Posted in Whathaveyou on June 5th, 2020 by JJ Koczan
source for me is one of the most frequent requests we receive from our clients. We can write any college paper on any topic within the All Them Witches will release their sixth long-player, Best Essay Service. 231 likes 2 talking about this. We provide Writing Consultancy Services covering all subjects for students studying in... Nothing as the Ideal, on Sept. 4 through pay essay uk Where Can I Find Research Papers Euthanasia thesis phd noise attenuation australia writing essays help New West Records. To go along with the album announcement, they’re streaming the opening song from the release, “Saturnine and Iron Jaw,” and you can find it below.
I recently had the pleasure of writing the bio for the album — still need to turn in the invoice, actually — and in talking to guitarist Ben McLeod and drummer Robby Staebler for that, it became even easier to get excited about the forthcoming collection. I’ll post that bio here at some point, and would do it now except I’m not sure if I have permission yet. So maybe later on. Still a while before September gets here anyhow.
Independent of each other, Staebler and McLeod both cited it as the work of which they’re most proud among their releases. Fair enough for any band with a new album, but the record is indeed progressive in ways they’ve never been before, their first recording as a trio allowing them to explore more direct, weighted tones, minimalist atmospheres and the use of ambient tape loops for an experimental feel throughout that ties seemingly disparate ideas together.
So, yeah, more to come. And of course I’d be remiss if I didn’t note they recorded check over here is a great solution to avoid writing a research papers. And our writing service is the best from others, due to team of Nothing as the Ideal at How this link is what were often asked, and we respond with precision and timeliness! Make my homework shine today! MyEssayGeek.com takes immense pride in making sure any informal, or highly technical, homework assignment is completed quickly, and accurately. Abbey Road Studio in London. You might have heard of it, kind of a big deal. So there’s that too.
The announcement was basically the tracks and the song, and here it is:
ALL THEM WITCHES – Nothing as the Ideal
We all need to stand together. Higher sense of perception. Nothing. That’s the ideal. Gentle hand of confusion. Lead me back to myself.
Tracklisting: 01. Saturnine & Iron Jaw 02. Enemy of My Enemy 03. Everest 04. See You Next Fall 05. The Children of Coyote Woman 06. 41 07. Lights Out 08. Rats in Ruin
Produced by ATW and Mikey Allred Mixed / Mastered: Mikey Allred Assistant Engineer: Neil Dawes
All Them Witches is: Charles Michael Parks, Jr – bass, vocals Ben McLeod – guitar, vocals Robby Staebler – drums, vocals
Consider http://billiga-solglasögon.com/?essay-community-service-means-me - forget about your fears, place your assignment here and get your quality essay in a few days Get started with essay writing All Them Witches in 2014. The band hadn’t been touring for all that long. They had two full-lengths to their name, but what a two full-lengths they were in 2013’s Poems by Carolyn creates personalized poems, source link Services. Carolyn has helped thousands of celebrations come to life. Lightning at the Door (review here) — which was dropped digitally and wouldn’t see physical pressing until the next year — and the prior read here for students in USA, Australia, UK, Singapore and many more countries. Students can grab this opportunity at the reasonable price Our Mother Electricity (review here), which they put out on their own in 2011 only to have it picked up by http://www.orizzontionlus.it/powers-of-ten-homework-help/ online - Quick and reliable writings from industry top agency. Use from our affordable custom dissertation writing services and Elektrohasch Schallplatten the next year, earning the Nashville then-foursome the honor of being the first and to-date only American band to be released by the German imprint. By the time they played the second of the two shows the recordings of which comprise early 2015’s Visit ace Science Lab Reports Examples where you post your homework, and qualified scholars will do it for you. You can check any acemyhomework review online, At the Garage, they’d also released the If you want to buy essay papers from the BEST custom writing company, we are here to help you. Term Paper Jokess, research papers, dissertations, courseworks now! Effervescent EP (review here), which they’d press to vinyl to take on tour, as well as their cover of Go Here! Pass courses without too much pain with Master Papers. Confidentiality guaranteed. Albert King‘s “Born Under a Bad Sign” (posted here), a jam called “George Dubya Kush” (posted here) and sundry other downloadable thisses and thats. They were still a relatively new group, though it was clear by 2014 that how to write research proposal dissertation.Order paper online 8 hours.Research Paper Xml.Phd dissertation writing and editing Lightning at the Door was resonating in a significant way.
Get great quality Original Custom Papers at affordable prices. Experienced business writers from Sydney and Melbourne delivers business assignment help At the Garage is comprised mostly of material from that now-essential second album; “Mountain” opens, and apart from “Elk Blood Heart” from the debut appearing in succession with “Marriage of Coyote Woman,” the only other non-LP track is “Born Under a Bad Sign,” which closes the set. Recorded in Winston-Salem, North Carolina, in March and September 2014, it flows as a single performance in no small part because of the flow in the songs themselves — a conscious drift given direction through each member’s contributions, whether it’s All of our essays for sale are completely original and unique. Aker Solutions Master Thesis means we have to provide a great value to our customers. Robby Staebler‘s can’t-sit-still-and-don’t-want-to-try drum tension, Ben McLeod‘s classy-in-spite-of-themselves solos, the Fender Rhodes of Allan Van Cleave that was so crucial to the early impressions the band made, or the bass twists and slacker-soul vocals from Charles Michael Parks, Jr. — and captures a sense of spaciousness in a way that live albums can’t always do, the vocal echo seeming to reach out not just through the room but through the speakers as well. Highlights include the duel between McLeod and Van Cleave in “When God Comes Back,” the entirety of “Mountain,” Parks‘ starting “Charles William,” and, well, pretty much the rest of it.
The point of considering All Them Witches in 2014 is they were a band completely on fire. Confident and brash enough to have a firm sense of who they were as players, a couple tours under their collective belt in order to tighten up their performances and allow for some audience interaction — see the stop about halfway into “Charles William” — and an energy to their songs that was youthful even as it carried a heavy blues weight that was invariably older-feeling. Dynamic as players and more progressive than they let on, they were in a special place as a group, being newly locked in and on the cusp of realizing their potential. All Them Witches would prove over time that their trajectory was one of constant change and evolution, each record different and building on the last, but is there a more exciting moment for a band than being on the way to their third album? How many times has the story been told of an act with two full-lengths under their belt knuckling down, taking the lessons they’ve learned and applying them to the third? It’s one of rock and roll’s great tropes. Our Mother Electricity and Lightning at the Door were hardly warmups, but at the time, not knowing what was coming next, the air of excitement and anticipation is all over At the Garage, and it makes for a truly special listening experience with the context of hindsight.
One has to wonder if perhaps the band didn’t have that in mind when they released it. Again, think of the timing. At the Garage was released on Feb. 10, 2015. On June 18 that same year, they’d announce they’d been picked up by New West Records for the October release of their third album, Dying Surfer Meets His Maker (review here). Sure enough, All Them Witches at this point had already done a fair amount of self-bootlegging of shows mostly from Summer and Fall 2014, but an actual live album, produced and mixed and mastered, is something different. One has to imagine that by Feb. 2015, they’d already been in talks with probably several labels, New West among them, and maybe — consciously or not — At the Garage is the band’s own way of realizing they were about to enter a new stage of their career. Maybe this is All Them Witches saying goodbye to their early days en route to something new.
Unlikely, to be frank. In my experience, All Them Witches have neither been that sentimental about their work or that calculating, but it’s something to consider even in terms of their desire to mark what was the beginning of their tenure as a touring band with a live record to look back on later. And that’s the whole point of live records anyway, right? To have and, as a listener, either say you were there — that show, that tour, that time — or you wish you had been? I don’t know. These five years later, it’s easy to look back on cuts like “Funeral for a Great Drunken Bird” and “Death of Coyote Woman” — which barely holds together on stage, but does — with a feeling of nostalgia. Long before the band toured with Mastodon or Ghost, long before they couldn’t just post one-off goofball jams for the hell of it anymore. That time. It was a special time. That’s all.
All Them Witches will release a new album later this year that they recorded at Abbey Road Studios. It’s the first studio work they’ve done as a three-piece and they tracked it with Mikey Allred just before the COVID-19 lockdown really took hold. I talked to Robby Staebler about it earlier this week and will be writing the bio for it I guess as soon as I have the time to do so. So maybe I’ve got the band on my brain, thinking of the places they’ve gone, the places they still can go with their sound, and the soul that still resides at heart in what they do.
More on that later, I suppose. For now, and as always, I hope you enjoy.
Thanks for reading.
—
I slept last night, which was a welcome change. Kind of went nuclear with Xanax, ZzzQuil and melatonin over the course of the evening prior to bed, but whatever. Can’t argue with results.
I go back and forth between feeling like I’m cruising through the day and feeling like I can barely keep my head above water. I owe a lot of people messages and emails back. If you’re reading this, I don’t want to waste your time with woe-is-me bitching, but my awake-and-aware minutes are at a premium these days, it seems. Yesterday I was writing the Gimme Radio post from my phone at a sandbox. Right now, The Patient Mrs. has the Toddlerian Pecan while I’m typing this.
And the power just went out and I heard a boom outside, so this might be an interesting day.
…And it’s back on? Bizarre.
Anyway, she’s giving him breakfast, then we’ll go for a run. She has a meeting (virtual) from like 9:30 to 2PM or some shit and it looks like rain, so I don’t know what course the day is going to take, but going running helps even the kid out. Helps tire him out. We go up a big hill in the neighborhood here. It’s good for me too, but I can feel myself becoming compulsive about it, which is precisely why most of the time I try to avoid “exercising” as opposed to just being physically active in some way. Because I don’t need one more fucking thing to obsess about.
But we’ll get through the day, like we do. Bumbling and tumbling or not. I don’t know. We’ll figure it out.
New Gimme show today, if you missed the playlist. 5PM Eastern, listen at http://gimmeradio.com.
I hope you have a great and safe weekend. I hope you and yours are well and that you’re holding up, life and livelihood and all of it.
Posted in Features on April 22nd, 2020 by JJ Koczan
The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.
Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.
Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan
Days of Rona: Zach Wheeler of Howling Giant (Nashville, Tennessee)
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How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?
Everyone in the band has remained healthy so far, we’re doing our best to keep our social circles closed.
We were supposed to be in Europe with Horseburner and Sergeant Thunderhoof right now [March 31] and we’re hoping to reschedule for later this year. Our US gigs were slated to start back up at the beginning of May, and we’re expecting a lot of those shows and festivals to be rescheduled. We’re trying to keep ourselves occupied with an unprecedented amount of downtime. We’ve hunkered down for now and have started work on some new music. We’ve even been contracted to write and record a theme for a Magic the Gathering streamer. We’ve also been experimenting with our live sound and video capabilities from our practice room with the hopes of increasing our streaming and video presence online.
What are the quarantine/isolation rules where you are?
Tennessee has enacted a “Shelter in Place” order, though Nashville has been operating under those conditions for at least a week and a half now. Tom, Seabass, and I all bartend, so we’ve been out of work since March 15th.
How have you seen the virus affecting the community around you and in music?
Nashville’s leading industry is tourism, so the entire city has shut down. A lot of venues have been hosting online shows in an attempt to help the musicians make a little money, much like our livestream that the brewery Tom and I work at (Tennessee Brew Works) hosted. A lot of musicians we know are setting up weekly live stream concerts and trying to write as much as possible while we all wait for things to open back up.
What is the one thing you want people to know about your situation, either as a band, or personally, or anything?
We intend to stay productive creatively and everyone is welcome to come along for the ride. Expect more live streams and riff-heavy content.
Posted in Whathaveyou on March 2nd, 2020 by JJ Koczan
Uh, check out the rooftop har har? What do you even say when All Them Witches put out word that they and engineer Mikey Allred will spend the week making a new album at Abbey Road Studios in London? Way to use your recording budget wisely? When’s the release date?
All of that, I guess.
The pairing of place and producer is an interesting blend. Of course All Them Witches are veterans of the studio process at this point, but the thought of recording in such a hallowed space could be daunting, so the fact that they’re working with Mikey Allred, who has been a part of what they do for at least the last five years since helming their New West Records debut, Dying Surfer Meets His Maker (review here), as well as prior studio recordings, and even as guitarist Ben McLeod has emerged as a producer in his own right, has continued to work with the band up to mastering their latest offering, which was the 2019 single “1 x 1” (discussed here). As one also has to factor in that this will be their first time putting together an LP as a trio, they could hardly be in better hands in terms of someone who knows and is in touch with who they are as a band. It’s a veteran choice to bring their own dude. Kudos.
And hey, having recently posted some All Them Witches dates and speculated about soon-to-be-announced-secret-recording-plans, I’m gonna go ahead and give myself a pat on the back too.
Those dates — many of which are with Blackwater Holylight no less — follow their brief social media post here:
Pretty surreal day…We are recording our new album this week at Abbey Road Studios !! What a trip! Just us and our engineer [Mikey Allred] @darkartaudio. Let’s see what happens…
MAR 14 SAT Vive Latino Mexico, Mexico FRI. APRIL 17 – BALTIMORE MD – Ottobar* SAT. APRIL 18 – HAMDEN CT – Space Ballroom* SUN. APRIL 19 – PROVIDENCE RI – THE MET* TUE. APRIL 21 – PORTSMOUTH NH – 3S Artspace* WED. APRIL 22 – NORTHAMPTON MA – Gateway City Arts* THU. APRIL 23 – ASBURY PARK NJ – Asbury Lanes* FRI. APRIL 24 – PITTSBURGH PA – Mr. Smalls Theatre* SAT. APRIL 25 – ANN ARBOR MI – The Blind Pig A2* SUN. APRIL 26 – CINCINNATI OH – The Woodward Theater* TUE. APRIL 28 – COLUMBUS OH – Skully’s Music-Diner* WED. APRIL 29 – LEXINGTON KY – The Burl* FRI. MAY 1 – ATLANTA GA – Shaky Knees Music Festival* JUL 22-26 WED FloydFest Floyd, VA AUG 7 FRI Krach Am Bach Beelen, Germany AUG 8 SAT Re-Generation Fest Leipzig, Germany AUG 17 MON Mascotte Zurich, Switzerland *w/ Blackwater Holylight
All Them Witches is: Charles Michael Parks, Jr – bass, vocals Ben McLeod – guitar, vocals Robby Staebler – drums, vocals
Posted in Whathaveyou on February 25th, 2020 by JJ Koczan
Yes, All Them Witches had previously announced these dates for the Spring mostly-East Coast US tour that runs into May 1 at Shaky Knees Music Festival in Atlanta, but I feel like the fact that they’ll be joined for the run by Portland’s Blackwater Holylight makes it worth another look at the dates. April 23 in NJ, you say? Well, I’ll have gotten back from Roadburn earlier that week, but if anything’s worth a trip to Asbury Park, it’s a show like this at The Lanes, with open bowling surrounding the bandstand on either side.
It’s been many, many years since the last time I was there, and but for the aforementioned travel plans, I actually think Hamden would have fewer people even on a Saturday, so a somewhat less anxious experience, but still, I’ll take it as it comes. We’ll see how dead on my feet I am when we get there, but you bet your ass it’s going on the calendar.
All Them Witches live dates follow. Note the beginning of an August European tour already starting to take shape. I assume there will be more to come there, and honestly, they’re kind of coming up on due for a new album too, so if that emerges around September, I wouldn’t be surprised, especially given their penchant for sometimes recording in secret.
Shows with the asterisk are with Blackwater Holylight:
MAR 14 SAT Vive Latino Mexico, Mexico FRI. APRIL 17 – BALTIMORE MD – Ottobar* SAT. APRIL 18 – HAMDEN CT – Space Ballroom* SUN. APRIL 19 – PROVIDENCE RI – THE MET* TUE. APRIL 21 – PORTSMOUTH NH – 3S Artspace* WED. APRIL 22 – NORTHAMPTON MA – Gateway City Arts* THU. APRIL 23 – ASBURY PARK NJ – Asbury Lanes* FRI. APRIL 24 – PITTSBURGH PA – Mr. Smalls Theatre* SAT. APRIL 25 – ANN ARBOR MI – The Blind Pig A2* SUN. APRIL 26 – CINCINNATI OH – The Woodward Theater* TUE. APRIL 28 – COLUMBUS OH – Skully’s Music-Diner* WED. APRIL 29 – LEXINGTON KY – The Burl* FRI. MAY 1 – ATLANTA GA – Shaky Knees Music Festival* JUL 22-26 WED FloydFest Floyd, VA AUG 7 FRI Krach Am Bach Beelen, Germany AUG 8 SAT Re-Generation Fest Leipzig, Germany AUG 17 MON Mascotte Zurich, Switzerland *w/ Blackwater Holylight
All Them Witches is: Charles Michael Parks, Jr – bass, vocals Ben McLeod – guitar, vocals Robby Staebler – drums, vocals
Posted in Features on December 24th, 2019 by JJ Koczan
[PLEASE NOTE: These are not the results of the year-end poll, which is ongoing. If you haven’t contributed your list to the cause yet, please do so here.]
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Make no mistake, my friends. 2019 was the year it went off the rails.
Every 12-month period brings a lot of records, and they all seem overwhelming, but this was the first year I’ve ever felt quite so helpless when it came time to sit down and actually make my list. Of course, I keep running notes all year long, but even so, ordering everything, bringing it all together? What a mess.
I almost thought of breaking it down into smaller lists in addition to the big one, subgrouped by style. But then, where does doom end and sludge begin? What about psych and heavy rock? Should prog get its own list? And what the hell counts as prog?
In the end, that didn’t seem like it would be doing me any favors, so we’ll stick with the one big list and then others for debut releases and another for EPs, splits, demos and so on. You know, the usual.
Pretty sure I say this every year too, but it bears repeating: if you read any of the below — and thanks if you do — and have a response, be nice. If I’ve forgotten something — and yes, I have; I’m sure of it — that you think needs to be included, and you want to leave a comment that says so, please, by all means. But keep it civil. I know people are passionate about this stuff and so am I, but consider there are probably over 200 offerings covered here by the time you get through all the lists and honorable mentions, and I’m one person. I’m doing my best, and though I try not to, I tend to take being called a dumbass personally. So yeah, chill out and please be constructive in calling me a dumbass. Words matter.
A few hard choices here, most especially for album of the year. I was back and forth with each of the top three in the top spot for a good long while, and it might change again between now and when this post goes up. But it’s been that kind of year. In 2018, there was no question. It was Sleep all the way. The question was what came after that. This year has been different without that kind of duh, punch-in-the-face obvious pick. Relative parity isn’t a bad thing though.
Enough delay. The usual parameters apply. These are a combo of my personal listening habits and what I think are the most important records/achievements of the year, critical importance, etc.
Here we go:
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The Top 50 Albums of 2019
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#50-31
50. Hazemaze, Hymns of the Damned
49. Lightning Born, Lightning Born
48. Bees Made Honey in the Vein Tree, Grandmother
47. PH, Osiris Hayden
46. Thunderbird Divine, Magnasonic
45. Abrahma, In Time for the Last Rays ofLight
44. Uffe Lorenzen, Triprapport
43. Swallow the Sun, When a Shadow is Forced into the Light
42. Caustic Casanova, God How I Envy the Deaf
41. The Devil and the Almighty Blues, Tre
40. SÂVER, They Came With Sunlight
39. Ogre, Thrice as Strong
38. Lamp of the Universe, Align in the Fourth Dimension
37. Vokonis, Grasping Time
36. Sacri Monti, Waiting Room for the Magic Hour
35. Across Tundras, The Rugged Ranges of Curbs and Broken Minds
34. Duel, Valley of Shadows
33. Orodruin, Ruins of Eternity
32. Zaum, Divination
31. Inter Arma, Sulphur English
Notes: Honestly, if this had been the top 20 of the year, I’d still call 2019 a win. Aside from the fact that I somehow thought Caustic Casanova would enjoy coming in a number 42, the sheer quality of this stuff should tell you what kind of year 2019 was. Inter Arma’s Sulphur English was a significant achievement in genre melding, and Orodruin’s return after more than a decade since their last LP was a masterclass in doom worship. Debut albums from SÂVER and Thunderbird Divine and Lightning Born showed marked promise of things to come — and there’s more on them below as well — while Zaum’s, Bees Made Honey in the Vein Tree’s and Lamp of the Universe’s meditations, Vokonis’ noise, Abrahma’s emotive progressivisim, Swallow the Sun’s melodic melancholy, Sacri Monti’s boogie, and whatever the hell PH were doing on Osiris Hayden remind just how much the word “heavy” can encompass. The Devil and the Almighty Blues, Duel and Uffe Lorenzen and Hazemaze were musts here, and Ogre are perennial favorites whose work always brings a doomly grin. Don’t sleep on any of it.
Until they put out a complementary follow-up record of such fare, one might’ve accused Idaho three-piece Sun Blood Stories of becoming less experimentalist/droned-out/noisy on Haunt Yourself, but they seem to have met their quota one way or the other with the Oct. 2019 advent of Static Sessions Vol. 1. Still, it’s melody, heavy post-rock/psychedelic drift and emotive soul that rule the day on the crushing and enriching Haunt Yourself, and no complaints from me on that.
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29. Church of the Cosmic Skull, Everybody’s Going to Die
I don’t have to do anything more than read the name of the album to have the chorus of the title-track stuck in my head, and it’s a reminder that although the Nottingham troupe put so much into their progressive style and vocal harmonies and arrangements, and a more conceptual theme in the case of Everybody’s Going to Die — their answer to 2018’s excellent Science Fiction (review here) — their roots are in songcraft, and it’s the foundation of songcraft that lets them soar. Would be higher on the list if it weren’t so new.
With their sixth album, Indianapolis’ Devil to Pay collect 10 tracks of unpretentious-almost-to-a-fault of straightforward heavy rock songwriting that continues to be woefully underappreciated. They have become utterly reliable in that regard — you know, to a certain extent, what’s coming — but the vocals of guitarist Steve Janiak (also Apostle of Solitude) and some more metallic turns to the riffing give Forever, Never or Whenever a subtlety that holds up all the more on repeat visits. I don’t know if Devil to Pay will ever get their due, but suffice it to say, they’re due.
If you’re of a certain age, you remember when the first Playstation came out and everyone looked around at their Nintendos and Segas like, “What the hell am I messing around with Mario Golf for? I could be playing Resident Evil!” That’s kind of what Howling Giant are as compared to “regular” rock bands. They’re the Playstation of heavy: that next progressive step forward carrying an inhuman amount of swagger and personality while still delivering a stepped-up product from their would-be peers. The scariest thing about The Space Between Worlds is it’s their first LP. One looks forward to the next generation.
I know for a fact that bassist Pat Bruders and drummer Henry Vasquez had a hand in writing some of the material on Saint Vitus’ second self-titled LP, and yet the album so much bears the indelible mark of guitarist Dave Chandler that it’s hard not to think of it all as his. The album marked their first release with original singer Scott Reagers since 1995’s Die Healing (discussed here) and featured among their trademark low-tuned slog, an actual punk song, which showed the grinning glee that underlies all they do. Four decades on, Saint Vitus sound like they’re having fun. How is that not a win?
Woodsy Rocky Mountain psychedelia abounded on Boise foursome Ealdor Bealu’s second full-length, and their blend of landscape meditations and grounded heavy progressive melodicism made Spirit of the Lonely Places as much about impact as about space, though of course the real joy was the experience of the entirety. Very much a sophomore album, it learned lessons from 2017’s Dark Water at the Foot of the Mountain (review here) that one only hopes the band will continue to push forward in scope as they so gracefully did here.
Though hard- and to-date quick-working Maryland trio Yatra have already moved on and are looking ahead to releasing their second album, Blood of the Night (review here), their Grimoire-delivered debut, Death Ritual, is impossible to ignore for the impact it had on reminding listeners of the impact that primeval extreme sludge can have. Another couple tours and some bigger label — Relapse, Prosthetic, eOne, Season of Mist, whoever — will decide they’re “ready,” whatever that means, and then sign them and I won’t be cool enough to do track premieres for them anymore, but as far as accolades go, Yatra earn whatever they get and Death Ritual stands among 2019’s most landmark debuts. They’ve already outdone it, but it’s a stunner just the same.
Ecstatic Vision frontman Doug Sabolik has cast himself in the mold of Arthur Brown or Dave Wyndorf or probably seven or eight dudes who were in Hawkwind at some point as a manic-but-stoned space rock preacher with as he and his band behind him plunge headfirst-or-feetfirst-it-doesn’t-matter-because-your-body-is-an-illusion-man into the molten multicolor void. For the Masses. The ‘masses,’ such as they are, should be so lucky, but the double-meaning is the real tell for where the Philly unit are coming from. Their shows are the masses — gatherings of spirit and song to give praise to the willful expansion of mind. If you can’t get behind that, you might as well go get a job or something. This ain’t no lightweight party for squares and dabblers. This is a high-potency happening for werewolves on motorcycles and freaks of all stripes. Get weird stay weird. Ecstatic Vision are one mostly-mellow 15-minute “Spine of God”-style psych-epic away from perfection.
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22. Beastwars, IV
Released by Destroy Records. Reviewed June 27.
But for the circumstances that brought it about — i.e. Beastwars vocalist Matt Hyde’s cancer — the unexpected fourth installment in the Beastwars trilogy was nothing if not welcome. An grand-feeling sense of largesse was nothing new to the New Zealand four-piece, but after breaking up and getting back together to make the album, the grim sincerity with which they presented this exploration of mortality and betrayal by one’s own body was no less palpable than the undulating riffs that threatened, as ever, to consume all in their path. I don’t know their future plans in terms of continuing to write and/or record, but there are reports of touring beyond Aus/NZ for 2020, so one way or another, stay tuned for more from them. Whether or not they do anything else, IV was a triumph in spirit and execution.
With the nine songs of Slow Burn Suicide, Brooklyn’s Eternal Black began to unveil the true depth of their project. Their 2017 debut, Bleed the Days (review here), was well received, and rightly so, but operated more in a straight-ahead doom sphere. The second outing, by contrast, delved into a particular vision of the style informed by the crunch of peak-era New York noise and crossover hardcore, and it succeeded not just because it did this, but because it did so around a conjuration of memorable riffs and tracks building on accomplishments carried over from its predecessor. Is this an awaited arrival of next-generation ‘New York doom’? Will theirs be a blueprint others will follow? It’s impossible to know now, and their next album will be telling either way, but the course they’ve set is significant.
It may have been the Tony Iommi guest appearance that got Swedish doom legends Candlemass — the world’s earliest and foremost purveyors of doom both classic and epic — their recent Grammy nomination, but it was the long-overdue reunion with original vocalist Johan Längquist that made the album as a whole as powerful as it was. Pairing Längquist’s theatrical and vital approach with founding bassist Leif Edling’s second-to-none doomcraft, The Door to Doom was a catapult not to the bygone days of the band’s landmark debut, 1986’s Epicus Doomicus Metallicus, but an inspired look at not just what might’ve been had Längquist remained with the band longer, but what might still be if he does this time around. Candlemass have been through their share of singers, but as fresh as The Door to Doom sounded, it’s hard not to hope for something more than a one-off with he who got there first. The songs, the spirit, the sheer heart poured into Candlemass’ doom some 35 years past the band’s start only emphasizes how special they have always been.
Anyone who might’ve predicted Nebula getting into the studio and making a new album was either in the room when it happened or talking out their ass. And speaking of, was Nebula’s Holy Shit named for the shock one might’ve felt at its existence, or the surprise at how good it actually sounded when you put it on? I don’t know. I probably won’t ever know. It was the best title I saw all year, but more than that, it was a Nebula record, fueled by the classic riffing and unmitigated desert punk soul of founding/guitarist Eddie Glass, whose absence from the heavy underground for the last decade left a void only too many others whiffed on filling. Holy Shit showed just how singular a player Glass was and is, and how much character there is in his style, particularly in solos, but also in rhythmic changes, and so on. I won’t discount the work of bassist Tom Davies and drummer Mike Amster in making Nebula what they are in this incarnation — they’re essential, obviously — but there’s simply no denying that presence at the band’s core.
This was a heavy rock record that had everything. Everything. It had songs, style, ups, down, purples, greens, ins, outs, all kinds of whathaveyou. Riffs forever. Valley of the Sun should keep their eyes on Sasquatch, because if they want it, that path is theirs. I know the Cincinnati outfit have had trouble keeping lineups together, but if they can hold onto one, and maybe after their next record start touring more, domestically and abroad — not at all a minor ask, I know — then people will catch on. Old Gods is evidence of the fact that they genuinely have something to offer, and frankly, it’s not at all the first such effective case they’ve made in their career. But they’ve never put anything out that wasn’t a step forward, and yet they’ve never lost sight of the roots of their initial inspiration. And they’ve never sacrificed the song for the riff, which so many do. They’ve only ever gotten better. Let Old Gods be a step toward them getting attention they’ve long since deserved.
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17. Kadavar, For the Dead Travel Fast
Released by Nuclear Blast. Reviewed Oct. 28.
In style and production, For the Dead Travel Fast is the most vintage-sounding offering Berlin trio Kadavar have made in over a half decade, yet neither is it looking backward wistfully toward 2013’s Abra Kadavar (review here) or giving up the modern clarity of 2017’s Rough Times (review here) or 2015’s Berlin (review here). Instead, it strikes a balance with a more sinister edge à la Uncle Acid in songs like “Children of the Night” and “Demons in My Mind” — both singles — and makes a home for itself between proto-metal and garage doom. Whatever genre tag you want to give it — and that might vary from track to track, mind you — it’s unmistakably Kadavar, with the signature hooks and memorable craftsmanship that have made them one of the decade’s most pivotal heavy bands. The real challenge at this point in their career is not to take for granted that Kadavar will produce material of such quality, because, frankly, that’s all they’ve ever done.
Welsh sci-fi cosmic doomers Mammoth Weed Wizard Bastard billed Yn Ol I Annwn as the final installment of a trilogy that includes their two prior LPs, 2015’s Noeth Ac Anoeth (review here) and 2016’s Y Proffwyd Dwyll (review here), and while that may be true thematically, there’s also no question the third is a marked step forward from anything they’ve done before. They’re one foot out of the airlock and into space as their synth-laden longform riffing and melodies take them to places they’ve not yet gone, explorations of sight as much as sound, aural translation of colors humans aren’t gifted to see. Their songs across the 65-minute span unfold with the grace of a gravity spiral, pulling the listener deeper into the proceedings with each new phase that emerges until, what, obliteration? Stellar genesis? I’m not sure. They’ve reportedly got one more record to make and then they’re done. If that’s true, they’ll be missed then they’re gone.
They’ve found their way to die, and it’s upon an altar of classic metal and doom. And honestly, they make a pretty good case for it. Departed Souls is the third full-length from the Boston unit and their most stylistically realized work yet, with vocalist Brendan Radigan giving a standout performance alongside the guitars of Chris Corry and Renato Montenegro, the bass of Justin DeTore and Michael “Q” Quartulli’s drums, as the entire band taps into vibes from mid-’70s Black Sabbath and brings them to bear with an energy that is unlike anything in Magic Circle’s history. 2015’s Journey Blind (review here) brought in NWOBHM flash in the guitar work, sure enough, but Departed Souls doesn’t so much carry the torch of classic metal as it does use it to burn down the whole village and rebuild it in the five-piece’s image. From their doomed beginnings on their 2013 self-titled debut (review here) to now, they’re an act who’ve genuinely earned cult status. If you can find a backpatch, buy it.
Controversy! Drama! Well, probably not, but at very least some respectful disagreement on my part. You see, Poland’s Spaceslug have stated publicly that their latest release, the late-2019 surprise Reign of the Orion is an EP. Their albums regularly top 50 minutes, and at 36 minutes, I guess relative to that, you can see where they’re coming from. However, with the flow of these five songs and the ease with which they carry the listener from front-to-back through the listening experience, I’m sticking to my guns and calling Reign of the Orion an album. Sorry guys. True, it’s shorter than the other full-lengths, but it’s got everything you could ask an album to have in terms of how tracks like “Spacerunner” and the shouty “Half-Moon Burns” play into each other, and the fluidity of the outing on the whole is inarguable. An LP by any other name? Whatever you or they want to call it, there’s no question in my mind Reign of the Orion is one of 2019’s best records. If they insist on it being an EP, then it’s the best one of the year, but I still say it belongs in another category altogether, so here it is.
As hyper-crowded as London is with bands at this moment in history, there continue to be acts who sneak through with an individualized and intriguing perspective on doom and heavy rock, and Green Lung are a perfect example, learning from fellow Brits like Alunah and Elephant Tree and incorporating folk and forest goth vibes to their debut album, Woodland Rites. Laced with organ and stuck-in-the-head choruses like “Let the Devil In” and the creeper “Templar Dawn,” the record also pushed into drifting verses on “Into the Wild,” setting up future experimentation with atmospheric variety and genre manipulation. If part of any first album’s appeal is the potential it represents, Green Lung’s offers plenty, but wherever their subsequent course may or may not take them, their accomplishments here shouldn’t be overlooked. Woodland Rites is nothing less than the heavy rock debut album of the year, and though they emerge from a packed field, the work they do to stand themselves out already carries their mark and an apparent will toward progression. They’re on their way.
My head immediately goes to the hooks of “Ten Days” and “Ascension Day” and “Savage Heart,” but the up-down surges of guitar in “Old News/New Fire” and the midtempo soulfulness in “A Thousand Miles” are no less resonant when it comes to the actual listening experience of the fifth Lo-Pan LP. Subtle, when it came to living up to its name, as much wasn’t as it was. Flourishes of harmony in the vocals of Jeff Martin, the pops in Jesse Bartz’s snare punctuating and propelling in kind, turns in Scott Thompson’s bass work twisting around the guitar of Chris Thompson, a relative newcomer to the fold making his debut with the band and showing no apparent trouble fitting in. I don’t imagine Lo-Pan is an easy band to join, especially at this point. They thrive on personality clash and, through years of touring, have a chemistry they’ve built between them that comes through even on their recordings. Nonetheless, Subtle is their clearest, sharpest-edged work yet, and as tight as their songwriting has become, they still groove and groove mightily. They are a treasure of American heavy rock and roll. Believe it.
While members of Roadsaw have spent the intervening years in projects like Kind, White Dynomite, Sasquatch and Murcielago, the Boston heavy rock kingpins have indeed been missed, and Tinnitus the Night works quickly to show why. It’s been well over 20 years since their first LP — hell, it’s been eight since they put out their 2011 self-titled (review here) — but their craft is at its own level, and Tinnitus the Night comes barreling through with “Shake” and “Along for the Ride” and “Final Phase” before opening up to broader fare on side B with “Find What You Need,” “Under the Devil’s Thumb” and “Midazolam” ahead of the subdued finale “Silence,” and the result is nothing less than a classic heavy rock LP structure as befitting what is itself a classic heavy rock LP. What’s Roadsaw’s future? I don’t know. It took them the better part of a decade to make this one happen, so take from that what you will, but to me, all it says is there’s even more reason to be grateful they got it done and out. To say the songs deserve that is putting it mildly.
I’m not doing a ‘song of the year’ post, but if I was, Worshipper’s “Coming Through” might be it. The opening track from the Boston four-piece’s second album, Light in the Wire, marries classic pop drama in its melody with careening progressive riffing, and sets the tone for a record that is of both future and past, twistingly complex and yet immediately accessible, immersive as an entirety and still comprised of standout moments. These aren’t contradictions in Worshipper’s skillful hands, but the stuff of what’s already becoming their own take on rock. Tied together through melody, skillful rhythmic intricacy and solid structural foundations, “Light in the Wires,” “Visions from Beyond,” “Wither on the Vine” and others throughout post their own triumphs en route to enhancing the album as a whole, while “Nobody Else” and closer “Arise” underscore the emotive basis from which the perspective of the whole LP emanates. There are a lot of “next-gen” heavy rock bands out there weaving prog elements and traditional riffing together to some degree or other. Few, if any, can write a song like Worshipper can. I mean it. This band is something special.
What is there to say about Solace? A band who, nine years after revealing the expectation-slaughtering masterpiece A.D. (review here), return with three-fifths of a swapped-out lineup and simply do it again? This band is explosive. Really. Like, they might explode at any minute. It’s a miracle The Brink ever happened. I’ll be honest, I had my doubts. But Solace are a force like nothing else I’ve ever encountered in music. They take metallic aggression, hardcore’s sense of self-righteousness and heavy rock’s groove, set it all to a doomly swing and they play it in such a way as to leave you utterly dumbfounded by what you just experienced. Here’s a challenge though, for the band personally. From me to them. Do another one. Go ahead. Put out another album. You don’t even have to do it in 2020. Do it 2021. Write the songs and give me a no-holds-barred 45-minute LP of the tightest, meanest shit you’ve ever written. Because massive as the accomplishments are on The Brink, it’s the potential to build from them that resonates most here. So do it, guys. Step up and take advantage of the moment. Call me greedy if you want, I don’t care. Give me another Solace record. I dare you.
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8. Brume, Rabbits
Released by Doom Stew Records & DHU Records. Reviewed Nov. 6.
Simply a case of a band wildly outdoing themselves. Easy story, yeah? In some ways, maybe, but the truth of what Brume achieve on Rabbits. Their second long-player behind 2017’s Rooster (review here), the five-track offering sees the San Francisco three-piece of vocalist/bassist Susie McMullan, guitarist/vocalist Jamie McCathie and drummer Jordan Perkins-Lewis working with producer Billy Anderson to bring theatricality and emotionalism together in a flowing post-heavy context that’s neither derivative nor working at cross purposes. Instead, it is a gorgeous and blooming undertaking across its 43-minute span, working in its own light/dark spectrum and bringing not just the sense of trapped fragility evoked by the cover art, but a corresponding sureness of intent to its ascendant heavy surges. Like Rooster before it, it is loaded with potential, but in “Scurry” and “Lament” and “Despondence” and “Blue Jay and “Autocrat’s Fool,” there’s a patience and command that absolutely does not waver. So yes, a band outdoing themselves. But so much more too.
This may forever be known as the Mars Red Sky album they wrote in a cave, but the Bordeaux three-piece of guitarist/vocalist Julien Pras and bassist/vocalist Jimmy Kinast and drummer Matieu “Matgaz” Gazeau nonetheless plunged forward along the progressive course they charted back on 2014’s sophomore outing, Stranded in Arcadia (review here), and continued to manifest in 2016’s Apex III (Praise for the Burning Soul) (review here). Their blend of melody and tonal heft has become a hallmark of their work to this stage in their career, but The Task Eternal continues to add a sense of breadth to the proceedings, giving their sound a full three-dimensional pull that feels tailor-made for headphones and is consuming in its entirety. With experiments in structure like the pairing of “Recast” and “Reacts,” and the rushing sweep of melody in “Hollow King,” Mars Red Sky’s latest is, as ever, their finest. Outdoing themselves would seem to be the task from which the record derives its title. Fine. Just keep going. Please.
Every time I think I understand where Kings Destroy want to go as a band, they pull the rug out. That’s what Fantasma Nera is. After their 2015 self-titled (review here) third LP seemed to declare them once and for all in a space between doom and noise rooted in their respective hardcore pasts, the Brooklynite five-piece hooked up with producer David Bottrill (Tool, etc.) and composed a rock album. A real live rock album! With progressive undertones in the guitar work and the most accomplished melodicism of their career, Kings Destroy put everything they had into making Fantasma Nera and one need look no further than the title-track to hear the result of that monumental effort. It is the realization of a band challenging themselves to go so far out of their comfort zone as to be only recognizable in the most rudimentary of ways, and to say it as plainly as I can, “Dead Before” on its own is enough of an accomplishment — and enough of a full-length, at all of 4:25 — to make this list on its own, whatever surrounds it. Song of the year. I’ll say every time I’m a Kings Destroy fan, but I’ve never been gladder to say it than I am in talking about Fantasma Nera.
If you’re saying to yourself, “Ah come on, Colour Haze are always on the list when they put out records,” I have two answers. One, you’re right, and two, if you have a problem with that, blow it out your ass. The Munich forefathers of the European heavy psychedelic underground — yup — marked their 25th anniversary this year, and did so not just by putting out an album, but by putting out We Are, which introduces a full-fledged fourth member to what’s been a three-piece since 1998. Granted, it’s not the first time guitarist/vocalist Stefan Koglek, bassist Philipp Rasthofer and drummer Manfred Merwald have worked with organist/keyboardist/synthesist Jan Faszbender, but never has the presence of keys been so integral to their work, and never has the dynamic between players shifted in the way it does on tracks like “The Real” and “Life” and “I’m With You,” with keys fleshing out melodies and enriching the bass and guitar. Add to that the Spanish-style guitar on centerpiece “Material Drive” or the operatic flash in the penultimate “Be With Me,” and it’s one more example of one of the best bands on earth refusing to rest on their laurels. Which, as it happens, is why they’re one of the best bands on earth. So hell yes, they’re on all my lists. Fact is my lists are lucky to have them.
Like nothing else I heard in 2019, Veils of Winter had repeat listenability. It was the album that, most often, when I was choosing something I actually wanted to hear, I went back to time and again. Its dark, moody psychedelic and heavy vibe stands alone among the year’s releases, and is a stylistic milestone that one only hopes other artists will pick up on. Toying with pop melodies on tracks like “Death Realms” and bringing hypnosis and clarity in kind to the subtly traditionalist winding riff of “Moonlit” — would it have been out of place on the first Witchcraft LP? — the Portland, Oregon, five-piece worked on a speedy turnaround and squashed even the significant expectations I had after their self-titled debut (review here) last year. They’ve begun to tour, so I don’t know if another full-length is in the works for 2020, but their craft is enviable in its flow and their songs are shimmering in tone and cohesion alike. Given how bold a step forward Veils of Winter is, I hear nothing in their material to this point to make me think their momentum won’t continue to carry them forward. But, you know, if not, I’d also take about six or seven records just like this one. That’d be fine too. Whatever they want, really.
Belfast, Northern Ireland, three-piece Slomatics — guitarists David Marjury and Chris Couzens and drummer/vocalist/synthesist Marty Harvey — finished a narrative trilogy with 2016’s Future Echo Returns (review here), and though the storyline was always vague throughout that and the preceding two offerings, the question of how they would proceed nonetheless hung over Canyons prior to its release. The answer is in the songs themselves. From the sci-fi majesty of lumbering, rolling groove in opener and longest track “Gears of Despair” — oh, they grind — through the mega-stomp of “Telemachus, My Son” and the righteously synth-laden wash that consumes “Mind Fortresses on Theia,” Slomatics bring together concept and execution with a readiness that highlights the fact of their 15th anniversary. They are mature in their approach, yes, but the fact is their approach is so much their own and so given to their particular mode of progression that it almost can’t help but feel fresh. How could something so utterly crushing also feel rejuvenating? As they plod through finale “Organic Caverns II” ending with more waves of synth and tectonic guitar — no bass, remember — they are as restorative as they are punishing, and they stand astride that duality with neither mercy nor pretense. Canyons, whether it’s setting up a new story, building from the old, or doing something completely different, stands on its own.
My anticipation for and expectations of Year of the Cobra’s second long-player were high most especially after 2017’s Burn Your Dead EP (review here), which along with the dead, set alight the notion that the Seattle duo of bassist/vocalist Amy Tung Barrysmith and drummer Jon Barrysmith were simply a heavy/doom band. With elements of post-punk, psych wash, minimalist stretches and propulsive gallop, Ash and Dust cast itself out over an aesthetic range that set a new standard not just for Year of the Cobra, but for anyone who’d dare match them at their own game — and that list will grow with time, absolutely. As their first outing through Prophecy Productions, Ash and Dust threw itself into the very melting pot of its own ambition and emerged with songs that didn’t just bring together disparate ideas, but made them flourish and engage and challenge the listener while still proving consistent in tone and underlying groove. For a two-person, two-instrument outfit (not counting voice, though I should), they proved more malleable than many with more than twice the number of hands on deck, and pushed the notion of what heavy rock is and does forward without stopping to look back or ask for permission. They just did it, and maybe Ash and Dust is the aftermath of all that burning.
Look back over the course of this list, and you will find no shortage of bands and releases that surpassed the group in question’s past work. With Gothenburg, Sweden’s Monolord, it wasn’t just about No Comfort — their debut on Relapse, fourth full-length overall — being better than 2017’s Rust (review here), because that was pretty jolly gosh darn enjoyable, but about the band reaching a moment of transcendence to which Rust and all their prior work across 2015’s Vænir (review here) and 2014’s Empress Rising has been leading. With the six tracks of No Comfort, guitarist/vocalist Thomas Jäger, bassist Mika Häkki and drummer Esben Willems not only overcome the influences that launched them — taking full ownership of their sound and defending that claim with the sheer quality of their songwriting — and they not only become as identifiable as those influences themselves, but they overcome themselves. No Comfort means no comfort. Monolord take the simplicity that once fueled their riffing, the willful primitivism of their earliest work, and with songs like “Larvae” and “The Bastard Son” and the closing title-track use it as the foundation it was apparently always intended to be. Monolord have toured plenty and certainly their studio output has shown an increasing complexity from one LP to the next, so progression isn’t unexpected, but the manner in which Monolord have executed that progression has been. Even on “The Last Leaf,” which is arguably the most straightforward fare on the album, one hears it as them rather than the manifestation of the acts that inspired them. The same holds for “Skywards” later on, and for the immersion that takes hold as the mournful “Alone Together” plays into “No Comfort” itself. Monolord take their place among the best bands on the planet, and deliver an Album of the Year for 2019 that, like the absolute best, will have an impact lasting much longer than any period of 12 months might convey.
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The Top 50 Albums of 2019: Honorable Mention
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You didn’t think we’d stop at 50, did you? Come on. You know me better than that. The fact is that the list itself, humongous as it is, is just the start of the tip of an iceberg attached to a glacier that’s somewhere on an entire planet constructed of ice.
Honorable mentions, you say? Yeah, a few. Here they are in no order whatsoever:
Lord Vicar, Goatess, The Lord Weird Slough Feg, Zone Six, Lykantropi, Earth, White Manna, Atala, Tia Carrera, Merlin, WEEED, Híbrido, Cities of Mars, Stone Machine Electric, Bretus, Blackwolfgoat, The Black Wizards, Admiral Sir Cloudesley Shovell, Alunah, V, Pale Grey Lore, Leeds Point, Sons of Alpha Centauri, Spidergawd, Bus, Death Hawks, BBF, Vessel of Light, Crypt Trip, The Pilgrim, Uffe Lorenzen, Brant Bjork, Doomstress, Black Lung, Kandodo3, Monkey3, Bask, Horseburner, Zed, Bright Curse, Spillage, Sigils, Papir, Dune Sea, Destroyer of Light, Mastiff, Warp, Centrum, Varego, Lord Dying, Volcano, Saint Karloff, Firebreather, High Reeper, Bible of the Devil, Obsidian Sea, Torche, Motorpsycho, Sunn O))), Deadbird, Russian Circles, El Supremo, Pyramidal, Holy Serpent, Elizabeth Colour Wheel, Demon Head, Red Beard Wall, Onhou, Kamchatka, Iguana, Arrowhead, The Whims of the Great Magnet, Serial Hawk, Scissorfight, Monte Luna, Lingua Ignota, Valborg, Sageness, Ruff Majik, The Giraffes, High Fighter, Comacozer, Burning Gloom, Swan Valley Heights, Mark Deutrom, Cable, AVER, Superlynx, The Munsens, No Man’s Valley, Old Mexico, Skraeckoedlan, Godsleep, Øresund Space Collective Meets Black Moon Circle.
Seems cruel to leave it to you to sort through those, but I’m tempted to do just that. You might notice some bigger names there in bands like Earth, Russian Circles, Torche and Sunn O))). Nothing against those bands, but I think we’re seeing a moment where a different group of artists are taking point in terms of innovating heavy styles across an entire swath of microgenres. Either way it’s not a slight that something is here instead of above. And of course, there are plenty of up and coming groups here as well, with Ruff Majik, Elizabeth Colour Wheel — who I’m sure would be a top 30 if I knew the record better than I do — Pale Grey Lore, Monte Luna, Papir, Destroyer of Light, The Munsens, No Man’s Valley, Skraeckoedlan, and so on, but hell’s bells, there’s already a list of 50 and I’m only one man. How high is the list supposed to go and still be a list?
Bottom line: Music is as endless as space and has as much beauty in it for those willing to hear. Do more digging.
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The Top 20 Debut Albums of 2019
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1. Green Lung, Woodland Rites
2. Yatra, Death Ritual
3. Howling Giant, The Space Between Worlds
4. Thunderbird Divine, Magnasonic
5. SÂVER, They Came with Sunlight
6. Lightning Born, Lightning Born
7. Elizabeth Colour Wheel, Nocebo
8. The Pilgrim, Walking into the Forest
9. Sigils, You Build the Altar You Lit the Leaves
10. E-L-R, Maenad
11. Hey Zeus, X
12. Bellrope, You Must Relax
13. Asthma Castle, Mount Crushmore
14. Thronehammer, Usurper of Oaken Throne
15. Inner Altar, Vol. III
16. Infinity Forms of Yellow Remember, Infinity Forms of Yellow Remember
17. Hippie Death Cult, 111
18. Faerie Ring, The Clearing
19. Gone Cosmic, Sideways in Time
20. Haze Mage, Chronicles
Honorable Mention: Warp, Pelegrin, Lucy in Blue, Volcano, The Sabbathian, Red Eye Tales, Dune Sea, Dury Dava, Pharlee, Giant Dwarf, Ghost:Hello, Surya, Workshed, Children of the Sün, Burning Gloom, Temple of the Fuzz Witch.
Notes: As ever, I consider a band’s debut album something unique and separate from everything else they’ll ever do, and so worthy of highlighting in its own category. It’s a different standard in my mind, one that takes into account what a group might accomplish going forward as well as what they do on the record itself. Plus, putting out an album is hard. Getting two, three, four, five or more people to agree on anything is an accomplishment. Making a cohesive album? Come on. So yes. We see some crossover from the main list above, but I want to draw attention to Howling Giant, Thunderbird Divine and SÂVER particularly here. There’s a swath of genres represented and I feel like a couple of these releases — Sigils, Bellrope, Thronehammer, Inner Altar, Faerie Ring, Infinity Forms of Yellow Remember — didn’t get their due attention. It’s a busy year, I get it. But if you’re skimming through looking for stuff to check out, DON’T IGNORE THIS LIST. Aside from whatever line about the best of tomorrow you want to trot out, there’s important work being done by these acts today. As somebody who’s constantly behind the times, I urge you not to
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The Top 20 Short Releases of 2019
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1. Geezer, Spiral Fires
2. Ufomammut, XX
3. All Them Witches, 1×1
4. Mount Saturn, Mount Saturn
5. Dopelord, Weedpecker, Major Kong & Spaceslug, 4-Way Split
6. Horehound, Weight
7. Molasses, Mourning Haze
8. Saint Karloff & Devil’s Witches, Split
9. Here Lies Man, No Ground to Walk Upon
10. The Golden Grass, 100 Arrows
11. Mount Atlas, Mistress
12. Midas, Solid Gold Heavy Metal
13. Glory in the Shadows, Glory in the Shadows
14. Hot Breath, Hot Breath
15. Crystal Spiders, Demo
16. Red Wizard, Ogami
17. Thermic Boogie, Fracture
18. Pinto Graham, Dos
19. High Priest, Sanctum
20. Set Fire, Traya
21. Seedium, Awake
Honorable Mention: Love Gang & Smokey Mirror Split, Forebode, Land Mammal, Very Paranoia, Plague of Carcosa, Daal Dazed, Komodor, Mourn the Light & Oxblood Forge Split, High on Fire, Mount Soma.
Notes: This is probably the least complete of the lists, because it’s the hardest category for me to keep up with. EPs, singles, demos, splits and basically anything else that isn’t an album, all lumped together. Still, I stand by the picks here, and I don’t think anyone who takes on any of them will regret doing so, whether it’s All Them Witches’ surprisingly weighted first single as a trio, Mount Saturn’s debut release, or Geezer’s cosmic jams. Felt a little like cheating putting Ufomammut on there, since technically XX wasn’t new material so much as reworked stuff captured live, but if you want to call me out on it, my own listening habits also factor in, and I’ve spent plenty of time with those reimagined tracks. But anyway, I’m sure there’s a ton of stuff that hasn’t been included here, so please feel free to let me know in the comments and I’ll work accordingly.
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Postwax
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I haven’t felt comfortable with the idea of writing about it editorially, since I’ve been involved in discussions about it since before it came together and since I did the liner notes for each of the six releases (plus one to come), but I wanted to take a moment to acknowledge the incredible work done on the Postwax vinyl subscription series by Blues Funeral Recordings. Label head Jadd Shickler and design specialist Peder Bergstrand (also of Lowrider) put together six offerings that came out in the span of this year and when you hold the LPs in your hand, you can feel the passion that went into making them, from the artists in question to those curating the series in the first place. I hear tell there’s going to be a Postwax Year Two, and I don’t know if I’ll be involved or not, but I’m proud of my miniscule part in the work that went into making these and wanted to bring them to your particular attention. They are something special for those who got to partake:
Elder, The Gold and Silver Sessions
Daxma, Ruins Upon Ruins
Besvärjelsen, Frost
Big Scenic Nowhere, Dying on the Mountain
Domkraft, Slow Fidelity
Lowrider, Refractions
And while we’re talking about projects I was proud to be involved with, I also did liner notes for Acrimony’s The Chronicles of Wode box set from Burning World Records and was honored to do so. Thanks to any and everyone in question for having me involved and dealing with me blowing past deadlines one after the next. It is humbling.
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Looking Ahead to 2020
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A few names and nothing more about what definitely is and/or might be in the works for next year. Woefully incomplete, so feel free to add to it:
1000mods, Wolves in the Throne Room, Deathwhite, Mondo Drag, Drug Cult, Ocean Chief, Soldati, Sergio Ch., Mitochondrial Sun, Geezer, Mirror Queen, Mondo Generator, The Otolith, Asteroid, Yatra, Vestal Claret, Farer, Ryte, Shadow Witch, Six Organs of Admittance, Naxatras, Wolftooth, Snail, Elder, Pale Divine, Grey Skies Fallen, Ruby the Hatchet, Yuri Gagarin, Sasquatch, Godthrymm, Wo Fat, Red Mesa, CB3, Onsegen Ensemble, Insect Ark, Acid Mammoth, Ritual King, Ulls, Om.
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Thank You
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Thank you for reading, and please, if you have a thought or something you want to share in the comments, please remember to be kind to each other. We are all human beings behind our phones and keyboards, and while we’ll disagree, often in some ways and some cases, a basic level of respect is always appreciated. At least by me.
I am not so deluded as to think anyone might still be reading, but I want it on record how much I appreciate you being a part of this site and a part of my experience in making it. I’ve been ruminating all year since marking the 10th anniversary back in January about how much The Obelisk has become a part of who I am, and it’s utterly essential to my every day. The way I continue to think about it — and myself, as it happens — is a work in progress, and that would not be possible without you. One more time. Thank you. Always. Always thank you. Thank you.
Posted in Bootleg Theater on November 25th, 2019 by JJ Koczan
Brutal, harsh, and dark with manic flashes of color and the band themselves sped up and slowed down, thrashing about and tearing at themselves amid some sort or other form of depicted ritual in the woods, drummer Robby Staebler‘s video for All Them Witches‘ recently-unveiled single “1×1” (discussed here) does nothing if not capture the mood of the song. He, along with guitarist Ben McLeod and bassist/vocalist Charles Michael Parks, Jr., are currently on tour in Europe with Ghost and Tribulation, and they’ve newly announced a Spring run of mostly East Coast dates that will follow a festival stop in Mexico City this March. They’ve also got three hometown shows in Nashville to round out the year from Dec. 27-29. No substitute for staying busy.
The loneliness, intensity and seething feeling of “1×1” is writ large throughout the song, and I don’t feel particularly compelled to wax poetic about it, but I’ll say it’s the outright heaviest thing I’ve heard from All Them Witches since they signed to New West Records in 2015 ahead of releasing that Fall’s Dying Surfer Meets His Maker (review here), 2017’s Sleeping Through the War (review here) and 2018’s ATW (review here), but neither are they attempting to recapture the vibe of 2013’s Lightning at the Door (review here), instead incorporating the lessons they’ve learned since about crafting an atmosphere and blending that with a hard-hitting riff and amorphous melody and shouts of “I can’t wait to be defeated!” and “I can’t wait to throw this all away!” amid other proclamations. It is brutal.
And though the lyrics are easily read as a statement on touring life, or the band itself, the one constant with All Them Witches has always been change, and I’d no more expect what they do next to sound like “1×1” than I expected “1×1” to sound like it does coming off ATW. Their recorded material has always been about capturing a moment in time. So here’s one.
Enjoy:
All Them Witches, “1×1” official video
The video for our single, 1X1 premiered. It stars Emmy-award winning actress, Drea de Matteo, and was directed by our drummer, Robby Staebler.
We’ve added new Spring tour dates including two festivals: Vive Latino (Mexico City, MX) and Shaky Knees (Atlanta, GA).
ON TOUR with Ghost and Tribulation NOV 25 – Black Box Pangea – Kobenhavn, Denmark NOV 28 – Hartwall Arena – Helsinki, Finland NOV 30 – Spodek – Katowice, Poland DEC 1 – Universum – Prague, Czech Republic DEC 3 – BSA – Budapest, Hungary DEC 4 – Mo?vara – Zagreb, Croatia DEC 5 – Palabam – Mantova, Italy DEC 6 – Halle 622 – Zürich, Switzerland DEC 8 – Palau Sant Jordi – Barcelona, Spain DEC 10 – Altice Arena – Lisboa, Portugal DEC 11 – WiZink Center – Madrid, Spain DEC 13 – Zenith Of Strasbourg – Strasbourg, France DEC 14 – Stattbahnhof – Schweinfurt, Germany DEC 15 – Zenith – München, Germany DEC 17 – Rockhal – Esch Sur Alzette, Luxembourg DEC 18 – Zenith Nantes Metropole – Saint-herblain, France DEC 19 – Zénith de Toulouse – Toulouse, France DEC 27 – Exit/In – Nashville, TN DEC 28 – Exit/In – Nashville, TN DEC 29 – Exit/In – Nashville, TN
SPRING 2020 DATES MARCH 14 – Vive Latino – Mexico City, MX MARCH 15 – Vive Latino – Mexico City, MX APRIL 17 – Ottobar – Baltimore, MD APRIL 18 – Space Ballroom – Hamden, CT APRIL 19 – The Met – Pawtucket, RI APRIL 21 – 3S Artspace – Portsmouth, NH APRIL 22 – Gateway City Arts – Holyoke, MA APRIL 23 – Asbury Lanes – Asbury Park, NJ APRIL 24 – Mr. Smalls Theatre – Pittsburgh, PA APRIL 25 – Blind Pig – Ann Arbor, MI APRIL 26 – Woodward Theatre – Cincinnati, OH APRIL 28 – Skully’s – Columbus, OH APRIL 29 – The Burl – Lexington, KY MAY 1 – Shaky Knees Music Festival – Atlanta, GA MAY 2 – Shaky Knees Music Festival – Atlanta, GA MAY 3 – Shaky Knees Music Festival – Atlanta, GA
All Them Witches is: Charles Michael Parks, Jr – bass, vocals Ben McLeod – guitar, vocals Robby Staebler – drums, vocals
Posted in Whathaveyou on November 1st, 2019 by JJ Koczan
Nashvillian three-piece Howling Giant are fresh off issuing one of the year’s best heavy records in The Space Between Worlds (review here), so they would seem to be well within their rights to take the show on the road. They’ll head up and back down the East Coast starting in Asheville, North Carolina, and close by hosting Horseburner in their hometown on a run they’ve given a long silly name in the spirit of such things. They’ve also got a game up on their website that looks like fun which is why I haven’t played it yet, and did I mention their album’s really good? Good. It’s out now on Blues Funeral Recordings. I got one on something called a “compacted disk.” It uses lasers, which seems all the more appropriate for these guys.
Dates and info came down the PR wire:
HOWLING GIANT ANNOUNCE NOVEMBER TOUR DATES
*NEW ALBUM, THE SPACE BETWEEN WORLDS, OUT NOW!
Following the release of arguably one of the year’s best psych-stoner-metal releases, HOWLING GIANT will be delivering the goods live on a November tour. The band’s epic metaphysical sci-fi saga The Space Between Worlds, is out now from Blues Funeral Recordings.
Also announced, HOWLING GIANT has launched a new website, which includes an embedded and ready-to-play 80s-inspired “Comet Rider” video game where players can maneuver a little pixelated truck through a little pixelated desert and try to avoid hitting little pixelated rocks and tumbleweeds and cacti while an 8-bit arcade version of the tune plays over the action. Play the game now at https://www.howlinggiant.com/comet-rider-video-game.
HOWLING GIANT Tour Dates: Nov 9 – Asheville, NC – The Odditorium (Steel and Stone Fest 2019) Nov 10 – Charlotte, NC – Skylark Social Club Nov 11 – Charleston, SC – Tin Roof Nov 12 – Wilmington, NC – Reggie’s 42nd Street Tavern Nov 13 – Richmond, VA – Wonderland RVA (w/Brother Hawk) Nov 14 – Washington, DC – Atlas Brew Works Nov 15 – Waterbury, CT – Brooklyn Cafe Nov 16 – Easthampton, MA – The Ohm Rehearsal Space Nov 18 – Brooklyn, NY – The Knitting Factory (w/Brother Hawk) Nov 21 – Johnson City, TN – The Hideaway Nov 22 – Huntington, WV – The V Club Nov 23 – Nashville, TN – Cobra (w/Horseburner)
