If you’ve ever listened to Siena Root and not immediately wanted to purchase everything they’ve ever put out, I dare say you weren’t paying close enough attention. The longish-running classic heavy rockers have had enough people come in and out of their lineup over the years to populate a small village in their native Sweden, but they never fair to bring something special to their output.
Starting their first album, 2004’s A New Day Dawning, onward, they’ve stayed true one way or another to ’70s heavy vibes, but they were among a few early adopters when it comes to the current wave of boogie rock, even in Sweden, and their first four albums — A New Day Dawning, 2006’s Kaleidoscope, 2008’s Far from the Sun and 2009’s Different Realities (discussed here) — stood out all the more not only for the vintage feel, but for the fullness of their arrangements. Working with labels like NasoniRecords and Transubstans Records, Siena Root freely explored blends of organ, percussion, Rhodes, Mellotron, vocal changes, and sitar — the last of those provided by multi-instrumentalist KG West, who would play an increasing role in shaping the band’s sound over those four outings.
On Kaleidoscope, the group set a pivotal forward motion, and at the winding-down of the CD era, they purposefully built a two-sided, 51-minute offering of primo naturalist groove. The lineup of vocalist Sanya, vocalist/organist Oskar Lundström, lead vocalist/guitarist Sartez Faraj, West on guitar, organ, sitar, Rhodes, and mellotron, bassist/percussionist/vocalist Sam Riffer, and drummer/percussionist Love Forsberg, brought together a bluesy spirit that turned out to be as prescient of what was to come from Sweden and of course the broader European sphere of heavy rock as it was backward-looking to the heavy acts of yore. Anchored by Riffer and Forsberg in the rhythm section, opener “Good and Bad” moved from catchy shuffle into a hazy spaciousness with a certified-organic jam that seemed to be taking its cues via what-would-Ritchie–Blackmore-do and then built its way back gloriously to the place from whence it came in an eight-minute show of mastery that let listeners know immediately they were in for a killer trip.
From there, side A played to more straightforward and bluesier spirit in “Nightstalker” and “Blues 276,” bringing Sanya‘s soulful delivery forward on the former amid backing organ and sleekly bouncing the low end in the latter in a loose, gorgeously- and clean-toned jammer, efficient at 3:43 but with enough swing for a song of three times the length. It was on the subsequent “Bhairavi Dhun” that West‘s sitar took the lead position, and though the nine-minute track eventually welcomed in wah-soaked bass, drums and flute, the delve into Indian-influenced composition remained a bold and striking turn for Kaleidoscope to take, becoming one of the central impressions left behind when it was over. Siena Root already stood out from what was then a much smaller pack — recall Graveyard wouldn’t have their first record out until 2007 (also on Transubstans) — but the Subcontinental stylization of “Bhairavi Dhun” absolutely put Kaleidoscope over the top.
And they still had half the record to go! The initially minimalist drift-into-jam of “Crossing the Stratosphere,” low-end foreboding into a resuming of the more straight-ahead rock jamming of “Nightstalker” or “Blues 276,” would lead directly into “There and back Again,” marked out by its Purple-hued organ and bass fluidity, and the rumble at the end of “There and back Again” once more set the stage for the full-boogie of the six-minute “Ridin’ Slow,” which might’ve lived up to its name but for the energy with which it was delivered. Another stellar vocal from Sanya, another stellar bassline from Riffer, and another affirmation of jammy righteousness from Siena Root as a whole, “Ridin’ Slow” shifted into open-plucked guitar notes in its midsection in post-Zeppelin fashion, but kept a progressive edge thanks to the Mellotron and vocal effects before moving back into more vibrant push, which is how it ended, making its way out still grooving on a long fade.
As for 11-minute finale “Reverberations,” it would have its work cut out for it in summarizing the suitably multi-color Kaleidoscope as a whole, but a long, linear showing of instrumental chemistry said as much about what made this incarnation of Siena Root work so well as anything else could have. Flute — or flute sounds, anyway — and organ and guitar and bass and drums all came together with class and purpose, and while one might’ve appreciated a return of West‘s sitar layered in for symmetry’s sake with “Bhairavi Dhun,” the cacophony at which “Reverberations” arrived lacked nothing in terms of making its impact and closing Siena Root‘s second album on a delightfully immersive note.
Siena Root reissued a remastered version of Kaleidoscope — which is what you’re (hopefully) hearing above — through their own Root Rock Records imprint in 2015. After the blissfully conceptual Different Realities in 2009, it would be half a decade before they’d put out another studio album in 2014’s more modern-feeling Pioneers (discussed here), though their 2011 live record, aptly titled Root Jam (track stream here), felt like an appropriate celebration of their work in the meantime. Now comprised of Riffer, Forsberg, vocalist Samuel Björö, organist Erik Petersson and guitarist Matte Gustavsson, Siena Root are currently the process of mastering a new full-length, and, having had the extraordinary pleasure of seeing them live last fall at Høstsabbat in Norway (review here), it is a record to which I’m very much looking forward.
As always, I hope you enjoy.
Call me crazy, but by the time I saw the news last night that the aforementioned Graveyard are getting back together, my head was already spinning from the outright barrage of information this week. Monday and Tuesday, five-post days, but Wednesday was seven, yesterday was six and this post makes seven again for today, and that’s a lot for my poor, feeble brain to take.
I’m already behind on stuff for next week as well — it’s like everyone on the planet chose this week to release their new video — and it’s a busy one besides, but here’s a rundown of how it looks so far:
Mon.: Special post and XII Boar video.
Tue.: Evil Triplet track premiere and Strange Broue video.
Wed.: Shroud Eater premiere and Demon Head video.
Thu.: Hollow Leg premiere and Dot Legacy video.
Fri.: Stinking Lizaveta premiere and Black Mirrors video.
All this stuff is pretty much locked in, so that’s how I’m expecting it to shake out, but of course changes happen.
I’ll say a special thanks to everyone who liked, shared, commented on and helped build the Tomorrow’s Dream post to a point of being over the 200 mark. I especially appreciate the civil tone the comments took and the fact that people genuinely seemed interested in making it a more complete document rather than simply calling me out on things I missed. Thank you for that, and thank you as always for reading.
Do yourself and me a favor and have a great and safe weekend. Please check out the forum and the radio stream.
Posted in Features on January 23rd, 2017 by JJ Koczan
Looks like it’s going to be another busy 12 months ahead. It’s been a busy better-part-of-a-month already, so that stands to reason, but you should know that of the several years now that I’ve done these ‘Tomorrow’s Dream’ posts, this is the biggest one yet, with over 150 upcoming releases that — one hopes — will be out between today and the end of 2017.
Actually, at last count, the list tops 180. Do I really expect you to listen to all of them? Nope. Will I? Well, it would be nice. But what I’ve done is gone through and highlighted 35 picks and then built lists off that in order of likelihood of arrival. You’ll note the categories are ‘Gonna Happen and/or Likely Candidates,’ ‘Definitely Could Happen’ and ‘Would be Awfully Nice.’
Beyond that last one, anything else just seems like speculation — one might as well go “new Sabbath this year!” with zero info backing it up. The idea here is that no matter where a given band is placed, there has been some talk of a new release. In some cases, it’s been years, but I think they’re still worth keeping in mind.
Another caveat: You can expect additions to this list over the next week — probably album titles, band names people (fingers crossed) suggest in the comments, and so on — so it will grow. It always does. The idea is to build as complete a document as possible, not to get it all nailed down immediately, so please, if you have something to contribute and you’re able to do so in a non-prickish, “You didn’t include Band X and therefore don’t deserve to breathe the same air as me,” kind of way, please contribute.
Other than that, I think it’s pretty straightforward what’s going on here and I’ll explain the category parameters as we go, so by all means, let’s jump in.
— Tomorrow’s Dream 2017 —
1. Abrahma, TBA
Late last year, Paris heavy progressives Abrahma announced a new lineup and third full-length in progress. No reason to think it won’t come to fruition, and a follow-up to 2015’s Reflections in the Bowels of a Bird (review here) is an easy pick to look forward to. Even with the shift in personnel, it seems likely the band will continue their creative development, driven as they are by founding guitarist Seb Bismuth.
2. All Them Witches, Sleeping Through the War
If 2017 ended today, Sleeping Through the War would be my Album of the Year. Of course, there’s a lot of year to go, but for now, Nashville’s All Them Witches have set the standard with their second album for New West Records behind 2015’s Dying Surfer Meets His Maker (review here) and fourth overall outing. They’ve got videos up so far for “3-5-7” (posted here) and “Bruce Lee” (posted here). Both are most definitely worth your time. Out Feb. 24. Full review should be later this week.
3. Alunah, Solennial
Seems like UK forest riffers Alunah are on this list every year. Wishful thinking on my part. Nonetheless, their fourth LP and Svart Records debut, Solennial, is out March 17, and if the tease they gave already with the clip for “Fire of Thornborough Henge” (posted here) is anything to go from, its Chris Fielding-produced expanses might just be Alunah‘s most immersive yet.
4. Arbouretum, TBA
I asked the Baltimore folk fuzzers a while back on Thee Facebooks if they had a new record coming in 2017 and they said yes, so that’s what I’m going on here. The last Arbouretum album was 2013’s Coming out of the Fog (review here), and even with frontman Dave Heumann‘s 2015 solo outing, Here in the Deep (review here), factored in, you’d have to say they’re due. Keep an eye on Thrill Jockey for word and I’ll do the same.
5. Atavismo, Inerte
This is another one that already has a spot reserved for it on my Best-of-2017 year-end list. Spanish heavy psych rockers Atavismo up the progressive bliss level with their second full-length, Inerte, without losing the depth of style that made 2014’s Desintegración (review here) so utterly glorious. It probably won’t have the biggest marketing budget of 2017, but if you let Atavismo fly under your radar, you are 100 percent missing out on something special.
6. Bison Machine, TBA
In addition to the video for new track “Cloak and Bones” that premiered here, when Michigan raucousness-purveyors Bison Machine put out the dates for their fall 2016 tour, they included further hints of new material in progress. As much as I dug their earlier-2016 split with SLO and Wild Savages (review here) and 2015’s Hoarfrost (review here), that’s more than enough for me to include them on this list. Killer next-gen heavy rock.
7. Brothers of the Sonic Cloth, TBA
News of a follow-up to Brothers of the Sonic Cloth‘s 2015 Neurot Recordings self-titled debut (review here) came through in October, and it remains some of the best news I’ve heard about 2017 doings. Took them a while to get the first record out, so we’ll see what happens, but it kind of feels like looking forward to a comet about to smash into the planet and cause a mass extinction, and by that I mean awesome. Can’t get here soon enough.
8. Cloud Catcher, Trails of Kosmic Dust
Okay, so maybe I jumped the gun and did a super-early review of Denver trio Cloud Catcher‘s second long-player and Totem Cat Records debut, Trails of Kosmic Dust, but hell, no regrets. Some albums require an early-warning system. Their 2015 debut, Enlightened Beyond Existence (discussed here), was a gem as well, but this is a band in the process of upping their game on every level, and the songwriting and momentum they hone isn’t to be missed.
9. Colour Haze, TBA
I’ve gotten some details on the upcoming full-length from Colour Haze. They do not include a title, artwork, audio, song titles or general direction. Less details, I guess, than word that the CD version of this answer to 2015’s To the Highest Gods We Know (review here) is set to come out next month, as ever, on Elektrohasch. That puts it out in time for Colour Haze‘s upcoming tour with My Sleeping Karma (announced here). Fingers crossed it happens. Colour Haze are perpetual top-albums candidates in my book.
10. Corrosion of Conformity, TBA
Signed to Nuclear Blast after being rejoined by guitarist/vocalist Pepper Keenan, North Carolina’s C.O.C. have been in the studio since last year. The lineup of Keenan, bassist/vocalist Mike Dean and guitarist Woody Weatherman and Reed Mullin on drums is the stuff of legend and last worked together on 2000’s America’s Volume Dealer, so no question this reunion makes for one of 2017’s most anticipated heavy rock records. They nailed the nostalgia factor on tour. Can they now add to their legacy?
11. Elder, TBA
I was incredibly fortunate about a month ago to visit progressive heavy rockers Elder at Sonelab in Easthampton, MA, during the recording process for their upcoming fourth album. I heard a couple of the tracks, and of course it was all raw form, but the movement forward from 2015’s Lore (review here) was palpable. That LP (on Stickman) brought them to a wider audience, and I expect no less from this one as well, since the farther out Elder go sound-wise, the deeper the level of connection with their listeners they seem to engage.
12. Electric Wizard, TBA
Could happen, could not happen. That’s how it goes. Announced for last Halloween. That date came and went. Word of trouble building their own studio surfaced somewhere along the line. That was the last I heard. Frankly, I wouldn’t be surprised if it showed up tomorrow, if it showed up in 2018, or if the band broke up and never put it out. They’re Electric Wizard. Anything’s possible.
13. John Garcia, The Coyote Who Spoke in Tongues
Out Jan. 28 on Napalm, The Coyote Who Spoke in Tongues (review here) is the first-ever acoustic album from former Kyuss frontman John Garcia, also of Unida, the reunited Slo Burn, Hermano, Vista Chino, Zun, etc. — basically the voice of desert rock. He does a couple Kyuss classics for good measure, but shines as well on the new/original tracks, and while it’s a piece for fans more than newcomers — that is, it helps if you know the original version of “Green Machine” — his presence remains as powerful as ever despite this new context.
14. Goya, Harvester of Bongloads
Riffs, dude. Goya seem to have them to spare. The Arizona-based wizard doomers have set a pretty prolific clip for themselves at this point, with at least two short releases out in 2016, one a 7″ of Nirvana covers (review here), and the The Enemy EP (review here). Set for a March 3 release through their own Opoponax Records imprint, Harvester of Bongloads continues the march into the abyss that 2015’s Obelisk (review here) and 2013’s 777 set in motion, finding the band coming more into their own as well. Creative growth — and bongloads! The best of both worlds.
15. Ides of Gemini, TBA
Ides of Gemini are set to record their yet-untitled third album with Sanford Parker early this year, and it will also mark their debut on Rise Above Records upon its release. They’ve also got a new lineup around vocalist Sera Timms and guitarist J. Bennett, so as they look to move forward from 2014’s Old World New Wave (review here), one can’t help but wonder what to expect, but to be honest, not knowing is part of the appeal, especially from a band who so readily specialize in the ethereal.
16. Kind, TBA
Three-fourths of Kind feature elsewhere on this list. Bassist Tom Corino plays in Rozamov. Drummer Matt Couto is in Elder. Vocalist Craig Riggs is in Roadsaw. And for what it’s worth, guitarist Darryl Shepherd has a new band coming together called Test Meat. How likely does that make Kind to release a second LP in 2017? I don’t know, but their 2015 Ripple Music debut, Rocket Science (review here), deserves a follow-up, and I know they’ve demoed some new songs. If it happens, great. If it’s 2018, at least these dudes will be plenty busy besides.
17. Lo-Pan, In Tensions
Yes, Lo-Pan‘s In Tensions (review here) has already been released — CD/LP with an artbook on Aqualamb. It’s out. Limited numbers. You can get it now. Why include it on a list of most anticipated releases? Because that’s how strongly I feel about your need to hear it. The fruit of a shortlived lineup with guitarist Adrian Zambrano, it distinguishes itself from everything they’ve done before in style while still keeping to the core righteousness that one hopes the Ohio outfit will continue to carry forward. It’s more than a stopgap between albums. Listen to it.
18. The Midnight Ghost Train, TBA
It seems to have been a rough ride for hard-boogie specialists The Midnight Ghost Train since their 2015 Napalm debut and third album overall, Cold was the Ground (review here). They’ve never taken it easy on the road or in terms of physicality on stage, and between injuries and who knows what else, their intensity at this point veers toward the directly confrontational. Nonetheless, they’ve been writing for album number four, may or may not have started the recording process, and I expect that confrontationalism to suit them well in their new material.
19. Monster Magnet, TBA
I have it on decent authority that NJ heavy psych innovators Monster Magnet were in the studio this past autumn. I’ve seen no concrete word of a new album in progress from Dave Wyndorf and company, and I wouldn’t necessarily expect to until it was time to start hyping the release, but after their two redux releases, 2015’s Cobras and Fire (review here) and 2014’s Milking the Stars (review here), their range feels broader than ever and I can’t wait to hear what they come up with next.
20. Mothership, High Strangeness
A pivotal moment for Mothership arrives with High Strangeness, and the heavy-touring, heavy-riffing Texas power trio seem to know it. Their third record on Ripple Music pushes into new avenues of expression and keeps the energy of 2014’s Mothership II (review here) and 2012’s Mothership (review here), but thus far into their career, it’s been about their potential and what they might accomplish going forward. 2017 might be the year for Mothership to declare a definitive place in the sphere of American heavy rock.
21. The Obsessed, Sacred
On Halloween 2016, founding The Obsessed guitarist/vocalist and doom icon Scott “Wino” Weinrich announced a new lineup for the band, with his former The Hidden Hand bandmate Bruce Falkinburg on bass/vocals, Sara Seraphim on guitar and Brian Costantino continuing on drums. A genuine surprise. Their first album since 1994, Sacred (due on Relapse) was tracked as the trio of Weinrich, Costantino and bassist/vocalist Dave Sherman, but clearly they’ve moved into a new era already. Wouldn’t even guess what the future holds, but hopefully Sacred still comes out.
22. Orange Goblin, TBA
When it was announced that London’s Orange Goblin were picked up by Spinefarm as part of that label’s acquisition of Candlelight Records last Spring, the subheadline from the PR wire was “Working on Ninth Studio Album.” I haven’t heard much since then, but even as 2014’s Back from the Abyss (review here) pushed them deeper into metallic territory than ever before, their songs retained the character that’s made the band the institution they are. Always look forward to new Orange Goblin.
23. Pallbearer, Heartless
Doomers, this is your whole year right here. I haven’t heard Pallbearer‘s third album, Heartless (out March 24 on Profound Lore), but I have to think even those who haven’t yet been won over by the Arkansas four-piece’s emotive, deep-running style have to be curious about what they’ve come up with this time around. I know I am. These guys have been making a mark on the genre since their 2012 debut, Sorrow and Extinction (review here), and there’s little doubt Heartless will continue that thread upon its arrival.
24. Radio Moscow, TBA
Fact: Radio Moscow stand among the best classic heavy rock live acts in the US. They’re the kind of band you can watch upwards of 15 gigs in a row — I’ve done it — and find them putting on a better show night after night, in defiance of science, logic and sobriety. Word of their signing to Century Media came just this past week and brought with it confirmation of a follow-up to 2014’s stellar Magical Dirt (review here), and for me to say hell yes, I’m absolutely on board, seems like the no-brainer to end all no-brainers. Can’t wait.
25. Roadsaw, TBA
Nearly six full years later, it’s only fair to call Boston scene godfathers Roadsaw due for a follow-up to their 2011 self-titled (review here). Granted, members have been busy in Kind, White Dynomite, and other projects, but still. Their upcoming outing finds them on Ripple Music after years under the banner of Small Stone Records, and though I haven’t seen a solid release date yet, my understanding is they hit Mad Oak Studio in Allston, MA, this past fall to track it, so seems likely for sooner or later. Sooner, preferably.
26. Rozamov, This Mortal Road
Speaking of albums by Boston bands a while in the making, This Mortal Road (out March 3 on Battleground Records and Dullest Records) is the debut full-length from Boston atmospheric extremists Rozamov. Haven’t heard it yet, but I got a taste of some of the material when I visited the band at New Alliance Audio in Aug. 2015, and the bleak expanses of what I heard seem primed to turn heads. I’m a fan of these guys, but in addition, they’ve found a niche for themselves sound-wise and I’m curious to hear how they bring it to fruition.
27. Samsara Blues Experiment, TBA
It’s been a pleasure over the last couple months to watch a resurgence of Berlin heavy psych trio Samsara Blues Experiment take shape, first with the announcement of a fourth album in October, then with subsequent confirmations for Desertfest, Riff Ritual in Barcelona, and a South American tour. Reportedly due in Spring, which fits with the timing on shows, etc., the record will follow 2013’s righteous Waiting for the Flood (review here) and as much as I’m looking forward to hearing it, I’m kind of just glad to have these guys back.
28. Seedy Jeezus, TBA
Work finished earlier this month on Melbourne trio Seedy Jeezus‘ second full-length. As with their 2015 self-titled debut, the band brought Tony Reed of Mos Generator to Australia to produce, and after their blissed-out 2016 collaboration with Earthless guitarist Isaiah Mitchell, Tranquonauts (review here), it’s hard not to wonder what experimentalist tendencies might show in the trio’s style this time out, and likewise difficult not to anticipate what guitarist Lex “Mr. Frumpy” Wattereus comes up with for the cover art.
29. Shroud Eater, Strike the Sun
Not to spoil the surprise, but Feb. 1 I’ll host a track premiere from Florida’s Shroud Eater that finds them working in a different context from everything we’ve heard from them to this point in their rightly-celebrated tenure. They also recently had a split out with Dead Hand, and their second long-player, Strike the Sun, will be their debut through STB Records. It’s been since 2011’s ThunderNoise (review here) that we last got a Shroud Eater album, so you bet your ass I’m dying to know what the last six years have wrought.
30. Sleep, TBA
If Sleep were any other band, they’d probably be in the “Would be Awfully Nice” category. But they’re Sleep, so even the thought of a new record is enough to put them here. The lords of all things coated in THC are reissuing their 2014 single, The Clarity (review here), on Southern Lord next month, but rumors have been swirling about a proper album, which of course would be their first since the now-legendary Dopesmoker. If it happens, it’ll automatically be a heavy underground landmark for 2017, but it’s one I’m going to have in my ears before I really believe it.
31. Stoned Jesus, TBA
Even as they tour playing their second album, 2012’s Seven Thunders Roar (review here), to mark its fifth anniversary and continued impact, Ukrainian trio Stoned Jesus are forging ahead with a fourth record behind 2015’s The Harvest (review here). The capital-‘q’ Question is whether or not looking back at Seven Thunders Roar and engaging that big-riffing side of their sound will have an impact on the new material, and if so, how it will meld with the push of The Harvest. Won’t speculate, but look forward to finding out.
32. Stubb, TBA
Since reveling in the soul of 2015’s Cry of the Ocean (review here) on Ripple, London trio Stubb have swapped out bassists, and they were in Skyhammer Studio this month recording a single that may be an extended psychedelic jam. I’ll take that happily, but I’m even more intrigued at the prospect of a third LP and what guitarist/vocalist Jack Dickinson, bassist/vocalist Tom Hobson and drummer Tom Fyfe might have in store as the band moves forward on multiple levels. Might be 2017, might not.
33. Sun Blood Stories, It Runs Around the Room with Us
It Runs around the Room with Us seems to find peace in its resonant experimentalist drones, loops, open, subdued spaces, but there’s always some underlying sense of foreboding to its drift, as if Boise’s Sun Blood Stories could anticipate the moment before it happened. Toward the end of the follow-up to 2015’s Twilight Midnight Morning (review here), they execute the 90-second assault “Burn” and turn serenity to ash. Look for it in April and look for it again on my best of 2017 list in December.
34. Ufomammut, TBA
Any new offering from the Italian cosmic doom magnates is worth looking forward to, and while Ufomammut have left the 15-year mark behind, they’ve never stopped progressing in style and form. To wit, 2015’s Ecate (review here) was a stunner after 2012’s two-part LP, Oro (review here and review here), tightening the approach but assuring the vibe was no less expansive than ever. They started recording last summer, finished mixing in November, so I’m hoping for word of a release date soon.
35. Vokonis, The Sunken Djinn
Born out of Creedsmen Arise, whose 2015 demo, Temple (review here), offered formative thrills, Swedish trio Vokonis debuted with last year’s Olde One Ascending (review here) and proved there’s still life in post-Sleep riffing when it’s wielded properly. They signed to Ripple in November and confirmed the title of their sophomore effort as The Sunken Djinn, as well as a reissue for the first album, which will probably arrive first. I don’t know how that will affect the timing on this one, but keep an eye out anyway.
Gonna Happen and/or Likely Candidates
Obviously some of these are more likely than others. Some have solidified, announced release dates — Dopelord‘s out this month, Demon Head‘s out in April, etc. — and others come from social media posts of bands in studios and hints at upcoming releases and so on. A big tell is whether or not a band has an album title with their listing, but even some of those without have their new albums done, like Atala and Royal Thunder, so it’s not necessarily absolute.
Either way, while I’m spending your money, you might want to look into:
36. Against the Grain
39. Attalla, Glacial Rule
40. Ayahuasca Dark Trip, II
42. Beaten Back to Pure
45. Buried Feather, Mind of the Swarm
46. The Clamps
47. Cold Stares
48. Coltsblood, Ascending into the Shimmering Darkness
49. Come to Grief, The Worst of Times EP
51. Cruthu, The Angle of Eternity
52. The Dead-End Alley Band, Storms
53. Dead Witches, Dead Witches
55. Death Alley, Live at Roadburn
56. Demon Head, Thunder on the Fields
57. The Devil and the Almighty Blues, II
58. Devil Electric
59. Doctor Cyclops, Local Dogs
60. Dool, Here Now There Then
61. Dopelord, Children of the Haze
62. Doublestone, Devil’s Own/Djævlens Egn
63. Dread Sovereign, For Doom the Bell Tolls
64. Drive by Wire
65. Elbrus, Elbrus
66. Electric Age
67. Electric Moon, Stardust Rituals
68. Endless Floods, II
69. Five Horse Johnson
70. Forming the Void, Relic
71. Funeral Horse
73. Green Desert Water
75. Grifter / Suns of Thunder, Split
76. Hair of the Dog, This World Turns
77. Heavy Temple, Chassit
78. Here Lies Man, Here Lies Man
79. Hollow Leg, Murder EP
80. Holy Mount, The Drought
81. Hooded Menace
82. Horisont, About Time
83. Hymn, Perish
84. Lecherous Gaze
85. Magnet, Feel Your Fire
87. Merlin, The Wizard
89. Mindkult, Lucifer’s Dream
90. Mirror Queen
91. Moonbow, War Bear
92. Mos Generator
93. The Moth
95. Mouth, Vortex
96. My Sleeping Karma, Mela Ananda – Live
99. PH, Eternal Hayden
100. Psychedelic Witchcraft, Magick Rites and Spells
101. Royal Thunder
102. Saturn, Beyond Spectra
103. Season of Arrows, Give it to the Mountain
104. Siena Root
105. Six Organs of Admittance, Burning the Threshold
106. Six Sigma, Tuxedo Brown
108. The Sonic Dawn, Into the Long Night
110. Spidergawd, IV
112. Stinking Lizaveta, Journey to the Underworld
113. Sula Bassana, Organ Accumulator
115. Sun Voyager, Sun Voyager
116. Sweat Lodge, Tokens for Hell EP
117. Thera Roya, Stone and Skin
119. Troubled Horse, Revelation on Repeat
120. VA, Brown Acid The Third Trip
122. Youngblood Supercult, The Great American Death Rattle
Definitely Could Happen
Maybe a recording process is upcoming (Gozu, Cities of Mars, YOB), or a band is looking for a label (The Flying Eyes), or they’ve said new stuff is in the works but the circumstances of an actual release aren’t known (Arc of Ascent, Dead Meadow, High on Fire), or I’ve just seen rumors of their hitting the studio (Freedom Hawk, La Chinga, Ruby the Hatchet). We’ve entered the realm of the entirely possible but not 100 percent.
So, you know, life.
123. The Age of Truth
124. Ape Machine
125. Arc of Ascent
126. At Devil Dirt
131. La Chinga
132. Chubby Thunderous Bad Kush Masters
133. Cities of Mars
134. Crypt Sermon
135. Dead Meadow
136. Death Alley (Studio LP)
137. Dee Calhoun
138. Destroyer of Light
140. Devil Worshipper
144. Electric Moon
145. Elephant Tree
147. The Flying Eyes
148. Freedom Hawk
150. The Great Electric Quest
151. Green Meteor, Consumed by a Dying Sun
152. High on Fire
154. Insect Ark
155. In the Company of Serpents
156. Iron Monkey
157. Jeremy Irons and the Ratgang Malibus
158. The Judge
159. Killer Boogie
160. King Dead
161. The Kings of Frog Island
162. Lords of Beacon House, Recreational Sorcery
164. Mondo Drag
166. Mountain God
167. The Munsens
169. Never Got Caught
175. Purple Hill Witch
176. Ruby the Hatchet
178. Satan’s Satyrs
179. Serpents of Secrecy
181. Shooting Guns
182. Sleepy Sun
183. Slow Season
184. Snowy Dunes, Atlantis
185. Spectral Haze
186. The Sweet Heat
187. Switchblade Jesus
191. Zone Six
Would be Awfully Nice
This last category is basically as close as I’m willing to come to rampant speculation. Endless Boogie have hinted at new material, and Queens of the Stone Age have talked about hitting the studio for the last two years. There were rumors about Om, and though Kings Destroy just put out an EP, they have new songs as well, though I doubt we’ll hear them before the end of 2017. I’ll admit that Across Tundras, Fever Dog, Lord Fowl, Lowrider and Hour of 13 are just wishful thinking on my part. A boy can hope:
192. Across Tundras
194. Elephant Tree
195. Endless Boogie
196. Fever Dog
197. Fu Manchu
198. Halfway to Gone
199. Hour of 13
201. Kings Destroy
202. Lord Fowl
204. Masters of Reality
207. Queens of the Stone Age
If you’ve made it this far, thanks for reading. Whatever this year brings, I hope it’s been great so far for you and I hope it continues to be so as we proceed inexorably to 2018 and all the also-futuristic-sounding numbers thereafter. At least we know we’ll have plenty of good music to keep us company on that voyage.
As always, comments section is open if there’s anything I’ve left out. I’m happy to add, adjust, etc., as need be, so really, have at it, and thanks in advance.
Posted in Reviews on December 26th, 2016 by JJ Koczan
2016 ends and 2017 starts off on the right foot with a brand new Quarterly Review roundup. The first time I ever did one of these was at the end of 2014 and I called the feature ‘Last Licks.’ Fortunately, I’ve moved on from that name, but that is kind of how I’m thinking about this particular Quarterly Review. You’ll find stuff that came out spread all across 2016, early, middle, late, but basically what I’m trying to do here is get to a point where it’s not March and I’m still reviewing albums from November. Will it work? Probably not, but in order to try my damnedest to make it do so anyway, I’m making this Quarterly Review six full days. Monday to Monday instead of Monday to Friday. 60 reviews in six posts. Sounds like madness because it is madness. Let’s get started.
Quarterly Review #1-10:
San Francisco trio Hornss debuted on RidingEasy Records with 2014’s No Blood No Sympathy (review here) and further their raw genre blend on Telepath, their half-hour follow-up LP delivered via STB, melding heavy punk and metallic impulses to a noisy, thick-toned thrust on songs like “Atrophic” and the bouncing “Sargasso Heart” while opener “St. Genevieve” and the penultimate “Old Ghosts” dig into more stonerly nod. The latter track is the longest inclusion on the record at 3:26, and with 11 cuts there’s plenty of jumping between impulses to be done, but the trio of guitarist/vocalist Mike Moracha, bassist/vocalist Nick Nava – both formerly of desert punkers Solarfeast – and drummer Bil Bowman (ex-Zodiac Killers) work effectively and efficiently to cast an identity for themselves within the tumult. It’s one that finds them reveling in the absence of pretense and the sometimes-caustic vibes of songs like “Leaving Thermal,” which nonetheless boast an underlying catchiness, speaking to a progression from the first album.
Easily justifiable decision on the part of Denver’s Khemmis to return to Flatline Audio and producer Dave Otero (Cephalic Carnage, etc.) for their second album, Hunted. No reason to fix what clearly wasn’t broken about their 2015 debut, Absolution (review here), and on the 20 Buck Spin Records release, they don’t. A year later, the four-piece instead build on the doomly grandeur of the first outing and push forward in aesthetic, confidence and purpose, whether that’s shown in mournful opener “Above the Water,” the darker “Candlelight” that follows, or the centerpiece “Three Gates,” which opens as muddied death metal before shifting into a cleaner chorus, creating a rare bridge between doom and modern metal. Khemmis save the most resonant crush for side B, however, with the nine-minute “Beyond the Door” capping with vicious stomp before the 13-minute title-track, which closes the album with an urgency that bleeds even into spacious and melodic break that sets up the final apex to come, as emotionally charged as it is pummeling.
In addition to the outright charm of titles like “Doominati,” “Coup d’étwat,” “Murdercycle” and “Urinal Acid” (the latter a bonus track), Rochester, New York’s Fox 45 offer fuzzy roll on their Twin Earth Records debut full-length, Ashes of Man, the three-piece of Amanda Rampe, Vicky Tee and Casey Learch finding space for themselves between the post-Acid King nod of “Necromancing the Stone” and more swing-prone movements like the relatively brief “Soul Gourmandizer.” Playing back and forth between longer and shorter tracks gives Ashes of Man a depth of character – particularly encouraging since it’s Fox 45’s first record – and the low-end push that leads “Phoenix Tongue” alone is worth the price of admission, let alone the familiar-in-the-right-ways straightforward heavy riffing of “Narcissister” a short while later. Very much a debut, but one that sets up a grunge-style songwriting foundation on which to build as they move forward, and Fox 45 seem to have an eye toward doing precisely that.
Double-guitar Pittsburgh four-piece Monolith Wielder make their self-titled debut through Italian imprint Argonauta Records, bringing together Molasses Barge guitarist Justin Gizzi and Zom guitarist/vocalist Gero von Dehn with bassist Ray Ward (since replaced by Amy Bianco) and drummer Ben Zerbe (also Mandrake Project) for 10 straightforward tracks that draw together classic Sabbathian doom with post-grunge heavy rock roll. There’s a workingman’s sensibility to the riffing of “No Hope No Fear” and the earlier, more ‘90s moodiness of “Angels Hide” – von Dehn’s vocals over the thick tones almost brings to mind Sevendust on that particularly catchy chorus – but Monolith Wielder’s Monolith Wielder isn’t shy about bringing atmospherics to the Iommic thrust of its eponymous cut or the penultimate “King Under Fire,” which recalls the self-titled Alice in Chains in its unfolding bleakness before closer “Electric Hessian” finishes with a slight uptick in pace and a fade out and back in (and a last sample) that hints at more to come.
The stomp and clap intro “The Man Who Would be King” casts an immediately bluesy hue on No Man’s Valley’s debut album, Time Travel (LP release on Nasoni), and the Netherlands-based five-piece seem only too happy to build on that from there. It’s a blend outfits like The Flying Eyes and Suns of Thyme have proffered for several years now between heavy psychedelia and blues, but No Man’s Valley find a niche for themselves in the dreamy and patient execution of “Sinking the Lifeboat,” a highlight of the eight-track/33-minute LP, and bring due personality to the classic-style jangle-and-swing of “The Wolves are Coming” as well, so that Time Travel winds up more textured than redundant as it makes its way toward six-minute piano-laden finale “Goon.” Once there, they follow a linear course with a post-All Them Witches looseness that solidifies into a resonant and deeply engaging apex, underscoring the impressive reach No Man’s Valley have brought to bear across this first LP of hopefully many to come.
Barcelona classic rocking four-piece Saturna seem to avoid the boogie trap when they want to, as on the more rolling, modern heavy groove of “Five Fools,” and that keeps their World in Sound/PRC Music third album, III/Lost in Time, from being too predictable after the opening “Tired to Fight” seems to set up Thin Lizzy idolatry. They dip into more complex fare on “Leave it All,” somewhere between Skynyrd leads, Deep Purple organ-isms topped with a rousing hook, but keep some shuffle on songs like “Disease” and the earlier “All Has Been Great.” Highlight/closer “Place for Our Soul” seems to be literal in its title, with a more subdued approach and harmonized vocal delivery, and listening to its more patient delivery one can’t help but wonder why that soul should be relegated to the end of the album instead of featured throughout, but the songwriting is solid and the delivery confident, so while familiar, there’s ultimately little to complain about with what III/Lost in Time offers.
Especially with the title of their second EP set as Hate from the Bong, one might be tempted to put Belgian outfit MØLK immediately in the same category of malevolent stoner/sludge metal as the likes of Bongripper, but frankly they sound like they’re having too much fun for that on the five-tracker, reveling in lyrical shenanigans on the politically suspect “Stonefish” and opener “Methamphetamine.” Make no mistake, they’re suitably druggy, but even Hate from the Bong’s title-track seems to keep its tongue in cheek as it unfolds its post-Electric Wizard echoes and tonal morass. That gives the five-piece an honest vibe – they’re a relatively new band, having released their first EP in 2016 as well; why shouldn’t they be having a good time? – to coincide with all that thickened low end and vocal reverb, and though they’re obviously growing, there isn’t much more I’d ask of them from a debut full-length, which is a task they sound ready to take on in these songs.
Italian cult rock outfit Psychedelic Witchcraft have proven somewhat difficult to keep up with over the last year-plus. As they’ve hooked up with Soulseller Records and reissued their Black Magic Man EP (review here), their full-length debut, The Vision, and already announced a follow-up compilation in 2017’s Magick Rites and Spells, the band consistently work to feature the vocals of Virginia Monti (also Dead Witches) amid semi-retro ‘70s-style boogie, as heard on the debut in cuts like “Witches Arise” and “Wicked Ways.” At nine tracks/34 minutes, however, The Vision is deceptively efficient, and though they’re unquestionably playing to style, Psychedelic Witchcraft find room to vary moods on “The Night” and the subdued strum of “The Only One Who Knows,” keeping some sonic diversity while staying largely on-theme lyrically. To call the album cohesive is underselling its purposefulness, but the question is how the band will build on the bluesy soulfulness of “Magic Hour Blues” now that they’ve set this progression in motion. Doesn’t seem like it will be all that long before we find out.
Following the heavy post-rock wash of their 2016 debut album, Tidals, Brooklynite two-piece Spotlights – bassist/guitarist/vocalist Sarah Quintero and guitarist/synthesis/vocalist Mario Quintero – return on the quick with a three-track EP, Spiders, and set themselves toward further sonic expansion. The centerpiece “She Spider” is a Mew cover, electronic beats back opener “A Box of Talking Heads V2” and the spacious closer “Joseph” is a track from Tidals remixed by former Isis drummer Aaron Harris. So, perhaps needless to say, they hit that “expansion” mark pretty head-on. The finale turns out to be the high point, more cinematic in its ambience, but still moving through with an underlying rhythm to the wash of what one might otherwise call drones before becoming more deeply post-Nine Inch Nails in its back half. How many of these elements might show up on Spotlights’ next record, I wouldn’t guess, but the band takes an important step by letting listeners know the potential is there, adding three wings onto their wheelhouse in three tracks, which is as efficient conceptually as it is sonically immersive.
This self-titled second full-length from Malmö, Sweden-based Moon Coven begins with its longest track (immediate points) in “Storm” and works quickly to nail down a far-reaching meld between heavy psych and riffy density. Issued through the much-respected Transubstans Records, it’s a nine-track/50-minute push that can feel unipolar on an initial listen, but largely avoids that trap through tonal hypnosis and fluid shifts into and out of jams on cuts like “The Third Eye,” while centerpiece “Haramukh High” provides a solidified moment before the organ interlude “The Ice Temple” leads into the mega-roll of finisher “White Sun.” What seems to be a brooding sensibility from the artwork – a striking departure from their 2014 debut, Amanita Kingdom – is actually a far more colorful affair than it might at first appear, and well justifies the investment of repeat visits in the far-out nod of “Conspiracy” and the swirling “Winter,” which goes so far as to add melodic texture in the vocals and notably fuzzed guitar, doing much to bolster the proceedings and overarching groove.
Posted in Whathaveyou on November 3rd, 2016 by JJ Koczan
Last time ultra-respected German imprint Nasoni Records dipped its hands into the Texas heavy underground, it was to highlight the work of Wo Fat, so if Fort Worth’s Gypsy Sun Revival wanted to turn a couple heads with their self-titled debut, no doubt the company they’re keeping will help greatly. They issued the album, which it just so happens was engineered by Wo Fat‘s Kent Stump, this summer digitally — you can stream and download below — and Nasoni has pressed it up in an edition of 300 copies that one can only imagine will be short-lived in terms of availability. Because Nasoni, and rock and roll, and that’s how it goes.
Info on the release came down the PR wire for your perusal:
Get immersed in the vast immensity of endless soundscapes and penetrating psychedelia with this Texas trio. This self-titled, debut album takes listeners on a long-distance trip through mind-bending riffs, cosmic jams, and a full-blown guitar freakout. The hypnotic rhythms, groove, and general disregard for traditional song arrangement make this album unique and leave the listeners in anticipation, not knowing what is around the next corner. Embrace the journey and let Gypsy Sun Revival fill your mind.
Gypsy Sun Revival, a psychedelic rock band from Texas, released their debut album on June 14, 2016, which has been well received in the underground community. Their debut album consists of seven songs which contain heavy, spaced-out guitars, tight jams, and even a full-on freak out. This three-piece band wants listeners to “get immersed in the vast immensity of endless soundscapes and refined, penetrating psychedelia”.
Nasoni Records is a Berlin, Germany based record label that specializes in vinyl pressing of psychedelic and rock music from around the world. They have a 20-year history of providing mind-blowing underground releases to the general public, and have published albums from some of the most influential bands in the psychedelic rock scene. Gypsy Sun Revival is proud to be added to the list of Nasoni bands. Gypsy Sun Revival’s debut album will consist of 300 limited edition colored vinyl records with a mindbending artwork insert.
“With this release, the band’s aim was to take listeners on a trip to the outer reaches and have them fully enveloped in the experience of the music,” says multi-instrumentalist, bassist, and singer Lee Ryan. “We think that Nasoni Records will be a great medium for our listeners to get a high-quality pressing of our music “ says Will Weise, guitarist. The band continues to gain loyal followers by playing many gigs and proving their road-worthiness. There is even news of a follow-up release to be announced next year.
Posted in Reviews on October 7th, 2016 by JJ Koczan
Last day. As ever, I am mentally, physically and spiritually exhausted by this process, but as ever, it’s been worth it. Today I do myself a couple favors in packing out with more familiar acts, but whatever, it’s all stuff I should be covering anyway, so if the order bothers you, go write your own 50 reviews in a week and we can talk about it. Yeah, that’s right. That’s what I said. Today we start with Swans. Everything’s a confrontation.
Once again, I hope you’ve found something somewhere along this bizarre, careening path of music that has resonated with you, something that will stick with you. That’s why we’re here. You and me. If you have, I’d love to know about it. Until then, one more time here we go.
Quarterly Review #41-50:
Swans, The Glowing Man
Oh fucking please. You want me to try to summarize The Glowing Man – the culmination and finale of an era of Swans that Michael Gira began now more than half a decade ago – in a single review? Even putting aside the fact that the record two hours long, the notion is ridiculous. If there ever was a chart, the scope here is well off it. The material unfolds and churns and is primal and lush at once on “Cloud of Forgetting,” genuinely chaotic on the 28-minute title-track, and it ends with a drone lullaby, but seriously, what the fuck? Some shit is just beyond, and if you don’t know that applies to Swans by now, it’s your own fault. You want a review? Fine. I listened to the whole thing. It ate my fucking soul, chewed it with all-canine teeth and then spit it out saying “thanks for the clarity” and left me dazed, bloodied and humbled. There’s your fucking review. Thanks for reading.
Oslo trio Virus have long since established that they’re a band working on their own wavelength. Memento Collider (on Karisma Records) is the jazzy post-black metallers’ first album in five years and brings together adventurous rhythms, poetic declarations, dissonant basslines and – in the case of “Rogue Fossil,” the occasional hook – in ways that are unique unto Virus. Look at this site and see how often I use the word “unique.” It doesn’t happen. Virus, however, are one of a kind. Memento Collider makes for a challenging listen front to back on its six-track/45-minute run, but it refuses to dumb itself down or dull its progressive edge, bookending its longest (that’s opener “Afield” at 10:41; immediate points) two tracks around jagged explorations of sound like “Steamer” and “Gravity Seeker,” which engage and intrigue in kind after the melodic push of “Dripping into Orbit” and leading into “Phantom Oil Slick,” a righteous affirmation of the angular thrust at the core of Virus’ approach.
In 2010, Moscow troupe The Re-Stoned issued their first EP, Return to the Reptiles, and being obviously concerned with evolution, they’ve now gone back and revisited that debut release with Reptiles Return, a reworking of the four studio tracks that made up the initial version – “Return,” “Run,” “The Mountain Giant” and “Sleeping World.” The opener is a straight re-recording, as is one other, where another is remixed and the other two remastered, and Reptiles Return – which is presented on limited vinyl through Clostridium Records and a CD box set with bonus tracks via Rushus Records – pairs them with more psychedelic-minded soundscape pieces like “Winter Witchcraft,” “Walnut Talks,” the proggy “Flying Clouds” and sweetly acoustic “Roots Patter,” that showcase where founding multi-instrumentalist Ilya Lipkin is taking the band going forward. The result is a satisfying side A/B split on the vinyl that delights in heavy riffing for its own sake in the first half and expands the scope in the second, which should delight newcomers as well as those who’ve followed The Re-Stoned along this evolutionary process.
It may well be the fate of San Francisco’s hard-touring, ass-kicking, genre-refusing duo Castle to be terminally underappreciated, but that has yet to stop them from proliferating their righteous blend of thrash, doom and classic, fistpump-worthy metal. Their latest outing, Welcome to the Graveyard, arrives via respected purveyor Ván Records, and entices in atmosphere and execution, cohesively built tracks like “Hammer and the Cross” and the penultimate “Down in the Cauldron Bog” finding a balance of personality and delivery that the band has long since honed on stage. The Dio-esque barnburner riff of “Flash of the Pentagram” makes that cut a highlight, but as they roll out the cultish vibes of “Natural Parallel” to close, there doesn’t seem to be much on the spectrum of heavy metal that doesn’t fit into Castle’s wheelhouse. For some bands, there’s just no justice. Four records deep, Castle have yet to get their due, and Welcome to the Graveyard is further proof of why they deserve it.
One can hear a new wave of modern doom taking shape in Chained to Oblivion, the Prosthetic Records debut from Arizona one-man outfit Spirit Adrift. The work of Nate Garrett alone in the studio, the full-length offers five mostly-extended tracks as a 48-minute 2LP of soaring, emotional and psychedelic doom à la Pallbearer, but given even further breadth through progressively atmospheric passages and a marked flow in its transitions. To call it personal seems superfluous – it’s a one-man band, of course it’s personal – but Garrett (also formerly of metallers Take Over and Destroy) brings a palpable sense of performance to the songwriting, and by the time he gets to the 11-minutes-apiece finale duo of the title-track and “Hum of Our Existence,” it’s easy to forget you’re not actually listening to a full band, not the least because of the vocal harmonies. Calling Chained to Oblivion a promising first outing would be underselling it – this is a project with serious potential.
Unpredictable from the start of opener “Flesh ‘n’ Steel,” Once upon the Wings is a first-time multinational collaborative effort from Robbi Robb of California’s 3rd Ear Experience and Paul Pott of Germany’s The Space Invaders. Its five tracks/42 minutes arrive through no less than Nasoni Records, and provide a curious and exploratory blend of the organic and the inorganic in sound, as one finds the 11-minute “Grass” no less defined by its percussion solo, guitar line and ‘60s-style vocal than the electronic drums that underscore the layered wash of noise in its midsection. Further definition hits with the 16-minute centerpiece “Prophecy #1,” which works in a space-rocking vein, but the shorter closing duo of the catchy “Looney Toon” and darkly progressive “Space Ear” show a creative bent that clearly refuses to be tamed. Robb & Pott, as a project, demonstrates remarkable potential throughout this debut, as they seem to have set no limits for where they want their sound to go and they seem to have the command to take it there.
Most of the tracks on Brooklyn progressive noise rockers Family’s second album and Prosthetic Records debut, Future History, come paired with interludes. That cuts some of the growling intensity of winding pieces like “Funtime for Bigboy” and “Floodgates,” and emphasizes the generally experimental spirit of the record as a whole, broadening the scope in sound and theme. I’m somewhat torn as to how much this actually works to the 51:50 outing’s benefit, as shorter pieces like “Prison Hymn” and “Transmission,” while adding dynamic to the sound and narrative drama, also cut the immediacy in impact of “The Trial” or closer “Bone on Bone,” but it’s entirely possible that without them Future History would be an overwhelming tumult of raw prog metal. And while the play back and forth can feel cumbersome when one considers how effectively “Night Vision” bridges the gap between sides, I’m not sure that’s not what Family were going for in the first place. It’s not supposed to be an easy record, and it isn’t one.
France’s Les Discrets haven’t had a studio offering since 2012’s Ariettes Oubliées (review here), and while they released Live at Roadburn (review here) last year documenting their 2013 set at that festival, there’s little there that might presage the stylistic turn the Fursy Teyssier-led outfit takes on their new EP, Virée Nocturne (on Prophecy Productions). With four tracks – two new, complete recordings, one demo and the last a remix of the opener by Dälek and Deadverse – Les Discrets attempt to find a stylistic middle ground between post-rock and trip-hop, and for the most part, they get there. “Virée Nocturne” itself leads off and can be jarring on first listen, but successfully blends the lush melodicism for which the band is known with electronic-driven beats, and both “Capricorni. Virginis. Corvi” and even the demo “Le Reproche” continue to build on this bold shift. The finale remix adds over two minutes to “Virée Nocturne,” but uses that time to make it even more spacious and all the more immersive. For anyone who thought they might’ve had Les Discrets figured out, the surprise factor here should be palpable.
Presented across four tracks beginning with the 12-minute and longest-of-the-bunch (immediate points) “The Corpse of Dr. Funkenstein” (double points for the reference), II, the aptly-titled second album from Liquido di Morte expands the progressive atmospherics of the Italian four-piece’s 2014 self-titled debut (review here) without losing sight of the performance and spirit of exploration that helped bring it to life. Isaak’s Giacomo H. Boeddu guests on brooding vocals and whispers for “The Saddest of Songs I’ll Sing for You,” which swells in seething intensity as it moves forward, while “Rodents on the Uphill” casts a vision of post-space rock and closer “Schwartz Pit” rounds out with crash and wash that seems only to draw out how different the two halves of II actually are. Not a complaint. Liquido di Morte make their way across this vast span with marked fluidity, and if they prove anything throughout, it’s that they’re able to keep their command wherever they feel like using it to go.
Canberra, Australia, trio Witchskull initially released their debut full-length, The Vast Electric Dark, last year, and caught the attention of the cross-coastal US partnership between Ripple Music and STB Records, who now align for a reissue of the eight-tracker. Why is quickly apparent. In addition to having earned a fervent response, The Vast Electric Dark basks in quality songcraft and doomly, heavy vibes, keeping a consistent pace while rolling through the semi-metallic push of “Raise the Dead” or the later rumble/shred of “Cassandra’s Curse.” All the while, guitarist/vocalist Marcus De Pasquale provides a steady presence at the fore alongside bassist Tony McMahon and drummer Joel Green, and what’s ultimately still a straightforward rocker of an album finds a niche for itself between varies underground styles of heavy. Between the balance they strike across their 37 minutes and the energy that courses through their songs, Witchskull’s The Vast Electric Dark proves easily worth the look it’s getting.
Dutch heavy psych-blues rockers No Man’s Valley will release their debut album, Time Travel, this summer on Nasoni Records. “Kill the Bees” is the second track on the record after intro “The Man Who Would be King,” and the LP version is a bit longer than that which appears with the band’s new video, but the clip still offers more than enough of a glimpse to give a sense of the atmosphere in which the band is working; a line of heavy blues not dissimilar from The Flying Eyes‘ classic swing and swagger, but of rapidly developing character on cuts like “Sinking the Lifeboat” and the appropriately-howling “The Wolves are Coming.” By the time they get around to the penultimate title-track and piano-laden closer “Goon,” No Man’s Valley have reached beyond where they started out, but they never quite let go of that core of liquefied blues rock that ties the songs together.
And in putting the emphasis on that, “Kill the Bees” starts out Time Travel with a catchy hook and easy swing. As to the bees themselves? Could be the blues, if the video is anything to go by. The prevailing vibe is melancholy but the song doesn’t lack movement by any means, and the clip seems to follow a kind of grueling creative process at work, winding up kind of manic visually but with resolution to that process ultimately. The song, smoothly edited, does likewise, so all the better.
You can find the video for “Kill the Bees” below, followed by the credits for its making.
Newcomer collaborative duo Robb & Pott go to warp five on “Flesh ‘n’ Steel” from their debut album, Once upon the Wings — out in September through mega-respected purveyor Nasoni Records, now in their 20th year — and that’s still before they get around to covering Sam Gopal, so yeah, it’s pretty fair to say the record’s tripped out. The two-piece is made up of Robbi Robb of Californian desert jammers 3rd Ear Experience and Paul Pott of German space rockers The Space Invaders, and the record boasts five tracks from “Space Ear,” the title derived from the players’ main outfits, to the 16-minute blissery of “Prophecy #1,” each of which proves immersive and basks in chemistry that it would seem even continents couldn’t separate.
From the PR wire:
Robb & Pott – Once Upon the Wings
We are pleased to announce the release of Once Upon the Wings – a collaboration between Robbi Robb of 3rd Ear Experience and Paul_Pott of the German space rock band the Space Invaders.
Cds will be available in July 2016 and Vinyl will be released in September 2016 through Nasoni Records.
Most musicians after they have discovered their instrument of choice, enjoy playing with their friends, jamming in garages, at backyard parties and around campfires. Though some go professional eventually – there remains the attraction to return to those days of jamming and making music with good friends and like-minded musicians we meet on the way. It is this underlying sentiment that inspires this project simply called Robb&Pott. The last names of two friends.
When Robbi performed with Tribe after Tribe at the Burg Herzberg Festival he briefly met Paul who was part of the film crew Andi Weimann put together to capture Tribe live. Years later Paul would help Robbi to get his new album with 3rd Ear Experience to labels and promoters. At that time Robb did not know that Paul played bass in one of his favorite Space rock bands: the Space Invaders. This came as a great surprise. Slowly over the years their friendship developed until it was inevitable that the desire arose to do an album together – just for fun. Thus was born Robb & Pott.
Netherlands-based heavy psych rockers No Man’s Valley have signed on with Nasoni Records for the Summer 2016 release of their debut album, Time Travel. A first glimpse of what’s on offer with the record is available now in a new teaser clip posted below, and in its quick 40 seconds you’ll find modern heavy blues à la The Flying Eyes and poised space prog in the Floydian tradition, all of which dogwhistles a psychedelic breadth to follow-up on the Horst-based five-piece’s prior EPs, 2012’s Mirror Image and 2014’s And Four Other Songs EPs and that same year’s The Wolves are Coming two-songer.
I know I’ve said this before, but there are few labels who carry the same kind of weight for me in terms of taste as does Nasoni. Generally speaking, a Nasoni Records logo is about all the endorsement I need to make me want to hear a given album, so when it comes to No Man’s Valley getting that endorsement, it’s even more impressive considering it’s their first album. Looking forward to it.
The official announcement, live dates and the aforementioned teaser follow here:
Dutch Psychedelic organ-infused waveblues band No Man’s Valley signs with Nasoni Records!
We are proud to announce that we will release our debut album Time Travel through Berlin-based cult label Nasoni Records. We will do a limited edition (300x) vinyl album on clear vinyl. The record will be released in summer, an exact date is yet to be determined. So say tuned! In the meanwhile, consider yourself teased and if you feel like seeing us live, here are our upcoming dates: