, or London’s Bright Curse, or Los Angeles duo BigPig. The latter act’s punkish fuzz definitely benefited from guitarist/vocalist Dino von Lalli‘s experience playing in Fatso Jetson, but one hopes that as the years go on his own multifaceted songwriting style will continue to grow as well.
A few offerings weren’t necessarily unexpected but still lived up to the anticipation. High Fighter‘s EP prefaced their aggro sludgecore well. Ditto that for the grueling death-sludge of Massachusetts natives Conclave. The aforementioned Bright Curse, Merchant, Fuzz Evil, Atala, Bellringer, Holy Grove, Wretch and Worshipper all had offerings of one sort or another prior to their full-length debuts — in the case of Bellringer, it was just a series of videos, while Wretch had the entire The Gates of Slumber catalog to fall back on — but each of those albums offered surprises nonetheless.
It would’ve been hard not to be taken by the songwriting on display from the likes of Holy Grove, Year of the Cobra, Pale Grey Lore and Beastmaker, who between them covered a pretty broad variety of atmosphere but found ways to deliver high-quality crafted material in that. Those albums were a pleasure to hear. Put Boston’s Worshipper in that category as well, though they were just as much a standout from the pack in terms of their performance as what they were performing. Speaking of performance, the lush melodies from Church of the Cosmic Skull and classic progressive flourish were enough to make me a believer. Simply gorgeous. And one-man outfit Spirit Adrift shined, if in that matte-black doom kind of way, on an encouraging collection of modern melancholic heavy that seemed to hint at sprawl to come.
As we get down to the bottom of the list we find Pennsylvania ambient heavy post-rockers King Dead. Their Woe and Judgment was released digitally last year (2015) but the LP came out earlier this year, so I wasn’t quite sure where to place them ultimately. I know they got some mention on the 2015 lists somewhere, but while they’re an act who’ve flown under a lot of people’s radar as yet, I have good feelings about how they might continue to dig into their sound and the balance of bleakness and psychedelic color they bring to their material. They’re slated for a follow-up in 2017, so this won’t be the last list on which they appear in the next few weeks.
Like I said at the outset, putting out a debut album is a special moment for any band. Not everyone gets to that point and not everyone gets beyond it, so while a list like this is inherently bound to have some element of speculation, it’s still a worthy endeavor to celebrate the accomplishments of those who hit that crucial moment in their creative development. Hopefully these acts continue to grow, flourish, and build on what they’ve thus far been able to realize sonically. That’s the ideal.
And before I go, once again, let me reinforce the notion that I recognize this is just a fraction of the whole. I’d like it to be the start of a conversation. If there was a debut album that kicked your ass this year and you don’t see it here, please drop a note in the comments below. I’m sure I’ll be adding more honorable mentions and whatnot over the next couple days, so if you see glaring omissions, let’s have ’em.
Posted in Whathaveyou on December 13th, 2016 by JJ Koczan
Melbourne post-sludge skinpeelers Merchant caught attention earlier this year with the cosmically-tinged debut album Suzerain (review here), which wound up seeing its US release on Snake Charmer Coalition. This week, the four-piece will enter the studio to begin tracking the follow-up to the full-length, which will be a new EP called Beneath, to be issued in the New Year via a yet-TBA label.
I don’t know much about the new material, in terms of how many tracks it will be — frankly it wouldn’t surprise me if it was a single, extended song — but it seems well worth it to me to look forward to finding out. If you’re in the habit of putting together lists of music to look forward to, say for posting annually sometime near the beginning of a given year, then Merchant would probably be a good name to include. They’ll be on mine, anyway.
They sent the following down the PR wire:
News in the land of Merchant
Australian sludge doom destroyers Merchant will be entering the studio this week with Mike Deslandes (High Tension, Coerce, YLVA) at the helm to record their sophomore release.
Following on from their debut release, Suzerain, the new EP is titled ‘Beneath’ and will be released in the early parts of 2017.
Suzerain was heralded as a churning slab of psychedelic sludge blended with kosmic doom. The success of Suzerain coupled with aggressive live rituals has seen the band share stages with Weedeater, Conan, Ufomammut, Monolord and Ithaqua throughout the last year.
Both a continuation and an evolution of what was created with Merchant’s debut, Beneath spans a near 30 minutes over 2 tracks and explores the depths of drone, passages of tangled despair and lightless introspection.
Beneath will be released both digitally and physically and the band are currently searching for a label to assist with the physical release.
[Click play above to stream Elbrus’ self-titled debut in its entirely. Album can be ordered from Kozmik Artifactz as of today, Dec. 13, and will release in mid-January.]
Australian four-piece Elbrus gave an early but substantial tease of their first album in Feb. 2015, when they released a working version of the track “Far away and into Space Pt. 2” as a digital single (review here). As that song nears 11 minutes and the entirety of their Kozmik Artifactz-issued self-titled full-length checks in just under 40, it’s more than a quarter of the record, if you want to round the fractions. And in some ways, as any individual piece of that scale would, it comes to define the album as a whole, but not necessarily as much as one might think.
In terms of the vibe the Melbourne heavy psych-blues outfit elicit — and make no mistake, the lineup of vocalist/organist Ollie Bradley-Smith, guitarist Ringo Camilleri, bassist Noah Martin and drummer Tom Todorovic elicit plenty of vibe — it becomes even further defined by the languid swing and wavy vocals of opener “Tall Shadow,” the heavy shoegaze-style roll and switches between subdued verses and crashing post-grunge choruses of closer “Three Walls,” and the catchy garage fuzz of “Eyes of the Mammal” between them. All told, Elbrus give their listeners an unpretentious look at the band across what feel like a brief six tracks, working efficiently but with a sense of atmosphere to craft a remarkably molten debut record that, whether taken in sides or as a digital, linear whole, deftly balances impulses between open spaces and grounded tonal crunch. This becomes all the more noteworthy for how naturally it seems to be executed.
Not just in tone. As side A draws to a close following the apex hook of “Eyes of the Mammal,” one can hear some amplifier buzzing, and that would seem to be intended to underscore a live-in-the-studio feel. Whether or not Elbrus actually recorded in that manner — many heavy bands these days seem to do some blend of recording live and overdubbing, as with labelmates and fellow Melbourners Child‘s new and somewhat similarly-minded LP, Blueside (review here) — they successfully convey that sensibility, but their naturalism goes beyond the superficial aesthetics of what they’re doing. From the beginning of “Tall Shadow,” which oozes to life by dipping its toes in the cool waters via a standalone opening guitar joined shortly by drums, bass and soft, sweet-sounding vocals to move into the first verse (there are background vocals as well, not sure whom to credit for them), and through the relative bombast that develops out of the recorded-in-a-room-with-a-high-ceiling spaciousness of the subsequent “Break the Machine” by the time it’s headed for the two-minute mark, Elbrus have established a pattern essentially of playing quiet stretches off loud ones.
They’re hardly the first to do so, and that’s precisely the point, because they nonetheless take the time-honored method of honing a dynamic and make it their own. Bradley-Smith, Camilleri, Martin and Todorovic are positively liquefied in their performance throughout, and so there isn’t an awkward change to be heard on side A or B of Elbrus‘ Elbrus. Nothing sounds out of place nor overwritten; instead, the band conjure organic-feeling heavy blues flow tinged with multicolor psychedelic passages. They meander when they want to — and the fuzzy solo in “Break the Machine,” which is longer than the other two first-half cuts at just under eight minutes as opposed to about five and a half, is a fitting example of that — but never when they don’t, and with flourish of blues harp here and there, the organ, and a far-reaching wash of the kind that emerges in “Eyes of the Mammal,” they display a keen eye for arrangement that stops the album from falling into a trap of coming across as samey or losing sight of the need to keep its audience engaged.
Also worth noting is the balance between their multi-tiered naturalism and what’s clearly a mindful structure of the album itself. Both sides put their longest track — that’s “Break the Machine” and “Far away and into Space Pt. 2,” respectively — as the centerpiece of the individual three-song halves, essentially mirroring each other. Side B, as one might expect, pushes farther outward in terms of its overall sound, with “Far away and into Space Pt. 1” the shortest cut at three-and-a-half minutes acting essentially as an atmospheric lead-in to the expanse that follows, albeit with a surprising uptempo fuzz boogie that’s not to be missed, leading directly via keys into the much-longer “Pt. 2,” which much to its credit holds an underlying verse/chorus structure and a decent forward push despite its additional runtime. It moves, in other words. Elbrus don’t just toss an 11-minute jam in lazily and call it sonic variety.
Rather, “Far away and into Space Pt. 2” brings a subtle straight-line build to bear across its span, but marks its path with its hook, finds a solid foundation in Martin‘s bassline and skillfully uses that as the force with which its momentum plays out. By the time they finish, the fact that they essentially depart from the blues to close with the heavygaze of “Three Walls” feels not only appropriate but necessary — the big-sounding ’90s rollout makes a fitting conclusion to Elbrus because when one looks back on “Tall Shadow,” it becomes apparent just how far, sonically, the band has come and just how smoothly they’ve made the trip. Again, one might find a summary of that in “Far away and into Space Pt. 2,” but it’s only part of the story and should be taken as such when it comes to expressing the whole potential Elbrus showcase in these tracks. As part of a populous Melbourne underground, Elbrus‘ quickly-manifested chemistry and overarching craftsmanship should serve them well as they make their presence felt, and one can only hope that as they move forward they take with them the strengths they lay out here, because they’re clearly worth preserving as the first of hopefully many steps in a progression to come.
Posted in Reviews on December 2nd, 2016 by JJ Koczan
A sophomore outing poses a significant challenge to Melbourne-based heavy blues rockers Child perhaps more than it does to some other bands. Their self-titled debut, self-released in 2014 and snagged by Kozmik Artifactz for a CD/LP release a year later, had an advantage in the element of surprise. Call it the “where’d these guys come from?” factor. That album took Child to Europe and announced their arrival beyond Australia’s borders. More over, it set a high standard of naturalistic groove and jammy vibes for its follow-up to meet. Blueside, Child‘s second offering through Kozmik Artifactz, can’t necessarily rely on that same ability to blindside. While it will no doubt be some listeners’ first exposure to the band, you only get one full-length debut.
The good news is it doesn’t need novelty. The trio of guitarist/vocalist Mathias Northway, bassist Danny Smith and drummer Michael Lowe don’t fix what wasn’t broken last time out, and there’s a lot in common between their two to-date offerings in style and substance. Both records have five tracks, both carry a feel of having been recorded at least mostly live, both play to heavy rock traditionalism and blue-eyed soul, both carry striking cover art by Nick Keller — who’s also known for his work with New Zealand’s Beastwars and whose emphasis on blues with Blueside is hard to miss — and both succeed in casting a memorable impression without necessarily leaning on their choruses to a point of sounding contrived.
The latter is especially true of Blueside, and indeed one of the crucial factors arguing toward Child‘s overall progression across the album’s 39-minute span is the balance they strike between open-sounding jams and the underlying purpose that drives them forward. That’s not to say opener “Nailed to the Ceiling,” “It’s Cruel to be Kind,” “Blue Side of the Collar,” “Dirty Woman” or the 11-minute finale “The Man” aren’t catchy in a get-stuck-in-your-head kind of way, just that what’s likely to get stuck in your head could just as much be a section of bluesy noodling from Northway on guitar as a soulfully-delivered hook, and that rather than one standout part or line or chorus, Blueside feels more determined to deliver a full-album flow and experience. Child take great steps to hone an organic, classic, but still crisp sound.
At the beginning of “Dirty Woman,” for example, we hear an engineer, presumably Dav Byrne, who recorded, mixed and mastered, calling out the beginning of the take, followed by what sounds like a radio signal being picked up by one of the amplifiers. As Child dig into a gorgeous psych-blues jam, that interference seems to pop up again later in “The Man.” Likewise, before “It’s Cruel to be Kind” starts, we hear Lowe play a measure on drums (the room mics sound great) and Northway gives an “okay” that he’s ready to begin the song. What these details do is emphasize the point that Child are basically inviting their listeners into the session itself, as it’s happening.
It’s not that they’re working toward being raw — “It’s Cruel to be Kind” and “Dirty Woman” feature a righteous backing vocal guest performance from Harmony Byrne, while both “Dirty Woman” and “Nailed to the Ceiling” bring in Joe Cope to add organ to the proceedings — but in their way, the songs push at the core of an ideal of capturing the spirit of a performance without sacrificing the in-the-moment spontaneity that can come when players lock in on stage. They’re not the first to do it, but from Buffalo and earliest AC/DC to today’s vibrant and varied Melbourne heavy underground, Child are the beneficiaries of the lessons a rich rock history can teach, and no doubt Blueside will help them further cast their own place in it after grabbing so much attention their first time out.
One more thing Blueside has in common with its predecessor is that the deeper it goes, the further out it goes. After a relatively straightforward roll in its first half, “Dirty Woman” breaks in the middle into a hard-fuzz jam, bolstered by organ and backing vocals, that sets the stage for Northway — who shines across the album in standout, emerging-frontman fashion — to loose a final solo before backwards guitar and amp noise finish out the song. That sets up the extended finale “The Man,” which takes its time in a satisfyingly classic way, starting almost before the listener realizes it with its tinge of Hendrixian blues, blown-out vocals (doubled in places) and steady but patient build. No rush.
Only after they pass the seven-minute mark do Child really dig into the full-boar tones of Blueside at its heaviest, so that “The Man” — a kind of lyrical answer to the earlier “Blue Side of the Collar” — gracefully makes its way to the album’s apex as it pushes toward its long fade, one last emphasis placed on the dynamic in development between Northway, Smith and Lowe, whose chemistry already is not to be understated. If Blueside is an indication of how Child will continue to grow as a band, settle in, because much like their sound itself, it seems like they’ve got more of a focus on exploring earthy vibes than willing themselves into forced-sounding leaps and bounds.
I can’t argue with the approach — it couldn’t be more fitting, actually — or with the results that come through in these five songs, and not to be discounted in Child‘s appeal is their lack of pretense and posturing. For a band who draw so much on the blues, it would be easy to get sidetracked into genre tropes and to lose individual identity for the sake of executing a cookie-cutter sonic idea. Child avoid this with a fluidity that is their own and so come out of their second offering with even more momentum than they went into it. An important step, and one they inarguably take in a commanding forward direction.