Posted in Whathaveyou on December 16th, 2014 by H.P. Taskmaster
Since pretty much nothing is known about Ufomammut‘s new album at this point other than it’s done, you’ll pardon me if my eye wanders down in the press release to the part where it mentions their “first major tour of the continent,” meaning North America, which will take place in 2015 around their appearance at Maryland Deathfest. A US run for Ufomammut is probably overdue at this point, but better late than never. I’ll look forward to finding out with whom they’re hitting the road. I suppose it’s too much to think they could join forces with Conan and lay waste to everything in their path. Ah, to dream of that bill.
And while I’m looking forward, here’s that word about the album, snagged hastily from the PR wire:
UFOMAMMUT Completes Seventh Studio Full-Length For Spring Release Via Neurot Recordings
Italian power trio, UFOMAMMUT, is putting the final details on the band’s anticipated seventh studio full-length in order for the album to see an early Spring 2015 worldwide release, once again through Neurot Recordings. While virtually no specific details on the album are yet to be revealed to the public, the album is fully mixed, mastered and going into production now. The record’s title, release date and much more will be unveiled at the dawn of 2015, and mass album and tour updates will ensue through the rest of the year.
In October, UFOMAMMUT proudly released XV, a DVD documenting the band’s intense fifteen year lifespan to date, through their own Supernatural Cat label with support from Neurot. For nearly two years UFOMAMMUT has been working on this special video project delivered through XV’s more than three hours of footage documenting their vast discography and live accomplishments. The DVD features Magickal Mastery Live, a twelve-song live act, as well as interviews, outtakes, and extras, captured over the past decade and a half.
Orders for the XV DVD can be placed in the USHEREand internationallyHERE, and the digital audio version of Magickal Mastery Live only can be orderedHERE.
Additional info on the upcoming album will be released in the coming weeks as UFOMAMMUT prepares to return to North America for their first major tour of the continent in 2015, including a performance at Maryland Deathfest 2015.
UFOMAMMUT Tour Dates: 5/21/2015 Maryland Deathfest – Baltimore, MD
Posted in Features on December 8th, 2014 by H.P. Taskmaster
Before any music had surfaced from YOB‘s 2014 outing, Clearing the Path to Ascend (review here), the band posted an update about the songwriting that referred to “the most beautiful arrangement” they had ever done. When the 18:48 closing track “Marrow” surfaced on their seventh album and Neurot Recordings debut, there was little doubt concerning which was the arrangement in question.
The first time I heard “Marrow” was sitting in the basement of V39, which is the building across from the 013 venue in Tilburg, the Netherlands, where Roadburn is held. Upstairs, the merch market was setting up for the day, but in the basement, in a dark room with a tiny stage, rows of chairs, a small P.A. and a bar in back, was a listening session for the album, the title of which was printed on a small promotional postcard placed on each chair. “Coming this fall.” Fair enough.
“Marrow” is led into by “Unmask the Spectre,” a 15-minute exploration that hits its apex late. There is, however, about 40-seconds of ambient guitar and spacious effects swirling after the chaos has subsided, and the fadeout of that gives flowing movement into the silence from which the opening guitar line of “Marrow” emerges. It’s less than a minute before bassist Aaron Rieseberg and drummer Travis Foster join in, which leaves guitarist/vocalist Mike Scheidt to set the initial atmosphere for what will become YOB‘s boldest and most melodic construction to date. Already by then, Clearing the Path to Ascend has taken listeners up, down and through an emotional torrent, songs like the raging “Nothing to Win” and the perpetually-searching “In Our Blood” establishing the dynamic course beyond YOB‘s beginnings — which, make no mistake, are essential to the makeup of what we think of today as cosmic doom — and further into something wholly their own; a sound as distinct and identifiable as Sleep‘s is to Sleep, as Neurosis‘ is to Neurosis.
It’s just before two and half minutes have passed that “Marrow” kicks in a fuller-toned roll, more low end and harder-hit drums, but the pace is still fluid, more serene than tense. Scheidt‘s vocals follow a pattern of shorter lines feeding into longer ones, his voice clean, ethereal and echoing over the distortion and a shift into the bridge that leads to the first of the song’s choruses:
Fall and see When there’s no ground To feel, To endure Rise, rise in your heart Time will crawl to the sea Time will fall inside the dream
The cycle stops to begin again with the verse, but already the layering in Scheidt‘s voice distinguishes the song as something special and expanding YOB‘s breadth from what they’ve done before. In both his guitar work — a later solo has a wistful blues to it that speaks to classic rock — and his vocals, Scheidt‘s expressiveness throughout “Marrow” is raw. He sounds sincere no matter how many layers of his voice appear, and there are only more as the next chorus arrives. Just past 10:30, after a soulful harmonization of the word “time,” the bass and drums drop out and it’s the guitar left alone again. Producer Billy Barnett contributes Hammond as Rieseberg and Foster rejoin the progression, and Clearing the Path to Ascend‘s final movement is underway.
I didn’t know the lyrics sitting in that small theater room downstairs at V39, but even without, tears welled up in my eyes. It is, as advertised, the most beautiful arrangement YOB have ever done, and “beautiful” is precisely the right word for it. “Marrow” never has its roaring moment as so many YOB songs do, but it builds in that final movement to an apex that’s as satisfying if not more so than any growl could be. Rieseberg‘s bass swells in the mix gorgeously shortly after the 14-minute mark, and Scheidt repeats the last verse over the build in progress. At 17:49, after its complete, swirling crescendo, “Marrow” cuts back to the quiet guitar line that started it. What needed to be said has been said, and the final sustained note hums its finish.
YOB have a tradition of grand closers. It goes all the way back: 2011’s Atma had “Adrift in the Ocean,” 2009’s The Great Cessation had its title-track, 2005’s The Unreal Never Lived had “The Mental Tyrant,” 2004’s The Illusion of Motion had its title-track, 2003’s Catharsis likewise, and 2002’s Elaborations of Carbon, formative as it was, had “Asleep in Samsara.” “Marrow” is not only the most forward-thinking of them, it is a singular achievement in songwriting and execution. For Scheidt, Rieseberg and Foster, it is a triumph along a creative pursuit that seems to be relentless in its tenure and its honesty, and for me, it’s the song by which 2014 will be defined.
Honorable mention to Witch Mountain‘s “Can’t Settle,” Mars Red Sky‘s “Join the Race,” Wo Fat‘s “The Conjuring” and Sleep‘s “The Clarity.”
Posted in Whathaveyou on December 3rd, 2014 by H.P. Taskmaster
You could say I’m very much looking forward to the February release of Brothers of the Sonic Cloth‘s self-titled debut on Neurot… and you’d be correct. I’d be like, “Wow, you’re right. Thanks for pointing that out.” It would probably be a weird conversation if it stopped there.
Nonetheless! The realization of a Brothers of the Sonic Cloth full-length more than half a decade after their demo (review here) and split with Mico de Noche (review here) is welcome and sure to result in one of early 2015’s heaviest pummelings. Aside from being the best t-shirt I own — seriously, it’s long enough and the sleeves come down past my elbows and it’s good, thick quality cotton that’s worn in well; everything I could ask in a shirt — the project led by Tad Doyle is a long time headed toward fruition, and while they probably won’t come east, the simple fact that they’re putting out a record means there’s a chance I could at one point ever possibly see them live, and I like that thought.
The PR wire works for a living and brings the album art, tracklisting, info and a teaser:
BROTHERS OF THE SONIC CLOTH, CRUSHING TRIO FEATURING SEATTLE LEGEND TAD DOYLE REVEALS FORTHCOMING ALBUM DETAILS; TEASER VIDEO POSTED
RELEASE DATE: 16 FEB 2015
Keeping up a long-held tradition of bringing forth some of the heaviest music from the darkest depths of the Pacific North West, Seattle’s legendary Tad Doyle – formerly of TAD, and Hog Molly – delivers his strongest songwriting and playing to date with his latest manifestation, Brothers of the Sonic Cloth. Boasting a trio of musicians with Doyle on guitar/vocals, veteran bassists Peggy Doyle and drummer Dave French (The Anunnaki), Brothers of the Sonic Cloth will release their long-awaited, self-titled debut full-length February 16th, 2015 via Neurot Recordings.
Recorded at Robert Lang Studios and Tad Doyle’s own Witch Ape Studio in Seattle, Washington and mixed by Billy Anderson (Yob, Sleep, High On Fire, Melvins et al), Brothers Of The Sonic Cloth delivers five immense hymns, with two bonus tracks on the CD edition and fuses the collective and extensive rock histories and experience of its three members in the worlds of punk, hard rock and metal. The threesome’s sonic craftings is welcomingly unfamiliar, splicing serrated riffs through chilling post-punk drumming and hulking compositions that blow soulfully hot and desolately cold. Their longform pieces present the kind of mature ideas and expansive progressions that outpace the listener’s short-term memory leading them off the proverbial map; familiar landmarks like sludge, post-metal, rock all but disappeared over the horizon.
The record begins with an ominous eruption of riffs forged from deep within the earth, with “Lava,” and continues on this path throughout; a mammoth, relentless spirit on a timeless journey. Authentic and authoritative, this album is as much a persistent thudding body punch of sonic destructive force as it is a thoughtful statement of awareness and the inescapable raw condition of life.
Elaborates Doyle of the band’s creation: “After almost fifteen years without putting out a record, much time was spent woodshedding, riffing and writing new material. Brothers of the Sonic Cloth was originally a recording-only project and creative outlet for me playing all instruments on early unreleased demos but I quickly realised that I wanted the music to be played live so I would have to enlist other like-minded players. Peggy was an obvious choice with her enthusiasm and energy that made her an asset right from the start of integrating the band with other musicians. Dave French was a guy we both related to on a musical and deep spiritual level. We had played shows together with our respective bands, Peggy and I in Brothers of the Sonic Cloth and Dave who played bass in his band The Anunnaki. Dave completed the circle when he offered to play drums and his joining was this last piece that solidified the band. We are very honored and excited to have this release on Neurot Recordings whom with their legacy goes a fierce integrity that we are proud to be a part of.”
Brothers Of The Sonic Cloth Track Listing: 1. Lava 2. Empires Of Dust 3. Unnamed 4. La Mano Poderosa 5. I Am 6. The Immutable Path 7. Outro
Posted in Whathaveyou on November 13th, 2014 by H.P. Taskmaster
Neurosis are in Mexico City next weekend for the Bestia festival, and they’ve also just announced they’ll do a trio of California shows to round out 2014, a year that’s already seen them play multiple shows and fests in a kind of gradual return to playing live which, if you’ll recall, they weren’t so much about for most of the last decade. They’ve already confirmed Maryland Deathfest for 2015 and one imagines it won’t be the only gig they wind up playing. If they keep it up, one might almost be tempted to think of them as a touring band again. How that might play into the post-metal progenitors following-up their 2012 studio outing, Honor Found in Decay (review here), is anyone’s best guess, but if time has proven anything it’s that the appropriate course of action is to let Neurosis do whatever the fuck they want at their own pace and excellence will ensue.
The PR wire lets you know how it is:
NEUROSIS Announces Trio Of Year-End California Performances
NEUROSIS has just confirmed three more shows for 2014, set to take place during the final days of the year in California. While the members of NEUROSIS currently reside in numerous areas of the country, the Bay Area will forever remain the land of the band’s origin, and to commemorate one of their most active years performing abroad in their nearly three decades in existence, they’ll unite for a trio of concerts including two shows back where it all began.
The first of the year-end live run will see NEUROSIS playing at The Observatory in Orange County’s Santa Ana on Monday, December 29th. The next two evenings — Tuesday, December 30th and Wednesday the 31st — will see the band back in their native Bay Area lands, with two consecutive shows at the Great American Music Hall in San Francisco. Supporting NEUROSIS on all three of these headlining shows will be an incredibly diverse and destructive lineup, including Portland’s morose d-beat hardcore icons, Tragedy, San Diego-based industrial drone man/machine act, Author & Punisher, and San Francisco’s sludge/noise rock outfit, Kowloon Walled City.
NEUROSIS Tour Dates: 11/19-23/2014 Bestia Festival – Mexico City, MX w/ The Ex, Monogatari, more 12/29/2014 The Conservatory – Santa Ana, CA w/ Tragedy, Author & Punisher, Kowloon Walled City 12/30/2014 Great American Music Hall – San Francisco, CA w/ Tragedy, Author & Punisher, Kowloon Walled City 12/31/2014 Great American Music Hall – San Francisco, CA w/ Tragedy, Author & Punisher, Kowloon Walled City 5/24/2015 Maryland Deathfest – Baltimore, MD w/ Amorphis, Anaal Nathrakh, Goatsnake, Primordial, more
The newly-announced trio of performances comes as NEUROSIS continues their massive 2014 live campaign, as the band has just conquered the Housecore Horror Film Fest in Austin, Texas, as well as Southwest Terror Fest III in Tucson, Arizona, and next week will headline the second annual Bestia Festival in Mexico City, Mexico. The five-day gala, set to run from November 19th to the 23rd, will include performances from The Ex, Monogatari, (SIC), Han Bennink, Terrie Ex, Marc Ribot, Ray Anderson, Bob Stewart and others confirmed, in addition to music workshops, film screenings and more will fill the festival grounds. Additional NEUROSIS concerts for 2015 are aligning, including the band’s return to Maryland Deathfest in Baltimore alongside fellow Neurot acts Ufomammut and Yob, where NEUROSIS plays on Sunday, May 24th with Amorphis, Anaal Nathrakh, Demilich, Goatsnake, Inverloch, Primordial, Winter, Tombs and more.
Following the release of their Live At Roadburn 2007 album and reissues of some of the band’s most seminal recordings — including their Souls At Zero and Enemy Of The Sun LPs and the Sovereign EP — throughout 2010 and 2011, NEUROSIS released one of their most ambitious albums to date, with 2012’s mighty Honor Found In Decay LP, all through their own cultivated Neurot Recordings. The album showcased the band taking their esoteric but leveling and categorization-free style of extreme music to even diverse areas of exploration, and following the record release show for the album, the outfit disbanded with their longtime visuals at their live shows, empowering their grand anthems to their fans in a monolithic, more human approach. Since its release, NEUROSIS has been more active tour-wise than they have since before the turn of the millennium, and seemingly shows no time of ending the campaign any time soon.
Posted in Whathaveyou on November 7th, 2014 by H.P. Taskmaster
Well folks, looks like 2015 is going to be plenty apocalyptic. No doubt it would anyway, what with the endless wars, global warming and ramping up of the presidential campaign, but a little Corrections House never hurts either, unless you count that special punched-in-the-face-with-sound feeling they’re so good at eliciting. The semi-industrial supergroup — yeah, that’s right, I said it — will embark on a coast-to-coast US run beginning at the end of this month in scenic Boston, MA, before working their way south, west and eventually back north up the West Coast.
They do so heralding the coming of a new album in 2015, to be released by Neurot Recordings in what will surely be one of the year’s most anticipated and destructive outings. If you’ll recall, Corrections House‘s debut, Last City Zero, was a speaker-blowing force.
The PR wire has the update:
CORRECTIONS HOUSE Announces Winter Live Incursion; New Hymns Recorded
CORRECTIONS HOUSE – the bastard sound manipulations of Mike IX Williams (Eyehategod), Scott Kelly (Neurosis), Bruce Lamont (Yakuza), Sanford Parker (Minsk) and their recently abducted minister of propaganda, Seward Fairbury – are readying for another round of US live incursions. Set to commence on November 30th in Boston, Massachusetts, the collective will raze nineteen metropolises, with the journey coming to a ceremonial close on December 20th. The tour follows the band’s crushing performance at this year’s Housecore Horror Film Fest.
CORRECTIONS HOUSE Tour 2014: 11/30/2014 Brighton Music Hall – Boston MA 12/01/2014 St. Vitus – Brooklyn, NY 12/02/2014 Café 9 – New Haven, CT 12/03/2014 Metro Gallery – Baltimore, MD 12/04/2014 Strange Matter – Richmond, VA 12/05/2014 Grog Shop – Cleveland, OH 12/06/2014 Pro Arena – Dayton, OH 12/07/2014 Magic Stick Lounge – Detroit, MI 12/08/2014 Cobra Lounge – Chicago, IL 12/09/2014 The High Tone – Memphis, TN 12/10/2014 Siberia – New Orleans, LA 12/11/2014 Fitzgeralds – Houston, TX 12/12/2014 Hotel Vegas – Austin, TX 12/14/2014 Three Links – Dallas, TX 12/16/2014 Club Red – Mesa, AZ 12/17/2014 The Complex – Los Angeles, CA 12/18/2014 Soda Bar – San Diego, CA 12/19/2014 DNA – San Francisco, CA 12/20/2014 Rotture – Portland, OR
CORRECTIONS HOUSE released their Last City Zero debut full-length via Neurot Recordings last year. Produced by Parker at Electrical Audio, Soma Studios, 60 Psycho Hum and Nodferatu’s Lair, Last City Zero is the audio end product of government conspiracies, societal ruin and psychological decay. Traveling far beyond the traditional confines of any one specific genre, Last City Zero is at once beautifully hideous, graceful and terrifying and continues to raise the brows of exploratory fans and critics globally.
CORRECTIONS HOUSE recently put the finishing touches on their forthcoming new full-length, set for release sometime in 2015. In the meantime, check out a live version of (half of) CORRECTIONS HOUSE’s cover of Neil Young’s “Cortez The Killer” from Roadburn below.
Posted in Whathaveyou on September 23rd, 2014 by H.P. Taskmaster
Well, we knew Brothers of the Sonic Cloth were going to end up somewhere. The Tad Doyle-fronted trio had finished mixing their album back in June and their long-awaited debut long-player was closer than ever, but as I understood it, part of the delay in actually getting the record out stemmed from finding a label through which to release it. Neurot handling the release goes in the if-you-gave-me-three-guesses-I’d-have-probably-gotten-it file, but that doesn’t make the news any more welcome, particularly since it means we’re actually that much closer to hearing the record.
That album, incidentally, is set for an early 2015 release. Not sure about the exact date, but the label makes it official below with some comment from Steve Von Till:
Brothers of the Sonic Cloth Sign to Neurot Recordings and Plan Long-Awaited Debut Full Length Release in Early Spring 2015
Keeping up a long-held tradition of bringing forth some of the heaviest music from the darkness of the Pacific NW, Seattle’s Tad Doyle (formerly of TAD, Hog Molly), delivers his strongest songwriting and playing with his newest band Brothers Of The Sonic Cloth. This powerful trio of musicians, with Tad on guitar/vocals, veteran bass player Peggy Doyle and drummer Dave French (The Annunaki) shall release their long-awaited debut LP in early 2015 on Neurot Recordings. Brothers Of The Sonic Cloth bring together the collective and extensive rock histories and the experience of the three members in the worlds of punk, hard rock and metal.
Steve Von Till says of the signing: “All of us at Neurot Recordings are so incredibly fired up about having the opportunity to be a part of this release. For me personally, Tad has been responsible for some of my favorite guitar driven noise of our generation not to mention the fact that it is an absolute pleasure to be working together with such great human beings. Witness the return of Tad with Brothers of the Sonic Cloth! “
We shall be revealing more album details over the coming months, as well as audio samples from the album. Stay tuned for more news soon…
Posted in Reviews on September 3rd, 2014 by H.P. Taskmaster
Clearing the Path to Ascendis the point at which YOB abandons the formula they’ve been building over the course of the last five years. In its construction and in the execution of the songs themselves, it is still very much their own, but stands apart immediately from past outings, particularly the two released since the Eugene, Oregon, trio got back together after their 2005 breakup, 2009’s The Great Cessation(review here) and 2011’s Atma(review here). Clearing the Path to Ascend– also the band’s Neurot Recordings label debut — strips away a lot of what united those two records, elements like catchy openers “Burning the Altar” and “Prepare the Ground,” and a near-standard foray in guitarist/vocalist Mike Scheidt‘s signature triplet gallop, which is something that YOB has used to send chills up doomers’ spines since 2005’s The Unreal Never Lived. Songs like “Breathing from the Shallows,” these massive washes of abrasive, unyielding noise, seem as well to be a thing of the past. That’s not to say YOB can’t or won’t ever incorporate any of these things again, but even if they do, Clearing the Path to Ascendwill have been the record that proved that wasn’t what the band needed to be. In the meantime, what we’re left with on their seventh full-length and pivotal third since reuniting with Scheidt, drummer Travis Foster and bassist Aaron Rieseberg, is a scathingly honest, human creativity unlike anything else in doom, cosmic or otherwise. An hour-plus four-track release with no individual piece under 11 minutes, it is YOB at their most melodically progressive and an album that dares to let its emotional resonance meet and, especially in closer “Marrow,” surpass an at times barbarous tonal heft. YOB haven’t put a studio LP out in a decade that I didn’t pick as my Album of the Year, and given the sincere nature of the material on display here it seems all the more foolish to feign impartiality. I am a fan of the band, and Clearing the Path to Ascendis their most accomplished outing yet.
Opener “In Our Blood” (16:56) begins with a sample that says simply, “It’s time to wake up.” While this would seem to promise an explosion, but instead, Scheidt‘s guitar quietly introduces the undulating rhythm line that will comprise the core of the song, a roll that, when Foster and Rieseberg kick in after the first minute, sets a lumbering course pace-wise that the bulk of the record will stick to. Vocals, which in years past have typically come either in an ethereal wail or destructive growl, are clearer, cleaner and more confident than they’ve ever been — Scheidt‘s debut solo work, Stay Awake(review here), and subsequent touring could easily be read as a factor in that — but when “In Our Blood”‘s first growls arrive shortly before the five-minute mark, they’re no less vicious than they’ve ever been. Already, YOB have changed course from their last several albums, the way Clearing the Path to Ascendlurches gradually to life rather than slamming listeners with an initial immediacy only to expand from there. It comes across as dispensing with a formality — getting right to the heart of the matter in a different way that’s more immersive for the listening experience of the entirety rather than giving an initial standout and then letting the rest of the album make its statement. Another clean, rolling verse ensues and trades back to growls — it’s not a chorus, but a repeated and expanded part, anyway — before “In Our Blood” shifts into its next movement near its halfway point, a bridge leading to an ambient break, Rieseberg and Foster dropping out to leave the guitar as a bed for an expanded version of the sample that began the song, British philosopher Alan Watts asking, “What is reality? Obviously, no one can say because it isn’t words. It isn’t material, that’s just an idea. It isn’t spiritual — that’s also an idea,” before the “Time to wake up” is repeated and the song bursts back to life, Scheidt loosing a roar that’s primal but which serves more of an ambient purpose than an aggressive one. The riff that will serve as the foundation for the remaining time takes hold, a guitar solo is layered in, deep in the mix, and cycles meet a culmination after 15 minutes in as guitars continue to build and growling lines surface from the plod, the last of them sustained to the point of Scheidt‘s voice breaking as the instruments behind end with a barrage of feedback giving way directly to the punch of drums that start “Nothing to Win.”
That punch, which becomes the core of “Nothing to Win” over its 11:22 run, is not to be understated. Foster‘s tom progression is indebted, almost singularly, to Neurosis‘ “Through Silver in Blood,” but the space those fills occupy, the way they’re used in the track and the sheer stamina required to pull them off make them all the more staggering. The second of Clearing the Path to Ascend‘s four pieces is the most intense, playing off building verse tension via those drums and the guitar and bass that follow them and opening to a chorus that arrives at the title line in a manner fitting the conclusion itself — there’s nothing to win. Listening to it, I’m reminded of a conversation about ambition back in 2011 that was part of an interview with Scheidt for Atma, but without a lyric sheet I wouldn’t speculate in concrete terms what’s being won, or not, and either way, the ferocity remains striking, Scheidt moving into a semi-spoken, seething delivery for the verse and layering shouts and growls for the chorus. Foster again takes the lead after halfway through, switching from the chorus progression to an even more intense run of fills that builds for a minute or so until finally the song seems to collapse under its own frustrations, Scheidt growling out a line that turns to a kind of agonized plead before its end, Rieseberg and Foster coming back in over feedback before the guitar rejoins them on the transition into the song’s last movement, a churning riff, deceptively intricate in its timing, taking hold and carrying YOB through the finish, Scheidt reminding along the way that, indeed, there’s nothing to win, channeling the abrasiveness that once fueled “Breathing from the Shallows” or “Kosmos” from The Unreal Never Livedinto a concise declaration that leaves an impression even after the album has finished. Its message gets through, in other words, before a relatively quick fadeout rounds the song out and “Unmask the Spectre” (15:25) begins with a soft guitar line somewhat reminiscent of the opening track and “Marrow” still to come.
Given its heavy/atmospheric tradeoffs — in softer parts, Scheidt‘s guitar seems to have been recorded in some terrifyingly vast expanse, at night — set out along a linear path and the melodic instrumental complexity at which it arrives in its apex guitar solo, it seems fair to think of “Unmask the Spectre” as a lead-in for “Marrow,” but at more than 15 minutes, it’s also a substantial portion of the album, and the fact that it’s paired well with the closer shouldn’t necessarily detract from its individual appeal or the work it does in furthering the atmosphere of Clearing the Path to Ascendoverall, cutting back as it does the furious push of “Nothing to Win” and moving YOB back into a more gradual space, patient, encompassing, and resoundingly slow. A high-viscosity chug takes hold as the main riff cycles through early, having lumbered forth from the quieter start, and “Unmask the Spectre” seems to take a different path toward similar venting to “Nothing to Win,” growls and screams topping steady thud from Foster and starts and stops in the bass and guitar. By this point in the album, it’s easy to be lost in Clearing the Path to Ascend, particularly on the first couple listens, and “Unmask the Spectre” sets an especially turbulent course on which the listener is carried, moving between this thunderous stomp and the airy quieter movement, underscored by various rumbling threats, vague noise, and low-mixed shouts and effects-distorted pleas. A rising shout before five minutes in reintroduces the heavy progression, Scheidt losing his fucking mind in the process, and the momentum is carried into the song’s next stage. If there’s a spectre being unmasked, it starts to happen at about the sixth minute, at which the tense, crushing heft spreads itself out to some kind of resolution, Scheidt taking a cleaner approach vocally over his riff, Rieseberg‘s smoothed out bassline and Foster‘s more forward-directed drums. A wavering guitar solo follows a verse past halfway through, but there’s another dropout. As low and minimal as YOB get on Clearing the Path to Ascend, heaviness is never completely absent, Scheidt whispering over windy backing swirl and his own barely-there guitar before Foster thumps the lurch back into place, a crawling return to YOB at their most feedback-drenched and excruciating. It seems like that’s going to be the end — both preceding cuts have had clearly announced final movements — but there’s a switch to cleaner vocals again and the guitar teases melodic leads. It’s a sudden cut to the backing “wind,” but the subdued guitar accompanies, seeming like it’s searching for a way to lead directly into “Marrow,” and not quite making the switch seamless, but coming as close to tying the two pieces together as one could reasonably ask.
Before the album was recorded, the band posted an update to Facebook referring to “the most beautiful arrangement we’ve ever written.” No question “Marrow” (18:49) was the arrangement being described, and accurately. It is lush, and gorgeous, and where it wants to, it launches into a soothing wash of tone more cathartic than “Catharsis” and arguably YOB‘s most singularly ambitious song. Like “Unmask the Spectre,” it starts quiet, but instead of bursting out, Foster and Rieseberg join the quiet guitar line early, making for a more gradual beginning, less jarring in its shift. At 2:25, a fuller rumble emerges, but the soft guitar line is still repeated over it, a peaceful, almost resigned mood emanating from the heavy rollout. There are no growls or screams on “Marrow,” the vocals entirely clean-sung for the duration, but it is Clearing the Path to Ascend‘s most righteous moment, conveying more of an emotional turbulence than a musical one in its initial verse and the movement to the first chorus, which arrives subtly just after five minutes and surprises with Scheidt layering his voice for a kind of harmonized choir effect, resulting in his most soulful performance to date, in YOB or out of it. A quick second to catch breath — one needs it — and the verse is renewed. I’m not sure I can properly convey the sense of arrival that chorus brings with it, or how gently it comes on, led into by a first stage already departed from the verse but not yet giving away the full breadth to come. The effect is only enhanced the second time through, the chorus expanded as “Marrow” moves toward its 10th minute, building to a thudding head, the word “time” repeated and drawn melodically into a hymnal. At 10:33, with more than eight minutes to go, the bass and drums drop out to let the guitar set the foundation of the album’s finale. As with the intro, the guitar, bass and drums all explore this part so that it’s not so much a minimalist interlude as an essential piece of the whole, a background layer of organ — or guitar effects made to sound like organ — hinting of the epiphany and climax still to come. Scheidt sings low and quiet after 12 minutes in, a verse that leads to the most gripping and resonant guitar solo I’ve heard since Ancestors‘ “First Light,” very classic rock in its style, but speaking more to the central melody of “Marrow” than a YOB lead ever has to its respective song. It swirls louder in the mix and carries into a heavier movement — Rieseberg‘s bassline no less astounding than any of the guitar layers — and the vocals return after a few measures to drive “Marrow” further toward into apex, which arrives in multiple stages as a wash of immersive realization. It ends, without a second wasted, by cutting back to the quiet guitar line that introduced the song and noodling out the last note for a final echo giving way to silence.
I know I said this when I saw them play at Roadburn earlier this year, but it’s worth repeating: YOB are a once-in-a-generation band. It is rare enough to find an act willing to push itself at all creatively seven albums in, but to deliberately cast off any sense of playing to expectation in favor of such raw expression — it’s the kind of thing that one or two groups in a decade might actually manage to pull off. More importantly, in doing so, Clearing the Path to Ascendmakes YOB‘s a more sustainable evolution by breaking down the increasingly rigid boundaries of “what YOB sounds like” and commandingly taking their songwriting to somewhere new both for them and for the genre as a whole. Nearly 15 years on from their first demo, they sound like they’re just getting started. If this album is true to its title, and YOB are clearing their path by tossing away these preconceived notions of what they are and what “doom” is, and if perhaps what comes next is ascension, then so be it. They’re obviously ready.
YOB, “Marrow” from Clearing the Path to Ascend (2014)
Here is the Music Player. You need to installl flash player to show this cool thing!
This one’s a couple minutes shorter than the last few have been, but lacks nothing for substance, and particularly after YOB‘s “Marrow,” anything I put at the end would’ve just been filler to meet some imaginary obligation on my part. If you feel like you’re lacking the four minutes, give me a call and we’ll chat about records for the rest of that time. It’ll be a hoot. In any case, I think there’s plenty here to sink into — stuff that for a lot of people, myself included, will be on year-end lists and albums for which 2014 will be remembered when all is said and done. Two of my four current contenders for Album of the Year are featured, first and last.
Parts of this podcast are gorgeous, parts are ugly, but I think everything here holds up in terms of quality and listening back, I like the way this one gets immersive with a mix of longer tracks and shorter ones, slower and faster, etc. As always, I hope you enjoy, and I thank you sincerely for taking the time to check it out.
Lo-Pan, “Regulus” from Colossus (2014)
Steak, “Liquid Gold” from Slab City (2014)
The Well, “Mortal Bones” from Samsara (2014)
Orange Goblin, “The Devil’s Whip” from Back from the Abyss (2014)
Kvlthammer, “Hesh Trip” from Kvlthammer (2014)
Snailking, “To Wonder” from Storm (2014)
Earth, “From the Zodiacal Light” from Primitive and Deadly (2014)
Pallbearer, “Watcher in the Dark” from Foundations of Burden (2014)
Sorxe, “Her Majesty” from Surrounded by Shadows (2014)
Humo del Cairo, “Tres” from Preludio EP (2014)
Joy, “Miles Away” from Under the Spell Of… (2014)
Megaton Leviathan, “Past 21” from Past 21: Beyond the Arctic Cell (2014)
Bong, “Blue at Noon” from Haikai No Ku – Ultra High Dimensionality LP (2014)
YOB, “Marrow” from Clearing the Path to Ascend (2014)
Posted in Radio on August 15th, 2014 by H.P. Taskmaster
It’s a pretty wide stylistic swath with this week’s adds to The Obelisk Radio, but I don’t think that’s a bad thing. If you check out the playlists for the last couple days, you’ll see a considerable variety of track picked out — also a lot of Clutch – and that only bolsters the appeal of the stream as far as I’m concerned. Straight-up riffs all the time is cool, I guess, but sometimes a left turn out of nowhere can make your whole day seem richer. Maybe that’s what I’m going for with this week’s picks. Either way, it’s a lot of quality, so your tuning in is appreciated.
The Obelisk Radio Adds for Aug. 15, 2014:
Ides of Gemini, Old World/New Wave
The Sera Timms-fronted three-piece return with Old World/New Wave, their second album on Neurot Recordings with a suitable foll0w-up collection of otherworldly melodies and ethereal instrumental explorations, setting a balance between doomly undulation and minimalist ambience. Also handling bass, Timms (ex-Black Math Horseman) is of course in command of her form vocally, and guitarist J. Bennett and drummer/backing vocalist Kelly Johnston play more than a complementary role, the trio functioning even tighter than on their 2012 debut, Constantinople, hitting on psychedelic mastery with “White Hart” and rolling out a classic riffly chug on the later “Fememorde.” Mood and ambience are never far from being the central focus, but Ides of Gemini let loose a bit on “The Chalice and the Blade,” with Bennett‘s guitar taking forward position in the mix with an echoing lead tone that seems to be in direct conversation with Timms‘ vocals. It’s a dialog worth hearing, and one that makes Old World/New Wavea markedly rich, immersive listening experience, the spaces the three-piece create in their songs seeming inevitably destined for headphone-on isolation, and in that context, flourishing. Ides of Gemini on Thee Facebooks, Neurot Recordings.
Michael Rudolph Cummings, “Long Haul”
A single following the earlier-2014 solo release, Get Low, from Pennsylvania-based Backwoods Payback guitarist/vocalist Michael Rudolph Cummings, the new song “Long Haul” finds Cummings partnered with his Backwoods bandmate Jessica Baker (bass), as well as guitarists Dan Metzker and Pat Shannon and drummer/vocalist Mike Bardzik under the adopted moniker mRc and the Souvenirs. The feel of the track is accordingly full-band, casting off most of the punk influence and heavy tonality that distinguishes Backwoods Payback‘s riff-led take in favor of warmer, classic rock vibing. Cummings‘ voice is suited to the change, and especially following Get Low, “Long Haul” feels like an exploration in progress — new ground being felt out — and I’d argue it’s successful in its push toward creating something distinct from Cummings‘ other solo work and the Backwoods itself. He’s reportedly got an EP coming with The Souvenirs, and as a first taste of what that might sound like, “Long Haul” holds promise of good things to come. Michael Rudolph Cummings on Bandcamp, Backwoods Payback on Twitter.
Kikagaku Moyo, Mammatus Clouds
Improvisational five-piece Kikagaku Moyo are obviously comfortable working in longer forms. The Tokyo outfit’s second offering, Mammatus Clouds, was initially released as limited tape through Sky Lantern Records and has been picked up by Cardinal Fuzz for a deluxe 2LP. No real question why — its three tracks, “Pond” (27:50), “Never Know” (16:50) and “There is No Other Place” (3:19), enact a lush wash of hypnotic, sitar-laced psychedelia. “Pond” is especially satisfying in its exploration, drones and melodies playing out over a consistent rhythmic bed, driving further and further out into ambient breaks and louder payoffs until dropping out to spacious waves of noise, but I won’t discount the appeal of realizing that Kikagaku Moyo are playing off The Beatles‘ “Tomorrow Never Knows” in their own “Never Know” either, taking a recognizable sitar line and burying it deep within their own impulses, truly making an individualized work of it. Likewise, the closer “There is No Other Place” comes as a surprise, an effects-drenched psych rocker quick in its pulse and building to MammatusClouds‘ noisy conclusion. The sound here is richer than the average heavy jam, and the effectiveness of the ambience is not to be understated. I haven’t heard the vinyl or the tape, but I have a hard time imagining a format on which this music isn’t absolutely beautiful. Kikagaku Moyo on Thee Facebooks, Cardinal Fuzz webstore, Sky Lantern Records on Bandcamp.
Witch Charmer, The Great Depression
Multi-vocalist UK bruiser doomers Witch Charmer debut on Argonauta Records with The Great Depression, the follow-up first full-length to their 2013 Euphoric CurseEP. Mixed and mastered as that release was by Mos Generator‘s Tony Reed, The Great Depressionworks well to establish a varied if not necessarily stylistically diverse sound, frontwoman Kate McKeown, guitarists Len Lennox and Adam Clarke and drummer Dave McQuillan all contributing vocals — the band is completed by bassist Richard Maher — over dense and accordingly depressive riffing. I’m not sure which of them does the Kirk Windstein-style growls, but they’re pretty dead on, as “A Watching of Wolves” will attest, and the tradeoffs both keep the record moving and keep a sense of spontaneity to coincide with the rolling riffs and longer arrangements, leading to the extended closer “Stare into the Sun,” which hides a sample-topped acoustic outro. Not sure why they’d feel the need to bury those impulses, but their first outing may be setting the stage for an unfolding creative progression, and cohesive as it is, I’m not going to knock it for solid riffs front to back and a doomed-out feel. Witch Charmer on Thee Facebooks, Argonauta Records.
Spindrift, Exotic Detonation EP
Underrated cowboy psych outfit Spindrift — now featuring guitarist Thomas Bellier of Blaak Heat Shujaa — apparently had some material leftover from last year’s Spindrift: Ghost of the West, and three new songs surface as the Exotic Detonation EP via Tee Pee Records, bringing The Twilight Zone to mind immediately on the opening title-track before launching into the snare-march Morricone-isms in which they so readily trade. That Spindrift would wind up doing soundtrack work — to their own movie, no less — isn’t surprising, since their style is so cinematic, but I guess “Exotic Detonation,” the desert-jammy “Ghosts Go West” and the minimalist finale “High Plains Spindrifter” didn’t fit on the initial release. Issuing them on a complementary EP makes sense, and from the standpoint of the radio stream, it’s three more Spindrift songs that weren’t there before, so fair enough. They continue to reside in a very particular niche that’s very much theirs, and for fans of those who might happen into them live, Exotic Detonationwill seem right at home among their other Western thrills. Spindrift on Thee Facebooks, Tee Pee Records.
I could tell you how long this took me to put together, but frankly it’s embarrassing. Still, this is but a portion of the albums added to The Obelisk Radio this afternoon. To see the full list (it includes Pallbearer), check out The Obelisk Radio Updates and Playlist page.
Posted in Features on July 8th, 2014 by H.P. Taskmaster
Before I even start, let’s get one thing out of the way. I want a new Sleep album too. My not including them on this list isn’t due to the fact that I don’t think a new Sleep album is a good idea, but just because I haven’t seen anything about it being recorded or released in the next five-plus months. If it hits on Jan. 1, 2015, I’ll be the happiest Baby New Year you ever saw, but that’s a different list altogether.
Ditto that Om and High on Fire. The latter were writing as of May, and I know Om did some recording way back in January, but I’ve yet to see solid word of new records at all, let alone before the end of the year. Either or both or all three may happen, but until I see some hint of it, all I can go on is the info I can find.
Seriously though, how badass would it be if all three put out albums before the New Year? That excitement is kind of what this list is about. Some of these records I’ve heard, but most I haven’t, so it’s just basic speculation about what I think could be some of the best releases in the next couple months. You’ll note that while there are plenty of dates TBA, nothing listed arrives in November, so as 2014 winds down, there’s bound to be even more quality stuff than appears here.
In fact, I struggled to take things out to get it down to 30. And it still goes to 31! I figured no one would mind. They’re numbered, but the list is in alphabetical order.
If I left something out you’re dying to hear, please let me know in the comments.
Thanks in advance for reading:
1. Alunah, TBA (Sept.)
Birmingham’s Alunah, like several others below, are a holdover from the Most Anticipated Albums list back at the start of the year. The difference between now and then is that, while its title still hasn’t been revealed so far as I know, their Napalm Records debut has been recorded, mixed and mastered, the latter by Tony Reed, the former by Greg Chandler of Esoteric, and given a September release date. Two years after Alunah made riffy doom sound easy on their sophomore outing, White Hoarhound (review here), I look forward to hearing how they’ve grown and shifted in their approach to warm-sounding tones and memorable hooks. They’ve set a pretty high standard for themselves. Alunah on Thee Facebooks, Napalm Records.
2. Apostle of Solitude, Of Woe and Wounds (Oct.)
These guys. I don’t mind telling you it was a thrill when Indianapolis doomers Apostle of Solitude were announced as having signed to Cruz del Sur to release their third album, Of Woe and Wounds, this fall. Their second outing, 2010’s Last Sunrise (review here), didn’t get the attention it deserved, but the handful of songs they’ve made public since have shown much promise, and as the first Apostle of Solitude full-length to feature guitarist/vocalist Steve Janiak (also Devil to Pay) in harmony with guitarist/vocalist Chuck Brown — the band is completed by bassist Dan Davidson and drummer Corey Webb — this is definitely going to make for a doomly autumn. Apostle of Solitude on Thee Facebooks, Cruz del Sur Music.
3. Blackwolfgoat, Drone Maintenance (Aug. 26)
Recorded late last year at Amps vs. Ohms in Boston, the third album from Maple Forum alum Blackwolfgoat — the prog-drone alter ego of guitarist Darryl Shepard (Milligram, Black Pyramid, The Scimitar, Roadsaw, etc.) — is the project’s most expansive outing yet, and it seems Shepard is moving more in a song-based direction, rather than some of the building loops of the past two offerings. Of course, there will be plenty of those as well, but watch out for some acoustic guitar, and deep-in-the-mix vocals, as they could easily hint of things to come. Or Darryl could turn it on its head and do a calypso record. Either way, I’m on board with no pretense of impartiality. Blackwolfgoat on Bandcamp, Small Stone’s Bandcamp.
4. Blues Pills, Blues Pills (Aug. 5)
The much-heralded Swedish/French/American psych-blues conglomeration Blues Pills will make their self-titled debut (short review here) next month, and while it’s probably going to be a bigger deal in Europe than in the States — at least until Nuclear Blast brings them over here for a tour, then the country is going to go apeshit for them — the songwriting and soulful execution of their tracks justifies the hype. There’s a bit of retro posturing to what they do, some Graveyard shuffle (it feels inevitable at this point with a ’70s-influenced band), but the grooves are easy to dig into and the potential is basically limitless for where they want to go. It’s scary to keep in mind, but this is just the beginning. Blues Pills on Thee Facebooks, Nuclear Blast.
5. Bongripper, Miserable (July 7)
You may notice something strange about the date above for a list of upcoming albums in that July 7 was yesterday. Well, Chicago’s Bongripper posted their new three-track full-length monster Miserable on their Bandcamp for stream and download ahead of the vinyl’s arrival, and it was just too righteous to leave out. Those seeking landmark riffing need look no further than the 19-minute centerpiece “Descent,” which meters out stomp enough that future “scientists” will study its footprint, and closer “Into Ruin” (28:25) is guaranteed to be the heaviest half-hour you’ll spend today. Miserable feels like a no-brainer, but maybe that’s just because Bongripper have such a propensity for pounding skulls into mush. Bongripper on Thee Facebooks, Miserable on Bandcamp.
6. Botanist, VI: Flora (Aug. 11)
I feel like I missed a couple numbers from San Francisco-based environmentalist black metal unit Botanist along the way, but they’ll nonetheless issue VI: Flora on The Flenser next month, furthering their marriage of destruction and beauty and insistent percussive expression. The spaces Botanist — a one-man project from Robert Martinelli — create feel ritualistic without the dramatic posturing that pervades much of the genre, and sound, somewhere between raging and mournful, is hypnotic. Whatever your expectation might be, Martinelli seems pleased to use it to their advantage, and ultimately, defy it. Post-human, hammered dulcimer-laden black metal. It would be harder for Botanist to not be unique. Botanist on Thee Facebooks, The Flenser.
7. Brant Bjork, TBA (TBA)
When Brant Bjork‘s next album might show up, I don’t know. I know he’s signed to Napalm, and I know the photo above was snapped as he finished some vocals before going on tour with his Low Desert Punk band that includes guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, but whether or not the album they made is the funk-inspired Jakoozi that’s been in the offing for a while, or another collection of songs, and if Napalm will get it out before the end of the year remain a mystery. I do find it interesting that for his first “solo” outing post-Vista Chino (that band being on hiatus), Bjork has assembled a new band to work with rather than record multiple instruments himself, but no matter who’s involved, when it’s Brant Bjork writing the songs, it’s gonna be high rock from the low desert. Can’t wait to dig into whatever comes. Brant Bjork on Thee Facebooks, Napalm Records.
8. Earth, Primitive and Deadly (Sept.)
The headline for Earth‘s new album is it’s the one where they experimented with vocalists. And hey, if you’re going to toy around with the idea, you might as well get Mark Lanegan involved. The former Screaming Trees frontman is one of several singers appearing on Primitive and Deadly, due in September on Southern Lord, and it would appear that Earth‘s sound — always evolving, always somehow changing — is about to take another considerable turn. Fortunately, the Seattle band, led by guitarist Dylan Carlson and now approaching their 25th year, have long since proven worthy of trusting with their own direction. Earth will never be huge, by the simple nature of what they do, but their influence resounds and the quality of their output is unmatched. Earth on Thee Facebooks, Southern Lord Recordings.
9. Electric Wizard, Time to Die (Sept.)
“Wake up baby/It’s time to die.” So goes the title-track hook of Electric Wizard‘s new album and Spinefarm Records debut, Time to Die. As ever, it’s simple, hateful, drenched-in-fuzz misanthropy, and Electric Wizard revel in it accordingly. Their witchcult continues to grow in their native UK and abroad, and while their last two records have divided some listeners, they’ve invariably gained more ground than they’ve lost. A legal dispute with Rise Above finds them on the new label, and if there’s even the slightest chance that change will bring them to the US for a tour, I’ll take it. Expect 66 minutes of glorious filth. Electric Wizard on Thee Facebooks, Spinefarm Records.
10. Fever Dog, Second Wind (TBA)
Palm Desert youngsters Fever Dog have been kicking around the last few years finding their sound in varying elements of heavy rock and psychedelic experimentation. Most recently, they impressed with the single “Iroquois” (review here) taken from their new album Second Wind, and in looking forward to the full-length, I’m eager to learn how their style has solidified and what sort of vibes they conjure over its course. They’ve shown plenty of propensity for jamming in their prior work, so hopefully there’s a bit of that on hand as well. I’ve said before they’re a trio of marked potential, and nothing I’ve yet heard has dissuaded me from that impression. Fever Dog on Thee Facebooks, Fever Dog on Bandcamp.
11. Goat, Commune (Sept. 23)
Somehow, a band from Sweden who dress up in tribal costumes (problematic) and play Afrobeat psychedelia became a very, very big deal. I couldn’t explain it if I wanted to, and I won’t try, but I know that when Sub Pop releases Goat‘s second album, Commune, it’s going to be to a flurry of hype and heaps of critical fawning. It would be tempting to call Goat a novelty act, but their 2012 debut, World Music (discussed here), showcased a legitimately creative musical approach to go with the visual aspects of their presentation, and I find the fact that I have no idea what to expect from Commune to be refreshing. Goat on Thee Facebooks, Sub Pop Records.
12. Grifter, The Return of the Bearded Brethren (Aug. 11)
UK heavy rockers Grifter will make a welcome resurgence on Ripple Music with The Return of the Bearded Brethren, an album that builds on the straightforward, catchy sounds of their 2011 self-titled label debut (review here) and takes their infectiousness to new places lyrically, such as exploring issues of aging via an ode to Princess Leia from Star Wars. That particular brand of humor and is writ large on Grifter‘s second Ripple outing, and the trio set to work refining their take without losing the engaging feel of their self-titled. It feels like a long three years since that record hit, and I’ll be glad to have a follow-up in-hand. Grifter on Thee Facebooks, Ripple Music.
13. Ice Dragon and Space Mushroom Fuzz, New Blue Horizon/A Peak into the Future (TBA)
Unclear at this point whether Boston outfits Ice Dragon and Space Mushroom Fuzz collaborated on New Blue Horizon/A Peak into the Future, or if it’s a split. Either way, the prolific acts make a sound pairing. Both are vehemently creative and exploratory, psychedelic and progressive each in their way, and if what’s presumably a single finds them working together, all the better, but even if not, new material from either is nothing to balk at, particularly when topped off by such gorgeous artwork. Neither act is ever long from putting something out, so to have them come together one way or another makes a weird brand of sense, which I’m relatively sure the songs will as well. Ice Dragon on Thee Facebooks, Space Mushroom Fuzz on Thee Facebooks.
14. Ides of Gemini, Old World New Wave (Sept. 16)
Ides of Gemini‘s 2012 Neurot Recordings debut, Constantinople (discussed here), established the three-piece as freely inhabiting either side of the imaginary line between ambience and heaviness, J. Bennett and Kelly Johnston providing sometimes minimal, sometimes consuming foundations for vocalist Sera Timms (ex-Black Math Horseman, also Black Mare) to cast ethereal melodies. What Old World New Wave will hold sound-wise, I don’t yet know, but Ides of Gemini‘s otherworldly resonance and ultra-patient approach makes it well worth finding out. Ides of Gemini on Thee Facebooks, Neurot Recordings.
15. John Gallow, Violet Dreams (Aug. 4)
Frontman of Blizaro and Orodruin guitarist John James Gallo adds a ‘w’ to his last name and steps out solo on the I, Voidhanger Records release, Violet Dreams, the title hinting at some of his on-his-sleeve affinity for Italian psych-doom master Paul Chain and Swedish legends Candlemass. Gallo‘s work in Blizaro has a tendency to lean toward the progressive and cinematic, but as John Gallow, the focus is more on classic doom riffing and darkened metallurgy. As one would expect, he’s well in his element on the hour-long album, and I hope he decides to call the next one Ancient Theatre. Also note the incredible artwork of Costin Chioreanu. John Gallo on Thee Facebooks, I, Voidhanger Records.
16. John Garcia, John Garcia (Aug. 5)
A long-discussed solo debut for the former Kyuss frontman following a stint alongside Brant Bjork in Vista Chino, John Garcia‘s John Garcia (review here) finds the singer right in his comfort zone, topping desert rock riffs with his trademark guttural vocals. To be perfectly honest, I’m not sure I’d trade a second Vista Chino outing for it if given the choice — that band seemed to be on course for a sound of its own, separate from Kyuss‘ legacy, and that struck me as worth pursuing — but these songs have a similar enough production style that it’s easy to think of the one as an offshoot of the other, and of course Garcia calls his shots well throughout. John Garcia on Thee Facebooks, Napalm Records.
17. King Buffalo, TBA (TBA)
Including King Buffalo here was pretty speculative on my part, but I dig the Rochester, NY, outfit and didn’t want to leave the prospect of their STB Records debut long-player out. It probably won’t land until 2015 — the future! — but their demo (review here) still gets regular plays around these parts, and I’m very much looking forward to catching them with similarly-minded Nashville blues rockers All Them Witches when they tour together next month. Whatever King Buffalo‘s recording/release plans might be, they’re definitely one to keep an eye on in the back half of this year. King Buffalo on Thee Facebooks, STB Records.
18. Kings Destroy, Kings Destroy (TBA)
Love these guys, love this band. I make no bones about it. Their third record, self-titled and produced as the last two were by Sanford Parker, is as close as they’ve yet come to capturing their live sound, and while they’ve yet to nail down an exact release date, they have a couple very cool tours in the works for this fall, including dates next month with Eric Wagner‘s Blackfinger, that will make a fitting lead-in to their best outing yet. I’ve heard this and had the chance to see some of the material live, and they’ve outdone themselves again, which, considering the esteem in which I continue to hold their 2013 sophomore full-length, A Time of Hunting, is really saying something. Kings Destroy on Thee Facebooks, War Crime Recordings.
19. The Kings of Frog Island, V (Fall)
Easily one of the LPs I’m most eager to hear over the next few months, and specifically on vinyl. The Kings of Frog Island have shown themselves to be so dedicated to the format that their early-2013 album, IV (review here), was presented as two bundled sides even digitally. They recently gave a taste of what their fifth album will in-part hold via a video for “Sunburn” and I’m told more jamminess ensues elsewhere to complement that track’s easygoing flow and platter-ready hook. All the better. The Kings of Frog Island on Thee Facebooks, The Kings of Frog Island on YouTube.
20. Lonely Kamel, Shit City (Sept. 9)
I’d be lying if I said part of my immediate interest in Oslo heavy rockers Lonely Kamel‘s fourth record wasn’t due to the cheeky title, but it’s been three years since the Napalm Records four-piece released their last album, Dust (track stream here), and as they’ve put in plenty of road-time, it doesn’t seem unreasonable to go into this time around with elevated anticipation. I’m not sure you could get away with calling an album Shit City unless you meant business. Got my fingers crossed that’s precisely the case with Lonely Kamel. Lonely Kamel on Thee Facebooks, Napalm Records.
21. Lo-Pan, Colossus (Oct. 7)
Fucking a. Doing the research for this list was the first I’d seen the Jason Alexander Byers cover art for Lo-Pan‘s fourth album, Colossus, or its Oct. 7 Small Stone release date. I haven’t heard the tracks yet — they recorded in Brooklyn back in March, and while I got 2012’s Salvador (review here) pretty early, the Columbus four-piece seem to be keeping a tighter lid on the follow-up — and I can’t help but feel like that’s my loss. Judging by what I’ve heard of the material live, Lo-Pan have dug further into their individual brand of riff-led soulful heavy, and I’ve got a high wager that a few months from now, Lo-Pan‘s latest will make an appearance on another list. More to come. Lo-Pan on Thee Facebooks, Small Stone Records.
22. Novembers Doom, Bled White (July 15)
One of doom’s most fascinating and largely ignored progressions is that of Chicago melancholists Novembers Doom, who, when they started out 25 years ago, did so largely as a death metal band, and then moved on to pioneer an American interpretation of what’s commonly thought of as European doom, until, over their last several records, as they’ve started to move back to a more extreme, double-kick-drummed style. Bled White, on The End Records, continues along this path, but especially in the cleaner vocals of frontman Paul Kuhr there remain shades of the morose emotionality that typified what’s now become their mid-period doom idolatry. Unheralded, Novembers Doom keep exploring deeper, darker terrain. Novembers Doom on Thee Facebooks, The End Records.
23. Pallbearer, Foundations of Burden (Aug. 19)
Foundations of Burden is unquestionably among the second half of 2014’s most anticipated albums. Arkansas-based doom four-piece Pallbearer will mark its release with extensive European and North American tours, and where their 2012 Profound Lore debut, Sorrow and Extinction (review here), came out and caught listeners off-guard with its unabashed emotional core, their sophomore outing finds them positioned at the forefront of American doom. Already the hype machine is rolling out the red carpet for the Billy Anderson-produced Foundations of Burden, but no one can say these guys haven’t put their work in, and the record is indeed one to look forward to. Pallbearer on Thee Facebooks, Profound Lore Records.
24. The Skull, TBA (TBA)
For The Skull to put out an album of original material is a unique challenge. Their earlier-2014 first single (stream/review here) found them standing up to it on the new song “Sometime Yesterday Mourning,” but at least half the point of the band since its inception has been to pay homage to legendary doomers Trouble, from whence vocalist Eric Wagner, bassist Ron Holzner and drummer Jeff “Oly” Olson come. For their Tee Pee Records debut full-length — yet untitled and hopefully out before 2015 — it’ll be most interesting to see how guitarists Matt Goldsborough (ex-Pentagram) and Lothar Keller (Sacred Dawn) rise to the occasion of building off some of doom metal’s most celebrated tones. Fingers crossed on this one. The Skull on Thee Facebooks, Tee Pee Records.
25. Snail, Feral (TBA)
Nothing has been formally announced yet, but on Small Stone Records‘ website, they list Snail‘s Feral among their upcoming releases. It would make a suitable pairing, the West Coast riffers having previously worked with MeteorCity on their 2009 post-reunion outing, Blood (review here), prior to independently releasing 2012’s Terminus (review here), and Small Stone seems like a good home for their fourth overall record and return to form as a trio, which was their original incarnation before their original dissolution circa 1994. How they expand on the heavier crunch of Terminus remains even more a point of fascination, and surely their cult following will be glad to find out. I know I will. Snail on Thee Facebooks, Small Stone Records.
26. Steak, Slab City (Sept. 9)
After two strong EPs in 2012’s Disastronaught (review here) and 2013’s best-title-ever-boasting Corned Beef Colossus (review here), it’s time for London stoner rockers Steak to step up their game for their Napalm Records debut full-length. The four-piece headed to the Californian desert to record Slab City, and so it’s fair to think some of that atmosphere may have worked its way into the material. Would be an awfully long way to go, otherwise. In either case, Steak have showcased considerable songwriting chops already, now it’s just a matter of sustaining it for a full album’s runtime and keeping enough variety in their approach. I have no doubt they’re ready for this next step. Steak on Thee Facebooks, Napalm Records.
27. Stubb, Cry of the Ocean (TBA)
It is with simple, unabashed warm feelings that I look forward to hearing Cry of the Ocean, the second long-player and Ripple Music debut from UK riffers Stubb. They’ve traded out drummers since 2012’s self-titled (review here), bringing aboard Tom Fyfe with guitarist/vocalist Jack Dickinson and bassist/vocalist Peter Holland, but I’m excited to hear what changes and shifts in sound Cry of the Ocean might have in store to match its provocative title. Goes without saying the photo above isn’t the final artwork, but instead Tony Reed‘s mastering sheet from back in May when he worked on the tracks. No solid release date yet, but hopefully soon. Stubb on Thee Facebooks, Ripple Music.
28. Torche, TBA (TBA)
Torche‘s new album and Relapse Records debut was originally slated for the end of the summer. Given that no official word has come out about a title or anything like that and the members of the band have been busy with other projects, it seems unlikely as of now that they’ll hit that target, but after something of a break so frontman Steve Brooks could focus on the resurgent trio Floor, Torche are in fact getting going again, beginning with their first tour of Australia this fall. Maybe their LP will be out by the time they go and maybe it won’t, but word on the street is that whenever the thing arrives, it’s gonna be heavy, which I have no problem believing. Torche on Thee Facebooks, Relapse Records.
29. The Well, Monomyth (Late Summer)
I’ve been waiting since the March announcement that Austin trio The Well signed with RidingEasy Records for further word of their debut full-length, Monomyth (pretty sure that’s not the cover above), but thus far to no avail. Their 2012 single, Seven (review here), was a repeat-listen thriller, and anticipation abounds for what sort of psychedelic garage riffing they’ll conjure up for the album itself. It’s been a couple months at this point, and maybe it’ll be 2015 before Monomyth gets out, but screw it, a boy can hope. The Well on Thee Facebooks, RidingEasy Records.
30. Witch Mountain, Mobile of Angels (Sept.)
Please note: The original cover art with this post was not final and has been replaced with the above band photo.
Portland, Oregon’s Witch Mountain have spent much of the two years following their 2012 third LP, Cauldron of the Wild (review here) on tour in the US and abroad, playing fests, headlining, supporting, but generally putting in a lot of time. As such, Mobile of Angels, which will be out on Svart in Europe and Profound Lore in North America, comes as the end product of a considerable touring cycle. Has all that gigging worn Witch Mountain into the ground, or will they rise above it with metal-loving doom-blues supremacy? They’ve got a vinyl-ready 38 minutes on tap for September and if they’ve ever been in a position to make their case, it’s now. Watch out for the killer sway in “Can’t Settle,” the title of which seems a fitting theme for the band. Witch Mountain on Thee Facebooks, Profound Lore Records.
31. YOB, Clearing the Path to Ascend (Sept. 2)
Yet again — as was the case back in January — alphabetical order forces me to end with YOB, whose seventh full-length and Neurot debut might just be my most anticipated of all on this list. The recently-unveiled Orion Landau cover speaks to a brooding sentiment, and from the one time I was fortunate enough to hear it to-date, the four-track album from the Eugene, Oregon, natives corresponds to its visual side in being a more aggressive push than was 2012’s Atma (review here), but also more exploratory and contemplative in its approach. Now statesmen in American doom and the forebears of a cosmic-minded sound, YOB stand ready to showcase a creative progression that has yet to find its end point. YOB on Thee Facebooks, Neurot Recordings.
Other Notable Mentions
Just a couple of these I’d be remiss if I didn’t note. Some were carried over from earlier this year, others just come up along the way. Not sure on all the release dates, but these are worth keeping an ear out for:
Acid King — Were listed in January, but their record has a Feb. 2015 release date.
Bright Curse — Second album recorded at Skyhammer Studios.
Brothers of the Sonic Cloth — My understanding is the album is done and they’re waiting to secure a label. Seems like a good occasion for Southern Lord to step forward, if not Profound Lore or Neurot.
Eggnogg — Not sure if it’s their full-length, You’re all Invited, or something else that’s coming, but whatever. More stoner-funk riffing needs to be had.
40 Watt Sun — There was some word of this early in the year, but nothing since.
Godflesh — Their first in 15 years, A World Lit Only by Fire, will be out Oct. 7. A fuckup not including them on the list proper.
It’s Not Night: It’s Space — Eagerly awaiting the Small Stone debut from this instrumental outfit, but it might be next year.
Karma to Burn — New album, Arch Stanton, out in August. I emailed for a review promo and never heard back. Always a great feeling.
Larman Clamor — Solo-project from Alexander von Wieding has a new one in the can, but I’m not sure on the release schedule.
Lowrider — They’re working on it, but don’t hold your breath to have it out by December.
The Machine — Kind of a slow year for Elektrohasch, but the new one from these Dutch fuzzers would be a nice way end up.
Nachtmystium — Century Media releases their final album, The World We Left Behind, on Aug. 5.
Orange Goblin — Seriously debated putting them on the list, since I know they’ve recorded, but they seem to be promoting a recent reissue of 2007’s Healing through Fire and their upcoming European tour with Saint Vitus rather than their new album, so unless news comes out about it like this week from Candlelight, I wouldn’t expect it until early in 2015.
Pink Floyd – Believe it when I see it, but I honestly couldn’t care less either way if I tried.
Ruby the Hatchet — Their full-length Tee Pee debut is due sometime in the next couple months.
Sun Voyager — Upstate NY youngsters had hinted at new recordings.
Again, if I forgot anything — and I’m sure I did — please let me know in the comments.
In the second video teaser to herald the album’s September release below, YOB guitarist/vocalist Mike Scheidt discusses the motivations at work in the songwriting for the forthcoming Neurot Recordings debut, Clearing the Path to Ascend, citing an emotional basis in the material that’s brought out more than ever before, and talking about the band as part of a general quest for the defining of self and the making of who they are. There’s a music clip in it too, but hearing Scheidt speak candidly about what hedoes is always fascinating (I’ve been fortunate more than once; see here and here and also here) for the thoughtfulness of his perspective, and that manages to come through in the clip, brief though it is.
Clearing the Path to Ascendis out in September on Neurot, and in addition to their European tour with Pallbearer, a handful of YOB dates for the West Coast have been announced, including the previously noted Hoverfest on Aug. 23. The PR wire has details under the video.
YOB, Clearing the Path to Ascend Teaser 2
YOB: Oregon Doomsmiths Post Second Clearing The Path To Ascend Video Teaser; US Tour Dates Announced
Oregon doomsmiths, YOB, will released their long-awaited full-length, the aptly titled Clearing The Path To Ascend, via Neurot Recordings this Fall. Recorded at Gung Ho Studio in Eugene, notorious for its reserve of vintage equipment, alongside longtime collaborator/iconic sound-sage Billy Barnett, and mastered by Brad Boatright (Sleep, Beastmilk, Nails) at Audiosiege Engineering, Clearing The Path To Ascend is undoubtedly the crowning achievement for a band whose journey now nears two decades of creating music as commanding as it is cathartic. As is the YOB way, the tracks here don’t simply offer a vacuous glimpse into the already riff-soaked doom genre. These songs demand the tandem attention of mind, body, and soul – etching a mark across a sound that finds YOB as formidable and unequaled as they’ve ever been. The path to ascend is clearly an arduous one, fraught with the peril of mediocrity. Thankfully, YOB pummels that path, climbing upward into a realm that sets the band in a heavy metal place that has been and will always remain wholly their own.
As a precursor to the release, YOB is offering up a second Clearing The Path To Ascend video teaser. Produced by William F. Haldane of Solder House, the near four-minute video details the writing process, concept and emotional journey that embodies the record as a whole.
In related news, YOB will bring their otherworldly riff rituals to the stage later this month on a handful of West Coast live excursions that will include performances in Sacramento, Oakland and Seattle as well as a headlining performance at Portland’s Hoverfest alongside Witch Mountain, Lord Dying, Eight Bells and more!
The tour comes in advance of the band’s previously announced overseas trek this Fall. Slated to commence on September 3rd, 2014 in Utrecht, the Netherlands, the band will level twenty-eight cities, the tour coming to a close on October 11th, 2014 at Desertfest in Antwerp, Belgium. YOB will be joined by Little Rock doom bringers, Pallbearer.
YOB: 7/25/2014 Starlite Lounge – Sacramento, CA w/ Giant Squid, Will Haven 7/26/2014 Oakland Metro – Oakland, CA w/ Black Cobra, Augurs 8/01/2014 Space Eugene – Eugene, OR w/ Hell, Diseased Reason, Broken Dead 8/09/2014 El Corazon – Seattle, WA w/ Wounded Giant, Transient 8/23/2014 Hoverfest – Portland, OR w/ Witch Mountain, Lord Dying, many more…
UK/EU Tour 2014 w/ Pallbearer: 9/03/2014 Tivoli de helling – Utrecht, NL 9/04/2014 The Fleece – Bristol, UK 9/05/2014 Roadhouse – Manchester, UK 9/06/2014 Audio- Glasgow, UK 9/07/2014 Brudenell Social Club – Leeds, UK 9/08/2014 The Underworld – London, UK 9/10/2014 FZW – Dortmund, DE 9/11/2014 Vera – Groningen, NL 9/12/2014 Atlas – Aarhus, DK 9/13/2014 Truckstop Alaska – Gothenburg, SE 9/14/2014 Hostsabbat @ Betong – Oslo, NO 9/16/2014 Tavastia – Helsinki, FI 9/17/2014 Slakthuset – Stockholm, SE 9/18/2014 Loppen – Copenhagen, DK 9/19/2014 Connewitz – Leipzig, DE 9/20/2014 Firlej – Wroclaw, PL 9/21/2014 Bi Nuu – Berlin, DE 9/23/2014 Klub 007 – Prague, CZ 9/24/2014 Arena – Vienna, AT 9/25/2014 PMK – Unnsbruck, AT 9/26/2014 Gaswerk – Winterthur, CH 9/29/2014 Le Romandie – Lausanne, CH 10/02/2014 Razzmatazz3 – Barcelona, ES 10/03/2014 Villamanuela – Madrid, ES 10/04/2014 Amplifest – Porto, PT 10/05/2014 ES ESonora – Erandio, ES 10/10/2014 Kyttaro Club – Athens, GR 10/11/2014 Desertfest – Antwerp, BE
Clearing The Path To Ascend will be released on September 1st, 2014 in the UK and Europe and in the US on September 2nd, 2014 via Neurot Recordings.
Posted in Whathaveyou on June 25th, 2014 by H.P. Taskmaster
Yes, I am well aware these dates were posted on Monday when Pallbearer announced the run. I couldn’t care less. The press release from YOB gives me an excuse to post the live video of “Nothing to Win” — you’ll note the maddening drums from Travis Foster — shot at this year’s Roadburn fest, and that’s really all I need, if the sheer fact that it’s YOB isn’t enough.
YOB‘s new album, Clearing the Path to Ascend, on which “Nothing to Win” appears, is out Sept. 2 in the US on Neurot Recordings. One whole day before they start this tour in the Netherlands. Pallbearer‘s Foundations of Burden will be out by then as well.
Info follows, fresh off the PR wire:
YOB: Doom Metal Trio Announces Mammoth UK/European Tour In Support Of Clearing The Path To Ascend
Long-running Oregon doom metal conjurors and recent Neurot signees, YOB, will embark upon a massive overseas trek this Fall. Slated to commence on September 3rd, 2014 in Utrecht, the Netherlands, the band will levy their cathartic riff rituals upon twenty-eight cities, the tour coming to a close on October 11th, 2014 at Desertfest in Antwerp, Belgium. YOB will be joined by Little Rock doom bringers, Pallbearer.
The tour coincides with the release of the trio’s long-awaiting new full-length, Clearing The Path To Ascend. Recorded at Gung Ho Studio in Eugene, notorious for its reserve of vintage equipment, alongside longtime collaborator/iconic sound-sage Billy Barnett, and mastered by Brad Boatright (Sleep, Beastmilk, Nails) at Audiosiege Engineering, the four tracks comprising Clearing The Path To Ascend don’t simply offer a vacuous glimpse into the already riff-soaked doom genre; these songs demand the tandem attention of mind, body, and soul, etching a mark across a sound that finds YOB as formidable as they’ve ever been. True ascension requires a destruction of those barriers that prevent any movement forward. Unsurprisingly, YOB pummels any and all of these obstacles with absolute authority, clearing the way for a genuinely visceral listening experience and climbing upward into a realm that sets the band in a heavy metal place that has been and will always remain wholly their own.
YOB UK/EU Tour 2014 w/ Pallbearer: 9/03/2014 Tivoli de helling – Utrecht, NL 9/04/2014 The Fleece – Bristol, UK 9/05/2014 Roadhouse – Manchester, UK 9/06/2014 Audio- Glasgow, UK 9/07/2014 Brudenell Social Club – Leeds, UK 9/08/2014 The Underworld – London, UK 9/10/2014 FZW – Dortmund, DE 9/11/2014 Vera – Groningen, NL 9/12/2014 Atlas – Aarhus, DK 9/13/2014 Truckstop Alaska – Gothenburg, SE 9/14/2014 Hostsabbat @ Betong – Oslo, NO 9/16/2014 Tavastia – Helsinki, FI 9/17/2014 Slakthuset – Stockholm, SE 9/18/2014 Loppen – Copenhagen, DK 9/19/2014 Connewitz – Leipzig, DE 9/20/2014 Firlej – Wroclaw, PL 9/21/2014 Bi Nuu – Berlin, DE 9/23/2014 Klub 007 – Prague, CZ 9/24/2014 Arena – Vienna, AT 9/25/2014 PMK – Unnsbruck, AT 9/26/2014 Gaswerk – Winterthur, CH 9/29/2014 Le Romandie – Lausanne, CH 10/02/2014 Razzmatazz3 – Barcelona, ES 10/03/2014 Villamanuela – Madrid, ES 10/04/2014 Amplifest – Porto, PT 10/05/2014 ES ESonora – Erandio, ES 10/10/2014 Kyttaro Club – Athens, GR 10/11/2014 Desertfest – Antwerp, BE
Clearing The Path To Ascend will be released on September 1st, 2014 in the UK and Europe and in the US on September 2nd, 2014 via Neurot Recordings.
Posted in Whathaveyou on June 19th, 2014 by H.P. Taskmaster
If you’re looking at the tracklisting below and wondering why Ides of Gemini might have named one of the tracks “May 22, 1453″ sophomore Neurot Recordings outing, Old World New Wave, it was the date of a partial lunar that occurred during the siege of Constantinople, during the fall of the Byzantine Empire. Perhaps that gives some glimpse of the otherworldly feel that the trio are bound to bring to the historical thematic of their second album and the follow-up to their like-minded debut, 2012’s Constantinople(discussed here), though if you’d like to dig further there’s an audio/visual sample to go with as well that’s easily worth the three minutes it takes to watch.
No word on which of these tracks is featured in that teaser, but the tracklisting and the artwork by drummer Kelly Johnston-Gibson have been revealed, and she and vocalist Sera Timms (also of Black Mare and hopefully one of these days the Gary Arce collaboration Zun) give some perspective on where they’re coming from this time around.
The PR wire has it as such:
IDES OF GEMINI: Ethereal Doom Contortionists Prepare To Release Old World New Wave; Artwork + Track Listing Revealed
Ethereal doom trio, IDES OF GEMINI, are preparing to unveil their sophomore offering, Old World New Wave, via Neurot Recordings this Fall.
IDES OF GEMINI features guitarist Jason Bennett, drummer Kelly Johnston-Gibson and the haunting vocal prowess of singer/bassist Sera Timms, also of Los Angeles dark-psych conjurors Black Mare. The follow-up to the band’s 2012 Constantinople debut, Old World New Wave was recorded at Valley Recording in Burbank, California, engineered and mixed by Chris Rakestraw (Danzig), mastered by Grammy award winning producer Matt Hyde (Slayer) and boasts the striking hand-drawn cover art of Johnston-Gibson.
Comments Timms of the offering, “For Old World New Wave we all really coalesced as a band, and were able to work off one another’s strengths. J came up with the basic concept and musical framework of the album, and Kelly and I gave it form and identity. For me, my own personal musical identity, taste, preferences etc. were eclipsed by the power of the music which worked as an animate force unto itself — so much so that I cannot listen to any of it objectively, or tell you if it’s good or bad, but I can tell you that it’s distinctively IDES OF GEMINI.”
Adds Johnston-Gibson of the images surrounding the record, “The artwork is an interpretation of Sera’s lyrical narrative, which carries over themes from Constantinople, as well as symbolic of transformations experienced by us as individuals and inevitably as a band. The minimalist, direct style of the cover and accompanying illustrations is indicative of our energies combined to create one clear, singular force, as experienced through the music, while the visual content has more to do with the story: essentially a conflict between opposing energies leading to destruction, therefore allowing a clean slate for integration of opposites into a resurrected whole.”
Old World New Wave Track Listing: 1. Black Door 2. The Chalice & The Blade 3. Seer Of Circassia 4. White Hart 5. May 22, 1453 6. The Adversary 7. Fememorde 8. Valediction 9. Scimitar
Old World New Wave will be released on CD and digitally via Neurot Recordings and on vinyl via SIGE Records on September 16th, 2014.
Posted in Whathaveyou on June 12th, 2014 by H.P. Taskmaster
YOB have set a September release date for what’s still my most anticipated album for the rest of this year despite the fact that I’ve heard it (once) front to back, Clearing the Path to Ascend. Also their Neurot Recordings debut, it’s comprised of four songs, three of which were aired live at this year’s Roadburn festival in the Netherlands. It’s been a long time since I last heard a YOB record I didn’t make my album of the year, so yeah, this is definitely one I’m looking forward to. I’m sure you are as well, so I won’t delay the info further.
From the PR wire:
YOB: Clearing The Path To Ascend Artwork + Track Listing Revealed; Record To See Release This September Via Neurot Recordings
This September, two years after leveling the expectations of critics and listeners alike with Atma, doom trio powerhouse, YOB, will unveil Clearing The Path To Ascend, an aptly titled album for what will undoubtedly be the crowning achievement for a band whose journey now nears two decades of creating music that is at once commanding and cathartic.
As is the YOB way, the four tracks comprising Clearing The Path To Ascend don’t simply offer a vacuous glimpse into the already riff-soaked doom genre; these songs demand the tandem attention of mind, body, and soul, etching a mark across a sound that finds YOB as formidable as they’ve ever been. True ascension requires a destruction of those barriers that prevent any movement forward. Unsurprisingly, YOB pummels any and all of these obstacles with absolute authority, clearing the way for a genuinely visceral listening experience and climbing upward into a realm that sets the band in a heavy metal place that has been and will always remain wholly their own.
YOB’s music is not unlike the path that’s let them to their current place among heavy metal’s elite, slowly building from a hushed ethereal vapor into the thunderous and masterful tumult of sound domination. The ethereal mists of Eugene, Oregon no doubt provided the perfect catalyst for founding member and vocalist Mike Scheidt to call up the signature of surging doom that would soon come to garner YOB its current position as one of the most respected and revered bands in all of heavy metal. While giving due sonic credit to the cornerstone influences such as Cathedral, Sleep, Electric Wizard, and Black Sabbath — YOB immediately set out to define a sound wholly singular and utterly devastating in its cathartic enormity.
Those threads of progressive rock and drone that have always underscored the music of YOB are now fully realized with Clearing The Path To Ascend. Drummer Travis Foster wields his signature rhythmic furor here with bombastic precision while bassist Aaron Rieseberg coils around the sonic tide with an unforgiving churn all the while in a deadly synchronicity with Scheidt’s uncanny vocal range and its pendulous movement between the triumphant howls of a medieval madman and the earth splitting growls of a war-battered titan.
With Clearing The Path To Ascend, YOB explores a thunderous dimension that’s familiar in its auditory clout but completely new in the execution of its trajectory, taking the band’s sound into a remarkable place as ethereally compelling in its aesthetic, as it is merciless in the magnitude of its sound.
Comments Scheidt, “Writing this album felt like being plugged into a main. Emotionally, it’s our heaviest. But it also has some real beauty and light. We dug the deepest we ever have to get to the heart of these tunes.” Behold the artwork that will adorn this work of art, and check out the track listing below:
Clearing The Path To Ascend Track Listing: 1. In Our Blood 2. Nothing To Win 3. Unmask The Spectre 4. Marrow
Posted in Whathaveyou on May 20th, 2014 by H.P. Taskmaster
Oh, I certainly would like to see Neurosis again. And I’d certainly like to see them play with SunnO))) and Goatsnake and Pelican and -(16)- in Tucson at the third Southwest Terror Fest this October. While I contemplate which of my limbs to donate to science and/or the illegal black market in order to make that happen, check out the rather considerable list of tour dates Neurosis have coming up. It’s been more than a minute since one could really think of them as a touring band, but they seem to be working their way back up to it.
I think when they put out The Eye of Every Storm they played, what, five shows? Now here they are going to Australia for the first time in their career, which hits its 30th year in 2015. Pretty astounding.
The PR wire puts it like this:
NEUROSIS Confirms Stateside Performances Including Southwest Terror Fest; First Australian Tour Booked
Directly following their recent declaration of an impending European Summer tour, which includes several major festival appearances and performances in territories where they’ve never before played, NEUROSIS now announces new stateside shows as well as their first tour of Australia.
Continuing their most intense bout of touring in more than two decades, still steadily supporting their heralded 2012-released, Honor Found In Decay, NEUROSIS will return to European soil this Summer. From June 28th through July 3rd, the Euro routing includes performances at both the massive annual Graspop Metal Meeting in Bessel, Belgium, as well as the Tuska Open Air Metal Festival in Helsinki, Finland, after which they’ll plow through Germany, Croatia and Greece.
Exactly one month after returning from Europe, NEUROSIS will finally make their way across the southern Pacific, bound for Australia on their first ever tour of the continent. The six-city Australian inundation will see the pack ripping through Brisbane, Adelaide, Perth, Melbourne and Sydney between July 4th and 9th, with two shows scheduled in Sydney.
NEUROSIS has also been confirmed as one of the key headliners at Arizona’s Southwest Terror Fest III: The Western Front. The third installment of this ever-expanding, now four-day event, will consume Tucson October 16th through 19th, with main acts Goatsnake and Sunn O))) in addition to NEUROSIS, who will headline Saturday, October 18th with support from The Body, Author & Punisher and Sorxe. In conjunction with their SWTF trip, the band will invade Denver on Sunday, October 19th with support from Subrosa and In The Company Of Serpents before dispersing and returning to their respective homes.
NEUROSIS Tour Dates: 6/28/2014 Graspop Festival – Bessel, Belgium 6/29/2014 Tuska Open Air Metal Festival – Helsinki, Finland 6/30/2014 Schlachthof – Wiesbaden, Germany 7/01/2014 Jedinstvo-Pogon – Zagreb, Croatia 7/02/2014 Astra – Berlin, Germany 7/03/2014 Fuzz Live Music Club – Athens, Greece 8/04/2014 The Hi Fi – Brisbane, Australia w/ Hope Drone 8/05/2014 HQ – Adelaide, Australia w/ Space Bong 8/06/2014 Capitol – Perth, Australia w/ Drowning Horse 8/07/2014 The Corner Hotel – Melbourne, Australia w/ Clagg 8/08/2014 The Hi Fi – Melbourne, Australia w/ Whitehorse 8/09/2014 Manning Bar – Sydney, Australia w/ Adrift for Days 10/18/2014 Rialto Theatre – Tucson, AZ @ Southwest Terror Fest 10/19/2014 The Gothic Theatre – Denver, CO w/ Subrosa, In The Company Of Serpents