Neurosis, Fires Within Fires: Reflecting Forward

Posted in Reviews on September 21st, 2016 by H.P. Taskmaster

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A new release of any sort from Neurosis should be seen as reason to celebrate, and their 11th studio album, Fires Within Fires, has hit with no shortage of fanfare, critical fawning, wax poetry, etc. I won’t necessarily disagree with most of it, but it’s hard to separate the record, which of course is released on the band’s own Neurot Recordings, from the context in which it arrives.

Part of that is narrative. The post-metal progenitors began marking their 30th anniversary in the past year, and with Fires Within Fires, they take on the task of summarizing their unmatched sonic progression in a variety of interesting ways, not all of them sonic. At the same time, one of the most pivotal aspects to what Neurosis do — and I’m writing as a fan — has been the forward-thinking crux, the willingness to push into uncharted places, relentless in passion and creative spirit.

Fires Within Fires representing that as well as pulling in aspects from the band’s past without being overly cerebral or coming across like a commentary from the band, by the band, about the band, might be its greatest triumph. Rather, in marking their history, Neurosis — the five-piece of guitarist/vocalists Scott Kelly and Steve Von Till, bassist/backing vocalist Dave Edwardson, drummer Jason Roeder and keyboardist/noise specialist Noah Landis — conjure here some of the rawest sounds they’ve elicited in more than a decade.

That idea applies even to the five-track/40-minute runtime. Fires Within Fires is the shortest Neurosis full-length since 1990’s The Word as Law, and the visceral nature of opener “Bending Light” mirrors that paring-down process in its sound. At the same time, Fires Within Fires caps with “Reach,” which presents the most ambitious melodic vocal approach of the band’s career, so even as they reflect, that becomes part of an overarching ongoing pursuit.

This gives the album, produced by Steve Albini, who’s helmed everything they’ve done since 2001’s pivotal A Sun that Never Sets — which seems to find some reference here in the penultimate “Broken Ground” (probably not on purpose) — a certain front-to-back linearity. Especially with its somewhat truncated span compared to more recent Neurosis outings, be it 2012’s Honor Found in Decay (review here), which was an hour even, or 2007’s Given to the Rising, which was 10 minutes longer than that, the shorter stretch makes Fires Within Fires easier to take as a whole work as well as in terms of its individual pieces and what they accomplish.

Their recordings with Albini have always been very tied to their live presentation, so Fires Within Fires isn’t necessarily any more “stripped down” in its presentation than any of their other collaborations, but it does carry that rawer feel in the material itself, in the full-boar lurch of centerpiece “Fire is the End Lesson” as well as in the still-tense atmospherics of second cut “A Shadow Memory.”

Landis, whose contributions in eerie sampling and manipulation of sound, as well as keys, etc., continue to bolster the material well, immediately complement the initial rollout of “Bending Light.” Crashing in, the opener weaves its way forward on an intricately-toned guitar lead, quiets down to lull the listener into a false sense of security and then at 3:40 slams into its verse, Kelly‘s guttural sneer unmistakable as it spits the lines, “Watching through the eyes of a crow/I let it guide me/I let it guide me/I let it in/The end is endless/And washing [or watching] over me.”

The rhythmic repetition there is important, and comes up again shortly with the same line, “I let it guide me,” before Kelly and Von Till come together to deliver and repeat the lyric, “Peeling the skin away reveals the heart,” which could easily be read as a declaration of intent for the album itself (though again, probably not), their insistence as they belt it out four times in a row punkish in its intensity. Following a slowdown, Von Till takes the fore vocally and the track lumbers and undulates to its finish and into the airier start of “A Shadow Memory,” the shortest cut on Fires Within Fires at 6:50.

Within the first minute, its forward motion is underway, the guitars and keys accenting each other as Roeder, as ever, gives fluidity to what for most drummers would be impossible to interpret (without his blueprint). Von Till and Kelly work through a call and response on vocals and drop out for a moment of ambience before a section of drawn guitar line reminiscent of “Water is Not Enough” from Given to the Rising hits and carries through the halfway point, after which they stop and then shift again into a more direct thrust. That will serve as the capstone movement, and the guitar line returns to tie it together, behind another effective dual vocal that only adds to the manic feel before swirling noise ends cold and cuts into the immediate impact of “Fire is the End Lesson.”

neurosis-photo-by-john-sturdy

Also on the shorter end (6:54), it reverses the structure thus far of subdued intros into bursts forward, though it does build with much credit to Edwardson at the low end until they move through the two-minute mark, cutting out some of the wall-of-noise push to air out keys and what sounds like strings but could just as easily be a sample or other manipulation from Landis — it can be tricky sometimes to tell — but the thrust revives with a rising, consuming wash of noise and guitar, all seeming to come to a head and then only growing more abrasive, finally cutting out just past five minutes in to the same progression that answered the first payoff, which by this time has an almost soothing presence.

They finish with repeated lines before dropping to feedback to set up the gorgeous wash of keys that begin “Broken Ground.” One might be reminded of “A Sun that Never Sets” from the album of the same name by Roeder‘s drumming and the vocal that emerges, and as “Broken Ground” moves into its apex, it might seem to be speaking to the genre-foundational “Stones from the Sky” off that same record, but Neurosis today is a different beast than they were 15 years ago, and they shove what might be Fires Within Fires‘ standout riff into a chorus that holds its volume and opens into lines of what sounds like (but likely isn’t actually) flute behind the vocals, dipping back right away into the verse before a return to the quiet guitar, keys and drums of the intro just past the halfway point brings Von Till back for a more subdued delivery.

At 5:39, they kick back into that riff and take it through another chorus, and though it seems fair to expect them to ride that through the remaining three minutes, they instead cut back again and end quiet, watery effects on a few final lines on a long drift with just a current of noise remaining. The closer and longest track, “Reach” (10:37) begins almost like its predecessor, but the mood is immediately different, the drums accenting a march that Von Till meets with melodic singing in a voice usually reserved for his solo work.

Not only that, but soon enough Kelly joins in and the two duet in a way that I’m not sure has ever happened on a Neurosis record. A build has begun, however, and carries through the next verse and joint-vocal chorus, and at 4:30, they shift into what will be the ground level for Fires Within Fires‘ last push, a long section of melancholy guitar lead over patient and quiet, but tense, guitar, bass and drums.

You know it’s coming, you just don’t know when, but at 7:59, “Reach” lunges forth its crescendo, a vicious and somewhat angular rhythm very much the band’s own that moves back and forth between the guitars at the fore, brings in Edwardson on backing vocals — he’s a weapon not often but effectively used — and teases its finish with words that rhyme with the title before the guitar, bass, drums, keys and everything else drops away and the final call — “reach” — is delivered, the band basically living up to that promise in manifesting the undulled searching that has been their core for the last three decades. In the end, it only takes them one word to say it all.

The visual side of Neurosis‘ output — from the artwork to their years spent accompanied by Josh Graham‘s video presentations during live sets — has always been a major element in conveying theme. With Honor Found in Decay, there was a strong sense of ritual, and the open gray space of 2004’s The Eye of Every Storm was no less appropriate than the charred and fossilized flesh of 1993’s Enemy of the Sun.

With the Fires Within Fires cover by Thomas Hooper, we see several elements that factor into the story surrounding the album, from the burning world representing passion to the key that might very well be just that — the key — in saying passion is central to the band and what has sustained them. Also important and thematic through the package are circles, in both the world on the cover surrounded by ethereal lines that could well be taken as spirit, as well as on back and inside, and this too plays into the notion of Neurosis taking a rare moment to examine themselves and what their time together has wrought for them as artists and people.

I’ve made a lot of comparisons to their past work, and I think those hold up to scrutiny (or I wouldn’t have made them), but at no point do I believe Neurosis sat down and said, “Okay, now we’re gonna reference ‘Through Silver in Blood.'” Instead, it’s more likely these connections emerged naturally as the songs came together, and while at some point they had to consciously acknowledge they were doing something different than before — if only in realizing Fires Within Fires is 20 minutes shorter than its predecessor — I’m not convinced that’s anything so far removed from their usual method of making a record.

Still, the circles. One thinks of ouroboros, of ends as beginnings. It may well be that Neurosis have come full circle and they’ll draw that circle to a close, a completion, but just as likely, the turn in approach they present here may signify a new beginning for the band as much as punctuation for their first 30 years. What can be said for certain is Neurosis will keep moving forward, as it’s all they’ve ever done, and even as they may or may not be looking back, they refuse to stop changing on Fires Within Fires as well. Recommended.

Neurosis, Fires Within Fires album teaser

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Neurosis Announce UK 30th Anniversary Shows

Posted in Whathaveyou on August 10th, 2016 by H.P. Taskmaster

neurosis (Photo by John Sturdy)

Having been fortunate enough to witness two of Neurosis‘ 30th anniversary sets in-person at Roadburn 2016 earlier this year, I’ll say from personal experience that attendance should be considered mandatory for even the mildest fan of the band. They not only tackle the scope of their entire career — a seemingly impossible feat to blend the raw punk of their earliest work with the groundbreaking experimentalism that followed — they do so with all the on-stage force one could ask of Neurosis, who are among the most dynamic live bands in the world, regardless of genre. Somehow I doubt adding material from their forthcoming 11th studio LP, Fires Within Fires, is going to hurt.

Unless you don’t bring earplugs, that is.

The PR wire brings details of the two 30th anniversary shows that Neurosis will play in the UK this November. They’re also in Europe starting tomorrow. Words:

neurosis london shows

NEUROSIS Reveals Two Special UK Shows To Mark Their Thirty-Year Anniversary And Celebrate The Release Of Fires Within Fires

With NEUROSIS having marked their thirty-year milestone with three shows in San Francisco, two shows at the respected Roadburn Festival, and a Summer of touring across Europe on the horizon, the anticipation for something special in the UK is palpable. It therefore comes with great pleasure to announce two London shows in November this year with thrilling, and unexpected, special guests.

On Monday, November 7th, NEUROSIS shall be joined by Earth, and on Tuesday, November 8th, they will be joined by Discharge and Subhumans. These bands represent perfectly the cross-section of music which NEUROSIS as a collective deeply admire and relate to, which makes these two shows all the more important in this milestone year. Tickets go on sale today.

Prior to the UK shows, on September 23rd, NEUROSIS takes a dominant leap with their eleventh full-length, Fires Within Fires. Three decades in the making, and following 2012’s Honor Found In Decay, the album is a testament both to the history and future of Neurosis. In true Ouroborean style, Fires Within Fires gives due to its predecessors while progressing forward into the unfamiliar and formidable. Striking the band’s signature balance between light and dark, beauty and repulsion, dense sonic heaviness and reflective space. Fires Within Fires is succinct, raw and deeply soulful, an all-encompassing reminder that transfiguration in sound remains their most commanding and inimitable strength. Our first and only glimpse of the music on this record, prior to release date, is sampled in a new video which showcases the exquisite album artwork from the renowned Thomas Hooper.

The journey of their music has found the band relishing the unpredictable, embracing the unknown and exploring the possibility of where the music was capable of taking them. Going beyond the remarkable, NEUROSIS has become unforgettable. Fires Within Fires is the next powerful step towards a destination that has long been and continues to be the very heart of “becoming” for NEUROSIS.

Neurot Recordings will release Fires Within Fires on September 23rd worldwide. Preorders are now being taken via the Neurot webstore RIGHT HERE.

NEUROSIS Tour Dates:
8/10/2016 Brutal Assault Festival – Jaromer, CZ
8/11/2016 Festa Radio Onda D’Urto – Brescia, IT
8/12/2016 Rock Altitude Festival – Le Locle, CH w/ Tesa
8/13/2016 Oya Festival – Oslo, NO
8/14/2016 Arena – Vienna, AT w/ Ufomammut, Tesa
8/15/2016 UT Connewitz – Leipzig, DE w/ Tesa
8/16/2016 Gruenspan – Hamburg, DE w/ Tesa
8/17/2016 Patronaat – Haarlem, NL w/ Tesa
8/18/2016 Pukkelpop Festival – Hasselt, BE
8/19/2016 Substage – Karlsruhe, DE w/ Tesa
8/20/2016 Motocultor Festival – St. Nolff, FR
8/21/2016 Amplifest – Porto, PT w/ Tesa
11/07/2016 Koko – London, UK w/ Earth
11/08/2016 Koko – London, UK w/ Discharge, Subhumans

STEVE VON TILL Tour Dates:
8/10/2016 007 – Prague, CZ
8/22/2016 Passos Manuel – Porto, PT @ Amplifest

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Neurosis, Fires Within Fires album teaser

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Neurosis Reveal Fires Within Fires Album Art and Details

Posted in Whathaveyou on July 5th, 2016 by H.P. Taskmaster

Neurosis release their 11th album, Fires Within Fires, on Sept. 23 via Neurot Recordings. Today, the cover art and tracklisting for the album has been revealed, showing the titles for six included tracks that one can only imagine must at least in part be pretty long, but the cover brings to mind older Neurosis records as well — thinking of The Word as Law and maybe Times of Grace — and they’ve been paying homage to their 30th anniversary all year, so it’s entirely possible that will have played into the songwriting as well, though if one can ever expect anything from Neurosis, it’s forward movement.

Hands down my most anticipated album for the rest of this year.

From the PR wire:

neurosis-fires-within-fires-1

NEUROSIS: MORE ALBUM DETAILS EMERGE AND ARTWORK IS REVEALED FOR THEIR ELEVENTH OPUS, FIRES WITHIN FIRES

Of all that humankind has inherited through our ancestry, no single language has transcended every age as powerfully as music. For thirty years, Neurosis have formed an unbreakable union, channelling that inheritance of sound with great command and authority. Showing their discontent with convention from the very beginning, Neurosis revealed what would become an instinct for transformation in sound and scope. Their sound has become interchangeable with vision of the conscious and unconscious, coexisting in an infinite audial spectrum. A vision that challenged not only the constraints of what listeners, and indeed the band themselves expected, but of themselves as beings. Going beyond the remarkable, Neurosis have become unforgettable.

The journey of their music has found the band relishing the unpredictable, embracing the unknown and exploring the possibility of where the music was capable of taking them. This year finds Neurosis taking a dominant leap with their eleventh full-length, Fires Within Fires. Three decades in the making, and following 2012’s Honor Found In Decay, the album is a testament both to the history and future of Neurosis. In true Ouroborean style, Fires Within Fires gives due to its predecessors while progressing forward into the unfamiliar and formidable. Striking the band’s signature balance between light and dark, beauty and repulsion, dense sonic heaviness and reflective space. Fires Within Fires is succinct, raw and deeply soulful, an all-encompassing reminder to all that transfiguration in sound remains their most commanding and inimitable strength.

Created by Scott Kelly, Steve Von Till, Jason Roeder, Noah Landis, and Dave Edwardson. The album features exquisite album artwork from the renowned Thomas Hooper and the stellar recording work of the group’s longstanding engineer Steve Albini. We are proud to reveal the artwork and track listing for the album below…

TRACK LIST
1. Bending Light
2. A Shadow Memory
3. Fire is the End Lesson
4. Broken Ground
5. Reach

Fires Within Fires is the next powerful step towards a destination that has long been and continues to be the very heart of “becoming” for Neurosis.

Neurot Recordings shall release the album on 23rd September worldwide, more information on pre-orders very soon. In the meantime, here’s where you can experience Neurosis live in the near future, including some newly added Steve Von Till shows…

NEUROSIS LIVE DATES:
10.08.2016 – CZ, Jaromer, Brutal Assault Festival (with Tesa)
11.08.2016 – IT, Brescia, Festa Radio Onda D’Urto (with Tesa)
12.08.2016 – CH, Le Locle, Rock Altitude Festival (with Tesa)
13.08.2016 – NO, Oslo, Oya Festival
14.08.2016 – AT, Vienna, Arena (with Tesa & Ufomammut)
15.08.2016 – GER, Leipzig, UT Connewitz (with Tesa)
16.08.2016 – GER, Hamburg, Gruenspan (with Tesa)
17.08.2016 – NL, Haarlem, Patronaat (with Tesa)
18.08.2016 – BE, Hasselt– Pukkelpop Festival
19.08.2016 – GER, Karlsruhe, Substage (with Tesa)
20.08.2016 – FR, St. Nolff – Motocultor Festival
21.08.2016 – PT, Porto – Amplifest (with Tesa)

STEVE VON TILL SOLO DATES:
10.08.2016 – CZ, Prague – 007
22.08.2016 – PT, Porto – Amplifest, Passos Manuel

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Neurosis, “Times of Grace” Live at Roadburn 2016

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Neurosis Release Fires Within Fires Sept. 23

Posted in Whathaveyou on June 21st, 2016 by H.P. Taskmaster

Neurosis have set a Sept. 23 release date for their new album, Fires Within Fires, via their own Neurot Recordings. It’s fitting that, four years after issuing their last outing, Honor Found in Decay (review here), the occasion should also come at a time when the band are continuing to mark their 30th anniversary, as they did earlier this year with special sets in San Francisco and at Roadburn 2016 (reviews here and here). Fires Within Fires was once again recorded with the band’s longtime producer, Steve Albini at Electrical Audio Studio in Chicago.

Not much more info at this point beyond the title and release date — no art, tracks, audio, or other teasers at this point — but this is my most anticipated album for the remainder of 2016. The fall season is still taking shape, but everyone who knows Neurosis knows that each record is a landmark.

So says the PR wire:

neurosis (Photo by Scott Evans)

NEUROSIS Reveals Initial Information About Their Eleventh Album; Additional European Live Dates Revealed

As the key events of their thirty-year milestone unfold, NEUROSIS officially announces the name and release date of eleventh full length, Fires Within Fires.

The new album will be released worldwide on September 23rd via their own Neurot Recordings. The announcement of more specific details of Fires Within Fires is imminent, but in the meantime NEUROSIS announces a dozen new live performances across Europe in August, where they will be joined on select dates by Latvia’s fascinating experimental trio, Tesa.

NEUROSIS is in fine form following recent and rapturously received shows in San Francisco and Roadburn, celebrating their thirty-year anniversary. Stand by for further info on Fires Within Fires to be released in the weeks ahead.

NEUROSIS Live Dates:
8/10/2016 Brutal Assault Festival – Jaromer, CZ
8/11/2016 Festa Radio Onda D’Urto – Brescia, IT
8/12/2016 Rock Altitude Festival – Le Locle, CH w/ Tesa
8/13/2016 Oya Festival – Oslo, NO
8/14/2016 Arena – Vienna, AT w/ Ufomammut, Tesa
8/15/2016 UT Connewitz – Leipzig, DE w/ Tesa
8/16/2016 Gruenspan – Hamburg, DE w/ Tesa
8/17/2016 Patronaat – Haarlem, NL w/ Tesa
8/18/2016 Pukkelpop Festival – Hasselt, BE
8/19/2016 Substage – Karlsruhe, DE w/ Tesa
8/20/2016 Motocultor Festival – St. Nolff, FR
8/21/2016 Amplifest – Porto, PT w/ Tesa

http://www.neurosis.com
http://www.facebook.com/officialneurosis
http://www.twitter.com/neurosisoakland
http://www.neurotrecordings.com
http://www.facebook.com/neurotrecordings

Neurosis, “Stones from the Sky” Live at Roadburn 2016

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ROADBURN 2016 AFTERBURNER: Black Magick Boogieland

Posted in Features, Reviews on April 17th, 2016 by H.P. Taskmaster

roadburn 2016 afterburner (Photo by JJ Koczan)

04.17.16 — 01:18 — Hotel room, Tilburg

More than any other Roadburn in recent memory, this one has gone quickly. It never quite drags, but Roadburn 2016 has been a sleepless blur of tonal impact, furious creativity and walks down 013 corridors that on Thursday were strange and new and by today were as though nothing about the venue had changed at all. Like the marathon and the sprint decided to join forces. Today was the last day, the Afterburner, which drops from five stages to three — the Main Stage and the Green Room at the 013 and the space over at Cul de Sac — and generally features a more chilled-out vibe, though particularly over the last couple years, its stylistic reach has become no less broad than Roadburn proper.

To wit, today’s lineup. In keeping with this year’s Icelandic theme — most of that is black metal, but still — The Vintage Caravan played a special 2PM set at Cul de Sac, last minute. They were here hanging out and so got a slot on the bill. I didn’t get to see it because we were finishing up the final issue of the Weirdo Canyon Dispatch (you can read it here), but to see that kind of spontaneity in action — hey, you’re here, so play — exemplifies part of what makes Roadburn so genuinely exceptional. mirrors for psychic warfare 1 (Photo by JJ Koczan)My understanding is the band’s new drummer wasn’t with them yet when they played here last year, so wanted to be able to say he’d played Roadburn as well. Sure, why not?

My day began a short time later with Mirrors for Psychic Warfare starting in the Green Room. The two-piece is comprised of Scott Kelly of Neurosis and Sanford Parker, who also played today with Buried at Sea, and I guess it’s fair to call it a Corrections House spinoff, since they both operate in the same roles as in that band, with Parker on electronics and synth and Kelly providing guitar and vocals, but without Eyehategod‘s Mike Williams as frontman or Bruce Lamont‘s sax, the effect is vastly different. Progressions were slow and lurching as they emanated from Kelly‘s guitar, and waves of loud-as-hell drones oozed forth massive from the stage. At one point, Parker played a line of bass through his laptop or sampler, whichever it was, and the low end was such a physical presence I could feel it vibrating my nose hair. It’s not like I have a lot of it, either. It was a sensation I’d never felt before. Earplugs vibrating, sure. Nose hairs? Kind of tickled, actually.

Vocals were sporadic but well suited to the grueling mood, and the set as a whole seemed to be working on a gradual build in intensity until, as they were finishing, Kelly was throwing his shoulders as he might headbanging during one of Neurosis more riotous parts. Needless to say, they closed loud. Green Carnation were on the Main Stage playing Light of Day, Day of Darkness, which is a cool record to be sure, but I didn’t want to miss the start of Blind Idiot God, the New York trio playing the fourth show of their maiden voyage to Europe. Their latest albumblind idiot god 1 (Photo by JJ Koczan)Before Ever After (review here), has just had its worldwide release, and in addition to the notable reggae nod in “Night Driver,” the instrumental three piece played “Antiquity” and a host of others from what was their first LP in 23 years, their focus on blurring lines between NY aggro noise crunch, proggy brilliance and heavy atmospheres.

Add to that drummer Tim Wyskida‘s winning for most elaborate drum kit of the weekend — at least of the ones I saw — and Blind Idiot God offered intrigue and dissonance in kind. Their stage presence was progressive, led in that regard by guitarist Andy Hawkins, but still had a bit of pre-Giuliani Manhattan noise rock grit about them beneath that came out here and there in their sound, which was wide open stylistically, but delivered by HawkinsWyskida and bassist Will Dahl with precision and due emphasis on the complexity in the material. There were people in the crowd who’d waited 25 years to see the band. You could say the response was solid. Respected scribe and all-around hyper-passionate supporter of music Stefan Raduta gave me the hard sell on catching Jakob, though really all he had to say was “they’re from New Zealand.” Anyone who’s traveled that far to play Roadburn must have a good reason.

Complemented with visuals by Jérôme Siegelaer, the three-piece’s set found its reason in a lush post-rock, full in tone and l-o-u-d loud, but still evocative enough to keep the crowd in its grasp to the point where, after applauding, the room quickly fell into silence as those in attendance waited to hear the first notes of whatever it was Jakob were going to play next. Their fourth album, Sines, came out in 2014, but this was my first exposure to them, and it was a recommendation I was glad I took jakob 1 (Photo by JJ Koczan)when they were finished, the vibe setting itself up for a departure into the darker post-metallurgy of Belgium’s Amenra. But first, Ecstatic Vision in the Green Room. I’ve seen them before and they’re from Philadelphia, which is much, much closer to where I live than New Zealand, so I stayed through the end of Jakob, but managed to poke my head in the door of the packed out smaller stage and find the trio’s blend of heavy psych and space rock intact from when I last left it. Their debut, Sonic Praise (review here), was right on for Roadburn from the outset, so there was little surprise when they were added, but they’ve put in some considerable road time already, so good to see them doing well, even if I’m seeing it through the doorway instead of in the room itself.

The sense of presentation back in the Main Stage began even before Amenra actually started playing. A large white curtain was brought out and raised in front of the stage so that the band’s video background could cover even more territory, and after everything was ready to go, vocalist Colin H. van Eeckhout — who also has a solo record out called Rasa (review here) — came out first, knelt down in front of the drum riser, facing away from the crowd as he did for yesterday’s acoustic Amenra set and as is apparently his wont, and started beating two sticks together, slowly and ritualistically. He was joined soon by drummer Bjorn Lebon, who had his own sticks, and followed soon by the rest of the band, guitarists Mathieu van de Kerckhove (also Syndrome, which played Cul de Sac earlier in the day) and Lennart Bossu and bassist Levy Seynaeve, and there began a amenra 1 (Photo by JJ Koczan)set of some of the most intense post-metal I’ve ever seen outside of Neurosis themselves.

On par with Isis at their angriest, but crisper in their songwriting and use of ambience, Amenra were further distinguished by their direct affinity for “Times of Grace” but more so by the flashing strobes, high-energy delivery and their obvious mastery of the form. What I learned at the Roadburn 2016 Afterburner was that people go apeshit for that stuff. I can’t argue it wasn’t cohesive, but the power of Amenra‘s aesthetic and the force with which they drove it at the assembled masses earned them the night’s second biggest response, and the Main Stage was crowded enough that I had to go all the way up top just to find a place to stand, and even that didn’t come easy. It was an impressive showing, and while I’m not sure I’d count myself in the getting-it camp — or in a parish of the Church of Ra, as it were — much of their set was undeniable. One would not win a debate arguing against it.

There was a considerable break before Neurosis came out for the second set of their two-night 30th anniversary celebratory stint headlining on the Main Stage. My first Roadburn was 2009, the year they curated, and I can still remember standing in the balcony of what’s now the old-013 big room and being awed. It wasn’t my first time seeing them, but it was something special, and the same goes for last night and tonight together as well. Yes, partially because they broke out older, not-really-played-anymore songs like “Blisters,” “Grey” and “Double-Edged Sword” from The Word as Law, “The Web” and “To Crawl Under One’s Skin”neurosis ab 1 (Photo by JJ Koczan) from Souls at Zero and Pain of Mind‘s “Life on Your Knees” and “Pollution” from 1989’s Aberration EP. They went as far forward as 2012’s Honor Found in Decay (review here) and touched on all the ground in between, guitarist/vocalist Scott Kelly having some technical issues — the first time I’ve ever seen Neurosis have tech problems — with his guitar after opening with “To Crawl Under One’s Skin,” but sorting it out with guitarist/vocalist Steve Von Till and the crew as Noah Landis covered for them with a huge, kind of abrasive drone, and drummer Jason Roeder and god-damn-it’s-a-joy-to-watch bassist/backing vocalist Dave Edwardson sat tight.

When they got going again, it was “Locust Star,” and, you know, the universe collapsed on itself and folded into the deeper reaches of subspace, so whether or not the guitar was working didn’t really matter anymore because all existence was wiped out. At least that’s how I remember it. Pretty standard for Neurosis. In all seriousness, I don’t know if there’s a heavy band of their generation that’s inspired so much wax poetry — I’m guilty in this regard as well, in case you didn’t click that review link above — but it seems to me that speaks to the level on which Neurosis resonate with their audience. It’s often credited as this cerebral, arthouse phenomenon, but it’s not that. It’s rawer, from the gut, and it captures an experience that isn’t necessarily universal, but which this crowd — the Roadburn crowd, here and worldwide — relates to like it doesn’t relate to anything else. As they wrapped with “The Tide” and drew the tension out to cruel extremes before Kelly started the opening riff of set-finale “The Doorway,” it occurred to me again how special this band is, how much it derives from the players that comprise it, and that however much others try to capture the same sonic spirit, they only wind up with a fraction of it at best. It was a two-hour set. If they’d decided to do a third, I’d have stuck around for it.

A lot of people stuck around anyway, as it happens, to see PH — formerly MPH, formerly Mr. Peter Hayden — in the Green Room. The Finnish band is a cosmic wrecking ball and I managed to catch some of their set last time theyph 1 (Photo by JJ Koczan) played Roadburn, but Buried at Sea were also coming on the Main Stage, and if you know Migration, you know why it was the back and forth between the two that it was. The Chicago four-piece released that LP, their only one, in 2003 and though guitarist/vocalist Sanford Parker (also Corrections House and Mirrors for Psychic Warfare, as well as War Crime Recordings) has gone on to become a household name in the underground for his production work for the likes of Blood CeremonyYOBPelican, etc., it was the band as a whole that really made an impact. They were among the first to consciously proffer tone worship in US doom, and that’s not something that’s easily forgotten for those who were there to hear it the first time around or who’ve caught on since.

Even following two hours of Neurosis, which has to be one of the least enviable festival slots in the history of recorded sound, Buried at Sea kept the crowd there and delivered the vicious heft with which they’ve become synonymous, largely in their absence — their last EP, Ghost, came out on Neurot in 2007 — and while I don’t know if they have any plans to do more or maybe put a sophomore album together, but with the lineup of Parker, bassist/vocalist Chris Sowell, guitarist Jason Depew and drummer Brandon Pierce, they sounded vital. Gave me hope where previously I’d sort of figured they’d do a couple shows and then go back their separate ways.

It was getting late. My feet were telling me. With pain. Always bittersweet to say goodbye to Roadburn, and 2016 having gone so quicklyburied at sea 1 (Photo by JJ Koczan), all the more so. Death Alley were rounding out the fest at Cul de Sac, so after hanging for a while at PH, I made my way over there. It was too packed to get up front for pictures or anything like that, plus everyone around me was smashed and I didn’t want to feel like a dickhead American invader, so I hung in the back and listened as a bass-heavy take on “Over Under” started off their set. The place was immediate into it, even where I was, and rightly so. How far that band has come in just a couple years, they’re legitimately one of the Netherlands’ most exciting acts going, and they just have one record, 2015’s Black Magick Boogieland (review here). It’ll need a follow-up sooner or later, but still, that’s a considerable accomplishment starting out.

They played the title-track “Black Magick Boogieland,” and standing back by the door of the Cul de Sac with my earplugs in, drunken revelry on all sides of me — I got told tonight my face radiates love; mostly I think I just look tired — my camera bag on the floor to give my shoulder a rest, I thought back to the interview I did with the band for the album last year prior to the release and their talking about the concept of what the title meant and about the power of music to draw people in, to change minds, to shape lives, excite and inspire. roadburn 2016 poster becky cloonanHow lucky I am to have been here this week and the seven years prior. For me, Roadburn has become that sacred space that I keep trying to live up to, to be worthy of, and I couldn’t imagine a better way to cap it than with “Black Magick Boogieland,” because that’s what it’s all about. That was how I wanted my night and my Roadburn 2016 to finish, on that feeling of warmth and belonging.

And so that’s how it ended.

I’ll have another post to wrap up the coverage series, but I need to be up in three hours to go to the airport and fly home and there are still pictures to sort, so I’ll just say thanks for reading for now.

More pics after the jump.

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ROADBURN 2016 DAY THREE: Times of Grace

Posted in Features, Reviews on April 16th, 2016 by H.P. Taskmaster

roadburn 2016 day three (Photo by JJ Koczan)

04.17.17 – 01:26 – Hotel room, Tilburg

We were done with the Weirdo Canyon Dispatch folding ritual early this afternoon. Third time’s the charm. The issue was finished and printed and put online (you can read it here) by a little bit before one o’clock, so I decided to head back to the hotel to have a drink of water, get my head around the day, dick around on my phone, etc.

dool 1 (Photo by JJ Koczan)En route, something caught my ear wafting out of the Cul de Sac. It was Rotterdam natives Dool soundchecking, and from outside, they sounded pretty damn good. Their name had come up in the office since they’re this year’s “Roadburn Introduces” pick, and I decided pretty quickly that I’d have to check them out even just going by what I heard on my way by, so I got back in time to get a spot up front and attended their arrival. They’ve got members of The Devil’s Blood in bassist Job van de Zande and drummer Micha Haring and Gold‘s Nick Polak on guitar along with Reinier Vermeulen, and guitarist/vocalist Ryanne van Dorst, and maybe since they’re not brand new players out of the gate it shouldn’t be a surprise they were in such command of their sound, but for a band who doesn’t have more than a single out, they were impressive in their presence on stage and in the cohesion of their aesthetic, copping elements of goth rock to darken up heavy grooves for an early crowd.

When they got to “Words on Paper,” van Dorst switched out her electric guitar for an acoustic one, and the effect of the added resonance to Polak‘s and Vermeulen‘s guitars was palpable. Every Roadburn brings a pleasant surprise. Dool were definitely mine this year. This morning, I knew nothing about them. Now I’ll be keeping an eye out for news about their debut album. They’d wrap up in time for Skepticism to start on the Main Stage. skepticism 1 (Photo by JJ Koczan)The Finnish funeral doomers hit the quarter-century mark in 2016, and they marked the occasion with a special fan-selected set that focused heavily on their 1995 debut LP, Stormcrowfleet, with “Sign of a Storm,” “By Silent Wings” and “The Everdarkgreen,” as well as their 2003 third outing, Farmakon, with “Farmakon Process,” “The Raven and the Backward Funeral” and “Shred of Light, Pinch of Endless.” They had “The March and the Stream” from 1998’s Lead and Aether in there as well, but whatever they were playing, it all crawled, gruelingly, further into a deep, black abyss of church-organ-laced doom, heavy on drama and impassable in tone.

Frontman Matti Tilaeus added to the drama, the bowtie of his formalwear undone — as apparently it will be — and the white roses he carried out with him when he came on stage laid on the tops of the monitors for extra funereal effect. They played mostly in the dark, and were a reminder of just how much what we think of today as death-doom owes its crux to what Finland conjured in the mid-’90s. It was a surprise to walk out of the Main Stage room when they were done and find the sun was still up. How could daylight still even exist after such a thing? I’d ponder the question during an initial loop through the merch area while waiting as I have been for months, years, to see Brothers of the Sonic Cloth, also playing the Main Stage. The Tad Doyle-fronted outfit released their also-awaited self-titled debut (review here) on Neurot Recordings, and though they toured to support it — with Neurosis, no less — I didn’t get to go to that show and my soul has had a dent in it ever since.

brothers of the sonic cloth 1 (Photo by JJ Koczan)Well, Brothers of the Sonic Cloth‘s sheer tectonic heaviness took that dent, bumped it out and polished it up real nice. And by that I mean that, while the video screen behind them showed suitably-themed images like the earth as a ball of fire, volcanoes, arcane rituals and so on, they played so furiously loud and with such heft of low end that the floor of the big room actually shook. They had a second guitarist on stage right with bassist Peggy Doyle, and drummer Dave French was in the back, but as a whole unit, Brothers of the Sonic Cloth came together to hone pure aural destruction for the duration of their set, Tad‘s seething rasp and screams placing him at the center of the churn, not nearly as morose as Skepticism had been, but viscerally angry and geared for maximum impact. When the asteroid hits planet earth in whatever year that is — could be tomorrow for all I care; I’m at fucking Roadburn — it will sound like Brothers of the Sonic Cloth. I own two of their t-shirts. When they were done I felt like maybe that’s not enough.

Aside from the fact that Astrosoniq drummer/producer Marcel van de Vondervoort is deeply involved with recording and mixing the audio streams of each Roadburn that so often become groups’ live albums, and aside from the fact that after I first dug into their last studio LP, 2010’s Quadrant (review here), I decided I needed to hear every record they’d ever put out — 2006’s Speeder People (review here), 2005’s Made in Oss EP (review here), 2002’s Soundgrenade (review here) and 2000’s Son of A.P. Lady (review here) — I have been waiting years to see Astrosoniq play Roadburn, and their set was made all the more special by the fact that fest organizer Walter was doing live visuals as he did for The Heads last year. The band hasn’t had much if any live activity over the last few years. It’s now been seven since Quadrant was first issued in Europe. I knew it was going to be something special. I knew I was lucky to see them. I don’t think I knew just how much that would be the case.

On record, they hop genres with attention-deficit regularity, but in the Green Room, tastrosoniq 1 (Photo by JJ Koczan)he band were much more fluid. They jammed out with the best of anything I’ve seen at Roadburn 2016, and I’ve seen a few jams. Guitarist Ron van Herpen had guested the other night with Death Alley, but really stood out during “As Soon as They Got Airborne,” an extended take that was only part of the larger highlight that was the set as a whole. “You Lose” from Son of A.P. Lady was another standout, that album having just received a limited vinyl reissue that’s caught my eye in the merch area downstairs at the Patronaat. May or may not get to pick its deluxeness up to take home, but Astrosoniq made an easy case with what I’ll hope is a return to activity that results — eventually; doesn’t have to be this week; next week is fine — in a new full-length. Their native Oss is about 35 minutes from Tilburg by car, just on the other side of den Bosch, and they got the hometown greeting from a strong Dutch contingent represented in the crowd. I knew they would be a hard act to follow.

I watched a bit of Tau Cross — with Away from Voivod on drums and Rob Miller from Amebix on vocals — on the Main Stage before heading over to Het Patronaat to catch the start of Beastmaker, as Lee Dorrian‘s curation was continuing over there. I miss-timed it and didn’t actually get to see them apart from their soundcheck, blowing my chance at Carousel in Extase at the same time, and routed back to the 013 proper to watch Converge do their special ‘Blood Moon’ set comprised of their slower and more experimental material. After their Jane Doe set the other night, which I caught the tail end of, the vibe was almost completely different. Yeah, Jacob Bannon still writhed and paced back and forth and whatnot, but there were more clean vocals — giving Stephen Brodsky (Cave In) another chance to shine, which he did — and they brought out Steve Von Till of Neurosis and Chelsea Wolfe to add their voices to the mix, and Ben Chisholm fleshed out textures on keys, resulting in a rich sound that pushed away from hard/metalcore in favor of something less stylistically hinged. Even for being selections from past records, ‘Blood Moon’ set its own context, and even in the parts that converge 1 (Photo by JJ Koczan)didn’t feature Von Till, one could hear a strong sense of influence from Neurosis in what they were doing.

At that point, I decided to do something I hadn’t done since I got to Tilburg: I stopped and had a meal. I left Massachusetts on Tuesday evening. Today was Saturday. Since then, I hadn’t had time to actually sit down to a dinner, lunch, breakfast, anything. I bumped into Weirdo Canyon Dispatch photog extraordinaire Paul Verhagen and we grabbed a bite, with Exile on Mainstream‘s Andreas Kohl joining later, before Amenra went on the Main Stage. I had mixed veggies — broccoli, brussels sprouts, string beans, some other green thing chopped up — a boneless chicken thigh, a spicy chicken wing and a considerable amount of green salad, dry. It might as well have been birthday cake.

Amenra are something of a fixture around Roadburn. The Belgian atmospheric sludgers played in 2007, they played when Neurosis curated in 2009, they played in 2013 and they’ll play again at the Afterburner. That’s nothing to complain about, I’m just noting it because perhaps it was part of what drove them to do something different this time around, performing mostly acoustic with seven players seated arranged in a circle on the stage to stark lighting and deeply melancholic reinterpretations of their songs. Of course, they also have a new LP out, Alive, on Consouling Sounds working in similar forms — it features a faithful cover of Tool‘s “Parabol,” which they also played — but even in this different incarnation, it was plain to hear the impact of Neurosis on their methods and of Scott Kelly and Steve Von Till‘s solo works on their dark-folk and minimalist (if you can call something with seven people on stage minimalist) brooding.

Vocalist Colin H. van Eeckhout said from the stage they were nervous amenra 1 (Photo by JJ Koczan)and doing their best, possibly after someone shouted “Slayer!” in the crowd. If they were uncomfortable, it was hard to tell from the harmonies. When they were done, they left one at a time until only a single guitarist remained, his back to the crowd. Then he got up and walked away and the part he was playing kept going. It was a loop, obviously — that’s not exactly a magic trick at this point — but it made for a striking visual all the same and said something about the resonance of their material, being brought down on a slow fade as the crowd erupted again. There would be a 40-minute break before Neurosis came on, which, to be completely honest, felt like an eternity.

From Brothers of the Sonic Cloth onward, everything on the Main Stage at Roadburn 2016 today was building toward the Neurosis 30th anniversary set. From Tad Doyle‘s grunge roots to Tau Cross‘ own in crust and progressive thrash, to Converge and Amenra having both — in very different ways, granted — found inspiration in their work, Neurosis was at the core of what the whole day was about, and the push forward was leading inextricably to their set as the culmination. Not to say it was seven-plus hours of setup and nothing more, just that the clearly purposeful flow of the day was designed with its direction in mind. It was not an accident.

neurosis 1 (Photo by JJ Koczan)They opened with “Lost” from 1993’s Enemy of the Sun, and among the you-were-never-gonna-see-Neurosis-play-this highlights were “Pain of Mind” and “Self-Taught Infection” from 1988’s Pain of Mind debut, “To What End?” from 1990’s The Word as Law, a cover of Joy Division‘s “Day of the Lords,” and, gloriously, “Takeahnase” from 1992’s Souls at Zero, arguably the point at which they really started to branch beyond their beginnings in crust and hardcore punk and move into the various forms of aggression that they continue to develop now — the easy word for it is post-metal, but it’s post-metal because Neurosis made it that way. With more recent inclusions like “At the Well” from 2012’s Honor Found in Decay (review here) and “Water is Not Enough” from 2007’s Given to the Rising, along with “Times of Grace” from the 1999 album of the same name, “Left to Wander” from 2004’s The Eye of Every Storm, as well as the closing pair of “Through Silver in Blood,” from the 1996 LP of the same name, and “Stones from the Sky” from 2001’s A Sun that Never Sets.

Between all of that and “An Offering” from the Sovereign EP, there was not one record in their discography unrepresented. That made the event even more special — they’ll follow-up with a second installment for the Afterburner tomorrow — but the truth of the matter is that anytime Neurosis shows up, it’s special. I know they’ve done more touring in the last year than in the decade prior, but still, I don’t think there’s a band on the planet that captures the same measure of intensity, of raw passion, of volume-assault-as-spiritual-refuge that Neurosis does, and whether it’s Noah Landis using the entire universe for source material for samples and manipulated transitional drones for between songs, Steve Von Till and Scott Kelly complementing each other on guitar and vocals as one might expect for two guys who’ve been fronting a band together for 30 years, Dave Edwardson‘s continued ferocity on bass or Jason Roeder‘s cyclical drum patterning, everything they do is a lesson in the ethic of putting creativity first. They have a new record coming out at some point. I don’t know what it sounds like or what it’s called, but I feel comfortable in the knowledge that neurosis 2 (Photo by JJ Koczan)it will step forward from where they were with Honor Found in Decay, because they’re Neurosis, and that means no compromising.

I kind of lost my shit during that especially blistering rendition of “Takeahnase,” and I expect tomorrow and Monday I’ll be good and sore. Who cares? Not me. I’m back at it in the morning for the last issue of the Weirdo Canyon Dispatch and more bands for the Afterburner, which basically is just another day of Roadburn at this point. Fine by me. It’s gone quickly in 2016 — how do you pack a year’s worth of living into four days? — so I’ll take everything I can get.

More pics after the jump. Thanks for reading.

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Tomorrow’s Dream: 135+ of 2016’s Most Anticipated Releases

Posted in Features on January 25th, 2016 by H.P. Taskmaster

tomorrows dream 2016

If 135-plus releases sounds like a lot, you’re right, it is. I must be out of my god damn mind. To put it to scale though, last year, I did a feature every couple of months called the Quarterly Review that throughout the course of 2015 resulted in no fewer than 200 separate album writeups. 135 is a lot, but it’s not everything. It’s still January. It couldn’t possibly be everything.

The basic fact of the matter is there’s so much out there right now that anyone claiming to even hint at totality of coverage is either clueless or lying. I don’t come close to catching it all. I do the best I can to do as much as I can. I know you’ve heard this all before.

Over the last seven or eight months, I’ve been keeping track of albums, EPs, singles, etc., slated for 2016 release. Some of these are independent, some through labels, some names familiar, some names new. I’ve tried to mix it up as much as possible, and I reserve the right to add to the list over the next couple days anything anyone might suggest in the comments. Last year’s list turned out to be a resource I used throughout the entire time, so, fingers crossed, I’ll be doing the same this go around. Thanks in advance for your participation in making it more complete by leaving a comment.

Ordered Alphabetically by Artist

1. Alunah, TBA

alunahThe Birmingham doom-rollers seem to be on this list every year, but I have it on good authority — namely, Alunah posted about it on the social medias — that they’re writing and entering the studio with an eye toward a late-2016 release for the follow-up to their 2014’s excellent Awakening the Forest (review here), their third full-length and debut on Napalm Records. Alunah on Thee Facebooks, at Napalm Records.
 

2. Ancient Warlocks, II

I don’t even know how many pressings STB Records has been through of Ancient Warlocks‘ self-titled debut (review here), but the follow-up has been finished since September and is reportedly due sometime this Spring. Primo fuzz is expected from the dual-guitar Seattle outfit. Ancient Warlocks on Thee Facebooks, STB Records.
 

3. Asteroid, III

Since their late-2015 reunion (announced here), Swedish trio Asteroid have been added to the lineup for Desertfest in Berlin and just this past week re-signed to Fuzzorama Records — which also released their last full-length, 2010’s II (review here) — for an upcoming release they’ve appropriately-enough dubbed III. Much more to come. Asteroid on Thee Facebooks, Fuzzorama Records.
 

4. Atavismo, TBA

Not much more to go on here than the band alluding to a forthcoming LP being put together, but frankly, I was so enthralled with the Spanish group’s late-2014 debut, Desintegración (review here), that that’s enough to make me excited at the prospect of a next installment from them. Keeping my hopes up it gets here before December. Atavismo on Thee Facebooks, on Bandcamp.
 

5. Banquet, Jupiter Rose

Picked up last fall by Heavy Psych Sounds as part of a torrent of signings from the label, San Francisco’s Banquet make their debut next month with Jupiter Rose, following their 2015 single, Run to You / Mother Road, which was released by Who Can You Trust? Records and boasts soulful West Coast heavy ’10s thrust. Banquet on Thee Facebooks, Heavy Psych Sounds.
 

6. Beelzefuzz, Beelzefuzz II: The Righteous Bloom

When I starting keeping notes for this list, this album was pegged as the debut from Beelzefuzz-offshoot Righteous Bloom, but word came down in December that band had reassumed its former moniker and that Beelzefuzz II: The Righteous Bloom would be issued in the early part of 2016 via The Church Within as the follow-up their 2013 self-titled debut (review here). Whatever name the progressive doomers release it under, I can’t wait to hear it. Beelzefuzz on Thee Facebooks, The Church Within Records.
 

7. Bellringer, TBA

bellringerThere hasn’t been any sort of official announcement of a debut LP from the Mark Deutrom-led Bellringer, but over the course of the last year, the Austin-based former Melvins/Clown Alley bassist has unveiled a number of singles (posted here), and if he keeps it up long enough, he’ll get to an album one way or another. As a fan of creative weirdo heavy rock, I’m looking forward. Bellringer on Thee Facebooks, on Bandcamp.
 

8. Blaak Heat Shujaa, TBA

As of this past April, L.A. desert psych rockers Blaak Heat Shujaa (aka Blaak Heat) were in pre-production for their third full-length and second for Tee Pee Records behind 2013’s expansive The Edge of an Era (review here). The album may or may not be done, but whenever it arrives, it’ll do so with extra interest due to the inclusion of Tom Davis (ex-Nebula) on bass. Blaak Heat Shujaa on Thee Facebooks, Tee Pee Records.
 

9. Black Black Black, TBA

I feel like Brooklyn post-hardcore heavy rockers Black Black Black caught a bum rap because of their name, but the band’s blend of melody and intensity was not to be ignored on account of moniker or anything else. No solid release date yet, but last I heard, Aqualamb Records, which issued the artbook version of their 2012 self-titled debut (review here) would have a sophomore album released in similar style in the first half of this year. Black Black Black on Thee Facebooks, Aqualamb Records.
 

10. Black Cobra, Imperium Simulacra

You’ll note several records on this list have a release date of Feb. 26, and it would seem only fair to put Black Cobra‘s fifth outing and first for Season of Mist, Imperium Simulacra (review here), at the head of the bunch even if it didn’t wind up there by alphabetical happenstance. Not by any means the San Francisco duo’s rawest outing, but definitely their most stylistically expansive, and with plenty of their trademark destructive gallop to boot. One you probably don’t need me to tell you that you should hear. Black Cobra on Thee Facebooks, Season of Mist.
 

11. Black Cowgirl, TBA

Last time Pennsylvania heavy rockers Black Cowgirl were heard from, they said one simple thing: “2016.” That was October. Well, it’s 2016 now, and if we’re talking new releases, an LP from them would just about be their debut. Their 2012 self-titled (discussed here) on Kozmik Artifactz paired newer songs with material from their 2010 demo (discussed here), so a straight-up album feels due. Maybe this is the year. Black Cowgirl on Thee Facebooks, on Bandcamp.
 

12. Black Rainbows, Stellar Prophecy

Black Rainbows Stellar ProphecyIf this one’s fresh in mind, that’s because it was just announced last week that Rome trio Black Rainbows would release their new album, Stellar Prophecy in April on Heavy Psych Sounds. It’s a quick turnaround for them from 2015’s Hawkdope (review here), but as that album was a marked step forward in their sound, I’m even more eager to hear where they go next. Black Rainbows on Thee Facebooks, Heavy Psych Sounds.
 

13. Black Shape of Nexus, Carrier

It’s an establish Spring release date for the new Black Shape of Nexus, whose brand of sludge crosses a threshold of thoughtfulness without falling into post-metal cliche. The German outfit’s last record, 2012’s Negative Black (streamed here), was plenty punishing, and I’d expect only creative progression on Carrier, though wouldn’t dare guess at the form in will take. Black Shape of Nexus on Thee Facebooks, Exile on Mainstream.
 

14. Blood Ceremony, Lord of Misrule

Toronto’s Blood Ceremony enter into their recently-announced fourth full-length, Lord of Misrule in something of a stately position. Since 2013’s The Eldritch Dark, their influence has only spread further across North America and beyond, so the question as the new LP makes its way out via Rise Above on March 25 is how they can stand out from the crowd formed at least partly in their wake. Blood Ceremony on Thee Facebooks, Rise Above Records.
 

15. Boris with Merzbow, Gensho

So you get your Boris record, then you get your Merzbow record, then you play both at the same time, and that’s your collaborative release. The intermittent pairings from Boris with Merzbow have always been unflinchingly creative and bold in their experimentalism, and going by the teaser posted last week, Gensho will be no different when it arrives March 18 on Relapse. Expect who the hell knows what. Boris on Thee Facebooks, Merzbow website, at Relapse Records.
 

16. Borracho, TBA

In mid-2015, Washington D.C.’s Borracho took part in a Ripple Music split with Geezer called The Second Coming of Heavy – Chapter One (review here). A bolt title, but it found them continuing to refine their sound as a power trio following 2013’s sophomore LP, Oculus (review here). No solid word of something due as yet, but a recent update from the band said they’d be hitting the studio next month. Borracho on Thee Facebooks, on Bandcamp.
 

17. Brimstone Coven, Black Magic

Out this week on Metal Blade, Brimstone Coven‘s debut album follows a well-received self-titled EP compilation (track stream here) that came out last year, and should prove interesting to see how the West Virginian doomers have grown since that material was recorded in 2013, just a year after they formed. I can’t claim to have heard it yet, but it seems like one that the doom converted should be all over. Brimstone Coven on Thee Facebooks, at Metal Blade Records.
 

18. Causa Sui, Return to Sky

causa suiDanish heavy psych instrumentalists Causa Sui posted an album teaser late last week for Return to Sky, and though it only showcased two tracks, it showed their tonal warmth intact and their will to explore as vibrant as ever. To be released through their own El Paraiso Records, my only hope is they don’t get saddled with pressing delays in the Spring, because really, the sooner it gets here, the better off we’ll all be. Causa Sui on Thee Facebooks, El Paraiso Records.
 

19. La Chinga, Freewheelin’

An awaited follow-up and Small Stone debut brings Freewheelin’ (review here) from Vancouver heavy rockers La Chinga on March 20. The new album reignites the hard-driving, classic-minded methods of their 2013 self-titled (discussed here), but refines the songwriting as well to affect a more memorable impression. The beginning of a big return year for Small Stone. La Chinga on Thee Faceboks, Small Stone on Bandcamp.
 

20. Church of Misery, …And Then There Were None

Unquestionably one of the most anticipated albums of the year. And Then There Were None brings Church of Misery founder Tatsu Mikami to the US from his native Japan and finds him teamed up with members of Blood Farmers, Earthride and Repulsion in a completely revamped lineup from that which appeared on 2013’s Thy Kingdom Scum (review here). Rise Above recently announced a March 4 release. Church of Misery on Thee Facebooks, Rise Above Records.
 

21. Cities of Mars, TBA

Swedish trio Cities of Mars caught attention with the big riffs and steady swing of their debut single (review here), and announced back in October that they’d have a new EP out in March via Suicide Records. Still somewhat in their formative stages, they’ve presented a sci-fi thematic and it will be interesting to see if they stick with it or move toward something else. Cities of Mars on Thee Facebooks, Suicide Records.
 

22. Cloud Catcher, TBA

The progressive Denver newcomers are set to hit the studio in Spring to record their sophomore LP and the follow-up to 2015’s Enlightened Beyond Existence (discussed here), so it might be summer or even fall by the time it gets issued, depending on timing of the recording, what label picks them up, etc., but it’s one to keep an eye out for anyway. They’ve shown a willingness to hit the road as well, and I wouldn’t be surprised if they did so again sometime after their Spring tour in Feb./March. Cloud Catcher on Thee Facebooks, on Bandcamp.
 

23. Comacozer, Astra Planeta

When Sydney trio Comacozer signed with HeadSpin Records last July, it was announced they’d be recording in October for a debut full-length to be titled Astra Planeta that would be due this Spring on the label. That process has been delayed somewhat, but there’s still no reason to think they can’t get the record out this year. Their 2015 EP, Deloun Sessions, found them pushing more into tense, moody atmospherics, and it was a shift that suited them well. Comacozer on Thee Facebooks, HeadSpin Records.
 

24. Conan, Revengeance

conan revengeanceOut this week on Napalm Records, the third album from UK destroyers Conan, Revengeance (review here), finds the trio revamped around founding guitarist/vocalist Jon Davis, with longtime producer Chris Fielding adding a striking, effective counterpoint on bass and vocals and drummer Rich Lewis adding to the tectonic roll on drums. Happy to report, it still sounds like Conan, only perhaps even deadlier. Conan on Thee Facebooks, at Napalm Records.
 

25. Conclave, TBA

I don’t think Massachusetts four-piece Conclave — whose members trace their pedigree back to outfits like Warhorse and Grief — are ready to make the name of their full-length debut public yet, so I’m not going to say it, but I’ve heard the album and it’s full-on death-doom punishment that should bring a satisfied grin to even the most discerning of purists. Their debut EP, Breaking Ground (review here), was grim and brutal in kind, and the album only pushes further into the dark. Conclave on Thee Facebooks, on Bandcamp.
 

26. Corrosion of Conformity, TBA

Since the North Carolinian legends first announced they were reuniting with guitarist/vocalist Pepper Keenan, the question has been whether or not a new album would surface. Last October, they signed to Nuclear Blast while on tour with Clutch and The Shrine (review here), and followed that tour with a headlining run in December. I expect we’ll hear from them a lot in 2016 as they record the first outing with this full four-piece since 2000, and that’s just fine by me. Corrosion of Conformity on Thee Facebooks, Nuclear Blast.
 

27. Cough, TBA

Richmond doomers Cough entered the studio last August to begin tracking their first full-length since 2010’s Ritual Abuse (review here). I haven’t seen any announcement as to when it will be released, but it was finished in September, and we’ll see if it winds up coming out through Relapse, which would be expected, or if part of the delay has been in finding it a new home. That’s sub-speculation, mind you. I’m figuring on release news any minute now. Will let you know how that goes.Cough on Thee Facebooks, Relapse Records.
 

28. Curse the Son, Isolator

curse the son isolatorI was very glad I got to see Connecticut’s Curse the Son this past fall (review here), both because I dig what they do and because it gave me a sneak peak at the songs that will show up on their new album, Isolator, when it surfaces in March via Snake Charmer Coalition. Expect big, tone-led vibes a la 2012’s Psychache (review here), but with some new edge thanks to the addition of bassist/backing vocalist Brendan Keefe alongside guitarist/vocalist Ron Vanacore and drummer Michael Petrucci. Curse the Son on Thee Facebooks, Snake Charmer Coalition.
 

29. Dali’s Llama, Dying in the Sun

Perpetually underrated CA desert rockers Dali’s Llama will release their new album, Dying in the Sun, early this year. I’m not precisely sure when, but sooner or later it will come out, and when it does, I have full faith it will be a stirring reminder of just how overlooked the band continues to be as they’re now well past their 20th anniversary. The upcoming full-length was mastered as of December, so look out for an update hopefully sooner than later. Dali’s Llama on Thee Facebooks, Dali’s Llama Records.
 

30. Darsombra, TBA

Drone/noise/visual two-piece Darsombra toured across the US in 2015 across 109 different cities. That is no easy feat, and I can’t even imagine how an experience like that might play into the writing from Brian Daniloski and Ann Everton on the band’s next full-length, which, when they finished the last leg of that massive and ambitious run, they said was in the works. I’d like to find out, though, as Darsombra continue to aspire to inner peace through cosmic noisemaking. Darsombra on Thee Facebooks, on Bandcamp.
 

31. Dead Feathers, Dead Feathers 10″

Expected out Feb. 19 via HeviSike Records, the self-titled debut EP from Chicago heavy psych rockers Dead Feathers has been subject to some considerable pressing delays. The band was signed last Spring initially for an Aug. 2015 release that has continued to be pushed back, presumably as a result of so much interest in pressing vinyl at the moment. Still, the tracks have been streaming for a while now, so anyone looking to quench their thirst can do so readily on their Bandcamp. Dead Feathers on Thee Facebooks, HeviSike Records.
 

32. Deadsmoke, Deadsmoke

DEADSMOKE DEADSMOKEAs announced a couple weeks ago, Duna Jam veterans Deadsmoke will issue their self-titled debut via Heavy Psych Sounds on March 25. The Italian sludgers have plans to tour Europe in May as well, and should they happen to pop on a late-spring or summer festival or two along the way, I wouldn’t necessarily be surprised. Heavy Psych Sounds‘ spree continues. Deadsmoke on Thee Facebooks, Heavy Psych Sounds.
 

33. Deamon’s Child, Scherben Müssen Sein

The German title of Deamon’s Child‘s second album, Scherben Müssen Sein, translates to “shards must be.” I’m not sure what it means, but I am sure that the trio’s 2014 self-titled debut (review here) was an intriguing and offbeat brand of noise rock-plus, so I’ve no problem getting down with the idea of another outing from them, though given their breadth I wouldn’t necessarily expect the second LP to be a carbon copy of the first. Deamon’s Child on Thee Facebooks, on Bandcamp.
 

34. Deathkings, All that is Beautiful

Hailing from what I’ll assume is the darkest underbelly of Los Angeles, Deathkings issue their sophomore LP, All that is Beautiful, on March 18 as the follow-up to a 2015 split with Boston’s Rozamov (review here). I’ve got a track stream slated for this week from these guys, so I’ll save more for that, but suffice it to say that it’s surprising music so grueling can come from a place where it never rains. Deathkings on Thee Facebooks, on Bandcamp.
 

35. Devil to Pay, A Bend Through Space and Time

Indianapolis heavy rockers Devil to Pay and their label, Ripple Music, have set a tentative “Summer” release date for the band’s fifth album, A Bend Through Space and Time, but as the recently unveiled “Your Inner Lemmy” showcased, the songwriting that has long served as their chief appeal is ready to roll on the new collection. That song surfaced early as a timely tribute to Lemmy Kilmister of Motörhead, so it might be a while before more solid details come down the wire, but whenever it shows, it’ll be welcome. Devil to Pay on Thee Facebooks, Ripple Music.
 

36. Dream Death, Dissemination

A second post-reunion album is always a tricky prospect. A band wants to continue to acknowledge what they were when they started out, progress from their last outing, and get over that hump of songs that may or may not have been written years prior and onto something fresh. How will Pennsylvania’s Dream Death tackle this issue on their forthcoming Dissemination, due out March 4 via Rise Above? Probably by being heavy as hell and sounding completely fucking miserable. Just a guess. More info here. Dream Death on Thee Facebooks, Rise Above Records.
 

37. Droids Attack, Sci-Fi or Die

droids attack sci-fi or dieAnother Feb. 26 release, Sci-Fi or Die, the fourth long-player from Madison, Wisconsin’s Droids Attack, has been in the works for at least the last three years. I’ll be hosting a full-stream of it sometime between now and the release (which I’m stoked for), so keep an eye out for that, but these guys have deserved more attention for a while now one way or another, and the follow-up to 2010’s Must Destroy! (review here) might be the record that gets it for them. Droids Attack on Thee Facebooks, Droids Attack website.
 

38. Drug Honkey, TBA


Various announcements have floated around over the last year and a half or more from Chicago death-churners Drug Honkey, and I’m not sure at this point whether their next release will be an EP of or a complete album or what. Their last full-length was 2012’s Ghost in the Fire (review here), which was inhumane in its onslaught, abrasive in loud or quiet parts, and swirled out an otherworldly sense of terror. So yeah, something to look forward to in a new one. Drug Honkey on Thee Facebooks, Transcending Obscurity on Bandcamp.
 

39. Duel, Fears of the Dead

In addition to boasting a cover that has immediately made my list of the year’s best, look for hard-driving heavy rock swing on Duel‘s debut LP, Fears of the Dead, due out Feb. 12 on Heavy Psych Sounds. The Austin, Texas, four-piece have newly announced European tour dates that will start March 9 and run through April 2, and I’ve little doubt their brash ways will find favor among the beer-soaked good-timers abroad. Over here, I’m just looking forward to hearing the album. Duel on Thee Facebooks, Heavy Psych Sounds.
 

40. Egypt, Endless Flight

We know it’s awesome. It was streamed here last month in its entirety. The real question with Egypt‘s sophomore outing is whether it’s a 2015 or a 2016 release. Vinyl’s still forthcoming last I heard, but the CD hit in December. What counts? For what it’s worth, I’m clearly thinking of it as a 2016 outing, but whatever format you might prefer, think of this as a note to remind you that you should check out. Because it’s awesome. We knew that. Egypt on Thee Facebooks, Egypt on Bandcamp.
 

41. Eight Bells, Landless

Out Feb. 12 on respected purveyor Battleground Records with tapes through Tartarus, Landless casts a severe and progressive glance at the scope of atmospheric heavy and offers an individualized take developed even from what the Portland, Oregon, trio brought to their 2013 debut, The Captain’s Daughter. Doom, black metal and a stately sort of psychedelia intertwine over the album’s span, and it seems all the more likely the band will turn heads with their approach on tour with Voivod (dates here) starting Feb. 6. Eight Bells on Thee Facebooks, Battleground Records.
 

42. Electric Citizen, Higher Time

Before Electric Citizen posted the new track “Evil” in a RidingEasy Records sampler last month, word on the street was the Ohio heavy ’10s rockers were looking to add a full-time keyboardist. That search doesn’t seem to have panned out, but their Higher Time is hotly anticipated anyway as the answer to their 2014 debut, Sateen (review here), which showed the Sabbath worshipers how Sabbath worship is done. Electric Citizen on Thee Facebooks, RidingEasy Records.
 

43. Elephant Tree, TBA

elephant treeFull disclosure: I know way more about Elephant Tree‘s upcoming Magnetic Eye Records debut LP than I’m putting in this post. Like that it rules. And why! Stick around. Later this week, I’ll have a track premiere from the album up with a review, but the follow-up to their 2014 debut EP, Theia (review here), has already made it into my best-of-2016 consideration and my best-debuts-of-2016 consideration, and I know it’s only January, but right now it’s the one to beat in the latter category. More to come. Elephant Tree on Thee Facebooks, Magnetic Eye Records.
 

44. Elevators to the Grateful Sky, Cape Yawn

Sicilian four-piece Elevators to the Grateful Sky signed to HeviSike Records last month, and while a March 11 release date for the band’s second album, Cape Yawn seems like a quick turnaround, until I hear otherwise it’s what I’m going with. The band released their debut, Cloud Eye, on Transubstans in 2013, but should fit well with HeviSike‘s growing and diverse roster, being growing and sonically diverse themselves. Elevators to the Grateful Sky on Thee Facebooks, HeviSike Records.
 

45. Faith in Jane, TBA

I have it on zero authority that Maryland heavy rockers Faith in Jane are working on a new release — I know they jammed with Wino earlier this month, and that’s cool — but having had the chance to see the trio play last September at Vultures of Volume II (review here), I’m including them on this list anyway just because they’re one to watch out for. Deep blues vibes roughing up some of the West Coast’s ’70s fetishizing; way heavy and way swinging. Not technical, but intricate, and thoroughly grooved. Lots of potential there.Faith in Jane on Thee Facebooks, on Bandcamp.
 

46. Fatso Jetson, TBA

They’re due, right? Sure, the last couple years have brought splits with Farflung (review here), Herba Mate (review here) and Yawning Man, but we’re coming up on six years since Archaic Volumes (review here) was released in 2010, and I’m dying to hear what a new Fatso Jetson album would sound like with Mario Lalli and son Dino, who’s joined the band in the interim, going head-to-head on guitar. Whenever it’s ready, so am I. Fatso Jetson on Thee Facebooks, Fatso Jetson website.
 

47. Fever Dog, TBA

Could be later in the hear, could be in 2017 that it shows up, but the next offering from Californian desert psych rockers Fever Dog is reportedly now in the writing stage, and given the effectiveness with which 2014’s Second Wind (review here) demonstrated their willingness to mess around with structure and sound alike, their third outing should find them at an important stage in their development. Still young and significantly underrated. Fever Dog on Thee Facebooks, on Bandcamp.
 

48. The Flying Eyes, Poison the Well / 1969 7″

the flying eyes poison the well 1969It’s another year for me and you. Another year with nothin’ to do. Baltimore’s The Flying Eyes are covering The Stooges‘ “1969” (baby) on their new single from H42 Records, mashing it up with “Poison the Well” from their 2011 second album, Done so Wrong (review here). Might be a stopgap on the way to whatever’s next, but should be an interesting listen anyway. The Flying Eyes on Thee Facebooks, H42 Records.
 

49. Foehammer, TBA

Virginia soul-bashers Foehammer released my favorite EP of 2015 in the form of their Grimoire/Australopithecus self-titled (review here), and I’m eager to know how they’ll expand on the outright brutality of that offering over the course of a full-length, or if they will at all. Entirely possible they’ll just kill, kill, kill the whole way through, and that’s also something I’d like to see them pull off. Either way they go, count me in. Foehammer on Thee Facebooks, Grimoire Records, Australopithecus Records.
 

50. Fog Cult, The Dying Sun

Initially self-released by the band last year, The Dying Sun is the second full-length by Bethlehem, Pennsylvania, weedian rockers Fog Cult, and it’s set for a vinyl issue via Black Farm Records sometime this year. Not much fixing what isn’t broken about large-scale nod riffs and sludge vibing, but a track like “Altars of the Night” manages to evoke early Alice in Chains-type harmonies without falling into post-Creed cliche, and that in itself is something remarkable. Streaming in full now on their Bandcamp. Fog Cult on Thee Facebooks, Black Farm Records.
 

51. Foghound, The World Unseen

Might be May before it shows up, but The World Unseen will serve as Maryland heavy rockers Foghound‘s debut on Ripple Music. It’s their second offering behind 2013’s Quick, Dirty and High (review here) and a meaner, leaner take on their sound. The turns are tighter and the groove is more aggressive, but they still sound like they’re having a complete blast. More to come this Spring. Foghound on Thee Facebooks, Ripple Music.
 

52. Fuzz Evil, TBA

They’ll be playing the Borderland Fuzz Fiesta next month, which I’m proud to say I’ll be attending, and I hope to have a better picture of the debut album by Fuzz Evil‘s arrival date by the end of that if not before. The Arizona band, which shares brothers Wayne and Joseph Rudell with Powered Wig Machine, offered up a split with Chiefs in late 2014 (streamed here) and has piecemealed a track or two since, but the full-length was sent off to mastering in November, so it seems like it’s just a matter of time before it shows up. Fuzz Evil on Thee Facebooks, Fuzz Evil on Bandcamp.
 

53. John Garcia, TBA

john garciaAmong the several Garcia-related releases that 2016 might have on offer — he appears no fewer than in three separate entries on this list — the former Kyuss, Slo Born, Unida, Vista Chino, Hermano, etc., vocalist has announced intentions toward a follow-up for his 2014 Napalm Records self-titled solo debut (review here) and an acoustic record, the second of which he reportedly began recording this month. The more the merrier, quite frankly. John Garcia on Thee Facebooks, Napalm Records.
 

54. Geezer, TBA

According to The Obelisk’s deep-running investigative team — by which I mean I looked at their Thee Facebooks page — New York heavy blues trio Geezer are heading into the studio in a couple weeks to record their next full-length. In 2015, the band offered up the already-noted split with Borracho, The Second Coming of Heavy – Chapter One (review here), via Ripple Music, and they’ve set about refining their chemistry on-stage as they hone their fluid mix of languid vibes and smoked-out shuffle. Looking forward to this one. Geezer on Thee Facebooks, STB Records.
 

55. Goatess, Purgatory Under New Management

First announced here with a track stream in November, the second album from Chritus Linderson-fronted doomers Goatess, titled Purgatory Under New Management, is due out this March of Svart, which also released the Swedish outfit’s 2013 self-titled debut (review here). I haven’t heard much about it since that track stream, so it may or may not be pushed back, but whatever, I’m just glad they did a second record either way. It’ll be out when it’s out. Goatess on Thee Facebooks, Svart Records.
 

56. The Golden Grass, TBA

Bring on the good vibes. The sophomore LP from sweet ’70s-style rockers The Golden Grass will be the band’s first for Listenable Records after releasing their self-titled debut (review here) via Svart in 2014. They finished mixing earlier this month, so once it’s mastered it seems like it’s really up to the label’s schedule as to when it will be out. Spring or summer would be my guess, which suits the warmth of their harmonies just fine. The Golden Grass on Thee Facebooks, Listenable Records.
 

57. Gozu, Revival

After issuing two albums through Small Stone in 2010’s Locust Season (review here) and 2013’s The Fury of a Patient Man (review here), Boston four-piece Gozu have aligned themselves to Ripple Music for the release of Revival, their LP overall. Recorded this past fall, it is easily the band’s tightest and most aggressive outing to-date, but their soulful, melodic core remains, and it is all the more identifiable as their own for that. More to come. Gozu on Thee Facebooks, Ripple Music.
 

58. Graves at Sea, TBA

I know I’ve used the phrase “More to come” several times already in this post — like right now, in the last entry — but while the full-length debut from reactivated West Coast sludge-doomers Graves at Sea was announced as being completed and ready for release by Relapse back in October, legitimately, more info on that prospect is coming up, so keep an eye out. That’s all I’m at liberty to say at the moment. I may have already said too much. Graves at Sea on Thee Facebooks, Relapse Records.

59. Greenleaf, Rise Above the Meadow

greenleaf rise above the meadowOh fuck yes. How good is the new Greenleaf? So good. You know how 2014’s Trails and Passes (review here) kind of reset the band and gave a more stripped-down, stage-ready take? Rise Above the Meadow takes that, pushes it forward exponentially, adds some Dozer-style edge to the mix and presents it all with ferocious energy more common to bands on their second album rather than their sixth. Out Feb. 26. Will be a top 10 record in December, no question. Greenleaf on Thee Facebooks, Napalm Records.
 

60. Heavy Temple, TBA

There have been many changes in Philadelphia trio Heavy Temple since they offered up their self-titled debut EP (review here), or at least a couple involving the lineup of the band. Either way, it’s a revamped trio that last summer discussed a second extended-player for 2016. So far as I know, record label is still to be determined so far as I know — the first EP came out on Ván, which is an immediate endorsement — but they’ve been gaining traction in Philly and they seem to have ambitions beyond that city’s limits, so I can’t imagine someone won’t get on board with it, if they haven’t yet. Heavy Temple on Thee Facebooks, on Bandcamp.
 

61. Hermano, TBA

In addition to taking part in Hellfest 2016 in Clisson, France, this June, Hermano have put out word of an impending full-length to be released at some point this year. The John Garcia-fronted outfit also featuring bassist Dandy Brown (who will also play the Borderland Fuzz Fiesta solo) last released an album in 2007, which was Into the Exam Room, a striking, mature, engaging heavy rocker that not only showcased Garcia‘s vocals in creative arrangements, but them memorable songs to top and a variety of moods in which to work. Even nine years later, that record was enough to make me look forward to a follow-up. John Garcia on Thee Facebooks, Borderland Fuzz Fiesta.
 

62. Hexvessel, When We are Death

Out this week as their first release for Century Media, Hexvessel‘s When We are Death pushes beyond the confines of psychedelic folk rock (not that there were so many, particularly as regards their prior output) and into more solidified rock territory, an edge of gothic theatricality making itself felt alongside a stylistically amorphous late-’60s cultistry that doesn’t want to be defined nearly so much as to enthrall. I’ll have a review up one of these days soon, but I feel like I’m still getting to know the record, and that may be a permanent condition. Hexvessel on Thee Facebooks, Century Media.
 

63. High Priest of Saturn, Son of Earth and Sky

Here is yet another of Feb. 26’s many releases. I haven’t heard it yet, but given the traditionalism of the Norwegian outfit’s first LP and the fact that there are only five tracks on Son of Earth and Sky, it seems fair to expect High Priest of Saturn are letting their material flesh out a bit on their sophomore offering through Svart. Announced just a couple weeks ago, it’s been in the can since 2014, so it may not be all that long before a follow-up makes an appearance as well. High Priest of Saturn on Thee Facebooks, Svart Records.
 

64. Hijo de la Tormenta, El Manto de la Especie

I dug Argentinian heavy psych trio Hijo de la Tormenta‘s 2014 self-titled debut (review here), and last year, they followed it up with a quick live two-songer called En Vivo en Buenos Aires that found their sound no less engaging on stage than on record. The upcoming El Manto de la Especie was recently announced here, and should hopefully be together and out sometime in the first half of this year. Hijo de la Tormenta on Thee Facebooks, on Bandcamp.
 

65. Hollow Leg, Crown

hollow leg crownFloridian sludgers Hollow Leg also appeared on this list last January, but the difference is not only has their third album been recorded, but it’s been given a solid March 4 release date by Argonauta Records. So I feel a good deal more comfortable saying it’s definitely going to be out, since it exists, has artwork, tracks, a teaser and all that kind of thing. Hollow Leg on Thee Facebooks, Argonauta Records.
 

66. Holy Grove, Holy Grove

There’s been a buzz around the Pacific Northwest’s fertile ground over the last couple years for Portland, Oregon’s Holy Grove, and on March 18, the soul-rock four-piece will make their full-length debut via Heavy Psych Sounds. The only other release from them I know about to-date is 2014’s Live at Joonior’s (review here), a two-track sampler, so for a lot of listeners outside the band’s regional homebase, this will really be their first experience hearing them. Holy Grove on Thee Facebooks, Heavy Psych Sounds.
 

67. Holy Serpent, TBA

The hot tip is look for it in August on RidingEasy. Melbourne, Australia’s Holy Serpent shroom-doomed their self-titled debut (review here) last year, and they’ll be going for a fast turnaround on the follow-up in 2016. No audio, info or art or anything like that yet, but I’m told it’ll be late summer, so that’s what I’m going on. Holy Serpent on Thee Facebooks, RidingEasy Records.
 

68. Inter Arma, TBA

So far, both Inter Arma and Relapse Records have been pretty tight-lipped on specifics when it comes to the Virginian genre-melders’ second LP for the label (third overall), but we know it was recorded by Mikey Allred, that it’s done and due out this summer, and that they’re starting their touring cycle for it even before it comes out. That’s not nothing. Given the laudatory response to 2014’s single-song EP The Cavern, I’d expect this one to get considerable attention both in the pre-release hype and the post-release exclamatory stages. Inter Arma on Thee Facebooks, Relapse Records.
 

69. Joy, Ride Along!

Announced just last week, Ride Along! will be West Coast jammers Joy‘s second album out through Tee Pee, following the psych spellcasting of 2014’s Under the Spell of… (review here). A few notable guests show up, but I’m looking for the band to distinguish themselves further this time around, find their niche within the post-Earthless sphere of instrumental Cali heavy. They showed some genuine personality on the last one, hope they keep it up. Out April 29. Joy on Thee Facebooks, Tee Pee Records.
 

70. King Dead, Woe and Judgment

king dead woe and judgmentBrooding atmospheres, a kind of post-metallic anxiety and moments of outright physical exertion are spread across Woe and Judgment (review here), the first LP from Pennsylvanian trio King Dead. The band released the album digitally last year on the sly in order to self-finance a vinyl pressing, and after succeeding in that endeavor, they’ll have the record out officially in April or thereabouts. King Dead on Thee Facebooks, on Bandcamp.
 

71. Lightsabres, TBA

Swedish one-man outfit Lightsabres began its association with HeviSike Records with a tape release for 2014’s sophomore album Spitting Blood (review here). The genre-spanning garage psych project linked up with STB for 2015’s Beheaded, but returns to HeviSike for the follow-up fourth long-player, which is due out March 4 with preorders starting this week. Lightsabres on Thee Facebooks, HeviSike Records.
 

72. The Linus Pauling Quartet, Ampalanche

Unlike most offerings on this list, Ampalanche by Texas noise rock weirdos the Linus Pauling Quartet is actually out now. Vincebus Eruptum released the vinyl on Jan. 15. It’ll be out digitally in April as well though, and there’s a big ol’ zip file on my desktop waiting to be reviewed — several, actually but bear with me — so sometime between now and then expect to hear more about the album, which is the band’s first full-length since 2012’s Bag of Hammers (review here), despite a slew of singles between. Linus Pauling Quartet on Thee Facebooks, Vincebus Eruptum Recordings.
 

73. Lo-Pan, TBA

I don’t know what Lo-Pan‘s secret plan is, but I know they were in the studio last week, so whether it’s a new album, a single, an EP, split or whatever, they’ve got something going. It would be a relatively quick turnaround from 2014’s Colossus (review here), but they’ve since added guitarist Adrian Zambrano (also Brujas del Sol) to the lineup, so a burst of creativity isn’t necessarily out of the question. Whatever they’re up to, they’ll be on the road as ever this year, touring with Black Cobra and Bongzilla this spring. Lo-Pan on Thee Facebooks, Small Stone Records.
 

74. Lord, Awake

As of last September, chaotic Virginian five-piece Lord were mastering their Awake album with an eye on a 2016 release. I’ve been keeping a relatively close eye, and I haven’t heard anything about a meteor crashing into the final tapes (or hard drive) or anything, so I’m just going to assume and hope that it gets out this year. Lord‘s last full-length, Chief (review here), came out in 2011 and they also issued the Alive in Golgotha EP (review here) in 2014. Lord on Thee Faceboks, Heavy Hound Records.
 

75. Lord Fowl, TBA

More wishful thinking than nailed-down guarantee, perhaps, but Connecticut’s Lord Fowl are due to give an answer to their 2012 Small Stone debut and second album overall, Moon Queen (review here). Last I spoke to the band was the middle of last year and they were writing, but in October, they entered the studio to begin the recording process, so hopefully that means it’ll be out sooner than later. Lord Fowl on Thee Facebooks, Small Stone Records.
 

76. Low Flying Hawks, Kofuku

low flying hawks kofukuNot exactly out of nowhere — apparently out of Los Angeles, or somewhere thereabouts — but Low Flying Hawks‘ forthcoming Magnetic Eye debut, Kofuku, did seem to show up as a sudden blip on the radar. Notable for working with such Melvins-related characters as producer Toshi Kasai, drummer Dale Crover, and bassist Trevor Dunn, the band effectively blends moody post-rock atmospheres with weighted, hypnotic grunge, keeping things dark as seen in their recent video for “Ruins.” Low Flying Hawks on Thee Facebooks, Magnetic Eye Records.
 

77. Mantar, Ode to the Flame

I’ll admit to being somewhat surprised when Germany’s Mantar signed to Nuclear Blast late last year. Their sound is so raw, so unabashedly extreme in its intent on their 2014 debut, Death by Burning (review here) — which was released by Brutal Panda and Svart both — and something tells me that with a title like Ode to the Flame, their second LP won’t offer much letup in intensity, but having seen the band live (review here), they are unmistakably a force. Mantar on Thee Facebooks, Nuclear Blast Records.
 

78. Mars Red Sky, Apex III (Praise for the Burning Soul)

The third album from Bordeaux-based heavy psych rockers Mars Red Sky feels like a logical step forward from 2014’s Stranded in Arcadia (review here), but it is very definitely a step forward, in its atmospheric complexity, in the depths of its arrangements and the breadth of its tones. Songs like “Mindreader” and “Under the Hood” exemplify how much the band has progressed since their 2011 self-titled debut (review here), and though it comes preceded by the newly-released Providence EP (review here), that’s really just the beginning of the story about to be told. Mars Red Sky on Thee Facebooks, Listenable Records.
 

79. Merchant, Suzerain

Finished recording as of Jan. 11, Suzerain will serve as the debut full-length from aggro tone-bearers Merchant, who announced their coming with a 10-minute single called Seismic (review here). Their principal task will be to distinguish themselves from the pack of Melbourne’s crowded heavy underground, but I’m looking forward to finding out how they go about it and where their apparent potential will take them. Merchant on Thee Facebooks, on Bandcamp.
 

80. Merlin, Electric Children

Kansas City doom rockers Merlin gave a taste of Electric Children back in November with a track premiere for “Bad Trip” and the album itself will see release on March 11 through 4One8 Records on CD. Vinyl will be through Poisoned Mind, who also issued the band’s Christkiller LP (review here) in 2014. To say they have a flair for the dramatic might be understating it, but Merlin do well to keep a reliable core of songwriting underneath. Merlin on Thee Facebooks, 4One8 Records, Poisoned Mind Records.
 

81. Mondo Drag, The Occultation of Light

mondo drag the occultation of lightReady for release on — you guessed it — Feb. 26, The Occultation of Light is the third full-length from psych-prog traditionalists Mondo Drag, second via RidingEasy, and it gives a more updated take on their sound than did last year’s self-titled (review here), which was recorded in 2012 with a different lineup. They seem poised to really establish themselves with this record, which was announced in November, and from where I sit, the record is strong enough to do it. Mondo Drag on Thee Facebooks, RidingEasy Records.
 

82. Mondo Generator, TBA

Nick Oliveri oversaw some lineup changes last fall for Mondo Generator, but to go with that and their European tour, it was announced that the band was working — as a trio now — on their fifth full-length for an eventual 2016 release. That’s not to say it’s showing up tomorrow, but if they were writing in the fall, it doesn’t seem outside the realm of possibility that they could have something out before the year is done. Oliveri‘s last release was the 2014 solo album, Leave Me Alone (streamed here). Mondo Generator on Thee Facebooks, Mondo Generator webstore.
 

83. Monkey3, TBA

For Swiss instrumentalists Monkey3‘s Nov. 2015 European tour, the band specifically noted they would be playing out new material as a “preview.” I don’t know if that means their next album is recorded or if they were trying stuff out on stage before they went into the studio, but, now signed to Napalm, the band will hopefully in 2016 have a follow-up out for 2013’s The 5th Sun, which was their fourth long-player. Monkey3 on Thee Facebooks, Napalm Records.
 

84. Monobrow, TBA

Last time Ottawa’s Monobrow mentioned their new LP was Nov. 24. They said, “new album slowly coming together.” So there you go. They reportedly took more time after a Dec. 5 show with Public Animal to work on it, but there’s been no solid word of a release date or even recording date as yet. It’s in progress. Their 2015 single, A Handwritten Letter from the Moon (review here), presented a less bombastic feel than, say, 2014’s Big Sky, Black Horse (review here). We’ll see which impulse ultimately wins out in their sound. Monobrow on Thee Facebooks, on Bandcamp.
 

85. Mos Generator, TBA

Among the safest bets one might place this year is that Washington’s Mos Generator will release something, but the band, led of course by workaholic guitarist/vocalist Tony Reed, premiered an acoustic take on Easy Evil” back in September that was to be included on an unplugged release through H42 Records, and their last album, Electric Mountain Majesty (review here), came out in 2014, so I wouldn’t be surprised if in addition to continuing to road-dog across the US and likely beyond, they didn’t also find time to punch out a new studio LP. Mos Generator on Thee Facebooks, Listenable Records.
 

86. Mothership, Live over Freak Valley

mothership live over freak valleyTrue, Mothership released Live over Freak Valley on Jan. 15. You got me. The reason I’ve still got them on this list, however, is because I’m wondering if the Texas heavy rockers might keep the momentum they’ve got on their side after their recent tour with C.O.C., Saviours and Brant Bjork going by jumping back in the studio and belting out a follow-up to 2014’s Mothership II (review here). Even if it’s later in the year, crazier things have happened. Mothership on Thee Facebooks, Ripple Music.
 

87. Mountain God, TBA

Early last year, bleak Brooklyn atmosludge extremists Mountain God offered their single-song EP, Forest of the Lost (review here), which followed their prior 2013 demo tape, Experimentation on the Unwilling (review here). They’ve been writing all the while, and it seems likely they’ll manage a release of some sort this year as well. Whether that’s their debut full-length, which I’m hoping creeps as much as it shrieks — or at least a little — or something else, I don’t know. Mountain God on Thee Facebooks, on Bandcamp.
 

88. Mountain Tamer, Mountain Tamer

These West Coast stoner rockers were picked up by Argonauta Records last month after their Mtn Tmr Demo (review here) offered psychedelia-via-neo-grunge thrills and classic-minded swing. More to come on this self-titled debut from the Santa Cruz trio, which will be out on Feb. 12. Mountain Tamer on Thee Facebooks, Argonauta Records.
 

89. Naxatras, II

Sold out in numerous CD and cassette editions following its release in April, the live-recorded self-titled debut from Greek heavy psych rockers Naxatras continued to earn praise throughout the rest of last year. The Thessaloniki-based trio will reportedly release a single as a 10″ before their second long-player surfaces, but both have been recorded and seem like they’re ready to roll out as soon as they’re pressed. I wouldn’t mind if they did a CD re-press of the first album either, but no word on that as of yet. Naxatras on Thee Facebooks, on Bandcamp.
 

90. Neurosis, TBA

It’s done, it’s in the can, it’s mastered, and it pains me that a new Neurosis album exists somewhere on this planet and I haven’t heard it yet. It’s a downright tragedy. The post-metal progenitors also recently announced a deluxe anniversary boxed set of all their albums to-date (not including the new one) called Strength and Vision, but as ever, their eyes are forward even as they’re celebrating their 30 years as a band. But seriously, if I don’t hear that record soon, I’m gonna cry. Actual tears. Neurosis on Thee Facebooks, Neurot Recordings.
 

91. Om, TBA

The Al Cisneros-led trio Om were recently in the studio, and while I can’t say for certain it was for a new album to follow-up 2012’s brilliant Advaitic Songs (review here), I sure as hell hope so. Om are another band who were on last year’s list too, so take this for what it is, but I think it’s safe to say Advaitic Songs is one of the strongest albums of the decade so far, and a subsequent outing feels due. Om on Thee Facebooks, Drag City.
 

92. Oranssi Pazuzu, Värähtelijä

Oranssi Pazuzu VärähtelijäEffective, trance-inducing psychedelic black metal isn’t easily done, and when someone does it as well as Oranssi Pazuzu on Värähtelijä or as Deathspell Omega on Fas – Ite Maledicti, in Ignem Aeternum, it tends to get noticed by a very specific subset of the heavy metal literati. No doubt the same has been and will continue to be the case for the Finnish blackened hypnotists leading up to the Feb. 26 Svart/20 Buck Spin release of Värähtelijä, their fourth album, but the hype is legitimate, and the record crosses vast expanses over the course of an encompassing 69 minutes. Sometimes it’s hard to argue with consensus. Oranssi Pazuzu on Thee Facebooks, 20 Buck Spin, Svart Records.
 

93. Pale Divine, TBA

Pennsylvanian doomers Pale Divine take their time. Nothing wrong with that, and anyway, it’s only been four years since their last album, Painted Windows Black (review here), came out a full five after 2007’s Cemetery Earth, so, you know, no rush. In 2016, however, they’re coming closer to marking 20 years since the release of their first demo, 1997’s Crimson Tears, which in many ways established the course of their sound, so if a new full-length were to happen this or next year, it would seem only appropriate. Would also be their first since adding Ron McGinnis (Admiral Browning, Bailjack, etc.) on bass several years ago now. Pale Divine on Thee Facebooks, Shadow Kingdom Records.
 

94. Picaporters, TBA

Buenos Aires-based trio Picaporters posted a new track called “War is Over” on their Bandcamp a while back that will feature on their upcoming album, which is listed on that page as being released on Aug. 1, 2016. Last I heard it was due to be ready in January, so I’m not actually sure when the follow-up to their 2013 debut, Elefantes (review here), will actually be out, but the doomers have leaked a couple songs from it at this point and it sounds right on. Best I can say is keep an eye out. Picaporters on Thee Facebooks, on Bandcamp.
 

95. Iggy Pop, Post Pop Depression

The immortal badassery of Iggy Pop notwithstanding, his Post Pop Depression probably wouldn’t be in this site’s field of vision were it not for the involvement of Queens of the Stone Age frontman Joshua Homme as guitarist and songwriting collaborator. Announced to much fanfare on The Late Show with Stephen Colbert as being released March 18, the record is intended as a sequel to the Pop/David Bowie collaboration Lust for Life, and since Homme does a pretty mean Bowie I’m sure it’ll be just fine. I thought it was hilarious that the first song released from the album was called “Gardenia.” Iggy Pop website, Queens of the Stone Age on Thee Facebooks.
 

96. Psychedelic Witchcraft, The Vision

Though they’re still in the process as well of overseeing reissues of their 2015 Black Magic Man EP (review here) — the latest is vinyl through Taxi Driver Records with a bonus Sam Gopal cover that follows a CD through Twin Earth Records — Italian cult rockers Psychedelic Witchcraft have signed to Soulseller Records for the release of their debut long-player, The Vision. It’s due in Spring and can be reasonably expected to generate much fanfare, at least if the response to the prior EP is anything to go by. Psychedelic Witchcraft on Thee Facebooks, Soulseller Records.
 

97. Radio Moscow, TBA Live Album

radio moscow (Photo by Tony Wold)Freshly returned from a South American tour, Radio Moscow will head to Australia for a run next month with Kings Destroy and Holy Serpent before they get around to issuing the double-live album they recorded last month in Los Angeles. And then after that, they’ll probably go tour somewhere else, because that’s how they do. The live record arrives at a particularly choice moment, though, since the material from their fourth LP, 2014’s Magical Dirt (review here) translates particularly well to the stage. Also they’re one of the best live bands in the world. That helps too. Radio Moscow on Thee Facebooks, Alive Naturalsound.
 

98. Red Fang, TBA

I’m twofold intrigued at the recently-announced prospect of Red Fang‘s fourth full-length. Maybe even threefold. First, automatic interest on the basis of their prior work. They’ve certainly earned that. Second, though it would be a mistake to call 2013’s Whales and Leeches (review here) anything other than a marked success, it was put together in a hurry and it sounded like it, so I’m wondering if they’ll be able to stretch out this process more. Third, it’s Ross Robinson producing, and given the commercial breadth of his work across genres, I’m eager to hear what he brings to a genuine heavy rock band. Could be a whole new take on the sound, one way or another. Red Fang on Thee Facebooks, Relapse Records.
 

99. Rozamov, TBA

Now veterans of Psycho California and tours across the US, having opened for Slayer in their hometown and spread their darkened gospel along the Eastern Seaboard, don’t you think it’s time Boston’s Rozamov put out an album? I know I do. I was in the studio with them for a check-in last August, and what I heard in progress sounded utterly punishing as a follow-up to their split with Deathkings (review here), and that holds true on the five tracks of the finished product as well, but it’s high time it came out. Side note, they recently announced the arrival of new drummer Tranxidis. Pretty sure that’s more recent than the recording though. Rozamov on Thee Facebooks, Rozamov on Bandcamp.
 

100. Salem’s Pot, TBA

Bizarro riff worshipers Salem’s Pot will have a new full-length out, reportedly, in June 2016. It will be their sophomore LP behind 2014’s …Lurar ut dig på prärien (discussed here), which garnered praise for its atmosphere and riff-rolling methods alike, stoner for stoners and all that. I was fortunate enough to catch the band’s set last year at Roadburn (review here), and they offered thrills in bulk, unabashedly basking in pill-popper groove but keeping a spirit of underlying violence in the material as well, as much drug as droog. A new 7″ titled The Vampire Strikes Back is also due Feb. 15. Salem’s Pot on Thee Facebooks, RidingEasy Records.
 

101. Samavayo, TBA

Not certain of the timing on the new full-length from Samavayo, who will also play Desertfest Berlin this April, but their 2015 Setalight Records split 10″ with The Grand Astoria (review here) was much-dug around these parts and efficiently presented a diverse take from the Berlin natives, between instrumental stretch-out and more traditional hooks and structure. Their last full-length, Soul Invictus, came out in 2012 as the third in a series of three albums each year (it was their fourth overall), so maybe they needed to catch their breath. Samavayo on Thee Facebooks, Setalight Records.
 

102. Serpents of Secrecy, TBA

This West Virginia/Virginia/Maryland collaboration between former members of Sixty Watt Shaman — drummer Chuck Dukehart and bassist Rev. Jim Forrester (both also of Foghound) — and King Giant guitarist Todd Ingram did right last summer in picking Ontario-based vocalist Al “Yeti” Bones as the singer for their debut record. Maybe not so much geographically, but no question Bones (formerly of Mister Bones and The Mighty Nimbus) has all the burl their riffs could ask for, and I haven’t heard the album yet, but I’m sure they’re asking for plenty. Serpents of Secrecy on Thee Facebooks, their website.
 

103. Sinister Haze, Laid Low in the Dust of Death

After issuing their Betrayed by Time EP (review here) via Heavy Slab Records last year, Virginian doombringers Sinister Haze have signed on with STB to issue their debut full-length, Laid Low in the Dust of Death. The trio played Psycho California this May, touring out and back, and also had a two-song self-titled cassette out in 2015 that they took with them on the road, but no word as to whether any of that material will make it onto the album. In fact, no word on if the album is an album. I’m just kind of going by what STB says they have coming up in the next few months. Presumably more info will surface before the release arrives. Sinister Haze on Thee Facebooks, STB Records.
 

104. -(16)-, TBA

Blunt as ever, Los Angeles/San Diego sludge metallers -(16)- pulled no punches on Dec. 31 when they rang in the New Year by saying, “We will be releasing a new album in 2016.” They finished recording in December, and I’m relatively sure that whatever the new album is called, it’ll be released by Relapse — using the logic of, if you were the label, why wouldn’t you want to put out a new -(16)- album? — but other than that, there’s no info. They said it’s coming this year. Seems like they’d be the ones to know. -(16)- on Thee Facebooks, Relapse Records.
 

105. Skuggsjá, A Piece for Mind and Mirror

skuggsja a piece for mind and mirrorIf you know, then you know. I was pleasantly surprised that the Skuggsjá collaboration between Enslaved‘s Ivar Bjørnson and Wardruna‘s Einar Selvik was doing anything at all, let alone putting out a studio release of their commissioned work for the 200th anniversary of Norway’s constitution. A Piece for Mind and Mirror was recently given a March 11 release date through Season of Mist, and while it may be a few who latch on to the combined vision of Bjørnson and Selvik, that’s going to be a lucky few indeed. Skuggsjá on Thee Facebooks, Season of Mist.
 

106. Slabdragger, Rise of the Dawncrusher

If I’m not mistaken — and to be sure, I probably am — this is the last release on this list coming out on Feb. 26. Slabdragger‘s sophomore LP, Rise of the Dawncrusher is being delivered via Holy Roar, and it comes some six years after their debut, Regress. I remember being at Desertfest in London circa 2012-2013 and hearing people talk up Slabdragger as having significant boot-to-ass potential. Listening to Rise of the Dawncrusher, it’s pretty easy to hear what might’ve given them that impression. Slabdragger on Thee Facebooks, Holy Roar Records.
 

107. Slomatics, TBA

Yes. Bring on new Slomatics. The sooner the better, the louder the better. The riff-bashing Belfast trio signed to Jon Davis of Conan‘s Black Bow Records last November, and quickly set about reissuing their first two albums, 2005’s Flooding the Weir and 2007’s Kalceanna, and that’s super, but as someone who caught on relatively late to the glories of the band’s 2014 album, Estron (review here), there’s no way I’m letting the next one get by me. Slomatics on Thee Facebooks, Black Bow Records.
 

108. Snowy Dunes, Atlantis

Stockholm heavy rockers Snowy Dunes left a resonant impression with their 2015 self-titled debut, and on Jan. 13, they unveiled a completely improvised 19-minute track called “Atlantis, Part I” digitally as a precursor to their second LP, Atlantis, which is reportedly set to release next month as they head out on tour with countrymen riffers Skraeckoedlan. The extended piece is impressive in building on the boogie rock of the debut, but how much its atmosphere will ultimately play into the record itself remains to be seen. In any case, a good band who don’t seem like they’ll be under the radar of Europe’s heavy rock scene for much longer. Snowy Dunes on Thee Facebooks, on Bandcamp.
 

109. Soon, Vol. I

I’ll readily admit my ignorance when it comes to indie rock, so I haven’t heard of The Love Language, Bitter Resolve or Grohg, which are the bands from whose lineups the ungooglable Soon draw, but after checking out a couple demos when the March 4 release of Vol. I was announced, I dug the sound anyway. Someone else might have a completely different context for hearing it, but to me it just sounds like interesting, wide-ranging excursions into sonic heft. It’s pretty rare something like that isn’t going to find welcome, as far as I’m concerned. Soon on Thee Facebooks, Temple of Torturous.
 

110. Spidergawd, III

spidergawd iiiFor the last two years, Norwegian four-piece Spidergawd have been churning out high-grade heavy rock and roll with a vitality that few could come close to matching. 2015’s Spidergawd II (review here) fleshed out elements of psychedelia from their 2014 self-titled debut (review here), and with Spidergawd III, the approach continues to be refined and honed to an even finer point on hooks like “El Corason del Sol” and “The Funeral.” Reportedly out now, so go get it. Spidergawd on Thee Facebooks, Stickman Records, Crispin Glover Records.
 

111. Spirit Caravan, TBA

By now I’m sure they’ve played “Be the Night” (live video here) at more than just the Vultures of Volume II fest, which was where I saw it, but either way, the first new material from a reunited Spirit Caravan — also kind of a The Obsessed hybrid with Ed Gulli on drums — reignites the collaboration between bassist/vocalist Dave Sherman and guitarist/vocalist Scott “Wino” Weinrich, who since they got back together in 2014 have been reminding audiences of just how vital that one-two punch of tone is to what heavy rock has become over the last decade and a half, in Maryland and beyond. Hope they get a record together, hope it gets out in 2016. Spirit Caravan on Thee Facebooks, Tone Deaf Touring.
 

112. Spiritual Beggars, Sunrise to Sundown

Back to business for Swedish heavy rockers Spiritual Beggars. The Michael Amott-led troupe recently revealed that they will offer their ninth long-player, Sunrise to Sundown on March 18 (March 25 North America) through InsideOut Music. Turns out they’ll also have a 7″ out concurrently via H42 Records, and they’re set to tour in Europe beginning the week after the album comes out, hitting Desertfest Berlin and more. This will be their third album with vocalist Apollo Papathanasio, but for me, the band is even more about the blend of Amott‘s guitar and the keys of Per Wiberg (ex-Opeth, Candlemass). Doesn’t get much more classic than that. Spiritual Beggars on Thee Facebooks, InsideOut Music.
 

113. Stone Machine Electric, TBA

The recently-released jammer EP, The Amazing Terror (review here), was intended as a precursor to the next full-length from Stone Machine Electric, which is reportedly now in the process of being recorded. On Jan. 11, they also asked their audience if they’d get behind a crowdfunding campaign to support a vinyl release, so it might be a while before the album actually shows up, but given the response they received, it seems fair to expect a pressing on wax. Stone Machine Electric on Thee Facebooks, on Bandcamp.
 

114. Suma, The Order of Things

2016 makes it 15 years since Swedish aural devastators Suma got their start, and it’s been six years since their last album, Ashes, was released, but that album continues to gain a following, having been snagged for a re-release on Argonauta Records just a couple weeks ago. The Malmö four-piece were on the US West Coast this month to record The Order of Things with the venerable Billy Anderson — who also helmed Ashes and 2006’s Let the Churches Burn — and they managed to sneak in a couple shows playing with, among others, Brothers of the Sonic Cloth. Now that is a fucking bill. Suma on Thee Facebooks, Suma on Bandcamp.
 

115. Summoner, TBA

Been a quick three years since Boston neo-prog heavy riffers Summoner released their second album, Atlantian (discussed here), and pushed ahead of the already sprawling, richly arranged approach of their 2012 debut, Phoenix. Well, I saw the band last month, and I’m happy to report they haven’t fallen apart or anything in the interim. I have it on good authority — by which I mean they told me — that they’ll be recording later this year, and while that may or may not mean a 2017 release, I thought it better to serve early notice of their impending third LP. So heads up on that. Summoner on Thee Facebooks, Magnetic Eye Records.
 

116. Sunnata, Zorya

sunnata zoryaAnnounced just after the New Year for an April arrival, Zorya will serve as the second album from Warsaw-based Sunnata, who delivered their debut in 2014 with Climbing the Colossus. I haven’t heard it yet, but the band effectively blended heavy rock groove with progressive ideals on the first outing, and I see no reason to expect anything but a step forward along the same lines this time around. I’ll take it. Sunnata on Thee Facebooks, on Bandcamp.
 

117. Sun Voyager, TBA

Time for Sun Voyager to do this thing. The New York heavy psych rockers put out one of 2015’s best short releases in their Lazy Daze tape (review here), but after putting themselves on the hook last month in announcing their first album release, it’s time to make that a reality. Like a reality I can listen to. And groove out on. Because that would be awesome. They were also working on a split single with The Mad Doctors for King Pizza, and that’s all well and good so long as it doesn’t delay the full-length. Sun Voyager on Thee Facebooks, King Pizza Records.
 

118. Swans, TBA

Sometimes it’s too easy to be greedy. Since getting back together at the start of the decade, Swans have released three albums — 2010’s My Father Will Guide Me up a Rope to the Sky (review here), 2012’s The Seer and 2014’s To be Kind (review here) — as well as older LP reissues, limited-edition live recording, and so on. They’ve toured the world over and have a fourth post-reunion album due out this year, but even so, when Michael Gira said last summer that the next Swans would be the last Swans for the time being — he didn’t even say forever — it was hard not to feel sad. Enjoy yourself, it’s later than you think. Swans on Thee Facebooks, Young God Records.
 

119. Teacher, TBA

It took Seattle duo Teacher about 49 seconds to get me interested in hearing their forthcoming debut LP. Really less than that, because by the time the vocals kicked in on the recently-posted teaser clip, I was already on board. Whenever it comes out, the album will be released by Devil’s Child Records, which is quickly making a name for itself in the Pacific Northwest with offerings by Mos Generator/Sower and Year of the Cobra. No release date yet, but it sounds like the band are sneaking into a niche of natural, unpretentious swing, and I hope that’s exactly how the record goes. Teacher on Thee Facebooks, Devil’s Child Records.
 

120. Ulver, ATGCLVLSSCAP

Ulver‘s good-luck-making-a-word-of-this-acronym new album ATGCLVLSSCAP came out last week. Doesn’t mean it wasn’t one of 2016’s most anticipated. Really, anytime this Norwegian post-genre leviathan breathes, it’s an event, and as ATGCLVLSSCAP draws on live-recorded improvisations and explorations, but I’m not sure it’s proper to call it a live record in the is-everybody-having-a-good-time-tonight sense of the phrase. Info is plentiful and descriptive, but vague on the actual nuts and bolts of the makings, and that’s likely not an accident. Mystery is part of the fun. Is everybody having a good time tonight? Ulver on Thee Facebooks, House of Mythology Records.
 

121. Uzala, TBA

uzala live at roadburn mmxvI know, I know. Uzala just put out Live at Roadburn MMXV (review here). Hell, I know that. And that vinyl is reportedly coming soon, but I’ve got the Boise trio on this list because I’m holding out for a studio follow-up to 2013’s Tales of Blood and Fire. I’m not saying it has to happen immediately, or really at all. I’m just saying I’d greatly prefer it if it did. That last album still gets fairly regular plays around here, so it only seems reasonable to call it haunting, and the live record had two new songs on it, so maybe there’s more in progress. Uzala on Thee Facebooks, on Bandcamp.
 

122. VA, Brown Acid: The Second Trip

How could RidingEasy Records not do a second Brown Acid compilation of lost heavy ’70s freakout and heavy singles, how could they not call it Brown Acid: The Second Trip, and how could they not release it on April 20? The whole thing seems so inevitable it’s astounding. Look for forgotten cuts by Sonny Hugg, Buck, Glass Sun, Ash, the awesomely-monikered Iron Knowledge and a whole host of others you can pretend you knew about beforehand. RidingEasy Records website, on Thee Facebooks.
 

123. Venomous Maximus, TBA

Like several others on this list, Texas’ Venomous Maximus will take part in the Obelisk-presented Heavy Metal Parking Lot 3 at SXSW (info here). They’re no strangers to awesome bills, having toured this past fall alongside High on Fire to support the release of their second album, Firewalker (review here), which was released on Shadow Kingdom. Looking back on my notes, I’m not sure where I heard they had a new release in the offing, but it would be awesome to see them recapture the momentum they had coming out of their first album, 2012’s raging Beg upon the Light (review here), and a quick turnaround certainly wouldn’t hurt that. Venomous Maximus on Thee Facebooks, Shadow Kingdom Records.
 

124. Vista Chino, TBA

Maybe most of all the entries posted today, this one is wishful thinking. I saw a couple months back that Vista Chino — the John Garcia and Brant Bjork post-Kyuss Lives! incarnation that wound up with Mike Dean of C.O.C. on bass in a lineup rounded out by guitarist Bruno Fevery — were confirmed for Hellfest in France this summer, and couldn’t help but think about the possibility of a follow-up to their 2013 debut, Peace (review here). Doesn’t seem likely with everyone working on their respective projects, but I’m still hoping those guys get back in the studio someday. Cool they’re playing out at all, if nothing else. Vista Chino on Thee Facebooks, Napalm Records.
 

125. Vodun, Possession

Preorders are up now for the debut album from London ritual-psych purveyors Vodun, and the Possession vinyl will also mark the first physical offering from Riff Rock Records, the new label spearheaded by Groan bassist Leigh Jones. Clearly someone who knows how to make an entry, Jones brought Vodun on board and issued a digital single last year for “Minos Army” (video here), the band tearing through influences in the metallic, heavy, Afrobeat, psychedelic and beyond. I haven’t heard the full-length yet, but it’s out March 25 and I feel safe guaranteeing that nothing else in 2016 will sound quite like it. Vodun on Thee Facebooks, Riff Rock Records.
 

126. Vokonis, TBA

After releasing an impressive demo last year called Temple (review here) under the moniker Creedsmen Arise, Swedish riffers Vokonis swapped out bassist, swapped out monikers, signed to respected purveyor Ozium Records and set a February entry to hit the studio and record their debut album. They’ve gotten a good response so far, but I think we’re only seeing the beginning of what they can do. Look for more throughout the year. Vokonis on Thee Facebooks, Ozium Records.
 

127. Wight, Love is Not Only What You Know

wightGerman trio-turned-foursome Wight make a bold shift with their upcoming third full-length, Love is Not Only What You Know, digging deep into full-on psychedelic funk on tracks like “Kelele,” “The Love for Life Leads to Reincarnation,” and the opener “Helicopter Mama,” which came out last year as a 7″ single (review here) to herald the change in direction from their jammy 2012 LP, Through the Woods into Deep Water (review here). It’s a fine line to walk, but Wight do right by dancing all over it instead. They’ve also got a limited tape, Live in Athens, due March 7, on which a good portion of the new album is played. Wight on Thee Facebooks, Wight on Bandcamp.
 

128. Witchskull, The Vast Electric Dark

Word came out last month that Canberra three-piece Witchskull had inked a deal with STB Records. The Aussie band check in with a particularly classically metallic take on heavy rock and doom, as evidenced by their 2015 debut full-length, The Vast Electric Dark, which will serve as their debut vinyl on the NJ-based imprint. Haven’t heard a solid release date for it yet, but “early 2016” was the ballpark figure given, so I guess anytime between now and summer would be a possibility. Witchskull on Thee Facebooks, STB Records.
 

129. Wo Fat, Midnight Cometh

If Wo Fat‘s Midnight Cometh is not near the top of your most wanted list, you are fucking up. Unless you’re going alphabetically with your list, as I am with mine, in which case their position at #129 makes sense. In whatever organizational method, the coming sixth long-player from these Texan fuzz forerunners deserves the utmost consideration. Their first for Ripple Music after two on Small Stone (info here), Midnight Cometh boasts all the riffy jamming and heavy grooves we’ve come to love from the three-piece, but refines the vocal approach markedly, giving the band even more of a sense of command of the material. Sure to be a highlight of the year. Expect it this summer. Wo Fat on Thee Facebooks, Ripple Music.
 

130. Worm Ouroboros, TBA

Sorry to say I missed out completely on Worm Ouroboros‘ second album, Come the Thaw, when it was released by Profound Lore in 2012. I’d dug their 2010 self-titled debut (review here), but the next one, yeah, just kind of got by me. Never to late, you might say, and I’d have to agree. Maybe I can sneak in a purchase before the band are finished in the studio for their third record, which they were set to begin recording this month. In any case, will do my best to see that the same doesn’t happen with the new LP as happened with the last one. Hence putting them on this list. What, you thought it was for you? Worm Ouroboros on Thee Facebooks, Profound Lore Records.
 

131. The Wounded Kings, Visions in Bone

Always fascinating, always changing, UK progressive doomers The Wounded Kings have managed to deliver high-quality material seemingly no matter who is in the lineup. For the forthcoming Visions in Bone, founding guitarist Steve Mills reunites with former/founding vocalist George Birch, who hasn’t been in the band since their 2010 second album, The Shadow over Atlantis (review here). Haven’t seen an official release date yet, but they’re touring in March to support the record, so one might reason a Spring arrival. Not saying I’ve heard it, but the record kills. The Wounded Kings on Thee Facebooks, Candlelight Records.
 

132. Wretch, TBA

By the last update, The Gates of Slumber offshoot Wretch were starting to record their debut album in December. I don’t know whether that was a long-term process or a couple days in and out of the studio, but I’m betting that at some point in 2016 we’ll find out. Having had the opportunity to see the Indianapolis trio last fall at Vultures of Volume II (review here), I’m glad to report that the ultra-downer vibes that pervaded The Gates of Slumber’s final album, 2011’s The Wretch (review here), have found a new home and that frontman Karl Simon seemed as soulfully, Sabbathly miserable as ever. Wretch on Thee Facebooks.
 

133. Yawning Man, Live at Maximum Fest

yawning man live at maximum festivalThe last couple years of these lists have featured Yawning Man, more specifically the perpetually-in-the-making next studio offering, Gravity is Good for You, but as that may or may not get out this year, it seemed fair to include them for the Go Down Records live outing, Live at Maximum Fest anyway. Put up for preorder in Nov., it was recorded back in 2013 and features the founding lineup of guitarist Gary Arce, bassist Mario Lalli and drummer Alfredo Hernandez; an allstar roster of desert rockers if ever there was one. Yawning Man on Thee Facebooks, Go Down Records.
 

134. Year of the Cobra, TBA

Somehow, I think it probably won’t be out until later in the year, but if you caught onto Seattle duo Year of the Cobra‘s 2015 EP, The Black Sun (review here) when it was released by Devil’s Child or DHU Records, then you’re probably already hip to the fact that the follow-up LP will be released by STB Records and is set to be recorded by a certain legendary West Coast producer of heavy who used to be based in the Bay Area but has since set up shop in Portland, Oregon. Not naming names or anything, but as you already know, it should rule. Year of the Cobra on Thee Facebooks, STB Records.
 

135. Young Hunter, TBA

I have been dying to hear the next full-length from Portland-by-way-of-Arizona mood rockers Young Hunter since long before I hosted the premiere of the track “Nothing Shakes the Void” (posted here) back in Oct., and I’m going to continue to be dying to hear it until I actually do, so there. Very, very much looking forward to it, hoping the stars align and whatever else needs to happen happens so it can get out in the early part of the year. We’ll see how it pans out, but last I heard they beat their crowdfunding goal to press it, so something should show up from that. Not soon enough, in any case. Young Hunter on Thee Facebooks, on Bandcamp.
 

136. Zaum, TBA

The mystical, Eastern-influenced doom trafficked longform by Canadian outfit Zaum has offered immersive vibes across the band’s debut LP, 2014’s Oracles (review here), and their 2015 split with Shooting Guns (review here) and that’s enough to make me look forward to their second album without reservations. The New Brunswick duo started out with a firm idea of what they wanted their sound to do, and I’m hoping they continue to follow that vision where it takes them on the next offering. Summer release expected. Zaum on Thee Facebooks, I Hate Records.
 

137. Zun, Burial Sunrise

zun burial sunriseFirst made public three years ago via the track “Come Through the Water” (posted here), which will also appear on the album, Zun began as a collaboration between guitarist Gary Arce of Yawning Man and vocalist Sera Timms of Ides of Gemini, the album Burial Sunrise also brings in John Garcia as a lead vocal contributor, Mario Lalli, Harper Hug and a host of others (detailed here) for an atmosphere of subdued desert rock that’s unmatched in recent memory, in the desert or out of it. I mean that. This one is essential. Out March 25. Zun on Thee Facebooks, Small Stone Records.

What’s that you say, 137 releases isn’t enough? You want more? Okay.

Well, I’m pretty sure I just put up news about a new album from Iron Man vocalist Dee Calhoun due in Spring. That’s one. And fucking King Buffalo. Their record will be out not at all soon enough.

And while you’re hawkishly keeping an eye out for the stuff listed above, why not also watch for word from Bongzilla, whose reunion is now well underway, as well as The Body, who have a new collaborative release with Full of Hell coming out, Ice Dragon, who spent the better part of last year curiously silent, and All Them Witches, who probably won’t have a new LP out but are always putting together singles, jams and so on for those aching for a digital fix?

There is a “slim but real” chance of a new Clamfight record in the fall. I’ve heard murmurings indicating Elder are working on a follow-up to 2015’s glorious Lore, and since Baby Woodrose are playing Freak Valley, is it possible they could blow our minds with a new album as well? Conny Ochs has a new one on Exile on Mainstream, Mount Desert could easily follow-up their 2015 two-songer that made such a splash, and EYE — oh EYE! — I’ve been waiting for their new one since last year, so hopes are high it’s out soon. And I didn’t include them because the album already came out in Europe, but The Shrine make their Century Media debut with Rare Breed this week in North America.

Other names to watch for in no particular order or likelihood: Argus, Serpent Throne, Them Bulls, War Drum, Black Lung, Worshipper, The Exploding Eyes Orchestra, 3rd Eye Experience, Switchblade Jesus, Seedy Jeezus, Horsehunter, Bright Curse, It’s Not Night: It’s Space, Black Moon Circle, Bison Machine, Fogg, Electric Moon, Arc of Ascent, Beastwars, Thera Roya, Svartanatt (late Spring), Red Wizard (on STB), and Ripple Music‘s second chapter of The Second Coming of Heavy split series with Supervoid and Red Desert.

Still not enough? Check back soon. Just in the time I was putting this list together, I got emails about new releases from Nicklas Sørensen of Papir, Mr. Bison, Instant Boner, Duckhunters, Lord Summerisle and Sonic Mass — and others. Point is there’s always more to come.

What’d I miss? Let me know in the comments.

Thanks for reading.

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Neurosis Announce Strength and Vision Boxed Set

Posted in Whathaveyou on December 23rd, 2015 by H.P. Taskmaster

Neurosis will release a special limited anniversary boxed set called Strength and Vision, compiling their 11 albums on LP and CD. Preorders are available now from Neurot Recordings, which will have the release out in April, following the now-three anniversary shows the band will play in March in San Francisco. The box, aside from being gorgeous and among the wiser investments I can think of for any given $275 you might have laying around, gives a staggering look at the career of one the most influential, if not the most influential, heavy bands of the last 30 years, and truly looks to be one of a kind. Couldn’t be more fitting.

As previously announced, Neurosis enter the studio on Dec. 27 to begin recording their next full-length with longtime-producer Steve Albini. Should be interesting to see how they time that release with this one.

The band had the story like this:

neurosis-strength-and-vision

NEUROSIS KICKS OFF 30TH YEAR WITH LIMITED EDITION STRENGTH & VISION BOXED SET, PRE-ORDERS AVAILABLE NOW

At the beginning of our 30th year as a band, it is our great pleasure to announce STRENGTH & VISION: a limited-edition boxed set of three-decades of our sonic experimentation and steadfast commitment to underground music. We offer this to you — our friends, family, fans and fellow sonic travelers. It is a rare look back at all we have accomplished together.

STRENGTH & VISION is the definitive collection of every NEUROSIS release, limited to 1,300 pieces worldwide. Each high quality box features a magnetic clasp, which allows you to retrieve each record without having to remove the box from a shelf.

Included in STRENGTH & VISION:
ALL 11 studio records on 3 LPs and 8 2xLPs
LP sleeves with newly adapted designs
106-page book with all original artworks, lyric booklets etc
ALL albums on 11 CDs inside the book
1 exclusive Neurosis Strength & Vision embroidered patch
1 exclusive hand-printed poster
1 certificate of authenticity

Full list of albums included:
Pain of Mind
The Word as Law
Souls at Zero
Enemy of the Sun
Through Silver in Blood
Times of Grace
Sovereign
A Sun That Never Sets
The Eye of Every Storm
Given to the Rising
Honor Found in Decay

Pre-orders are now available through the Neurot Recordings Store. Shipping date for the STRENGTH & VISION boxed set is early April 2016.

NEUROSIS Tour Dates:
3/04/2016 Regency Ballroom – San Francisco, CA w/ Sleep [SOLD OUT]
3/05/2016 Regency Ballroom – San Francisco, CA w/ Shellac [SOLD OUT]
3/06/2016 Regency Ballroom – San Francisco, CA w/ Converge, Negative Approach
4/15/2016 Hat Patronaat – Tilburg, NL *STEVE VON TILL and SCOTT KELLY solo performances
4/16/2016 013 – Tilburg, NL
4/17/2016 013 – Tilburg, NL
8/11/2016 Festa Radio Onda D’Urto – Brescia, IT
8/13/2016 Oya Festival – Oslo, NO
8/20/2016 Motocultor Festival – St. Nolff, FR
8/21/2016 Amplifest – Porto, PT

https://neurotrecordings.merchtable.com/artists/neurosis
www.facebook.com/OfficialNeurosis
www.twitter.com/NeurosisOakland

Neurosis, Live in Brooklyn 2015

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