Posted in Reviews on January 18th, 2021 by JJ Koczan
I don’t know who between the band and the roasters decided that the ‘Howling Giant’s Doomsday Express’ coffee should be a medium roast, but they weren’t wrong. An all-the-way enjoyable medium roast is tricky, nuanced and clever, and frankly, so is Howling Giant’s music, and if you haven’t heard the Nashville trio’s 19-minute “Masamune” from their 2020 split with Sergeant Thunderhoof on Ripple, well, after you do you’ll probably agree. It’s not aggressive or overbearing. It’s accessible in listening but still complex, and it’s energetic without being cloying. A perfect medium roast band.
Worth mentioning what I think is a particularly American aversion to ‘medium’ as a concept in all things except perhaps t-shirt sizes, where body-shaming (also wonderfully American) comes into play. As though if it’s the biggest or the most expensive, etc., it’s without value. Instead, think of a medium roast coffee like over-medium eggs. It has the strength of presence and depth that borders on a dark roast with none of the burn taste — though don’t get me wrong, I love my greasy beans too — while still leaving room for the fruitiness so often cast in light roasts without letting that dominate. It the Blade of coffees — all the strengths, none of the weaknesses. One does not happen on one every day.
Light roasts are “in” as I understand trends in coffee secondhand, but that’s consistent with a boom in craft roasting. See also beer. Lots of caffeine in light roasts, lots of hops in craft ale. I could go on (and on and on) about this in American creative culture in everything from hip-hop and rock to early US portraiture, but I’ll spare you the massive digression. You’re welcome.
Cleverness kudos to whoever (I’d assume the band, but you never know) sub-tagged the bag o’ beans as a ‘+1 Dexterity Potion.’ In addition to regular live streams playing songs, the band has been hosting regular Dungeons & Dragons sessions on Twitch, so yeah, fair enough there. In taking on the ‘Doomsday Express,’ I emptied the grinder hopper of its former occupant beans as best I could (a couple were stuck down in there) to make room for the clean-looking, dry and uniformly brown Frothy Monkey fare. I’ll admit to being impatient to try it, so the ritual began.
The grind stayed dry and sat well in the filter, a rougher look for the pour-over machine. Certainly smelled like coffee, but not bitingly so. It brewed pleasantly black in the carafe but wasn’t nearly so opaque when held to light, which, yeah, fair enough. Again, not too strong on the nose. All signs boded well for actual tasting, and when I finally got there, letting it cool in my Baltimore mug for a bit — the band was kind enough to send a Howling Giant mug with the beans I bought — but I’m ultimately too compulsive about using the mixing-bowl-sized delivery system I employ.
Proportion aside, the relevant difference is the inside of the Howling Giant mug is white and would probably give a better sense of how the finished product looks brewed, but then, I could also pour it in a glass if inclined. Gotta draw that too-pretentious line somewhere, folks.
At last, the taste. Inviting, full in the mouth without being inherently creamy. Easy going down but not flighty. There’s a sweet undertone but it’s not specifically fruit or beating you over the head with nuttiness. Second cup sat longer on the burner but doesn’t come across overcooked. Bottom line is I dig it — I’m drinking as I write — which is fortunate, because I’ve got two of the 12 oz. bags to make my way through. That should do plenty for my otherwise lagging dexterity over the next week-plus.
Frothy Monkey Roasting Co. have five locations in Nashville and one in Franklin, Tennessee, and do wholesale, baked goods, the whole nine. They’ve been roasting their own coffee since 2014, so it’s not unreasonable to expect they’d have worked out the kinks by now, and ‘Howling Giant’s Doomsday Express’ shows they clearly have. Like the band, they offer a product that has its own niche without coming across as too bizarre or entirely unfamiliar, and earns its repeat visits.
A 12 oz. bag isn’t cheap at $18 on the band’s Bandcamp page (mugs are sold out), but you support the band and an independent roaster by buying, you get good coffee, and the Mega-Man-esque art on the bag rules. You’ve spent far more on far less.
Howling Giant & Sergeant Thunderhoof, Turned to Stone Chapter 2: Masamune & Muramasa (2020)
Posted in Features on December 31st, 2020 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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Invariably, the ultimate measure of 2020 will be in lives and livelihoods lost around the world. I have nothing to add to the discourse of the COVID-19 pandemic that others haven’t said in more articulate and precise language. Suffice it to note that 2020 was the year that the very concept of “unprecedented” itself became trite.
One does not have to look far to find positives amid the devastation. Creativity continues to flourish. Art cannot be killed. Even locked away from each other in quarantine, artists will continue to reach out, to collaborate, to fulfill the human need for expression that has driven the species since cave drawings and will no doubt be the ruins we leave behind us when we’re gone.
In underground music, it was simply overwhelming. And though I’ll admit it was hard at times to listen to music and divorce it from the larger context of what was happening in the world — it was there like a background buzz — this year reinforced how necessary music is, not only as an escape or a source of income for those who make/promote it, but as an integral component of life and community. Absences have been keenly felt.
I won’t try to sate you with platitudes, to say “things will get better.” Maybe they will, maybe they won’t. One year turning to the next does not fix broken systems and it does not cure raging plagues. It’s just a number. Arbitrary except as a convenient marker for things like this, births, deaths, and so on. Bookkeeping.
Before I turn you over to the lists: Please be kind in the comments if you choose to leave one. To me. To other people. To yourself. These lists are culled from my listening preference and what I consider of critical importance. But I’m one person. If there’s something you feel has been left out, say so. I ask you only to do so in a spirit of friendship rather than argument. Thank you in advance.
Okay:
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The Top 50 Albums of 2020
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#50-31
50. Sun Crow, Quest for Oblivion
49. Atramentus, Stygian
48. Arcadian Child, Protopsycho
47. Fuzz, III
46. Jointhugger, I Am No One
45. Dirt Woman, The Glass Cliff
44. Switchblade Jesus, Death Hymns
43. Foot, The Balance of Nature Shifted
42. Hymn, Breach Us
41. IAH, III
40. Lord Fowl, Glorious Babylon
39. Acid Mess, Sangre de Otros Mundos
38. 1000mods, Youth of Dissent
37. Deathwhite, Grave Image
36. Soldati, Doom Nacional
35. Cortez, Sell the Future
34. Kadavar, The Isolation Tapes
33. Black Rainbows, Cosmic Ritual Supertrip
32. Shadow Witch, Under the Shadow of a Witch
31. Insect Ark, The Vanishing
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29. Polymoon, Caterpillars of Creation
Released by Need dissertation Help? Don't worry let the best Research Paper On Religion writing service help you in UK, Our UK professional dissertation Writers will guide you. Svart Records. Reviewed Oct. 12.
High-powered cosmic metal from Finland pulling apart heavy psychedelia on an atomic level with an urgency that speaks of youth, progress and an ingrained need for exploration? Sign me up. A lot of bands on this list put out their first album this year. There are few for whom my hopes are as high as they are for http://www.altepost-gastein.at/?cheap-fast-dissertation-editing online in UK by our Top PhD writers. We offer best quality and professional coursework with no plagiarism risk. Polymoon. If you haven’t yet heard a fantastic read uk - Making a custom research paper is go through many steps 100% non-plagiarism guarantee of unique essays & papers. Entrust Caterpillars of Creation, do.
Of the sundry horrors 2020 wrought, a new album from long-running Toronto three-piece dissertation proposal writing service Gender Roles In Society Essays essay writer online free phd thesis chemical kinetics Sons of Otis was an unexpected positive, and their ultra-spaced, murky riffs on their first studio album since 2012’s Hence, the Content has been very significant with the Advancement in Digital Marketing. It has become important to develop unique and quality content in order to gain an edge over your competitors. Content Holic is a Online Dissertations And Theses 2009 having an experienced team of professional Content Writers. Seismic (review here, also here) launched like a slow-motion escape pod of righteous doom (s)tonality. There will never be another We hear words like: A?aAReasons To Ban Homework nowA?aA just about every day. For that reason, we have trained our specialists Sons of Otis. Be thankful for everything you get from them.
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27. Lamp of the Universe, Dead Shrine
Released by The Honest to Goodness Simple fact on Qualified how to buy papers for college What Is Important To Do to discover more regarding Specialized Essay Posting Projection Records. Reviewed May 25.
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The debut album from Colorado’s BleakHeart collected pieces united by melody and overarching atmosphere, positioned stylistically somewhere around heavygaze or heavy post-rock, but feeling less limited to genre bounds than some others working in a similar sphere. As a first outing, it brought a promise of things to come even as the depths of its mix seemed to swallow the listener entirely, equal parts serving claustrophobia and escapism.
There is not enough space here to properly commend Pale Divine founding guitarist/vocalist Greg Diener on how much he opened up the band by bringing in his and drummer Darin McCloskey‘s former Beelzefuzz bandmate Dana Ortt on shared guitar, vocal and songwriting duties. Completed by Ron “Fezz” McGinnis on bass/vocals, Pale Divine are a refreshed and ready powerhouse of American traditional doom.
One is going to have to get used to the idea of Uncle Woe residing in the places between, I think. An inward-looking cosmic doom that’s likewise morose and reaching, opaque and translucent, Phantomescence could be almost troubling in its feeling of off-kilter expression. Yet that’s exactly what multi-instrumentalist/vocalist Rain Fice was going for. Thriving on contradiction, exploratory, and individualized. Start from doom, move outward.
I don’t feel like I’m cool enough to offer any substantive comment on what Chicago’s REZN do, but their sax-laced heavy psychedelia comes across warm and is invitingly languid while still delivered with a sense of energy and purpose. It rolls and you want to roll with it, so you do. They were clearly hurt by not being able to tour this year, as were audiences for not seeing them. Call them neo-stoner metal or whatever you want, these songs deserve to be played live.
A revamped lineup for South African desert-ish heavy rockers Ruff Majik brought producer Evert Snyman in as co-conspirator with frontman/principal songwriter Johni Holiday, and found the former trio working as a five-piece with a broader sound underscored by an electric sense of purpose and willingness to push themselves to places they hadn’t gone before. Their third record, it seemed as well to be a new beginning, and they met the challenge head-on.
The underheralded children of rolling fuzz riffage, Connecticut’s Curse the Son found new depths of emotion to bring to Excruciation — and I do mean “depths.” Dark times for dark times. Fueled by personal hardship, turmoil, motorcycle accidents and a pervasive sense of struggle, the LP was nonetheless a triumph of their songwriting and brought new melodic character to their established largesse of tone. Your loss if you missed it.
Business as usual in ferocious heavy/speed rock from The Atomic Bitchwax on Scorpio — and that was only reassuring since the band’s eighth full-length marked the first since the departure of guitarist/vocalist Finn Ryan and his replacing with Garrett Sweeny, a bandmate of founding bassist/vocalist Chris Kosnik and drummer Bob Pantella in Monster Magnet. They barely stopped to cool their heels and yet still managed to be catchy as hell. How do they do it? Jersey Magic.
Such pervasive melancholy could only be derived from Irish folk, and so it was on Cinder Well‘s No Summer, which managed to move between singer-songwriter minimalism from Amelia Baker and arrangements of deceptive and purposeful intricacy. Wherever it went, from traditional songs “Wandering Boy” and “The Cuckoo” to originals like “Fallen” and the nine-minute “Our Lady’s,” it was equal parts gorgeous and sad and resonant. It remains so, despite the fleeting season.
Their fourth album and first since crossing the decade-mark since their inception, Pallbearer‘s Forgotten Days wasn’t just heavy, emotional or big-sounding; it was the most their-own of anything they’ve done. It felt exactly like the record they wanted it to be, and reconfirmed that the generation of listeners being introduced to doom by their music is going to be just fine if they follow the cues laid out for them here.
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17. Slift, Ummon
Released by Stolen Body and Vicious Circle Records. Reviewed March 26.
Less a reinvention of space rock than a kick in its ass, Slift‘s Ummon pushed well past the line of manageability at 72 minutes and reveled in that. The French outfit were greeted as liberators when they released the album, and with the way the respect has been maintained in the months since they’ve given themselves a high standard to meet, but there’s only promise to be heard as you get lost in the nebular wash of this sprawling 2LP. They’ll have two more records out before this one’s fully digested.
The first album in half a decade from long-established UK death-doom forebears My Dying Bride found vocalist Aaron Stainthorpe coping with his daughter’s cancer diagnosis and translating that into the morose poetry for which the band is so well known and with which they’ve been so influential. My Dying Bride has never wanted for sincerity, but to call them affecting here would be underselling the quality of their craft and the heart they put into it. Follow-up EP is already out with extra non-album tracks.
Denmark’s Causa Sui may be on a mission to unite jazz and heavy psychedelia — and blessings on them for that — but the mellow jammy vibes they conjured on Szabodelico only emphasized how much it’s the character of what they do and the chemistry they’ve brought as bandmates that has allowed them to branch thusly in terms of aesthetic. It was the kind of album you wanted to put on again even before it was over, and its sweet instrumentals felt born to a greater timeline than a single year can encompass.
I’m not a punk rocker, but All Souls make me wish I was. Their emotive and engaged heavy rock looks out as much as in on Songs for the End of the World — their second LP behind a 2018 self-titled debut (review here) — but it’s undeniably punk in its foundation, and what the four-piece of Antonio Aguilar and Meg Castellanos (both ex-Totimoshi), Erik Trammell (Black Elk) and Tony Tornay (Fatso Jetson) have put together builds on that in exciting, inventive and individualized ways, while staying nonetheless true to its roots.
Five years after their debut album, Rocket Science (review here), Boston four-piece Kind return with Mental Nudge. And despite the different situations in which it finds the band’s members — bassist Tom Corino is now ex-Rozamov, drummer Matt Couto now ex-Elder — the group’s focus remains on carving memorable, mostly structured tracks out of ethereal heavy psychedelia, guitarist Darryl Shepard (Milligram, etc.) and vocalist Craig Riggs (Roadsaw, Sasquatch, etc.) adding space and melody to the crunching, driving grooves.
Founded by vocalist Farida Lemouchi (ex-The Devil’s Blood) and guitarist Oeds Beydals (ex-Death Alley, also ex-The Devil’s Blood) and commissioned as a project for Roadburn Festival 2019 (review here), Molassess are inextricably tied to Lemouchi‘s groundbreaking former outfit and its tragic ending, but the musical branching out into darkened progressive textures on Through the Hollow isn’t to be understated. It was an album that pushed past the past, not overlooking it, but finding new ways of moving forward in life and sound.
While of course the Mos Generator frontman is no stranger to writing or recording on his own, Funeral Suit was Tony Reed‘s debut as a solo artist and it carried his progressive stamp in melody and arrangement. It was not just a guitarist playing acoustic instead of electric, and it was not a manifestation of self-indulgence. Whether it was reworking a Mos Generator song like “Lonely One Kenobi” or pursuing a new piece like the title-track or “Waterbirth,” Reed found balance between personal and audience, evoking traditional songsmithing even as he reminded listeners of his dual role as a producer.
Spectacular showing from Kingston kingpins Geezer with Groovy as their first offering for Heavy Psych Sounds. Led by guitarist/vocalist Pat Harrington, the three-piece brought material that flowed with the organic feel of jams despite being structured and catchy songs. In pieces like “Dead Soul Scroll” and “Drowning on Empty,” they melded stonerized groove with what felt like genuine emotional expression, and “Dig” and “Groovy” still managed to be a heavy fuzz-blues party. And they still had room at the end to jam out on “Slide Mountain” and “Black Owl.” It was nothing but a win, rising to the occasion on every level.
So Bob Balch from Fu Manchu and Gary Arce from Yawning Man have a band. They get Tony Reed from Mos Generator on board. Mario Lalli from Yawning Man/Fatso Jetson comes and goes. Nick Oliveri comes and goes. Bill Stinson from Yawning Man plays drums. Alain Johannes sits in on vocals. Reed does a bunch of vocals; his kid does a track too. Per Wiberg from Spiritual Beggars, Opeth, Candlemass, etc., lends some keys. What do you call such a thing? Who cares? You call yourself lucky it exists. They called the record Vision Beyond Horizon. Can’t wait to find out what they call the next one.
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8. Elder, Omens
Released by Armageddon Shop and Stickman Records. Reviewed April 27.
Omens marked a new beginning for Elder as the band pushed deeper into the realm of progressive rock and beyond their weightier beginnings. The arrival of Georg Edert (also Gaffa Ghandi) on drums in place of Matt Couto shifted the band’s dynamic in a number of ways, providing not a swinging anchor for the rhythm section necessarily, but another avenue of prog fluidity. Bassist Jack Donovan brought a steady presence in the low end as guitarist/vocalist Nick DiSalvo and guitarist/keyboardist Mike Risberg embarked on new melodic explorations while staying loyal to the band’s established penchant for sweeping changes. Omens may live up to its name as a sign of things to come, but either way, it was a strong display of the band’s will to pursue new ideas and methods.
First words that come to mind here: “eminently listenable.” With seven tracks and 36 minutes, Reverie may not have taken up much of your afternoon… once. But by the time you gave it its proper respect and listened through three times in a row, the situation was somewhat different. The Lafayette, Louisiana, four-piece gracefully brought together structured songwriting with proggier leanings and were able to bring together rampaging hooks like “Trace the Omen” and “Manifest,” casting a sense of sonic hugeness without forgetting to add either melody or personality along with that. The band — who here welcomed bassist Thorn Letulle alongside guitarist/vocalist James Marshall, guitarist Shadi Omar Al-Khansa and drummer Thomas Colley — have worked quickly and evolved with a sense of urgency. Is Reverie the goal or another step on that path?
Vocalist/cellist Jackie Perez Gratz (interview here), guitarist Max Doyle and drummer Zack Farwell comprise Grayceon, and with their fifth record, the band looks around thematically at environmental devastation through the lens of record-breaking California wildfires from their vantage point in the Bay Area. Even as the world shifted priorities (at least most of it did) to yet another global crisis in the COVID-19 pandemic, genre-melting-pot songs like “Diablo Wind,” “The Lucky Ones,” and “This Bed” reminded of the horrors humanity has wrought on its battered home, and still managed to find hope and serenity in “And Shine On” and “Rock Steady,” a closing duo that shifted to a more personal discussion of family and one’s hope for a better future for and by the next generation. 2020 had plenty of horror. At least we got a new Grayceon record out of it.
When Sho’Nuff asked Bruce Leroy “who’s the master?,” dude should’ve said Brant Bjork. It would’ve been a confusing end to Berry Gordy’s The Last Dragon, but ultimately more accurate, as Brant Bjork‘s homegrown kung fu was unfuckwithable as ever on the album that shares his name. After two decades of solo releases in one form or another, Bjork is not just a pivotal figurehead for desert rock, he’s a defining presence, as well as one of its most treasured practitioners. Brant Bjork, the album, brought initial waves of funk in “Jungle in the Sound,” explored weedy worship in “Mary (You’re Such a Lady)” and toyed with religious dogma in offsetting that with “Jesus Was a Bluesman” while still tossing primo hooks in “Duke of Dynamite” and “Shitkickin’ Now” ahead of the more open “Stardust and Diamond Eyes” and the acoustic closer “Been So Long.” With Bjork recording all the instruments himself, a due feeling of intimacy resulted, and yet he still found a way to make it rock. How could it be otherwise?
Why do I feel the immediate need to defend this pick? I’m not sure. Norway’s Enslaved are an institution, not just of black metal, but of bringing an ideology of creative growth to that style that often willfully resists it. They are iconoclastic even unto their own work. Utgard was released as the band stood on the precipice of 30 years together and yet it stood as their most forward-looking offering yet, as co-founders Grutle Kjellson (bass/vocals) and Ivar Bjørnson (guitar/sometimes vocals), as well as longtime lead guitarist Arve “Ice Dale” Isdal backed up the change from 2017’s E (review here) that brought in new keyboardist/vocalist Hakon Vinje with the incorporation of drummer Iver Sandøy, who doubles as a vocalist (and triples as a producer). The “new blood” made all the difference on Utgard, allowing Enslaved to piece together new ranges of melody in their work and offset instrumental shifts into and out of krautrock-derived progressions. Simply the work of a band outdoing itself from a band who does so at nearly every opportunity.
Every year I allow myself one addendum pick, and this is it. We Are was on last year’s list because it was digitally released, but the vinyl came out this year and it received its North American release this year as well, so it seemed only right to acknowledge that. So here it is in its proper place.
This is a band controlling their own narrative. Instead of Nothing as the Ideal being ‘the one they made as a three-piece,’ the Nashville outfit decided to make it ‘the one they recorded at Abbey Road.’ Were they thinking of it on those terms? Yeah, likely not, but it goes to demonstrate all the same just how much of themselves All Them Witches put into what they do musically, since not only are they continuing to refine and define and undefine their approach, but they’re setting the terms on which they do it. Each of their records has been a response to the one prior, but that conversation has never been so direct as to make them predictable. So what are they chasing? Apparently nothing. I’m not entirely sure I buy that as a complete answer, but I am sure I love these songs and the experiments with tape loops and other sounds that fill these spaces. Whatever they do next — or even if nothing — their run has been incredible and exciting and one only hopes their influence continues to spread over the next however many years.
There was a high standard set by Elephant Tree‘s 2016 self-titled debut (review here), but their second LP, Habits, surpassed even the loftiest of expectations. With vocals centered around harmonies from guitarist Jack Townley and bassist Peter Holland, the former trio completed by drummer Sam Hart brought in guitarist/keyboardist John Slattery (also sometimes vocals), and the resultant breadth gave the material on Habits spaciousness beyond even what the first album promised. Drifting, rolling, unflinchingly melodic and somehow present even in its own escapism, Habitswas not just an early highlight for a rough 2020, but a comforting presence throughout, and the further one dug into tracks like “Sails,” “Exit the Soul,” “Faceless,” “Wasted” and the acoustic “The Fall Chorus,” the more there was to find — let alone “Bird,” which I’ll happily put against anything else one might propose for song of the year. As their former UK label crumbled, Habits emerged unscathed and Elephant Tree‘s future continues to shine with ever more hope for things to come. Being able to say that about anything feels like a relief.
Twenty years ago, Sweden’s Lowrider put out what would become a heavy rock landmark in their 2000 debut, Ode to Io (reissue review here). A follow-up years in the making even after the band got back together to play Desertfest in London (review here) and Berlin in 2013, Refractions first saw limited release in 2019 as part of Blues Funeral‘s PostWax series (discussed here), but its proper arrival was in early 2020, and there was really no looking back after that. It wasn’t just the novelty of a new Lowrider album that made Refractions such a joy, but the manner in which the band went about its work. There was no pretending that 20 years didn’t happen. There was no attempt to recapture the bottled lightning that was the first record, and Lowrider did not sound like a band “making a comeback” rife with expectations and fan-service. Refractions acknowledged the legacy of Ode to Io, sure enough, but as a step toward adding to it in meaningful and engaging ways. The songs — “Red River,” “Ode to Ganymede,” “Sernanders Krog,” “Ol’ Mule Pepe,” “Sun Devil/M87” and the 11-minute finale “Pipe Rider” — were fashioned without pretense and came across as the organic output of a band with nothing to prove to anyone but themselves. They made it their own. In a wretched year, Lowrider shined.
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The Top 50 Albums of 2020: Honorable Mention
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Yeah, okay. There are a lot of these, so buckle in. Last year I just threw out a list of bands. This year I’m a little more organized, so here are bands and records alphabetically.
Across Tundras, LOESS ~ LÖSS
Across Tundras, The Last Days of a Silver Rush
Alain Johannes, Hum
Arboretum, Let it All In
Bell Witch & Aerial Ruin, Stygian Bough Vol. 1
Black Helium, The Wholly Other
Boris, No
Brimstone Coven, The Woes of a Mortal Earth
CB3, Aeons
Celestial Season, The Secret Teachings
Crippled Black Phoenix, Ellengæst
Cruthu, Athrú Crutha
Domo, Domonautas Vol. 2
DOOL, Summerland
Dopelord, Sign of the Devil
Dwaal, Gospel of the Vile
Elder Druid, Golgotha
Ellis Munk Ensemble, San Diego Sessions
Emma Ruth Rundle & Thou, May Our Chambers Be Full
EMBR, 1823
Familiars, All in Good Time
Forlesen, Hierophant Violent
Galactic Cross, Galactic Cross
The Heavy Eyes, Love Like Machines
Hum, Inlet
Human Impact, Human Impact
Humulus, The Deep
Jupiterian, Protosapien
Kariti, Covered Mirrors
Khan, Monsoons
Kingnomad, Sagan Om Ryden
King Witch, Body of Light
Kryptograf, Kryptograf
Light Pillars, Light Pillars
Lord Buffalo, Tohu Wa Bohu
Lord Loud, Timid Beast
Lotus Thief, Oresteia
Malsten, The Haunting of Silvåkra Mill
Mindcrawler, Lost Orbiter
Motorpsycho, The All is One
Mountain Tamer, Psychosis Ritual
Mr. Bison, Seaward
Mrs. Piss, Self-Surgery
Mugstar, GRAFT
Murcielago, Casualties
Oranssi Pazuzu, Mestarin Kynsi
Paradise Lost, Obsidian
Parahelio, Surge Evelia Surge
The Pilgrim, …From the Earth to the Sky and Back
Pretty Lightning, Jangle Bowls
Psychlona, Venus Skytrip
Puta Volcano, AMMA
Ritual King, Ritual King
River Cult, Chilling Effect
Rrrags, High Protein
Shores of Null, Beyond the Shores (On Death and Dying)
Sigiriya, Maiden – Mother – Crone
Six Organs of Admittance, Companion Rises
16, Dream Squasher
Slomosa, Slomosa
Somnus Throne, Somnus Throne
Steve Von Till, No Wilderness Deep Enough
Stone Machine Electric, The Inexplicable Vibrations of Frequencies Within the Cosmic Netherworld
Sumac, May You Be Held
Temple of the Fuzz Witch, Red Tide
Temple of Void, The World That Was
The Kings of Frog Island, VI
Tia Carrera, Tried and True
Turtle Skull, Monoliths
Uffe Lorenzen, Magisk Realisme
Ulcerate, Stare Into Death and Be Still
Vessel of Light, Last Ride
Vestal Claret, Vestal Claret
Vinnum Sabbathi, Of Dimensions and Theories
Wight, Spank the World
Wino, Forever Gone
Yatra, All is Lost
Yuri Gagarin, The Outskirts of Reality
By no means is that list exhaustive. And to look at stuff like Psychlona, Oranssi Pazuzu, Wight, Wino, Puta Volcano, Kingnomad, Ellis Munk Ensemble, Paradise Lost, Alain Johannes, Arbouretum, Uffe Lorenzen, Tia Carrera — on and on and on — I can definitely see where arguments are to be made for records that should’ve been in the list proper. I can only go with what feels right to me at the time.
Together with the top 50, this makes over 110 albums in the best of 2020. If you find yourself needing something to hang your hat on, be glad you’re alive to witness this much excellent music coming out.
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Debut Album of the Year
Molassess, Through the Hollow
Other notable debuts (alphabetically):
Atramentus, Stygian
Bethmoora, Thresholds
BleakHeart, Dream Griever
Crystal Spiders, Molt
Dirt Woman, The Glass Cliff
Dwaal, Gospel of theVile
Electric Feat, Electric Feat
Familiars, All in Good Time
Galactic Cross, Galactic Cross
Human Impact, Human Impact
Jointhugger, I Am No One
Light Pillars, Light Pillars
Love Gang, Dead Man’s Game
Malsten, The Haunting of Silvåkra Mill
Might, Might
Mindcrawler, Lost Orbiter
Mrs. Piss, Self-Surgery
Parahelio, Surge Evelia Surge
Polymoon, Caterpillars of Creation
Ritual King, Ritual King
SEA, Impermanence
Slomosa, Slomosa
Soldati, Doom Nacional
Somnus Throne, Somnus Throne
SpellBook, Magick & Mischief
Spirit Mother, Cadets
Temple of the Fuzz Witch, Red Tide
The Crooked Whispers, Satanic Melodies
White Dog, White Dog
Notes: I sparred with myself every step of the way here. The last couple years I’ve tried to give the top-debut spot to not just a new band, but a new presence. Green Lung, King Buffalo, etc. Molassess, with members from The Devil’s Blood, Death Alley and Astrosoniq, isn’t exactly that. So what do I do? Do I go with something newer like Polymoon, Dirt Woman, BleakHeart, SEA, White Dog or The Crooked Whispers, or something with more established players like Molassess, Soldati, or even Light Pillars?
In the end, what made the difference was not just how brilliant the songs on Molassess’ Through the Hollow, but how honestly the band confronted the legacy they were up against. The songs had a familiar haunting presence, but they were also moving ahead to somewhere new. It was that blend of old and new ideas, and the resonant feeling of emotional catharsis — as well as the sheer immersion that took place while listening — that ultimately made the decision. Turns out I just couldn’t escape it.
And why not a list? Because this feels woefully inadequate as it is. I reviewed over 250 records this year one way or another — and that’s a conservative estimate — but a lot gets lost in the shuffle and somehow it just seemed wrong this time around to call something the 13th best first record of the year. I wanted to highlight the special achievement that was the Molassess album, but really, all of these records kicked my ass one way or the other.
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Short Release of the Year 2020
King Buffalo, Dead Star
Other notable EPs, Splits, Demos, etc.:
Big Scenic Nowhere, Lavender Blues
Coma Wall, Ursa Minor
Conan/Deadsmoke, Doom Sessions Vol. 1
Fu Manchu, Fu30 Pt. 1
Grandpa Jack, Trash Can Boogie
Howling Giant/Sergeant Thunderhoof, Masamune/Muramasa (split)
Oginalii, Pendulum
Kings Destroy, Floods
Lament Cityscape, The Old Wet
Limousine Beach, Stealin’ Wine +2
Merlock, That Which Speaks
Monte Luna, Mind Control Broadcast
Mos Generator/Di’Aul, Split
Pimmit Hills, Heathens & Prophets
Rito Verdugo, Post-Primatus
Rocky Mtn Roller, Rocky Mtn Roller
Spaceslug, Leftovers
10,000 Years, 10,000 Years
The White Swan, Nocturnal Transmission
Thunderbird Divine, The Hand of Man
Witchcraft, Black Metal
Notes: If you were wondering why King Buffalo’s Dead Star (review here) wasn’t on the big list, this is why. It was pitched to me as an EP and that’s how I’m classifying it. I’m taking the out. Is it an EP? Not really, but neither is it a full-length album, given its experimental nature and focus around its extended two-part title-track. Whatever it was, it was the best that-thing, and this is the category where such things go.
Again, tough choices after King Buffalo. Thunderbird Divine’s EP was wonderfully funk-blasted and woefully short (new album, please). The newly-issued Spaceslug EP branches out their sound in fascinating ways as a result of the lockdown. Witchcraft’s acoustic EP, Coma Wall’s EP and Big Scenic Nowhere’s EP all signaled good things to come, and Howling Giant’s split with Sergeant Thunderhoof was a highlight of the most recent Quarterly Review. There really isn’t a bummer on the list there, from the bitter psych of Oginalii to the industrial metal of Lament Cityscape, the unadulterated riffery of Merlock to the live-captured rawness of Monte Luna.
So again, why no list? Same answer. I want to highlight the progression King Buffalo made in their sound and leave room open elsewhere for things I missed. Please let me know what in the comments. Cordially.
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Live Album of the Year 2020
Yawning Man, Live at Giant Rock
Other notable live releases:
Ahab, Live Prey
Amenra, Mass VI Live
Arcadian Child, From Far, for the Wild (Live in Linz)
Author and Punisher, Live 2020 B.C.
Cherry Choke, Raising Salzburg Rockhouse
Dead Meadow, Live at Roadburn 2011
Dirty Streets, Rough and Tumble
Electric Moon, Live at Freak Valley Festival 2019
Kadavar, Studio Live Session Vol. 1
King Buffalo, Live at Freak Valley
Monte Luna, Mind Control Broadcast
Orange Goblin, Rough & Ready: Live and Loud
Øresund Space Collective, Sonic Rock Solstice 2019
Pelican, Live at the Grog Shop
SEA, Live at ONCE
Sumac, St Vitus 09/07/2018
Sun Blood Stories, (a)Live and Alone at Visual Arts Collective
Temple Fang, Live at Merleyn
YOB, Pickathon 2019 – Live From the Galaxy Barn
Notes: In this wretched year (mostly) void of live music, marked by canceled tours and festivals, the live album arguably played a more central role than it ever has, whether it was a band trying to keep momentum up following or leading into a studio release, taking advantage of the emergence of the Bandcamp Friday phenomenon or just trying to maintain some connection to their fans and the process of taking a stage. Or even playing in a room together. Or not a room. Anything. What was once a tossoff, maybe an afterthought companion piece became an essential worker of the listening experience.
You might accuse desert rock progenitors Yawning Man of playing to their base with Live at Giant Rock (featured here), and if so, fine. At no point in the last 50 years has that base more needed playing-to. And in the absence of shows, being able to hear (and watch, in the case of the accompanying video) Yawning Man go out to the landscape that spawned them and engage with their music was a beautiful moment of reconciliation. An exhale for the converted that didn’t fill one with empty promises of better tomorrows or tours to come, but served to remind what’s so worth preserving about the spirit of live music in the first place. The fact that anything can happen. A replaced note here, a tuning change there — these things can make not just an evening, but memories that go beyond shows, tours, to touch our lives.
There were a ton of live records this year. Some were benefits for worthy causes between saving venues, Black Lives Matter, voting rights organizations, and so on. And whether these were new performances from captured livestreams (Monte Luna, Kadavar) or older gigs that had been sitting around waiting for release at some point (Sumac, Dead Meadow), this, very much, was that point, and these live offerings kept burning a fire that felt at times very much in danger of being extinguished.
Looking Ahead to 2021
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A list of bands. Some confirmed releases, some not. Here goes:
Dread Sovereign, Sasquatch, Year of Taurus, Apostle of Solitude, Weedpecker, Borracho, Love Gang, Jointhugger, Demon Head, Iron Man, Greenleaf, Samsara Blues Experiment, The Mammathus, Evert Snyman, Wo Fat, Conclave, Here Lies Man, Kabbalah, Komatsu, Hour of 13, Wedge, Amenra, La Chinga, Spidergawd, Wolves in the Throne Room, Vokonis, Freedom Hawk, Masters of Reality, ZOM, Eyehategod, Sanhedrin, Green Lung, The Mountain King, Albatross Overdrive, Elder, King Buffalo, Sunnata, Howling Giant, SAVER, Conan, Slomatics, Ruff Majik, Kind, Mos Generator, Yawning Sons, Lantlôs, Brant Bjork, Spiral Grave, Crystal Spiders, Lightning Born, Samavayo, Wovenhand, Merlock, Comet Control, The Age of Truth, Eight Bells, BlackWater Holylight, DVNE, Monte Luna.
Thank You
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You’ve read enough, so I will do my best to keep this mercifully short. Thank you so much for reading — whether you still are or not — and thank you for being a part of the ongoing project that is The Obelisk. I cannot tell you how much it means to me to have such incredible support throughout not just this year, but all the years of the site’s existence. Thank you. Thank you. Thank you.
Thank you most of all to The Patient Mrs. for her indulgence in letting me get this done. I’m am amazed forever.
Posted in Reviews on December 25th, 2020 by JJ Koczan
The end of the week for the Quarterly Review is a special time, even if this particular QR will continue into next Monday and Tuesday. Also apparently today is Xmas? Okay. Whatever, I’ve got writing to do. I hope you’re safe and not, say, traveling out of state to see family against the urging of the CDC. That would be incredibly irresponsible, etc. etc. that’s what I’m doing. Don’t get me started.
However you celebrate or don’t, be safe. Music will help.
Quarterly Review #41-50:
Celestial Season, The Secret Teachings
Like many of the original death-doom set, Dutch masters Celestial Season gave up the style during their original run, departing toward heavy rock after 1995’s Solar Lovers. At an hour’s run spread across 13 tracks including ambient guitar and violin/cello interludes, The Secret Teachings has no time for such flighty fare. Reunited with original vocalist Stefan Ruiters and bassist Lucas van Slegtenhorst, the band return in grand fashion for their first full-length in 20 years, and songs like “Long Forlorn Tears” and “Salt of the Earth” conjure all the expert-grade morose plod one could possibly ask, as each side of the 2LP begins with its own intro and sets its own mood, from the almost-hopeful wistfulness of opener/longest track (immediate points) “The Secret Teachings of All Ages” at the start to the birdsong-laced “Beneath the Temple Mount” that leads the way into “A Veil of Silence” and “Red Water” at the finish, the latter a Type O Negative cover that fits well after the crescendo of the song before it.
The gift Wren make to post-metal is that even in their quietest stretches, they maintain tension. And sure, the Londoners’ second LP, Groundswells — also stylized all-caps: GROUNDSWELLS — has in “Murmur” its “Stones From the Sky” moment as all works of the genre seemingly must, but the six-cut/44-minute follow-up to 2017’s Auburn Rule (discussed here) casts a scope less about pretense or ambition than largesse and heft, and that serves it well, be it in the shorter “Crossed Out Species” or longer pieces like the opener “Chrome” and the penultimate “Subterranean Messiah,” which injects some melodic vocals into the proceedings and airy string-inclusive prog amid all the surrounding crush. All well and good, but it’s hard to deny the sheer assault of the doomed apex in closer “The Throes,” and you’ll pardon me if I don’t try. Ambience through volume, catharsis through volume, volume all things.
With strength of performance to fall back on and progressive realization in their songwriting, Little Rock, Arkansas’ Sumokem would seem to come of age on their third long-player, Prajnaparadha, answering the flourish of 2017’s The Guardian of Yosemite (discussed here) with an even more confident stylistic sprawl and an abiding patience that extends even to the album’s most intense moments. Not at all a minor undertaking in dynamic or its run of five long songs following the intro “Prologue,” Prajnaparadha manages not to be dizzying mostly because of the grace with which it’s crafted, tied together by ace guitar work and a propensity for soaring in order to complement and sometimes willfully contrast the tonal weight. When the growls show up in “Fakir” and carry into “Khizer,” Sumokem seem to push the record to its final level, and making that journey with them is richly satisfying.
Psychedelia comes poison-tipped with brooding post-grunge atmospheres as Oginalii‘s Pendulum swings this way and that between “Scapegoat” and “Black Hole” and “Pillars” and “Veils” across its too short 24 minutes. The Nashvillainous four-piece explore an inner darkness perfect for these long months of forced-introspection, and though calling something pandemic-appropriate has become a tired compliment to give, the underlying rhythmic restlessness of “Scapegoat” and the crying out overtop, the fuzzy burst of “Veils” and the interweaving drums and guitar noise behind the recited semi-sung poetry of “Pillars” serve the soundtrack cause nonetheless, to say nothing of the two-minute minimalist echoing stretch of “Black Hole” or the oh-okay-it’s-indie-post-rock-but-oh-wait-what-the-hell-now-it’s-furious closer “Stripped the Screw.” Anger suits Oginalii as it comes through here, not in tired chestbeating but in spacious craft that manages to sound intense even in its languid reach. Pretty fucking cool, if you ask me.
Toronto’s Völur offer their third album, Death Cult, in cooperation with Prophecy Productions, and it comes in four string-laced tracks that waste little time in pushing genre limits, bringing folk influences in among doom, blackened metallurgy and more ethereal touches. Arrangements of violin, viola, cello, double-bass, keys, and the shared vocals of Laura Bates and Lucas Gadke (the latter also of Blood Ceremony) give a suitably arthouse feel to the proceedings rounded out by the drums and percussion of Justin Ruppel, and it’s far from unearned as the four songs play out across 37 minutes, “Dead Moon” veering into lumbering death-doom in its apex ahead of the jazz-into-choral-into-drone-into-freer-jazz-into-progressive-black-metal of the 11-minute “Freyjan Death Cult,” subsequent closer “Reverend Queen” leaving behind the chaos in its last few minutes for an epilogue of mournful strings and drums; a dirge both unrepentantly beautiful and still in keeping with the atmospheric weight throughout. Bands like this — rare — make other bands better.
Bursting with enough energy to make one miss live music, Wedge‘s third album, Like No Tomorrow, transcends vintage-ism in its production if not its overall mindset, bringing clarity to Deep Purple organ-tics on opener “Computer” while keeping the lyrics purposefully modern. Bass leads the way in “Playing a Role” and the spirit is boogie fuzz until the jam hits and, yeah, they make it easy to go along for the ride. “Blood Red Wine” has arena-rock melody down pat while centerpiece and likely side A closer “Across the Water” at last lets itself go to that place, following the guitar until the surge that brings in “Queen of the Night” indulges purer proto-metal impulses, still accomplished in its harmonized chorus amid the charge. Is that the guitar solo in “U’n’I” panning left to right I hear? I certainly hope so. The shortest cut on Like No Tomorrow feels like it’s in a hurry to leave behind a verse, and sets up the surprisingly modestly paced “At the Speed of Life,” which is lent a cinematic feel by the organ and layered choral vocals that bolsters yet another strong hook, while the nine-minute “Soldier” is bluesier but still sounds like it could be the live incarnation of any of these tracks depending on where a given jam takes Wedge on any given night. Here’s hoping, anyhow.
About a year and a half after issuing Otherworldly (review here), their third album under the moniker Witch Hazel, the dukes of York, PA, are back with a new name and a refreshed sound. As SpellBook, vocalist Nate Tyson, guitarist Andy Craven, bassist Seibert Lowe and drummer Nicholas Zinn push through two vinyl sides of classic heavy f’n metal, less concerned with doom than they were but still saving a bit of roll for the longer centerpiece “Not Long for This World” and the airy, dramatic closer “Dead Detectives.” Elsewhere, “Black Shadow” brings a horns-at-the-ready chorus, “Motorcade” reminds that the power of Judas Priest was always in the basslines (that’s right, I said it), and “Ominous Skies” brims with the vitality of the new band that SpellBook are, even as it benefits from the confidence born of these players’ prior experience together.
Kudos to L.A.’s Old Blood for at least making the classification part easy when it comes to their debut album, conveniently titled Acid Doom, though that category hardly accounts for, say, the piano stretch of second cut “Bridge to Nowhere,” or the heavy rock theatricality in “Heavy Water” or the horn sounds of “Slothgod” a few songs later, but I suppose one has to start somewhere, and ‘acid doom’ is fair enough when it comes to accounting for the sleekery in the vocals of Lynx, the weight of the riffs of C. Gunner, the roll of bassist Octopus and drummer Diesel and the classic-style organ work of J.F. Stone. But if Old Blood want to unfurl something deceptively complex and stylistically intricate on their debut, that’s certainly cool as far as I’m concerned. Production is a strong presence throughout in a way that pulls a bit from what the impact of the songs might be on stage (remember stages?), but the songwriting is there, and Lynx‘s voice is a noteworthy presence of its own. I’m not sure where they’ll end up sound-wise, but at the same time, Acid Doom comes across like nothing else in the batch of 70 records I’m doing for this Quarterly Review, and that in itself I find admirable.
Just because you know the big riff is going to kick in about a minute into opening track “Under the Influence of the Fool” on Jahbulong‘s tarot-inflected stoner doom four-songer Eclectic Poison Tones doesn’t make it any less satisfying when it happens. The deep-rolling three-piece from Verona make their full-length debut with the 45-minute offering through Go Down Records, and the lurching continues in “The Tower of the Broken Bones” and “The Eclipse of the Empress,” which is the only cut under 10 minutes long but still keeps the slow-motion Sabbath rolling into the 15-minute closer “The Eremite Tired Out (Sweed Dreams)” (sic), which plays off some loud/quiet changes fluidly without interrupting the nod that’s so central to the entirety of the album. Look. These guys know the gods they’re worshiping — Sleep, Black Sabbath, Electric Wizard maybe, etc. — and they’re not trying to get away with saying they invented any of this. If you can’t get down with 45 minutes of slower-than-slow grooves, maybe you’re in the wrong microgenre. For me, it’s the lack of pretense that makes it.
Heavy Trip. Four songs. Two sides. Three dudes. Instrumental. Accurately named. Yeah, you’ve heard this story before, but screw it. They start out nice and spacious on “Hand of Shroom” and they finish with high-speed boogie in the 13-minute “Treespinner,” and all in between Heavy Trip make it nothing less than a joy to go along wherever it is they’re headed. The Vancouver three-piece make earlier Earthless something of an elephant in the room as regards influences, but the unhurried groove in second cut “Lunar Throne” is a distinguishing factor, and even as “Mind Leaf” incorporates a bit more shove, it does so with enough righteousness to carry through. As a debut, Heavy Trip‘s Heavy Trip might come across more San Diego than Vancouver, but screw it. Dudes got jams like Xmas hams, and the chemistry they bring in holding listener attention with tempo changes throughout here speaks to a progressive edge burgeoning in their sound.
Posted in Whathaveyou on November 30th, 2020 by JJ Koczan
Hey, I’d watch two All Them Witches sets in a day. Different setlists? Yeah, that’s cool too, but honestly even if it was the same songs it wouldn’t be the same set, so I’ll take it as it comes. The clever name the Nashville three-piece have given the performances, ‘Live on the Internet,’ is of course a play on “Guess I’ll Go Live on the Internet” from 2017’s Sleeping Through the War (review here). The band also recently posted a video for “Rats in Ruin,” the consuming, subdued-until-it-isn’t closer of their latest LP, Nothing as the Ideal (review here) — which, judging by the results I’m seeing thus far from the year-end poll, you’ve already heard but is streaming at the bottom of this post anyway, along with said video.
The band previously announced a slew of Fall 2021 European tour dates as well, and they were just confirmed as part of the first batch of adds to SonicBlast Fest in Portugal in mid-August. Whether that means more dates are to be added, I don’t know, but if their tack is to sign on to as much as humanly possible now and see how it shakes out next year, one could hardly blame them. These live streams will be, as they note, their only shows of 2020. Among other things this wretched fucking year has stolen from humanity, it stole my chance to see them together with BlackWater HolyLight this past Spring, and for that, I will never forgive it.
Stream info from the PR wire:
ALL THEM WITCHES – ONLY SHOWS OF 2020!
Catch All Them Witches LIVE ON THE INTERNET Dec 19 TWO SETS: 2PM EST and 9PM EST
Join us on Dec 19 at 2PM EST and/or 9PM EST for our only shows of 2020! We will be LIVE ON THE INTERNET performing 2 shows with 2 different set lists at Veeps.
The performance will remain available to view for 3 days following the livestream.
ALL THEM WITCHES 2021 EUROPEAN TOUR SEPTEMBER 27th UK – BRIGHTON, Chalk Venue Brighton 28th UK – NOTTINGHAM, The Bodega 29th UK – GLASGOW, Saint Luke’s & The Winged Ox 30th UK – LEEDS, Brudenell Social Club OCTOBER 1st UK – LONDON, Electric Ballroom 2nd Netherlands – AMSTERDAM, Paradiso Amsterdam 3rd Belgium – ANTWERP, Trix 6th Spain – MADRID, COOL Conciertos 7th Spain – BARCELONA, Sala Razzmatazz 2 9th Switzerland – LANGENTHAL, OldCapitol 10th Italy – MILAN, Santeria Toscana 31 11th Switzerland – ZURICH, Mascotte Club Zürich 12th Germany – MUNICH, Backstage Werk 13th Czech – PRAGUE, MeetFactory 14th Poland – WARSAW, Progresja 15th Germany – BERLIN, Huxleys Neue Welt 17th Germany, COLOGNE, Die Kantine 19th Germany, HAMBURG, Uebel und Gefährlich 20th Denmark, COPENHAGEN, Pumpehuset 22nd Norway, OSLO, Vulkan Arena 24th Finland, HELSINKI, TAVASTIA-klubi
All Them Witches is: Charles Michael Parks, Jr – bass, vocals Ben McLeod – guitar, vocals Robby Staebler – drums, vocals
Posted in Bootleg Theater on October 19th, 2020 by JJ Koczan
If you’re the type who likes to chase down visual metaphor, you’re going to need more than the nine minutes of the song itself to wade through all the images present in the new video from Nashville trio All Them Witches. Directed by Drea de Matteo and the band’s own Robby Staebler — who in addition to drumming also handles the vast majority of their graphic art and visual presence; you’ll note his editing and color work here are on-theme for his/the band’s style — the clip is layered in narrative and duly emotional dystopianism. “Rats in Ruin,” and yes, there are rats, and plenty, plenty of ruin as well, on just about any level one might look for it; personal, global, environmental, etc.
The song, as it would, comes from their new album, Nothing as the Ideal (review here), which like every good record released in 2020 is a victim of circumstance in that the band who would otherwise I think be in Europe right now or just finished a tour there, can’t be on the road to support it. If “Rats in Ruin” is serving double-duty in promoting Nothing as the Ideal and giving the three-piece an outlet for the sit-on-your-hands restlessness they and so many others are experiencing over these last eight months, then it’s slow-motion freneticism only makes more sense. Coupled with the initially minimalist song itself — I keep relating it in my head to Nirvana‘s “Something in the Way” in how it channels a quiet sense of space — and its later melodic push, the video is a particularly immersive undertaking. It’ll make sense when you watch.
All Them Witches have some US dates booked for March — Columbus, Baltimore, Pittsburgh area, and so on — one assumes because optimism. I think those are rescheduled from this past summer. It’s kind of hard to keep track by now what’s happening that’s supposed to have already happened or whatever. If those happen, shit, I’ll drive to Baltimore at that point to see these guys. Or if they want to come do a socially distant outdoor gig in the parking lot across from my house, that’s cool too. I’ll get permits and everything. I wonder what their guarantee is at this point.
Anyhoozle, there are Euro dates next Fall that seem more likely, but only because it’s farther away. Who the hell knows anything about anything about what the world will be like by Fall 2021?
Written/Directed by Robby Staebler and Drea de Matteo Filmed by Robby Staebler, Ginger Gonzales, Alabama Jennings Edited and Colored by Robby Staebler Film Processing/ scanning by Spectra Film Lab
Posted in Whathaveyou on September 17th, 2020 by JJ Koczan
So that’s where we’re at. Tours announced more than a year in advance. Okay. I mean, you can’t hold that against All Them Witches, right? They just put out a record and they’re (normally) a pretty hard-touring band. They gotta announce something. And the early part of 2021 seems to be jam-packed with stuff that got canceled this year, so next Fall would seem to be a less crowded time. But seriously, fuck.
You know what the worst part of it is? Of course you do. It’s “Who the hell knows what things will look like in a year?” Will Americans be allowed in other countries? Will they be allowed to leave their own? Will tours even be happening in a way that’s fiscally sustainable? Can they? It’s so hard to guess at any of it at this point all you can really do is look at a list of tour dates, shrug, and say, “Gosh I hope so.” So yeah. Gosh, I hope so.
All Them Witches‘ new record, Nothing as the Ideal (review here), is out now on New West. Stream it at the bottom of this post.
Here are the dates as put up by the band. One imagines some of the days between will be filled by fests yet TBA:
JUST ANNOUNCED: 2021 EUROPEAN TOUR tickets on sale Friday at 10AM CET
SEPTEMBER 27th UK – BRIGHTON, Chalk Venue Brighton 28th UK – NOTTINGHAM, The Bodega 29th UK – GLASGOW, Saint Luke’s & The Winged Ox 30th UK – LEEDS, Brudenell Social Club
OCTOBER 1st UK – LONDON, Electric Ballroom 2nd Netherlands – AMSTERDAM, Paradiso Amsterdam 3rd Belgium – ANTWERP, Trix 6th Spain – MADRID, COOL Conciertos 7th Spain – BARCELONA, Sala Razzmatazz 2 9th Switzerland – LANGENTHAL, OldCapitol 10th Italy – MILAN, Santeria Toscana 31 11th Switzerland – ZURICH, Mascotte Club Zürich 12th Germany – MUNICH, Backstage Werk 13th Czech – PRAGUE, MeetFactory 14th Poland – WARSAW, Progresja 15th Germany – BERLIN, Huxleys Neue Welt 17th Germany, COLOGNE, Die Kantine 19th Germany, HAMBURG, Uebel und Gefährlich 20th Denmark, COPENHAGEN, Pumpehuset 22nd Norway, OSLO, Vulkan Arena 24th Finland, HELSINKI, TAVASTIA-klubi
All Them Witches is: Charles Michael Parks, Jr – bass, vocals Ben McLeod – guitar, vocals Robby Staebler – drums, vocals
Posted in Bootleg Theater on September 10th, 2020 by JJ Koczan
Alright. I’m not trying to tell you your business or anything, but yes I absolutely am and I think you should take a few minutes out of your busy day to check out Oginalii if you haven’t yet. From the opening cut “Veils” through the finishing moves in “Stripped the Screw,” the Nashville four-piece’s new EP, Pendulum — due Oct. 23 — brings atmospheric heavy psychedelia that’s moody without losing its sense of force. The whole release runs six songs and 24 minutes — very much an EP — but in that time the band unfurls material dug-in enough to build on their 2019 debut, Cause & Affection, with a burgeoning sense of controlled chaos.
Taking cues from post-rock and heavy jams in kind, it finds a sonic space for itself that’s broad in scope but rhythmically tight as well, as Simon Knudtson‘s tense drums behind Emma Hoeflinger‘s vocals on the previously-unveiled “Scapegoat” demonstrate, the fuzz guitar of Ryan Quarles and depth of bass from Emma Lambiase bringing further weight to the impact. Maybe unsurprisingly, the EP finds its greatest meld between ambience and intensity on its six-minute title-track, starting off at a meander and ending up in a riff dizzying enough that the follow it with the two-minute melodic comedown “Black Hole,” but the whole thing works with a similar dynamic.
I can’t help but hear a little Carla Kihlstedt in the Hoeflinger‘s breathy delivery in the verses of the newly-unveiled “Pillars,” a second single from Pendulum to be issued, but a more intense chorus is met by intertwining jabs of fuzzed tonality, an intricate bounce happening that solidifies the airier surroundings but still stays purposefully elusive in contrast to the melody. Have I mentioned the word “dynamic” yet? Okay good. Just wanted to be sure. “Pillars,” for all that, is still catchy around the standout line “Great expectations were wrong,” which feels like a line that could be loaded with any number of contexts, and after the song culminates, “Stripped the Screw” takes a more avant approach, building and deconstructing as it moves through a runtime that’s still just four and a half minutes long but shifts between soft guitar at the outset to blown-out industrial-style beats at the end, the band setting, and breaking, their own rules.
“Stripped the Screw” isn’t public yet, but you can see the video for “Pillars” below, accompanied by more info from the PR wire — and I threw in the “Scapegoat” video too, just in case you missed it when it was . Bottom line here is I dig this EP and the direction in which Oginalii seem headed, and I think you might too.
Again, it’s out Oct. 23.
Enjoy:
Oginalii, “Pillars” official video
‘Pillars’ official music video from the upcoming EP ‘Pendulum’ – out OCTOBER 23 2020.
Nashville’s Oginalii recently announced the Oct 23 release of Pendulum via Devil In The Woods.
The band recently released second single “Pillars,” with fuzzed-out riffs that immediately change gear to an exploration of space reminiscent of the sonic landscapes of Portishead.
“The song explores a moment I feel we all come to realize at some point in our lives,” says frontwoman and songwriter Emma Hoeflinger. “The moment you realize a hero figure, a parent, an idol, or anyone that is a symbol of wisdom becomes human in your eyes for the first time. That person has faults, messes up, and isn’t on that pedestal or “pillar” you’ve always placed them on. What do we do with this new information? Do we let it ruin the love and respect we have created for them?”
Oginalii is: Emma Hoeflinger (vocals/guitar) Ryan Quarles (guitar) Simon Knudtson (drums) Emma Lambiase (bass)
Posted in Reviews on September 3rd, 2020 by JJ Koczan
A band in a place. When the news came through in early March that Nashville’s All Them Witches — the three-piece of bassist/vocalist Charles Michael Parks, Jr., guitarist Ben McLeod and drummer/tape-looper/graphic-artist Robby Staebler — were recording their sixth full-length at Abbey Road Studios in London, and further, that they were bringing producer Mikey Allred along to helm the recording, it was enough to ignite the imagination as to what ghosts they might be able to conjure in that space. Without a doubt, Nothing as the Ideal — the title-line appearing amid the chugging tension and restless-foot kickdrum of opener “Saturnine & Iron Jaw” — is the most nuanced recording All Them Witches have ever done.
In the intentionally-left-there slight crack of Parks‘ voice past the midpoint of “The Children of Coyote Woman,” in the balance between torrential rhythmic intensity and ranging guitar on “Lights Out,” and in the quiet, subtle crackle of McLeod‘s standalone guitar in the two-minute instrumental “Everest,” which might in another context have been an interlude, but through whatever probably-legendary amplifier he’s playing through offers one of Nothing as the Ideal‘s most gorgeous moments of tonality. Perhaps a curious highlight, but it tells a lot of the story of the band’s fourth LP under the banner of New West Records in that it captures a stirring performance in likewise stirring detail. It is high-fidelity, not in the same way as the lush-sounding Sleeping Through the War (review here) from 2017 that their fifth album, 2018’s ATW (review here), seemed to be reacting against, but in a way that is more about the band reaching into themselves as artists.
Staebler‘s experimental bent that’s now manifest as well in the side-project Uvways shows up in cuts like “41,” “Rats in Ruin” and in transitions between songs, taking the place that up to this point was filled by keys or other arrangement elements from a fourth member of the band, be it Allan Van Cleave or the shorter-tenured Jonathan Draper, who appeared on ATW only. McLeod‘s progressive, sometimes aggressive turns of guitar are writ large throughout in the full dynamic breadth of his work, from “Everest” to the lead wash and coming-apart-at-the-seams jam at the end of 9:50 side A closer “See You Next Fall” and the crunching fuzz reminiscent of 2013’s Lightning at the Door (review here) that shows up on second track “Enemy of My Enemy” and the later “41.”
He too has a side-project in the instrumental and more metal-leaning Woodsplitter. And Parks, who turns verses into poetry readings here more than ever, obscure in his images painting Romulus and Remus as good ol’ boys on “The Children of Coyote Woman,” seeming to critique touring life in “See You Next Fall,” leading an invocation of unplugged Nirvana in the early going of nine-minute finale “Rats in Ruin,” and layering his voice to make a single out of “Enemy of My Enemy” even as later he seems to refuse to be wholly caught int the shove of “Lights Out.” Anytime he wants to spend a year or two wandering in the woods and put out an experimentalist Americana/neo-folk record, one doubts he’d meet with argument.
Nothing as the Ideal draws together these different sides of these three players and builds itself as one entirely using elements of each persona. Allred has been a friend of the band of long-standing. He produced their 2015 New West label debut, Dying Surfer Meets His Maker (review here), mastered the 2019 single “1 x 1” (discussed here) — among other works — and his knowledge of the band’s workings is all the more essential throughout these tracks as they recorded as a three-piece for the first time. It is no shock that the latest All Them Witches album sounds different from the one before it. They all do. But while they approach it with characteristic swagger and have perhaps inadvertently deflected the narrative via their choice of locale in Abbey Road, there’s no question that the former foursome taking on the task of presenting themselves as a trio is a big change.
They’re helped throughout by time they put in touring in such a configuration, as well as by Allred‘s work at the helm, and while Nothing as the Ideal takes the band to places they’ve never been in terms of aesthetic, it’s also more their own than they’ve ever been, transcending the heavy blues genre-forging of their earlier work while seeming still to draw from the abiding melancholy of Dying Surfer Meets His Maker and the organic weight of Lightning at the Door. This is coupled with the unmitigated, seemingly unceasing growth of Parks, McLeod and Staebler as creative individuals, and the coming together of the familiar with the new is perhaps as much a sonic signature as All Them Witches have, regardless of the lineup. From the ambient unfolding of “Saturnine & Iron Jaw” through the push and pull of “Enemy of My Enemy,” the resonance of “Everest,” the twists of “41” and the build of energy that seems to happen across that song and “Lights Out” leading to the quiet initial stretch of “Rats in Ruin” — which itself ends with a brief jam from the trio together that sounds like a coda for career to this point — Nothing as the Ideal wholly lives up to the standard its title sets.
It finds All Them Witches chasing not a preestablished idea of who they are or what their songwriting process is or should be, but their own creative impulses at the moment. They have excelled at this since 2012’s Our Mother Electricity (review here) served as their debut LP, and while their productivity in the years since is something in itself to be admired — six albums in eight years, along with EPs, live releases and countless digital one-offs, etc. — the expressionist aspects of their work, the continuing progression of their craft and the memorable impression their songs make all comes together on Nothing as the Ideal in what feels like an act of self-defiance as much as one of self-definition. As recognizable a band as they’ve become, one never knows what shape All Them Witches might take as they move forward. The fact that they’re still so rife with potential six albums into their career can only emphasize how special a band they truly are.
