[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 of Light
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.

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30. Sun Blood Stories, Haunt Yourself

Self-released. Reviewed Sept. 6.

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

Released by Septaphonic Records. Reviewed Dec. 10.

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.

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28. Devil to Pay, Forever, Never or Whenever

Released by Ripple Music. Reviewed Nov. 4.

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.

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27. Howling Giant, The Space Between Worlds

Released by Blues Funeral Recordings. Reviewed Oct. 11.

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.

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26. Saint Vitus, Saint Vitus

Released by Season of Mist. Reviewed March 19.

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?

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25. Ealdor Bealu, Spirit of the Lonely Places

Self-released. Reviewed July 10.

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.

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24. Yatra, Death Ritual

Released through Grimoire Records. Discussed Nov. 13, 2018..

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.

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23. Ecstatic Vision, For the Masses

Released by Heavy Psych Sounds. Reviewed Sept. 17.

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.

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21. Eternal Black, Slow Burn Suicide

Self-released. Reviewed June 7.

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.

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20. Candlemass, The Door to Doom

Released by Napalm Records. Reviewed Feb. 22.

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.

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19. Nebula, Holy Shit

Released by Heavy Psych Sounds. Reviewed June 13.

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.

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18. Valley of the Sun, Old Gods

Released by Fuzzorama Records. Reviewed May 21.

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.

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16. Mammoth Weed Wizard Bastard, Yn Ol I Annwn

Released by New Heavy Sounds. Reviewed Feb. 7.

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.

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15. Magic Circle, Departed Souls

Released by 20 Buck Spin. Reviewed April 3.

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.

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14. Spaceslug, Reign of the Orion

Released by BSFD Records. Reviewed Nov. 22.

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.

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13. Green Lung, Woodland Rites

Released by Kozmik Artifactz. Reviewed Jan. 28.

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.

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12. Lo-Pan, Subtle

Released by Aqualamb Records. Reviewed May 9.

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.

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11. Roadsaw, Tinnitus the Night

Released by Ripple Music. Reviewed June 12.

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.

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10. Worshipper, Light in the Wire

Released by Tee Pee Records. Reviewed April 24.

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.

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9. Solace, The Brink

Released by Blues Funeral Recordings. Reviewed Nov. 21.

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.

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7. Mars Red Sky, The Task Eternal

Released by Listenable Records. Reviewed Sept. 20.

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.

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6. Kings Destroy, Fantasma Nera

Released by Svart Records. Reviewed March 15.

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.

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5. Colour Haze, We Are

Released by Elektrohasch Schallplatten. Reviewed Dec. 3.

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.

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4. Blackwater Holylight, Veils of Winter

Released by RidingEasy Records. Reviewed Sept. 26.

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.

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3. Slomatics, Canyons

Released by Black Bow Records. Reviewed May 15.

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.

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2. Year of the Cobra, Ash and Dust

Released by Prophecy Productions. Reviewed Oct. 24.

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.

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2019 Album of the Year

1. Monolord, No Comfort

Released by Relapse Records. Reviewed Sept. 12.

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

—

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.

—

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.

—

Thank You

—

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.

More to come.

—

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).

Full list of dates below.

Single available now: https://geni.us/ATW1X1?track=yt

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

All Them Witches on Thee Facebooks

All Them Witches on Bandcamp

All Them Witches on Instagram

New West Records website

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.

PURCHASE/STREAM THE SPACE BETWEEN WORLDS:
https://bluesfuneralrecordings.bandcamp.com/

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)

howlinggiant.bandcamp.com
www.facebook.com/howlinggiant/
https://www.instagram.com/howlinggiant/
https://www.facebook.com/bluesfuneral/
bluesfuneral.com

Howling Giant, “Cybermancer and the Doomsday Express” official video

Howling Giant, The Space Between Worlds (2019)

Well, hello there, new All Them Witches single. Wasn’t really expecting you until I guess two days ago when I stumbled on the social medias notification of your impending arrival. The Nashville three-piece are headed to Europe in a couple weeks to tour alongside Ghost and Tribulation, in what would seem to be a pretty big deal for all involved parties. It’s All Them Witches‘ second Euro run of the year, and unless I’m mistaken they were there for festivals and then some too — yup, they did Hellfest — so it’s not uncovered ground even if these are inevitably bigger venues and different circumstances. People like that Ghost band. They’re, like, a thing that people like.

Fair enough. As it happens, All Them Witches, as a band and in my experience of them as people, are a thing I like, so the new single “1×1” is among the most welcome news I’ve had in a while. The track would seem to take a somewhat grim lyrical view — if one imagines the lyrics to be about the touring experience also covered on their most recent album, 2018’s ATW (review here), it’s something of a surprise they’re hitting the road at all; hopefully that’s not the case — but one way or the other, it’s the heaviest tone I’ve heard from the band in at least the last half-decade, and bassist Charles Michael Parks, Jr. continues to grow ever more commanding as a singer. He shines here in subtle layers of harmonized vocal flourish — note that Parks, guitarist Ben McLeod and drummer/cover artist Robby Staebler are all credited with vocals — that, to All Them Witches fans, should be nothing less than a joy to behold, whatever the lyrical subject matter accompanying. In company with McLeod‘s all-in prog guitar solo, short but effective, and Staebler‘s recognizably fluid roll, they are an ever-changing, ever-growing unit who nonetheless remain uniquely their own.

If you’re still reading this and haven’t torn yourself from the verbiage to click play, hey, thanks. Otherwise, five of the best minutes of your day await you at the bottom of this post, and you might want to grab a download while you can, because All Them Witches have a habit of putting these things out on Bandcamp and then removing them and never talking about them again. Like a secret. Shhh.

Recording info and tour dates and such:

1X1 by All Them Witches

Produced by All Them Witches Koo Koo

Recorded by Ben McLeod at The Church, Woodbury, TN
Assistant Engineering by Elad Shappiro
Mixed by Ben McLeod

Mastered by Mikey Allred at Dark Art Audio in Nashville, TN

All Them Witches w/ Ghost & Tribulation:
Sat 16 November – Nottingham (UK) – Motorpoint Arena
Sun 17 November – Cardiff (UK) – Motorpoint Arena
Mon 18 November – Glasgow (UK) – SSE Hydro
Wed 20 November – Dublin (Ireland) – 3Arena
Fri 22 November – London (UK) – Wembley SSE Arena
Sat 23 November – Leeds (UK) – Arena
Sat 30 November – Katowice (Poland) – Spodek
Sun 01 December – Prague (Czech Republic) – Universum
Tue 03 December – Budapest (Hungary) – BSA
Thu 05 December – Mantova (Italy) – PalaBam
Fri 06 December – Zurich (Switzerland) – Halle 622
Sun 08 December – Barcelona (Spain) – St. Jordi
Tue 10 December – Lisbon (Portugal) – Sala Tejo
Wed 11 December – Madrid (Spain) – Vistalegre
Fri 13 December – Strasbourg (France) – Zenith
Tue 17 December – Luxembourg (Luxembourg) – Rockhal
Wed 18 December – Nantes (France) – Zenith
Thu 19 December – Toulouse (France) – Zenith

Tickets for our 3 NIGHT STAND in Nashville at EXIT/IN are ON SALE NOW!

Dec 27 – https://bit.ly/2To3Qo6
Dec 28 – https://bit.ly/2YSu07z
Dec 29 – https://bit.ly/2YxYjRw

All Them Witches is:
Charles Michael Parks, Jr – bass, vocals
Ben McLeod – guitar, vocals
Robby Staebler – drums, vocals

http://allthemwitches.bandcamp.com/
http://www.facebook.com/allthemwitches
https://www.instagram.com/allthemwitchesband/
http://www.allthemwitches.org/

All Them Witches, “1×1”

The Space Between Worlds, the Blues Funeral Recordings debut full-length from Nashville three-piece Howling Giant, ticks all its boxes. It pays off the potential of their prior short releases. It solidifies their approach to songwriting and helps set their course for their ultimate defining of who they are as a band. It rocks. It showcases an awareness of the whole-album form separate from simply a collected bunch of songs. It is full, clear in its intention, and produced in such a way as to bolster the music without any sense of mismatch between band, song and the recording helmed in continuing collaboration with Kim Wheeler. And yet all of this does little to convey the achievement the Tennessee progressive heavy rockers are making throughout.

As they follow-up their three EPs — 2017’s Black Hole Space Wizard: Part 2 (review here), its 2016 predecessor, Black Hole Space Wizard: Part 1 (review here), and their recently-reissued 2015 self-titled — guitarist/vocalist Tom Polzine and drummer/vocalist Zach Wheeler welcome bassist/vocalist Sebastian Baltes to the lineup (Kevin “Big Business” Dempsey also contributes on bass) and conjure a sound that is an amalgam of modern influences, from the uptempo, Torche-style sludge-pop burst of the opening salvo in “Comet Rider” and “Nomad” as well as the presumed side B opener “Cybermancer and the Doomsday Express,” the Ancestors-style organ-laden heavy prog roll of “The River Guide” and the expansive “Everlight,” the Elephant Tree-esque harmonies in the acoustic/piano turn brought about with third track “Ghosts in the Well,” and the sheer scope of harmonies throughout, from the fuzzy forward sprint of centerpiece “Ice Castle” (which brings in Jason Shi of ASG for a guest vocal spot) to the massive trilogy that closes the record in “Everlight,” “The Orb” and “Stone Giant.” With Drew David Harakal II returning to add keys/synth as on all their past releases, Howling Giant unite their material under a conceptual sci-fi narrative of a multi-dimensional huntress chasing a dream-eating gateway destroyer through various worlds — or something — and thereby add even further willfulness to what they’re doing. Oh, and they also make it fun.

And that last one turns out to be pretty crucial, because Howling Giant sound like they’re absolutely having a blast as they careen through “Comet Rider” at the start and cut the tempo to bring up the hook of “Nomad,” and that positive feeling so much communicated through the melody of the vocals is infectious. With just an undertone of Elder‘s proggy fluidity, “Nomad” and “The River Guide” — with “Ghosts in the Well” between them — are able to still convey a sense of enjoying their creation, and that finds answer later as “The Orb” gleefully chug-gallops its way toward the finale with a mosh part that at the turn of the century one might’ve called a breakdown. It’s shenanigans, either way. Pure and simple. But it still adds depth to the spoken word and piano drift of “The River Guide” and the quiet contemplations of “Ghosts in the Well,” in such a way that it’s not simply about Howling Giant goofing off — though it’s partially about that, to be sure — but also about their being able to turn their passion for playing together into part of The Space Between Worlds‘ essential character. That level of revelry becomes one of the album’s grandest statements. It is a celebration.

However, it’s not lost in celebration. Especially topped with thoughtful arrangements of vocals as it is, The Space Between Worlds is never so lost in its own good times that it forgets either the individual task at hand in a song or how that song feeds into the record’s larger statement and plot. Howling Giant set a balance for themselves in sound and presentation alike, and when they need to, as on “The River Guide,” they show patience, and when they blast off in “Comet Rider” or “Cybermancer and the Doomsday Express,” they do so with suitable fervency. In either case, it’s the song and it’s the album that remain at the center of what they’re doing. I don’t know if individual tracks were written with the concept directly in mind or the narrative was applied later with lyrics after the music was done, etc., but the front-to-back flow of The Space Between Worlds isn’t to be understated, especially in how it comes through with side B pushing through to new levels of execution.

After the raucous four-minute open with “Cybermancer and the Doomsday Express,” Howling Giant round out The Space Between Worlds with its three longest tracks: “Everlight” (7:57), “The Orb” (7:08) and “Stone Giant” (6:17). It’s not so much that any of them directly touches on new stylistic ground for the band. Strictly speaking, they’re a forward step from the last EP, but of the same aesthetic ilk. The context has changed, however, and Howling Giant thrive across these three songs as they haven’t yet done to-date. They are the most upfront communication of scope that the album presents, and all the more so because of how obviously purposeful their placement and their complementing each other is.

“Everlight” announces its arrival with organ, airy guitar and vocals, and builds gradually over its first two-plus minutes to a sweeping progression given a tempo boost after the three-minute mark, and while its structure is linear, it’s nonetheless memorable for its hooky melody and standout lead work, going quietly into the unassuming drum-led beginning of “The Orb,” which unfolds and teases its turn to triplet-chug before it actually gets there at 2:01, the chill-down-spine energy immediate and the band ready to ride that moment for a while before breaking back to more melodic fare and returning — as they should — for a suitable crescendo that serves double for song and album alike.

A soft piano comedown transitions into the drums starting “Stone Giant” and it’s clear Howling Giant aren’t done yet in terms of energy. Rather, they finish out by tying together the choruses of “Comet Rider” and “Cybermancer and the Doomsday Express” with some of the offering’s more progressive fare, and, as one would hope, leave it to a massive rolling groove to carry the record to its end in raucous but ultimately graceful fashion that only portends of things to come. A next chapter? Pt. 2? Maybe, if not in concept. One way or the other, the potential Howling Giant show for future growth shouldn’t undercut the value of this accomplishment. The Space Between Worlds stands high among 2019’s best debut albums, but also among its best albums, period, and shows the three-piece as ready to enter a new level of consideration as a force of forward-thinking heavy rock and roll.

Howling Giant, The Space Between Worlds (2019)

Howling Giant on Thee Facebooks

Howling Giant on Bandcamp

Howling Giant on Instagram

Blues Funeral Recordings on Thee Facebooks

Blues Funeral Recordings website

With a title invoking no less than the void of the cosmos itself, The Space Between Worlds is the upcoming long-player from Nashville progressive heavy rockers Howling Giant. The nine-tracker will be their debut on Blues Funeral Recordings and marks the arrival of bassist/vocalist Sebastian Baltes alongside guitarist/vocalist Tom Polzine and drummer/vocalist Zach Wheeler, and it’s out Sept. 27. That and the artwork and the tracklisting are pretty much what’s known about the thing to this point, plus a couple guest spots, including one from ASG‘s Jason Shi. I wouldn’t expect a Howling Giant release to be lacking flair anyhow, but that’s bound not to hurt the centerpiece track.

Howling Giant make a return appearance this month at Psycho Las Vegas, and I wouldn’t be surprised if a Fall tour announcement either follows that or precedes it, as the October touring landscape begins to really take shape, and Howling Giant are building a solid reputation as a touring act. Doesn’t seem like momentum they’d want to undercut, especially with the occasion of a full-length to celebrate.

Here’s looking forward to all of it.

From their Bandcamp:

Howling Giant – The Space Between Worlds – September 27

The Space Between Worlds is a concept album that follows the story of a huntress who travels the infinite metaphysical worlds brought into being by the dreams of humankind. In these realms, she encounters a dream eater which threatens to unravel the fabric of reality by devouring dreamers and destroying the dimensional gateways.

With the addition of new bassist Sebastian Baltes (son of longtime ACCEPT bassist Peter Baltes) to the band, the band has expanded their already impressive vocal harmony approach with the addition of a third voice. Friend of the band Drew Harakal adds extra sonic textures to the album with his organ and synth skills. And Jason Shi of ASG appears with a guest vocal cameo on the track Ice Castle.

Highlighting the band’s tremendous musical prowess and versatility, The Space Between Worlds is a warp trail of heavy rock and roll so weird it can only be called progressive, giving space to every sonic weapon in Howling Giant’s arsenal, and all bound by the album’s central concept and the members’ towering musicianship.

Engineered and mixed by Kim Wheeler
Mastered by Dave Shirk and Ryan Butler at Sonorous Mastering
Cover Art by Lindsey Camelio
Gatefold Art by Sue Davies

Releases September 27, 2019.

Tracklisting:
1. Comet Rider
2. Nomad
3. Ghosts in The Well
4. The River Guide
5. Ice Castle
6. Cybermancer and The Doomsday Express
7. Everlight
8. The Orb
9. Stone Giant

Howling Giant is:
Sebastian Baltes – Bass/Vocals
Tom Polzine – Guitar/Vocals
Zach Wheeler – Drums/Vocals

Additional Musicians:
Drew David Harakal II–Organ/Piano/Synths
Jason Shi – Additional Lead Vocals on track 5
Kevin “Big Business” Dempsey – Bass on tracks 1, 5, and 7

howlinggiant.bandcamp.com
www.facebook.com/howlinggiant/
https://www.instagram.com/howlinggiant/
https://www.facebook.com/bluesfuneral/
bluesfuneral.com

Howling Giant, Black Hole Space Wizard: Part 2 (2017)

Having recently had occasion to see All Them Witches on stage in their trio incarnation (review here), I can only advise it. They’re pretty clearly feeling out the dynamic as a three-piece, but in so doing they’re able to bring a new sense of purpose to their jams, and to use space in their sound in a way they never have before. It’s interesting on a creative level and, even better, it kicks ass to see. I said when they had four members that each of them were necessary for what they were doing, and that was true. Their workaround seem to be in developing a new approach to how they function as a band, and it’s one that suits them, the rawer edge of guitar, bass, drums and vocals allowing them to dig into organic atmospheres as they never have before. I don’t know if they’ll stay that way or what will happen, but then it seems all the more reason to catch them now.

They play Desertfest in Berlin and London on this tour and numerous club shows, some of which are already sold out. Looks like a good tour, and it starts in just a couple days. Dig it:

All Them Witches – European Tour 2019

Thu 11 Apr Helsinki FINLAND – On the Rocks
Sat 13 Apr Oslo NORWAY – Rockefeller / John DEE / Sentrum Scene
Sun 14 Apr Stockholm SWEDEN – Debaser
Mon 15 Apr Copenhagen DENMARK – Hotel Cecil – SOLD OUT!
Wed 17 Apr Leffinge BELGIUM – Muziekclub De Zwerver
Thu 18 Apr Sint-Niklaas BELGIUM – Concertzaal De Casino
Fri 19 Apr Hasselt BELGIUM – Muziekodroom
Sat 20 Apr – Schinjndel NETHERLANDS – Paaspop
Mon 22 Apr Paris FRANCE – La Maroquinerie – SOLD OUT!
Wed 24 Apr Madrid SPAIN – SALA CARACOL MADRID
Thu 25 Apr Barcelona SPAIN – Razzmatazz
Fri 26 Apr Nimes FRANCE – Paloma / SMAC de Nîmes Métropole
Sat 27 Apr Milan ITALY – Bloom
Mon 29 Apr Vienna AUSTRIA – ARENA WIEN
Tue 30 Apr Prague CZ – Rock Café Prague
Wed 01 May Poznan POLAND _ Klub u Bazyla
Thu 02 May Warsaw POLAND – Klub Hydrozagadka
Fri 03 May Berlin GERMANY – DesertFest Berlin
Sat 04 May Nijmegen NETHERLANDS – Sonic Whip
Sun 05 May London UK – Desertfest London
Mon 06 May Brighton UK – The Haunt Brighton – SOLD OUT!
Wed 08 May Manchester UK – Band on the Wall – SOLD OUT!
Thu 09 May Cardiff UK – Clwb Ifor Bach – SOLD OUT!

http://allthemwitches.bandcamp.com/
http://www.facebook.com/allthemwitches
https://www.instagram.com/allthemwitchesband/
https://twitter.com/allthemwitches
http://www.allthemwitches.org/

All Them Witches, ATW (2018)

[To enter giveaway: Leave a comment on this post with the name of the city where you want to see the show. Make sure your email is in the form provided so I can contact you if you win.]

So here’s the deal: All Them Witches start a tour tomorrow of the Midwest and Eastern Seaboard, ranging as far as Minneapolis and Milwaukee, Burlington and Montreal, and Atlanta and Durham. It’s 23 days of total roadtime, as the now-trio continue to support last year’s ATW (review here). I’ve been given the chance to give away a pair of tickets to any of the shows on this tour — they’re all listed below, but obviously, as the tour starts March 1 — aka tomorrow — it’s gotta be done on the quick.

Thus, a rush. If you can go see All Them Witches sometime in the next three-plus weeks, just leave a comment on this post and let me know what city. If you win, I’ll email you and let you know. I’m going to pick a winner as soon as possible this weekend, but if you’re in Atlanta or Charlotte, North Carolina, it might be tricky. I’m not saying don’t enter, but I’m not saying cancel grandpa’s birthday on account of the surefire evening plans either.

Pretty simple deal, all told. Here are the tour dates:

All Them Witches w/ Plague Vendor:
Mar 1 – Atlanta, GA @ Terminal West
Mar 2 – Charlotte, NC @ Visulite Theatre
Mar 5 – Louisville, KY @ Zanzabar
Mar 6 – Indianapolis, IN @ Hi-Fi
Mar 7 – Chicago, IL @ Lincoln Hall
Mar 8 – Milwaukee, WI @ The Back Room at Colectivo Coffee
Mar 9 – Minneapolis, MN @ Fine Line Music Cafe
Mar 10 – Madison, WI @ High Noon
Mar 12 – Grand Rapids, MI @ The Stache
Mar 13 – Ferndale, MI @ Magic Bag
Mar 14 – Cleveland Heights, OH @ Grog Shop
Mar 15 – Buffalo, NY @ Mohawk Place
Mar 16 – Toronto, ON @ Opera House
Mar 17 – Montreal, QC @ L’Astral
Mar 19 – South Burlington, VT @ Showcase Lounge
Mar 20 – Cambridge, MA @ The Sinclair
Mar 21 – New York, NY @ Bowery Ballroom
Mar 22 – Philadelphia, PA @ First Unitarian Church
Mar 23 – Washington, DC @ Rock & Roll Hotel
Mar 24 – Durham, NC @ Motorco Music Hall

As ever, I keep no emails, I sell no emails. I have no interest in or knowledge of such things. The only reason I want your email address is to tell you if you win. Thanks for reading and for your support. Good luck to all who enter.

[To enter giveaway: Leave a comment on this post with the name of the city where you want to see the show. Make sure your email is in the form provided so I can contact you if you win.]

http://allthemwitches.bandcamp.com/
http://www.facebook.com/allthemwitches
https://www.instagram.com/allthemwitchesband/
https://twitter.com/allthemwitches
http://www.allthemwitches.org/

All Them Witches, ATW (2018)