Mississippi Bones Sign to Bilocation Records

Posted in Whathaveyou on January 12th, 2015 by H.P. Taskmaster

mississippi bones

The PR wire brings word that Ohio-based Southern-style heavy rockers Mississippi Bones have inked a deal to release their third album, Songs for the Rejects, Slackers and Rabble Rousers later this year on German vinyl-minded label Bilocation Records. No exact release date yet, but it seems likely they won’t waste too much time getting the album out provided it’s actually done — Bilocation has a busy schedule just about all the time for their constantly expanding operation. If I hear, I’ll let you know.

Announcement goes like this:

mississippi bones logo

MISSISSIPPI BONES are signing with Bilocation Records.

Hardin County, Ohio: Mississippi Bones signed for a vinylrelease with Bilocation Records. Their album ‘Songs for the Rejects, Slackers and Rabble Rousers’ will be out during 2015 on handnumbered, limited edition high performance 180g vinyl.

“Mississippi Bones formed in the flat lands of Hardin County, Ohio in 2010 as a 2 man studio project, thanks to some free studio time, with no other motives than to lay down some rock and no intentions of a future. In the last 4 years the rock has not stopped. They have moved from a 2 to a 6 man (5 men 1 lady) band, and have went from peddling discs in their small town to selling albums across the globe, but the goal remains the same, laying down some rock.

Inspired by all things that rock, bad sci-fi movies, beer, comics, good sci-fi movies, and bad jokes, they come bearing loads of riffs, tasty grooves, run on sentences, and a serious irreverence. Over the years they have continued to expand the borders of their sound but one thing always holds true, whether it be fast and furious, tinged with metal, dirty, swampy, bluesy, fuzzed out, or low and slow just like a good barbeque, it will always be about laying down some sweet rock.

They like to laugh. They like to make music. They like watching horror movies on the garage door in the drive way while eating pulled pork sandwiches. People know them as Mississippi Bones. You can become one of those people. I’m sure they’d appreciate it.”

Mississippi Bones:
Dusty Donley – Guitars
Jared Collins – Vocals
Derik “The Moustache” Dunson – Guitars
Jason Rector – Bass
Jason Miller – Drums
Heather “Baby Swiss Pissy Sheets” Collins – Backing Vocals

https://www.facebook.com/mississippibones/
http://mississippibones.bandcamp.com/
http://kozmik-artifactz.com/artist/mississippi-bones/
http://shop.bilocationrecords.com/index.php?s=3

Mississippi Bones, Tracks (2012)

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Lo-Pan and Against the Grain Announce Northeast Tour Dates

Posted in Whathaveyou on January 9th, 2015 by H.P. Taskmaster

Before they split out for Europe in April and, presumably once reaching its shores decide never to return, Ohio fuzz rockers Lo-Pan will hit the road like they do with Detroit speedfreaks Against the Grain. The tour will be in the north and northeast, which should be almost thinking about thawing out by then, and is set to start March 12 and run until March 22. For Lo-Pan, they’re out supporting last year’s Colossus (review here), while the oft-touring Against the Grain will have by that time recorded their fourth album, which is set to release later in 2015.

Like I said, after this, Lo-Pan are off to Europe alongside Black Pyramid, but it’s worth noting that this will be their first tour with guitarist Adrian Zambrano, so it should be a chance for them to further solidify before they go. They’ve given themselves a high-energy companion in Against the Grain, who will no doubt keep them on their toes for the duration.

The PR wire brings details and dates, and we all like details and dates, right? Okay then:

lo-pan against the grain march tour 1

Lo Pan & Against The Grain to tour Northeast in March

Columbus riff titans Lo Pan will be pairing up with Detroit neck breakers Against The Grain for a ten date Northeast tour in the month of March in what will be a travelling showcase of two of the heaviest bands going from the Midwest.

Both bands coming off a successful campaigns in 2014 with Against The Grain seeing the release of Motor City Speed Rock on vinyl and nonstop touring throughout the year with dates that included runs with Guttermouth, Koffin Kats and Nashville Pussy and Valient Thorr to close out the year.

Against The Grain start the year doing a two shows with Detroit’s own Koffin Kats in Chicago (Reggie’s) and in Westland, MI (Token Lounge) and a local show with notable punk/metal band Gang Green in the Detroit area (Corktown Tavern).   From there, the four will be spending the month of February recording the follow up to 2012’s “Surrounded By Snakes” at Train – A Comin’ Studios in Mt. Clemens, Michigan which will be slated for a summer release.

Dates:
March 12 – The Loving Touch (Ferndale, MI)
March 13 – Grog Shop (Cleveland, OH)
March 14 – The Lost Horizon (Syracuse, NY)
March 15 – TT the Bears (Boston, MA)
March 16 – TBA
March 17 – TBA
March 18 – Saint Vitus Bar (Brooklyn, NY)
March 19 – Kung Fu Necktie (Philadelphia, PA)
March 20 – The Pinch (Washington D.C.)
March 21 – 31st St. Pub (Pittsburgh, PA)
March 22 – Spacebar (Columbus, OH)

https://www.facebook.com/lopandemic
http://smallstone.bandcamp.com/album/colossus
https://www.facebook.com/Againstthegraindetroit/
http://againstthegrain-atg.bandcamp.com/
http://selfdestructorecords.bandcamp.com/

Lo-Pan, Colossus (2014)

Against the Grain, Surrounded by Snakes (2013)

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Doctor Smoke and Wasted Theory Announce Weekender Tour

Posted in Whathaveyou on January 5th, 2015 by H.P. Taskmaster

It’ll be a riffy couple days in March when Doctor Smoke and Wasted Theory combine forces for a weekender to close out the month. For Wasted Theory, who reside in Delaware, they’ll be making their way more or less around their stomping ground of Philly, York, and Brooklyn, but Doctor Smoke are making the trek east from Ohio for the occasion, and upon doing so, they’ll meet up not only with D.C. heavy rockers Borracho, but Boston’s Gozu as well, who’ll help close out the three-date run with Wasted TheoryDoctor Smoke and Reign of Zaius at Bar Matchless in Brooklyn.

Both Wasted Theory and Doctor Smoke are supporting albums released last year. Doctor Smoke‘s The Witching Hour is the more recent of the two, and while they toured the east coast in 2014 on the heels of their prior demo, this will be the first time they’re on the coast since their debut hit. Again, for Wasted Theory, they’re on familiar turf, but since their own full-length debut, Death and Taxes (review here), came out last Spring, I wouldn’t be surprised if they have a new cut or two to work into their set, and I’ve yet to see them that they haven’t delivered live.

Dates and info follow for the tour, which kicks off March 26:

doctor smoke

wasted theory

Ohio Occult-Rockers Doctor Smoke team up with Delaware Riff Slingers Wasted Theory for a 3-day run in March 2015.

Thursday, March 26th 2015
Philadelphia, PA @ Kung Fu Necktie*

Friday, March 27th 2015
York, Pennsylvania @ The Depot*
*With support from Washington DC Heavy Groove Dealers and Desertfest 2014 alums Borracho!

Saturday, March 28th 2015
Brooklyn, New York @ Bar Matchless*
*With support from Small Stone Records and Desertfest 2014’s very own GOZU!

For additional Info:
Facebook.com/WastedTheoryBand
Facebook.com/drsmokedoom
Facebook.com/BorrachoDC
Facebook.com/Gozu666

Doctor Smoke, The Witching Hour (2014)

Wasted Theory, Death and Taxes (2014)

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Last Licks 2014: Brain Pyramid, Zaum, Fire Faithful, Pendejo, Heavy Glow, Bibilic Blood, Thera Roya & Hercyn, The Spacelords, The Good Hand and Byzanthian Neckbeard

Posted in Reviews on December 31st, 2014 by H.P. Taskmaster

Yesterday was kind of crazy, but I don’t mind telling you I think today might be the most all-over-the-place of the week each of the five piles on my desk — now three, soon two — offers something different from the others, but it’s a wide spectrum being covered here, and there’s a couple abrupt turns from one to the next that I didn’t really do on purpose but I think will make for an interesting challenge anyway. In case you’ve been wondering, that’s what kind of nerd I am. Also the Star Trek kind.

I’m feeling really good about this series so far. Really good. I reserve the right to, by Friday, be so completely done with it that I never want to even think of the idea again, but I can only begin to tell you how satisfying it is to me to be able to write about some of these records after staring at them for so long sitting on my desk. Today’s batch is reviews 21-30 of the total 50, so we’ll pass the halfway point in this pile. If you’ve been keeping count since Monday or checking in, thanks, and if not, thanks anyway. Ha.

It’s about that time:

Brain Pyramid, Chasma Hideout

brain pyramid chasma hideout

Although it was streamed here in full in September, the persistent stoner charm of French trio Brain Pyramid’s debut album, Chasma Hideout (released by Acid Cosmonaut Records), seemed to warrant further highlight. Whether it’s small touches like the organ underscoring centerpiece “Lucifer” or the wah-ready bass of Ronan Grall – joined in the band by guitarist/vocalist Gaston Lainé and drummer Baptiste Gautier-Lorenzo – or the memorable if genre-familiar turns of “Into the Lightspeed,” the band’s first LP impresses with unpretentious heavy rock front to back. It’s not perfect. Lainé’s vocals come across high in the mix on opener “Living in the Outer Space” and there are points where the “familiar” runs stronger than others, but especially as their initial full-length offering, Chasma Hideout is one that one seems to continue to grow on the listener as time goes on, and one hopes that the heavy psych chicanery from which they launch the 11-minute closing title-track becomes the foundation from which they build going forward. Potential worth reiterating.

Brain Pyramid on Thee Facebooks

Acid Cosmonaut Records

Zaum, Oracles

zaum oracles

With the backing of venerable Swedish imprint I Hate Records, Canadian two-piece Zaum release their first LP in the four-song Oracles, a 48-minute work taking its central musical and atmospheric themes from Middle Eastern cues. Melodically and atmospherically, it relies on chants, slow, deep low end and minor key riffs to convey a dense ambience, reminding some of Om’s Mideast fixation on “Peasant of Parthia” – third and shortest here at 8:13 – but otherwise on a much heavier, darker trip entirely. Opener “Zealot” (12:55) and closer “Omen” (14:08) both offer plodding pace and a methodology not unlike Nile played at quarter-speed, but it would be a mistake to call the hand with which Kyle Alexander McDonald (vocals, bass, synth, sitar) and Christopher Lewis (drums) approach their aesthetic anything but commanding, and when McDonald switches to a semi-blackened rasp in the second half of “Omen,” Zaum demonstrate a desire to push even further into extremity’s reaches. I can’t help but wonder how far they’ll go.

Zaum on Thee Facebooks

I Hate Records

Fire Faithful, Organized Occult Love

fire faithful organized occult love

Some of the organ sounds on “Eye Opener,” the aptly-titled leadoff from Virginia four-piece Fire Faithful’s second LP, Organized Occult Love, remind of what Beelzefuzz conjured atmospherically, but an even more primary impression is the uptick in production value from Fire Faithful’s 2012 outing, Please Accept this Invocation (review here). Recorded by Windhand’s Garrett Morris, songs like “Last Fool on Earth” and “Organized Occult Love” brim with tonal resonance and a perfect balance the mix. Guitarist Shane Rippey handled the latter with Morris, and throughout, his tones and that of bassist Jon Bone shine, but whether it’s a more straightforward, Earthride-style groover like the title-track, or a more ranging doomer like “Combat,” vocalist Brandon Malone is well balanced to cut through the morass and drummer Joss Sallade’s crash resides comfortably behind the thick chugging. Melissa Malone and Gabrielle Bishop contribute backing vocals to “Last Fool on Earth” and only affirm how much Organized Occult Love brings Fire Faithful’s Southern doom to another level of presentation. An important forward step.

Fire Faithful on Thee Facebooks

Fire Faithful website

Pendejo, Atacames

pendejo atacames

Five years after debuting with 2009’s Cantos a Ma Vida, Amsterdam-based Pendejo return on Chancho Records with Atacames, a 10-track/44-minute wallop of classic heavy rock riffing and Latin American influence via the Spanish lyrics of vocalist El Pastuso and his readily-wielded-but-not-overused trumpet, which makes a surprising complement to Jaap “Monchito” Melman’s fuzz-heavy guitar, Stef “El Rojo” Gubbels’ bass and Jos “Pepellín” Roosen’s drums, but in context works well to bring personality and an individualized sensibility to a sound otherwise heavily indebted to the likes of Kyuss and Fu Manchu. Quality songwriting and variety in songs like the slower “Amiyano” and the building “Hermelinda” ensures Atacames offers more than novelty to those who’d gape at its other-ness, and when that trumpet does hit, it never falls flat. Closing out with a pair of big-riffers in “El Jardinero” and “La Chica del Super No Se Puede Callar,” Pendejo’s sophomore effort produces results as substantial as they are fun, and serve to remind that’s why we’re here in the first place.

Pendejo on Thee Facebooks

Chancho Records

Heavy Glow, Pearls and Swine and Everything Fine

heavy glow pearls and swine and everything fine

Cali trio Heavy Glow – guitarist/vocalist Jared Mullins, bassist Joe Brooks and drummer St. Judas – have spent a decent portion of the year on tour in support of their full-length, Pearls and Swine and Everything Fine. Understandable, and all the better to pick up your girlfriend in-person. Smooth, well-baked grooves permeate cuts like “Mine all Mine,” which also appeared on their prior 7” (review here), and the later “Nerve Endings,” a Queens of the Stone Age-style production giving about as much of a commercial vibe as a record can have and still be heavy rock, but the songwriting is paramount and definitely an element working in Heavy Glow’s favor, whether it’s the takeoff chorus of “Domino” or near-lounge vibe of “Fat Cat.” There’s an aspirational sensibility at the album’s core that’s going to make for an odd fit for some riff-heads who might be puzzled how something so nearly desert rock can still sound not at all like Brant Bjork, but hooks is hooks, and Heavy Glow use them well.

Heavy Glow on Thee Facebooks

Heavy Glow website

Bibilic Blood, Snakeweed

bibilic blood snakeweed

Bibilic Blood released three albums between 2009 and 2011, but the Eastlake, Ohio, duo haven’t been heard from since – their nightmarish, depraved psychedelic sludge vanishing in a smoky, somehow hateful wisp. Snakeweed marks their fourth album, and with it bassist/vocalist Suzy Psycho and drummer/guitarist Scott “Wizard” Stearns unfurl another demented collection of chaos snippets from an alternate, terrifying universe, the 11 songs totaling just 27 minutes with enough lumber and obscure freakout on two-minute mainliners like “Severed” and “Bloodnomicon” in the middle of the record to be a genre on itself — like a grainy horror flick made scarier by its rawness. Closer and longest cut at 4:10 “Bloody Rabbit” starts with Boris, Flood-style noodling from Stearns on guitar, but samples transition into Snakeweed’s most gruesome chapter, Suzy Psycho’s voice echoing, twisted, from out of an abyss that might as well be your own subconscious, referencing Jefferson Airplane along the way. Their particular brand of malevolence has been missed, and hopefully Snakeweed starts a new bout of activity.

Bibilic Blood on Bandcamp

Goat Skull Records

Thera Roya & Hercyn, All this Suffering is Not Enough

thera roya and hercyn all this suffering is not enough

Gloom prevails and takes multiple shapes on All this Suffering is Not Enough, the new jewel-case split between Brooklyn post-metallers Thera Roya and progressive New Jersey black metallers Hercyn. Each band includes one song, and for the trio Thera Roya, that’s “Gluttony,” which builds its churn from the ground up and intersperses spacious guitar and almost punkish clean singing en route to a wash of scream-topped distortion, trading off volume and ambience and ultimately delivering a lot of both in a densely-packed eight minutes. Hercyn, a four-piece, counter with the 14-minute “Dusk and Dawn,” which follows their also-longform Magda EP (review here) in grand and squibbly form, a gallop taking hold early topped with throaty screams and shifting between melodic and dissonant impulses, a midsection solo offering a standout moment before the bludgeoning resumes. Each act offers a quotient of noise not to be understated, and despite working in different styles, that’s enough to let them complement each other well on the searing 23-minute Ouro Preto Productions release.

Thera Roya on Thee Facebooks

Hercyn on Thee Facebooks

The Spacelords, Synapse

the spacelords synapse

Synapse, the third full-length from German trio The Spacelords, arrives like a gift from the bliss-jam gods. Four extended mostly-instrumental cuts arranged two per side on a Sulatron Records LP, crafting memorable impressions with washes of synth and guitar, intelligent jams that feel partially plotted and intelligent but still exploratory and natural in how they flesh out. Guitarist Matthias Wettstein is out front in the mix, but bassist Akee Kazmaier and drummer Marcus Schnitzler (also of Electric Moon) aren’t far behind, as much as a title like “Starguitar” might make you think otherwise. The chemistry between the three-piece remains tight across the album’s 41 minutes, and from the rich bass and chugging guitar of the opening title-track to the more laid-back groove of “No. 5” and voicebox strangeness of “Pyroclastic Master,” which has the record’s only vocals in robotically spoken lines, Synapse seems to make all of its connections along the way. Heavy psych heads previously unfamiliar will want to take note. The vinyl, of course, is limited.

The Spacelords on Thee Facebooks

Sulatron Records

The Good Hand, Atman

the good hand atman

A progressive heavy rock trio from the Netherlands, The Good Hand present Atman, their second album, on Minstrel Music, with an adventurous semi-desert sensibility given crisp production and a somewhat wistful feel in songs like “Greenwich Mean Time” and “Unity.” For a record that starts out with lead guitarist/vocalist Arjan Hoekstra (also tuba, trombone, bugle, keys, percussion) declaring “I am god,” Atman is surprisingly not-arrogant, owing probably as much to Radiohead as Kyuss and keeping an experimental feel to the stops and arrangement of “The Opposite,” bassist/vocalist Dennis Edelenbosch and drummer/vocalist Ingmar Regeling (both also Monotron) swinging out classic style but holding firm to a modern edge. Out of nowhere is the 19-minute closing title-track (nothing else hits six), on which The Good Hand unfold varied movements that push beyond the charm of “The Death of the Real”’s ‘60s affiliations and into spaces jazz-funky, or droning, or doomy, or all of them. No easy accomplishment, but The Good Hand manage to hold it all together fluidly.

The Good Hand on Thee Facebooks

Minstrel Music

Byzanthian Neckbeard, From the Clutches of Oblivion

byzanthian neckbeard from the clutches of oblivion

Okay, seriously. What the hell do you think a band who live on an island in the English Channel and call themselves Byzanthian Neckbeard sound like? Burly as hell? Well you’re right. The Guernsey foursome of guitarist/vocalist Phil Skyrme, guitarist Jon Langlois, bassist Dano Robilliard and drummer Paul Etasse get down on some dudely, dudely grooves on their 2014 debut, From the Clutches of Oblivion. “Doppelganger” nestles somewhere between death rock, stoner and sludge, and there’s a heaping crash of doom on “Plant of Doom” (duh) and “To Seek the Cyberdwarf” to go with the more swaggering take of “Hive Mind Overlord” as well. But primarily, you don’t put the word “Neckbeard” in your band’s name unless you’re on a pretty masculine trip, and Byzanthian Neckbeard do not fuck around in that regard or in the aggro boogie of “The Ganch.” CD is limited to 200 copies in a four-panel digipak to house the growl-laden, riff-led plunder that ensues across its brief but bloody 32-minute span.

Byzanthian Neckbeard on Thee Facebooks

Byzanthian Neckbeard on Bandcamp

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The Obelisk Presents: The Top 30 of 2014

Posted in Features on December 22nd, 2014 by H.P. Taskmaster

the-obelisk-top-30-of-2014

Please note: These are not the results of the Readers Poll, which is ongoing. If you haven’t added your list yet, please do.

This was a hard list to put together. The top three have been set in my mind for probably the last month, but trying to work my way backwards from there was a real challenge — what’s a top 10 record, a top 20 record, a top 30, honorable mentions and all the rest. I’ve never done a full top 30 before, always 20, but the truth is there was just too much this year to not expand.

I’m still juggling numbers even as I put together this post, and I’m sure that by the time I’m done several records will have switched places. That’s always how it seems to go. What I’m confident that I have is a list accurately representing critique and my own habits, both what I gravitated toward in listening throughout the year and what I feel is noteworthy on a critical level. This site has always been a blend of those two impulses. It’s only fair this list should be as well.

Before we dig in, you should note this is full-length albums only. I’ll have a list of short releases (EPs, singles, demos) to come, as well as a special list of debut releases, since it seemed to be a particularly good year for them. And since I’m only one person, I couldn’t hear everything, much as I tried.

Okay. Here we go:

30. Orange Goblin, Back from the Abyss

orange-goblin-back-from-the-abyss

Released by Candlelight Records. Reviewed on Nov. 17.

The kings of London’s heavy scene offered more powerhouse heavy rock with their eighth album and second for Candlelight, and their rabid and ever-growing fanbase ate it up. Back from the Abyss proved yet again that few can attain the kind of vicious force that seems to come so natural to Orange Goblin, and made it clear their domination shows no signs of losing momentum.

 

29. Mos Generator, Electric Mountain Majesty

mos-generator-electric-mountain-majesty

Released by Listenable Records. Reviewed on March 14.

A darker affair from Port Orchard, Washington’s Mos GeneratorElectric Mountain Majesty still found its core in the songwriting led by guitarist/vocalist Tony Reed. They’re a band with some changes on the horizon, and I’ll be interested to hear what hindsight does to these songs. As it was, the hooks and downer vibes may have been in conceptual conflict, but the execution was inarguable.

 

28. Pilgrim, II: Void Worship

pilgrim-ii-void-worship

Released by Metal Blade Records. Reviewed on April 15.

Richer in the listening than 2012’s Misery Wizard debut, Pilgrim‘s II: Void Worship nonetheless held firm to the doomly spirit that’s made the Rhode Island outfit such a sensation these last couple years. Its longer songs, “Master’s Chamber,” “Void Worship” and the emotionally weighted “Away from Here,” were particularly immersive, and they remain a bright spot in doom’s future.

 

27. John Garcia, John Garcia

john-garcia-john-garcia

Released by Napalm Records. Reviewed on July 7.

His long-awaited solo debut, John Garcia‘s John Garcia offered memorable tracks culled from years of songwriting from the former Kyuss, Slo Burn, Unida and Hermano frontman, performed in the classic desert rock style he helped define. I’m not sure it was worth trading a second Vista Chino record for, but it was hard to argue with “The Blvd” and “All These Walls.”

 

26. Swans, To be Kind

swans-to-be-kind

Released by Mute/Young God Records. Reviewed on May 9.

An overwhelming two-disc barrage from a relentless creativity that, more than 30 years on from its first public incarnation, is still to be considered avant garde. I’m not sure planet earth realizes how lucky it is to have Swans running around unleashing all this chaos, but I hope they don’t stop anytime soon. To be Kind was brutal and beautiful in like measure.

 

25. Sólstafir, Ótta

solstafir-otta

Released by Season of Mist. Discussed Oct. 11.

Icelandic four-piece Sólstafir hit on a rarely attained balance of gorgeousness and melancholy, and while Ótta is expansive, it’s also gripping front to back and is the best execution of its style I’ve heard since Anathema‘s Alternative 4, which is not a comparison I make lightly. A challenging record, but satisfying in kind and universal in its expressiveness.

 

24. Greenleaf, Trails and Passes

greenleaf-trails-and-passes

Released by Small Stone Records. Reviewed on April 25.

The follow-up to Greenleaf‘s stellar 2012 outing Nest of Vipers (review here) brought lineup changes and stripped away many of the textural elements of the band’s sound — guest appearances, arrangement flourishes — in order to get back to a classic heavy rock sound and translate better to the stage. With guitarist Tommi Holappa‘s songwriting ever at the core, it would be unfair to call the process anything but a success.

 

23. Earth, Primitive and Deadly

earth-primitive-and-deadly

Released by Southern Lord Recordings. Reviewed on Sept. 9.

Most of the headlines went to the fact that Primitive and Deadly had vocals, where the generally-instrumental Earth had avoided singers for 18 years prior, but even putting aside Mark Lanegan and Rabi Shabeen Qazi, whose performance on “From the Zodiacal Light” was the high point of the record, presented Earth‘s always progressive tensions in a rawer, heavier production, and was a joy for longtime fans.

 

22. Ogre, The Last Neanderthal

ogre-the-last-neanderthal

Released by Minotauro Records. Reviewed on March 10.

Six years and one breakup later, Portland, Maine, doom trio Ogre returned with The Last Neanderthal, neither afraid to revel in Sabbathian traditionalism or rock out a more upbeat cut like opener “Nine Princes in Amber.” For bassist/vocalist Ed Cunningham, guitarist Ross Markonish and drummer Will Broadbent, it was a welcome resurgence of pretense-free heavy riffs and grooves.

 

21. The Wounded Kings, Consolamentum

CANDLE415CD_BOOKLET.indd

Released by Candlelight Records. Reviewed on Jan. 30.

Of course, at the time we didn’t know it would be the final outing from this lineup of UK doomers The Wounded Kings, whose guitarist/founder Steve Mills has now reunited with original vocalist George Birch, but Consolamentum was a hell of a closing statement anyway for this era of the band, showcasing their murky, increasingly progressive style still waiting for wider appreciation.

 

20. Floor, Oblation

floor-oblation

Released by Season of Mist. Reviewed on April 22.

Wasn’t sure where to put Floor‘s reunion offering, Oblation, on this list at first, since I kind of fell off listening to it as the year went on, but I’ve gone back to it over the last couple weeks and it has held up to the revisit, whether it’s songs like the extended “Sign of Aeth” or shorter, catchy pummelers like “Rocinante” or “War Party.” Floor‘s 2002 self-titled holds an untouchable legacy in heavy rock, but I think the years will prove Oblation a worthy successor. Nobody knew what they had with Floor at the time either.

 

19. Druglord, Enter Venus

druglord-enter-venus

Released by STB Records. Reviewed on Feb. 14.

Little on 2011’s Motherfucker Rising (review here) or their 2010 demo (review here) prepared for the kind of assault that Druglord‘s Enter Venus brought to bear. Four stomp-laden slabs of tectonic crash and distortion, vocals buried under and calling up from the amp-bred fog. The Virginian trio were in and out on the 27-minute 12″ release, but had enough heavy for a record twice as long, and the tinges of darkened psychedelia made their songs like a lurking presence just on the edge of consciousness, a threat waiting to be unleashed.

 

18. Ararat, Cabalgata Hacia la Luz

ararat-cabalgata-hacia-la-luz

Released by Oui Oui Records. Reviewed on April 4.

For the sheer variety of Ararat‘s third album in rockers like “Nicotina y Destrucción,” “El Hijo de Ignacio,” the experimentalism of “El Arca” and the piano-driven “Los Viajes” and the acoustic closer “Atalayah,” and the assured, flowing manner in which the Argentina trio pulled it all off, Cabalgata Hacia la Luz should be higher on this list than it is. Part of that might be my frustration at my apparent inability to buy a copy, but don’t let that take away from the quality of the material here, which is wonderfully chaotic, memorable and engaging, rushing in some places and stopping to weep in others.

 

17. Radio Moscow, Magical Dirt

radio-moscow-magical-dirt

Released by Alive Naturalsound. Reviewed on May 29.

You won’t hear me deny that Radio Moscow‘s primary impact is as a live band, but their fifth album, Magical Dirt, managed to bring forth much of their psychedelic blues presence in “Death of a Queen,” “Before it Burns” and “Gypsy Fast Woman,” the blinding rhythmic turns and wah-soaked guitar supremacy of Parker Griggs front and center throughout. Together with bassist Anthony Meier (also Sacri Monti) and drummer Paul Marrone (also Astra and Psicomagia), Radio Moscow are hitting their stride as one of heavy rock’s most powerful power trios. One never knows what to expect, but hopefully they keep going the way they are.

 

16. Apostle of Solitude, Of Woe and Wounds

apostle-of-solitude-of-woe-and-wounds

Released by Cruz del Sur. Reviewed on Nov. 6.

Four years isn’t the longest time I’ve ever waited for a record to come out, but in the case of Indianapolis’ Apostle of Solitude, it felt like an especially long stretch. Their third full-length and first for Cruz del Sur, Of Woe and Wounds followed the anticipation-building Demo 2012 (review here) and a couple splits and brought aboard bassist Dan Dividson and guitarist/vocalist Steve Janiak (also Devil to Pay), who fit well with drummer Corey Webb and guitarist/vocalist Chuck Brown to result in a payoff worthy and indicative of the time that went into its making. Hands down one of the finest acts in American doom.

 

15. Stubb, Cry of the Ocean

stubb-cry-of-the-ocean

Released by Ripple Music. Reviewed on Nov. 24.

Stubb‘s second long-player, also their debut on Ripple, gets a nod for the sense of progression it brought in answering the potential of the trio’s 2012 self-titled debut (review here), guitarist/vocalist Jack Dickinson, bassist Peter Holland and new drummer Tom Fyfe expanding the scope to include more heavy psych influence and soul along with the fuzz riffs and steady rolling while giving no ground in terms of the level of craft at work. Cry of the Ocean has become one of those albums where all I have to do is look at a title, be it “Cry of the Ocean Pt. I” or “Sail Forever” or “Heartbreaker,” and the song is immediately stuck in my head. With these tracks, that’s not at all a complaint.

 

14. Brant Bjork and the Low Desert Punk Band, Black Power Flower

brant-bjork-and-the-low-desert-punk-band-black-power-flower

Released by Napalm Records. Reviewed on Nov. 10.

Brant Bjork has worn many hats, literal and figurative, over the years, whether it’s drummer in Kyuss or Fu Manchu, producer, solo artist or bandleader. With Brant Bjork and the Low Desert Punk Band, he steps once again into the latter role, and with guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, presents not only on his heaviest record to date, but what could easily begin a sustainable full-band progression that can go just about anywhere his songwriting wants to take it. “Stokely up Now,” “That’s a Fact Jack,” “Controllers Denied” and “Boogie Woogie on Your Brain” made for some of 2014’s best in desert rock, and Black Power Flower was an stellar return for Bjork to his “solo” work.

 

13. Dwellers, Pagan Fruit

dwellers-pagan-fruit

Released by Small Stone. Reviewed on May 22.

An earlier version of this list had Pagan Fruit at a lower number, but I couldn’t live with it not being closer to the top 10. Salt Lake City’s Dwellers pushed deeper into laid back psych and blues on their second album, and in doing so, crafted an atmosphere entirely their own. From “Creature Comfort” down to “Call of the Hollowed Horn,” with triumphs along the way like “Rare Eagle,” “Totem Crawler” (“Ohh, my queen… To whom, I crawl…) and “Son of Raven,” Pagan Fruit became a staple of my 2014, building off their 2012 debut, Good Morning Harakiri (review here), but presenting their stylistic growth with a confidence and poise that can only come from a band who’ve figured out what they want to be doing and how they want to do it. Front to back, Pagan Fruit sounds like an arrival.

 

12. The Golden Grass, The Golden Grass

the-golden-grass-the-golden-grass

Released by Svart Records. Reviewed on March 25.

What made Brooklyn trio The Golden Grass‘ self-titled debut such a special released wasn’t just that it was heavy, or that the tracks were catchy, or that guitarist Michael Rafalowich and drummer Adam Kriney could harmonize over Joe Noval‘s warm-toned basslines. That was all great, don’t get me wrong, but what really stood out about The Golden Grass was its irony-free positivity, the way it was able to capture an upbeat, sunshiny feel without having to smirk about it on the other side of its mouth. It was self-aware, to be sure — knew what it was doing — but the way I see it, consciousness only makes the stylistic choices more impressive. Add to that the nuance they brought to ’70s revivalism, and all that stuff about catchiness and the harmonies, and there just wasn’t a level on which the album didn’t work.

 

11. The Well, Samsara

the-well-samsara

Released by RidingEasy Records. Reviewed on Sept. 22.

My appreciation continues to grow for The Well‘s Samsara, which successfully pulled together influences from garage doom and heavy psychedelia while crafting an identity for the Austin, Texas, three-piece at once raw and melodically accomplished, guitarist Ian Graham and bassist Lisa Alley sharing vocals to classic effect on “Refuge” while otherwise trading off lead position to bolster variety in the material. The high point might’ve been the eight-minute “Eternal Well,” on which GrahamAlley and drummer Jason Sullivvan conjured some of their grooviest demons, but the hooks of “Mortal Bones,” “Trespass” and the attitude-laced “Dragon Snort” were no less engaging. One of many strong releases from their label this year — Slow SeasonThe Picturebooks, etc. — they seemed to come ready to serve notice of a stylistic movement underway.

 

10. Montibus Communitas, The Pilgrim to the Absolute

montibus-communitas-the-pilgrim-to-the-absolute

Released by Beyond Beyond is Beyond. Reviewed on Dec. 4.

Peruvian psych adventurers Montibus Communitas more or less blew my mind when I heard their late-2013 offering, Harvest Times earlier this year, and the narrative, conceptual 2014 release, The Pilgrim to the Absolute, is even more of an achievement in its portrayal of improvised exploration, sonic ritualism and open creativity. The weaving of longer pieces against shorter ones with the various steps along the path as presented in the titles, some journeying, some arriving, some descriptive, almost all accompanied by nature in one form or another, gives The Pilgrim to the Absolute an almost impressionistic quality, so that even as you listen to it, you engage it as much as it carries you along its vibrant, breathtaking progression en route to the closing title-track, which is a destination every bit worthy of the journey. This is the most recently reviewed inclusion on this list, but Montibus Communitas‘ latest readily earns its place in the top 10. It is unique in its surroundings.

 

9. Fu Manchu, Gigantoid

fu-manchu-gigantoid

Released by At the Dojo Records. Reviewed on May 14.

Looking back at the last two Fu Manchu records, 2007’s We Must Obey and 2009’s Signs of Infinite Power, it seemed reasonable to expect the groundbreaking SoCal fuzz foursome to put out another collection of big-sounding riffs in a big-sounding production. Nothing to complain about, but probably not a landmark. By going the other way completely — stripping their buzzed-out riffing down to its punkish core thanks in no small part to recording with Moab‘s Andrew GiacumakisFu Manchu served up a raw reminder both of where they came from and how top notch their songwriting remains. Reissuing their earliest work and being on their own label might’ve had something to do with it, but whatever it was, the 35 minutes of Gigantoid was as efficient a heavy rock outing as one could hope from an already legendary band, whether it was the hook-prone opening salvo of “Dimension Shifter,” “Invaders on My Back,” “Anxiety Reducer” and “Radio Source Sagittarius” or the righteous ending jam “The Last Question.”

 

8. The Skull, For Those Which are Asleep

the-skull-for-those-which-are-asleep

Released by Tee Pee Records. Reviewed on Nov. 5.

Given the origins of The Skull — ex-Trouble members Eric Wagner, Jeff “Oly” Olson and Ron Holzner joining with Lothar Keller and a series of other guitarists, finally Matt Goldsborough, working essentially as a tribute band to their former outfit — I think not only did the quality of the material and performance on For Those Which are Asleep surprise, as well as the classically doomed feel that resonates throughout the album, but the sheer heartfelt nature of songs like “Sick of it All,” “Send Judas Down” and the title-track itself. This wasn’t a cynical attempt to make a go of an already set legacy. It was an expression of appreciation both for what they accomplished as Trouble and a desire to continue that work. The Skull‘s whole thing has been that they’re “more Trouble than Trouble,” and in their lineup that’s been true since they brought Olson on board. For Those Which are Asleep demonstrated that the classic spirit of that band is alive and well, its address has just changed. Moreover, it’s the beginning of a new progression for that spirit, and I hope it continues.

 

7. Blood Farmers, Headless Eyes

blood-farmers-headless-eyes

Self-released on CD, LP on PATAC Records. Reviewed on March 24.

Nineteen years after releasing their self-titled debut, New York’s Blood Farmers contended for 2014’s comeback of the year with their sophomore outing, Headless Eyes — a morose, horror-obsessed six-track collection that on “Night of the Sorcerers” owed as much to Goblin as to Sabbath. The closing cover of David Hess‘ theme from The Last House on the Left, “The Road Leads to Nowhere,” was a late bit of melodic flourish to add depth, but how could the highlight be anything other than the 10-minute title-track itself, with its samples from the 1971 horror flick The Headless Eyes, bassist Eli Brown in a call and response with lyrics comprised of lines directly taken from the movie? That after playing shows the last several years, Blood Farmers managed to get a record out was impressive enough. That Headless Eyes turned out to be the year’s best traditional doom release was an entirely different level of surprise. I wouldn’t hold my breath waiting for their third, but Brown, guitarist David Szulkin and drummer Tad Leger gave plenty to chew on with Blood Farmers‘ second. It was better than would’ve been fair to expect.

 

6. Lo-Pan, Colossus

lo-pan-colossus

Released by Small Stone. Reviewed on Oct. 7.

A lot of what you need to know about Lo-Pan‘s fourth album you learn in the first five seconds of opener “Regulus.” There’s no fancy intro, no time wasted, nothing to take away from the directness of the song itself. Tones are crisp — the verse is already underway — and guitar, bass and drums are laser-focused in their forward movement. Even when vocalist Jeff Martin enters the song, roughly six seconds later, his arrival comes with no indulgence, no pomp. Colossus is easily Lo-Pan‘s most immediate work to date, and throughout, Martin, guitarist Brian Fristoe (since replaced by Adrian Zambrano), bassist Scott Thompson and drummer Jesse Bartz retain that focus no matter where the material takes them, delivering a clinic in how to kick as much ass as possible at any given moment on cuts like “Marathon Man” and “Eastern Seas,” or even bringing in guest vocalist Jason Alexander Byers, who also designed the album cover, for a spot on “Vox.” They had a hard task in following up 2011’s Salvador (review here), but the Columbus, Ohio, unit stood up to the challenge and met it and everyone else head-on.

 

5a. All Them Witches, Lightning at the Door

all-them-witches-lightning-at-the-door

Self-released. Reviewed on Sept. 25.

What to do with All Them Witches‘ Lightning at the Door? The Nashville four-piece released the album last fall digitally, but it wasn’t until this September that it saw a physical manifestation. In fact, if you go back, it was included on the Top 20 of 2013 as well. Which is the release date? I don’t know. What I know is that in terms of the sheer amount of time spent listening, I put on Lightning at the Door more than any other record this year. From where I sit, that alone gets it a place in the top five. Yeah, it might be a cop-out to do a “5a,” but sometimes exceptions have to be made, and All Them Witches have proved to be nothing if not exceptional in their still relatively brief, jam-laden history, the psych-blues dynamic between bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, Fender Rhodes specialist Allan van Cleave and drummer Robby Staebler pushing them quickly to the fore of American heavy rock’s innovators, their natural, improv-sounding material feeling brazen and exploratory while reshaping the elements of genre to suit their needs. One can only see this dynamic developing further as they continue to grow as a live band, so Lightning at the Door may just be the start, and that’s perhaps most exciting of all.

 

5. Witch Mountain, Mobile of Angels

witch-mountain-mobile-of-angels

Released by Profound Lore. Reviewed on Aug. 20.

A beautiful, stunning work made even more powerful by the honesty driving it. Portland, Oregon’s Witch Mountain completed a trilogy with the Billy Anderson-produced Mobile of Angels that brought about some of the best doom of this young decade, their 2011 return from a years-long hiatus, South of Salem (review here) serving as the foundation for a stylistic progression that continued on the following year’s Cauldron of the Wild (review here) and onto Mobile of Angels itself as the four-piece’s most accomplished album to date. The reason it feels like such a concluding chapter is because of the departure of vocalist Uta Plotkin, whose voice helped establish Witch Mountain both on stage and in the studio, leaving founders Rob Wrong (guitar) and Nathan Carson (drums) with the sizable task of finding a replacement. That situation will be what it will be, but Mobile of Angels remains a gorgeous, lonely testament. Plotkin gives a landmark performance on “Can’t Settle” and “The Shape Truth Takes,” which in the context of what was happening in Witch Mountain at the time ring with a truth that’s rare in or out of doom, and she seems to have left the band just as they were hitting their finest hour. So it goes.

 

4. Conan, Blood Eagle

conan-blood-eagle

Released by Napalm Records. Reviewed on Jan. 22.

In all of heavy, there is no assault so severe as Conan‘s. With their second full-length and debut on Napalm Records, the UK trio solidified the two sides of the preceding 2012 outing, Monnos (review here), in constructing material that, fast or slow, short or long, retained an epic feel melded with their ungodly tonality and memorable songwriting. Their first recording at guitarist/vocalist Jon DavisSkyhammer Studio, it affirmed Conan‘s will to conquer in its two massive bookends, “Crown of Talons” and “Altar of Grief,” and in the High on Fire-worthy gallop of “Foehammer” — a bludgeon commandingly wielded by Davis, bassist/vocalist Phil Coumbe and drummer Paul O’Neil, the latter to of whom have since left the band to be replaced by longtime-producer Chris Fielding and Rich Lewis, respectively. What effect the changes might have on the band — except apparently more touring, which isn’t a bad thing — have yet to be seen, but Conan are already in the process of writing a follow-up to Blood Eagle, so it doesn’t seem like it’ll be all that long until we find out. With Davis still steering the band in songwriting and overall direction, one severely doubts they’ll be fixing what obviously isn’t broken anytime soon. None heavier.

 

3. Wo Fat, The Conjuring

wo-fat-the-conjuring

Released by Small Stone Records. Reviewed on June 18.

Dallas riff-rockers Wo Fat have grown steadily over the course of their five albums, from the nascent heavy roll of 2006’s The Gathering Dark, to the hooks of 2008’s Psychedelonaut (review here), the jamming that started to surface on 2011’s Noche del Chupacabra (review here) and was pushed further on 2012’s The Black Code (review here). And their approach has been as steady as the frequency of their releases. In making The Conjuring, the three-piece were simply engaging the next step in their progression, but the material on the five-track/48-minute outing goes further than just that. Putting aside (momentarily) the 17-minute closer “Dreamwalker,” the other cuts, “The Conjuring,” “Read the Omens,” “Pale Rider from the Ice” and “Beggar’s Bargain” each found a place for themselves in pulling together jammed-sounding elements with a memorable construction, and when guitarist/vocalist Kent Stump, bassist Tim Wilson and drummer Michael Walter did kick into “Dreamwalker,” they hit on not only their longest piece yet, but their most accomplished showcase of the chemistry that has developed between them. That song is a beast unto itself, but as has been the case with Wo Fat each time out so far in their career, there’s nothing on The Conjuring to give the impression the band can’t or won’t continue to keep going on the path that’s worked so well for them on this point. They’ve spent the last eight years on the right track and have yet to waiver. The Conjuring should be played at top volume for anyone who contends there’s no life left in heavy rock and roll.

 

2. Mars Red Sky, Stranded in Arcadia

mars-red-sky-stranded-in-arcadia

Released by Listenable Records. Reviewed on March 11.

Mars Red Sky‘s second LP and first for Listenable, Stranded in Arcadia was originally supposed to be recorded in the California desert, but visa problems kept the French trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Matgaz in Brazil, where they’d previously been touring. Thus, “stranded in Arcadia,” which is basically another way of saying “lost in paradise.” Can’t say the Bordeaux three-piece didn’t make the most of it, though. Songs like “The Light Beyond” and “Hovering Satellites” — not to mention the utter melodic bliss of “Join the Race” — took cues from their 2011 self-titled debut (review here) in terms of memorable songwriting and melodic craft, but added to that heft and tonal richness more of a psychedelic vibe, so that not only was there fuzz and wah, but a spacious world in which the songs took place. With Kinast on lead vocals, the sneaky boogie of “Holy Mondays” became a highlight, and the one-two swing ‘n’ stomp of “Circles” and “Seen a Ghost” were a perfect demonstration by the band of the various sides of their sound, particularly following after the dreamy instrumental “Arcadia,” an echoing jam distinguished by Pras‘ wistful guitar lead and coming before the closing “Beyond the Light,” which reprises the opener’s resonant unfolding. It probably wasn’t the record they intended to make, but Stranded in Arcadia became one of my go-to albums for 2014, and like the best of any given year’s output, I’ve no doubt it will transcend the passage of time and continue to deliver for years to come. Hell, I was barely done with the debut when this one came out.

 

1. YOB, Clearing the Path to Ascend

yob-clearing-the-path-to-ascend

Released by Neurot Recordings. Reviewed on Sept. 3.

“It’s time to wake up.”

Can’t imagine this is any great surprise. Not only did Clearing the Path to Ascend – YOB‘s seventh album and first for Neurot — produce my pick for song of the year in its sprawling, emotionally weighted 18-minute closer, “Marrow,” but in the three full-lengths the Eugene, Oregon, trio of drummer Travis Foster, bassist Aaron Rieseberg and guitarist/vocalist Mike Scheidt have released since the latter reformed the band after breaking it up following 2005’s The Unreal Never Lived, all three have been my album of the year. The Great Cessation was in 2009, and Atma was in 2011. Consistency aside, I’ll point out specifically that each of the same three records has earned that position, perhaps Clearing the Path to Ascend most of all for its progressive feel, moving past genre even at its most raging moment, second cut “Nothing to Win,” the chorus of which proved that among everything else YOB could be, they could be anthemic. The cosmic, spiritual questing that has always been present in their songs, that feeling of searching, showed up in opener “In Our Blood,” but even there, it was evident YOB were pushing themselves beyond what they’ve done before, rewriting their own formulas incorporating lessons from their past in among their other points of inspiration. “Unmask the Spectre” could have easily been an album closer itself, with its patient exploration and feverishly intense payoff, but with the melodic progressivism of “Marrow” and the soul poured into every second of that track, every verse and chorus, solo and build — including the Hammond added to the last of them by producer Billy Barnett — YOB created a landmark both for themselves and the increasing many working under their influence. I’ve said on several occasions (bordering on “many” at this point) that YOB are a once-in-a-generation band, and it feels truer in thinking of Clearing the Path to Ascend than it ever has. Without a doubt, album of the year and then some.

 

 

Honorable Mention

First, special note to Colour Haze‘s To the Highest Gods We Know. I’ve decided to count it as a 2015 release since the vinyl will be out in Spring, but otherwise surely it would earn a place on this list. Blackwolfgoat‘s Drone Maintenance also deserves note.

A few other honorable mentions:

MothershipMothership II — It’s hard to argue with a classic heavy rock power trio kicking ass. I won’t try.

AlunahAwakening the Forest — Every time I make a list, no matter what kind of list it is, there’s a band I wind up kicking myself for forgetting about at the time. This is the case 100 percent with why Alunah aren’t in the Top 30. In fact, I might go in and swap them out with somebody.

Ice DragonSeeds from a Dying Garden — Boston experimental psych/garage doomers continue to defy expectation. May their weirdness last forever and continue to produce material so satisfying.

TruckfightersUniverse – I thought at some point I’d go back to Universe again, but never really did. A problem with me more than the album.

SteakSlab City — An impressive debut following two strong EPs.

GodfleshA World Lit Only by Fire — I never got a review copy, so I never reviewed it. Its name is here because I’m a fan of the band and glad they’re back.

ThouHeathen — Just recently purchased this and am only getting to know it, but a ridiculously strong album.

Corrosion of ConformityIX — Everybody who gets a boner whenever Pepper Keenan is mentioned in connection with this band has missed out. This record and the self-titled kick ass.

SpidergawdSpidergawd — Holy shit they’re over here! No they’re over there! No wait over here again! Oh my god I’ve just gone blind!

Monster MagnetMilking the Stars — I wasn’t sure what to do with this since technically it’s not a new album, mostly reworked songs from the last one. I still listened to it a ton though, whatever it is.

SlomaticsEstron — Another one I’m just getting to know, but am very much digging.

Electric WizardTime to Die — People seem to do this thing where Electric Wizard puts out a record, everyone slathers over it for a few months and then spends the next two years talking about how it sucked. I guess I’ll be on the ground floor with not having been that into Time to Die.

PallbearerFoundations of Burden — Had to put their name somewhere on this list or someone would burn my house down. Album of the year for many.

The list goes on: Monolord, Comet Control, Mammatus, Triptykon, Eyehategod, Fever Dog, Moab, Karma to Burn, Atavismo, Grifter, 1000mods, Megaton Leviathan, Wovenhand, Mr. Peter Hayden, Primordial, and many more.

Before I check out and go sit in a corner somewhere to try and rebuild brain power after this massive dump of a purge, I want to sincerely thank you for reading. If you check in regularly, or if you’ve never been to the site before, if you don’t give a crap about lists or if you’re gonna go listen to even one band on here, it’s fantastic to me. Thank you so much for all the support this site receives, for your comments, for sharing links, retweeting, whatever it is. I am a real person — I’m sitting on my couch at this very moment — and being able to do this and have people see it and be a part of it with me is unbelievable. I realize how fortunate I am. So thank you. Thank you.

Thank you.

More to come as we close out 2014. I’ll have a list of short/split/demo releases, a year-end podcast, a list of the best debuts, a round up of the best live shows I saw, as much more as time allows. Please stay tuned.

And again, thank you. If I left anyone off the list, I hope you’ll let me know in the comments and contribute your own top albums, however many there are, to the Readers Poll.

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Doctor Smoke’s The Witching Hour Available Now

Posted in Whathaveyou on December 2nd, 2014 by H.P. Taskmaster

doctor smoke

Split between Ohio and Pennsylvania, the four-piece Doctor Smoke have just issued their first full-length, The Witching Hour through Totem Cat Records. The long-player follows last year’s four-track Demo 2013 (review here) and repurposes three of those songs, including leadoff duo “The Willow” and “Blood and Whiskey,” giving the implication that they knew what they were going for their first time out and it’s not like their initial batch of songs needed to be scrapped. The other original cut from the demo, “The Seeker” appears on The Witching Hour – the last track was a Pentagram cover — but the album ups the band’s game in terms of production and presentation, their hooks coming across with a decidedly dark, brooding sensibility, more horror than cult, but still definitely aware of ritual.

CD is out on Totem Cat. I’m not sure about a vinyl release, though one has to imagine it’s in the works or in the pre-works one way or another, and the foursome already hit the road in support of the demo, so it seems probable they’ll do likewise for the album itself. More on that as it comes up, but the album’s on Bandcamp, so here’s the stream and info for you to dig in:

doctor smoke the witching hour

Our debut full length album available on CD in Digipak format from Totem Cat Records.

All music and lyrics written and performed by Doctor Smoke

Matt Tluchowski – Lead vocals/Guitar
Steve Lehocky – Lead Guitar
Cody Cooke – Bass/Vocals
Dave Trikones – Drums

Drums and bass recorded December 2013 at The Bombshelter – Nashville, TN
Engineered by Andrija Tokic and Jason Blackburn

Guitars and vocals recorded August-September 2014
Engineered by Steve Lehocky and Matt Tluchowski

Mixed by Steve Lehocky

Mastered by Gus Elg at Sky Onion – Portland, OR

Saxophone on “From Hell” performed by Mitchell Lawrence

Artwork by Katie Umhoefer - www.StrangeFortuneDesign.com

Layout by Casket Vex Design - www.facebook.com/CasketVexDesign

http://doctorsmoke.bandcamp.com/
https://www.facebook.com/drsmokedoom
http://totemcatrecords.bigcartel.com/

Doctor Smoke, The Witching Hour (2014)

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Lo-Pan Welcome New Guitarist Adrian Zambrano

Posted in Whathaveyou on November 24th, 2014 by H.P. Taskmaster

Following announcements that they’ll take part in next year’s Roadburn festival and the Desertfests in London and Berlin, Ohio heavy rockers Lo-Pan have made it official that Adrian Zambrano will take over the guitarist position previously occupied by Brian Fristoe. The word came quick and to the point from the band, who’ve spent much of the last five years touring hard on a steadily ascending line in terms of audience and their own approach, steadily becoming a wider known, tighter and more accomplished group. They haven’t done anything the easy way.

Zambrano comes to Lo-Pan via space rocking Columbus natives Brujas del Sol, whose airy tones and synth-heavy sound were last brought to bear on 2013’s Moonliner, on which Zambrano also handled vocal duties. No word yet on whether he’ll back up Lo-Pan‘s Jeff Martin singing, but there can be little question that the dynamic in Lo-Pan will shift with a new player introduced into what was one of the country’s highest-grade fuzz units. Regardless of how Zambrano fits in the band, it’s going to be a change. Lo-Pan‘s advantage at this point is that, if you’re a musician who wants to tour and go to Europe and play shows that people come to see, they’re in the process of making all those things happen.

And by the time next Spring rolls around and Lo-Pan head abroad for the first time, Zambrano will be that much more acclimated to being on stage with Martin, drummer Jesse Bartz and bassist Scott Thompson. Really, if they were going to bring someone in, this was the time to do it. Good luck to the band, to Zambrano, and to Fristoe as well.

Here’s the announcement and the Small Stone stream of their latest album, Colossus (review here), in case you haven’t yet had your ass kicked this morning:

lo-pan

Lo-Pan has parted ways with guitarist Brian Fristoe. We wish Brian all the best in his future endeavors. Taking over guitar duties is Adrian Zambrano of Columbus, Ohio. Adrian is a gifted, dynamic musician with an exciting style. Join us in welcoming Adrian to the party.

https://www.facebook.com/lopandemic
https://twitter.com/LoPandemic614
https://www.facebook.com/BrujasdelSol
http://smallstone.bandcamp.com/album/colossus

Lo-Pan, Colossus (2014)

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Lo-Pan Join Lineup for Desertfest Berlin 2015

Posted in Whathaveyou on November 6th, 2014 by H.P. Taskmaster

Hot off the release of their fourth album, Colossus (review here), Ohio fuzz rockers Lo-Pan have been announced as taking part in Desertfest Berlin 2015. The announcement follows a recent schism/split with guitarist Brian Fristoe, and since Lo-Pan are also slated to play Roadburn and have shows booked before then and will be touring Europe as well, one can’t help but wonder who’ll be handling guitar for them going forward. No word has come out yet in that regard, but I’ll let you know when I hear what’s up.

In the meantime, good for the band — who killed when they came through recently with Black Cobra – for getting over to Europe. Feels a little overdue for how hard they’ve slogged it out in the States, but better late than never, and I’m sure they’ll find open arms waiting for them at DesertfestRoadburn and wherever else they might wind up.

lo-pan desertfest berlin

Two-in-one news: first, we are pleased to tell you that fuzz rockers Lo-Pan join the SOL family and will be touring in April! Then, we are proud to add them to our DesertFest Berlin line-up! Stay tuned for more news!

We stoked to announce that fuzz rockers Lo-Pan are now confirmed to kick a good deal of ass at Desertfest Berlin 2015!

With “Colossus”, LO-PAN’s last album – released about a month ago on Small Stone Records – the Columbus’ four-piece have moved beyond their influences and arrived at their own sound – a “style built on aggression without caricature, fuzz without cliché, melody without redundancy and their meanest groove to date.” (The Obelisk)

Do not miss them! DESERTFEST TICKETS available on :
http://woolheads.com/cms/produkt-kategorie/festivalmerchandise/desertfestberlin/tickets-desertfestberlin/
(83€ + shipping)

DESERTFEST BERLIN #4 – APRIL 23th, 24th, 25th 2015
ASTRA KULTURHAUS / F-HAIN/X-BERG BERLIN (GER)

Red Fang + Orange Goblin + My Sleeping Karma + Brutus + Dopethrone + Lo-pan + Mountain Witch + many many more acts

www.desertfest.de
www.soundofliberation.com
https://www.facebook.com/lopandemic
https://www.facebook.com/DesertfestBerlin
http://smallstone.bandcamp.com/album/colossus

Lo-Pan, Colossus (2014)

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Beneath Oblivion Touring the Midwest Starting this Week

Posted in Whathaveyou on November 5th, 2014 by H.P. Taskmaster

beneath oblivion

Ohio crushers Beneath Oblivion will start a 10-date run this week in St. Louis, Missouri, that will carry them around the Midwest in support of 2011’s From Man to Dust full-length. The brutal sludge/doom outfit are slated to have a follow-up to From Man to Dust out in 2015, and they have other vinyl coming through The Mylene Sheath as well, so I wouldn’t be surprised if they hit on some new material at the shows, at which they’ll also be debuting the fruit of their alliance with Omega, a custom speaker cabinet maker based out of the band’s hometown of Cincinnati.

The PR wire takes it from here:

beneath-oblivion-tour-poster

BENEATH OBLIVION are on tour in the Midwest USA, set to release new vinyl with the Mylene Sheath, and announce endorsement with Omega Enclosures.

Cincinnati, OH based doom metal band BENEATH OBLIVION are heading out for a string of dates in the Midwest this week-

November 7 – St. Louis, MO @ the Firebird w/FISTER
November 8 – Kansas City, MO @ Vandals
November 9 – Denver, CO @ The Mutiny Information Cafe
November 10 – Santa Fe, NM @ the Underground
November 11 – Lubbock, TX @ Depot Obar Live
November 12 – Dallas, TX @ RBC Speakeasy
November 13 – Texarkana, TX @ the Silver Dollar
November 14 – Little Rock, AR @ MF Metal Music Light w/FISTER
November 15 – Nashville, TN @ Tower II w/FISTER
November 16 – Louisville, KY @ Magbar w/FISTER

BENEATH OBLIVION are gearing up for several vinyl/digital releases once again with their longtime independent label the Mylene Sheath. The band has three previous releases with the Mylene Sheath, the last being the massive 2XLP “From Man to Dust” from 2011. A new track, “Savior Nemesis Redeemer” is set to premiere online shortly, with further announcements, release dates, and artwork to follow.

BENEATH OBLIVION announces endorsement with OMEGA speaker enclosures, “Powered by” OMEGA specializes in custom cabinets for bass and guitar. The band will be rolling out custom cabinets made as a collaboration between them and the Omega engineers to bring yet an even bigger, better sonic assault through cabinets made specifically to handle the crushing doom sound by a small Cincy, OH based boutique cabinet company.
www.poweredbyomega.com

for more information on BENEATH OBLIVION please visit:
www.beneathoblivion.info
http://beneathoblivion.bandcamp.com/
www.mylenesheath.com
http://www.facebook.com/BeneathOblivion
https://twitter.com/BeneathOblivion
www.pinterest.com/beneathoblivion
http://www.reverbnation.com/beneathoblivion

Beneath Oblivion, 2014 Tour Teaser

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Fall Tour Pt. 12: Pentagram, Radio Moscow, Bang and Kings Destroy in Cleveland, OH, 10.27.14

Posted in Reviews on October 28th, 2014 by H.P. Taskmaster

kings destroy (Photo by JJ Koczan)

Scholars maintain that if you’re driving through Ohio for two hours, it’ll feel like at least four. I’ve yet to make my way through the Buckeye State that its flat expanse, constant construction and ever-visible police presence haven’t gotten inside my head. When we got to Cleveland and the band had their gear unloaded — because it was House of Blues and apparently that’s how it goes — I made my way down the block to a coffee shop and had a red eye, coffee with espresso shots, and sat for a bit. Made it back in time for Kings Destroy‘s soundcheck (I’m pretty sure that’s the order it happened in, to be honest there’s a bit of fog on the whole night; sober, sober fog) and got to watch that before doors opened.

It was the smaller room at House of Blues, or one of them anyway, but the sound was big and full and the P.A. blared bands that all sounded one way or another like Soundgarden and later Saint Vitus, and with just the four acts on the bill, the show got off to a reasonable start around 8:30 or so. By then people had shown up, but it wasn’t a sell out so there was room even at the most crowded point, probably halfway through Pentagram or thereabouts. Bands were pretty relaxed after the off-day from the tour, so it was a cool vibe both back and on stage.

Kings Destroy

Kings Destroy (Photo by JJ Koczan)

I think the chance to let loose in Lansing did Kings Destroy some good. They were back to the tour setlist, a shorter time on stage, but they got right into it and had solid energy the whole way through. I’ve been fortunate enough to see them be this locked in before, so it’s not necessarily a surprise, but it’s been enjoyable to watch either way, and with the House of Blues being all ages or at least 18-and-up, whatever it was, there were some actual kids there up front who seemed to get into it. By the time they were through “The Whittler,” which was second after the standard opener “Old Yeller,” the room was on their side, and though it was early, there was a healthy amount of noise after each song. “Smokey Robinson,” from the new album, was again a highlight, and I find that much like “Embers” on the last run, that’s the song I tend to gravitate toward every night. I pulled my earplugs part-way out to let a little more volume in, and no regrets. The House of Blues P.A. seemed to be keyed in for maximum low end the whole night, but that suited Kings Destroy well, their leads cutting through the rumble smoothly in the verses of “Blood of Recompense,” a winning finish even with its quiet ending.

Bang

Bang (Photo by JJ Koczan)

“Our Home,” “Idealist, Realist,” “Questions” — Bang have no shortage of liquified grooves. Of the four acts on the tour, they seem most to be enjoying the time on stage, bassist/vocalist Frank Ferrara joking with the crowd about screwing up recordings and so on. Drummer Jake Leger was in his element behind the kit as Ferrara and guitarist Frank Gilcken came to the middle of the stage as they have at all these shows to revel in the fluidity of the material. Once again, the audience knew them. I stood next to the dude from Outlaw Recordings, who had done a vinyl issue of Bang‘s self-titled debut — also put out Victor Griffin‘s Late for an Early Grave 2004 solo offering — and he wasn’t even close to being the only one singing along, up to the point of some dude behind me filling in the line “Yet she never locked her bedroom door” after the stop in “Last Will and Testament.” If Bang have proven to be anything over the course of these shows, it’s been a good time, and House of Blues was no less fun than they’ve been all along, their smooth style and positive vibes winning favor among both those new to them and the already converted.

Radio Moscow

Radio Moscow (Photo by JJ Koczan)

It cost them another kick-drum pedal, or it re-cost them the same one, but Radio Moscow utterly slayed the House of Blues. I don’t know if the sound was just right to pick up the richness of Anthony Meier‘s bass tone or what, the balance of the band is so much geared toward Parker Griggs‘ guitar work and ever-ready shred, but they were full and heavy and as they sprinted through the hairpin turns of “Mistreated Queen,” it was all I could do to keep from getting dizzy. Drummer Paul Marrone put on his usual clinic, and even when the pedal broke, there was no snapping the momentum they had working in their favor. “250 Miles” from 2009’s Brain Cycles has become a personal favorite, the trio lulling the audience into a false sense of security with the soft bluesy beginning only to bust out the rager jam of “Brain Cycles” itself immediately thereafter. They just kill it, every night. It’s what they do. And even in by-now-familiar go-tos like “Death of a Queen,” “Just Don’t Know” and “Broke Down,” they maintain a sense of volatility, of being just about to fly off the rails, without ever actually losing control. They’re easily one of the best live acts I’ve seen this year, and I’ve seen them more than 10 times now thus year, and have yet to come out of one of their sets not feeling like I just had my ass handed to me.

Pentagram

Pentagram (Photo by JJ Koczan)

Every venue, every show, there’s the same voice yelling “Bobby!” in the exact same way. And I’ve looked around, it’s not someone traveling with the bands. Pentagram‘s Bobby Liebling is simply just that charismatic, that attention-drawing, that everywhere they play, people go off at the mere thought of seeing him on stage.Cleveland was no different, and Liebling was in good spirits, smiling at the crowd and cracking with bassist Greg Turley, doing his usual stage moves with/on Victor Griffin and nailing the vocals in “Frustration,” “Forever My Queen” and all the rest. The Animals cover has become a standard inclusion, and if they played “Lay down and Die,” I missed it, but the set was right on anyway, and even with a smaller crowd than some of these shows have had, LieblingGriffinTurley and drummer Sean Saley were clearly fired up as they made their way to and through the encore of “Be Forewarned” and “When the Screams Come,” the “Bobby!” shouts and “Pen-ta-gram” chants continuing even long after the singer had left the stage. Their resurgence along with that of Saint Vitus over the last half-decade only continues to prove the timelessness of doom  and of their contributions to it. Even after all the lineup changes they’ve been through and the years of turbulence, there’s only one Pentagram.

Was accosted by three homeless people outside the House of Blues. One said he had to catch a bus. One just asked for change. One cut to the chase and straight up asked for beer and/or weed. Despite these downtrodden apparitions, who indeed got all my change, load-out was done by the time I got around to asking if load-out was done, and we headed out to the motel with me at the wheel, as seems to have become the standard procedure. Got turned around owing to some highway construction, but sorted it eventually and got to the Red Roof Inn somewhere around 2AM, already looking forward to waking up this morning and being able to shower before heading to Pittsburgh.

More pics after the jump.

Read more »

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Fall Tour Pt. 3: Knock Three Times

Posted in Features on October 23rd, 2014 by H.P. Taskmaster

morning in ohio

10.23.14 — 4:47PM Central Time — Thursday afternoon — Reggie’s upstairs balcony, Chicago, Illinois

“You guys are dorks.” — Jim Pitts, in response to copious whistling of Peter Frampton’s “Show Me the Way”

Rolled into Reggie’s a couple minutes ago, a lot of handshaking, smiles and how-ya-doins. A lot of these guys kept in touch after the spring tour, so there’s already a familiarity to the proceedings, at least between the Pentagram camp and the Kings Destroy guys — Radio Moscow isn’t here yet but I’m sure they’ll be along — though I also met Bang and they seem like friendly cats. There’s a kind of happy-anxiousness in the room, but Reggie’s is a cool space, and there’s a balcony, so I’ve more or less already planted phantasmo nerahere while Pentagram does a soundcheck.

Got into (Walt) Clyde, Ohio, in time last night to watch the end of the second game of the World Series. Guys had beers and whatnot, and as there are some tough drives ahead, it was good to crash out relatively early and get up this morning, hit the road leisurely and finish the drive to Chicago. A couple bathroom breaks, a lot of gags in the van, gas station coffee — and, in Rob’s case, gas station hard-boiled eggs — and we still got into town early. I’ve never actually been in Chicago before, just driven through on the highway, which cuts into the city but above the streets. It’s the kind of place you’d have to spend years in to feel like you’d know it, like any city, but at least I can say I’ve been here at this point and not feel like I’m exaggerating.

Because it’s a band traveling, a trip to Chicago’s famous heavy metal burger joint, Kuma’s Corner, was in order for lunch. I had the Kuma Burger, which I guess is the house standard — essentially a bacon cheeseburger with a fried egg on top — and a salad on the side. There were a bunch of burgers named after bands, which is kind of their thing. Aaron had the High on Fire. Had peppers on it and I don’t know what else. Jim Pitts bought a sweatshirt. The place played Pentagram kuma's cornerand Weedeater over the P.A. after a bunch of grindcore and black metal. Cool vibe with some vinyl on a rack, Chicago represented by Minsk, Indian and so on. I dug it, and if you’re ever going to be in a burger coma, Weedeater’s God Luck and Good Speed isn’t a bad way to go.

It was countered in the van by Tony Orlando and Dawn, Cheap Trick power ballads, Frampton, and “Dream Weaver.” Take that, heavy metal. We found Sean and Greg from Pentagram playing basketball in the alley behind the venue when we pulled in, but they and Victor Griffin have started soundchecking now. Bobby Liebling is around here somewhere, he’s been back and forth. I think everybody’s ready to get the tour started, or maybe that’s just me projecting. Either way, I’m glad to be here.

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Lo-Pan, Colossus: A Sharpened Edge

Posted in Reviews on October 7th, 2014 by H.P. Taskmaster

lo-pan colossus

I’ll make no attempt to hide my appreciation for Ohio’s Lo-Pan, who over the last six years or so have emerged to take a place among the hardest-working American heavy rock bands out there, slogging back and forth across the country to deliver their fuzz one town, one venue at a time, but the fact of the matter is that if they didn’t have the songwriting to match their work ethic, they wouldn’t have come as far as they have. Plenty of bands tour, and even more bands kick ass. Lo-Pan distinguish themselves not only by what they do, but how they’ve done it and what they’ve gained from it. Since their 2007 sophomore outing, Sasquanaut, which was reissued as their first release on Small Stone in 2010 (review here), the four-piece of guitarist Brian Fristoe, vocalist Jeff Martin, bassist Scott Thompson and drummer Jesse Bartz have essentially been grinding themselves down to their essential parts. If one examines the progression from their 2006 self-titled debut through Sasquanaut, the subsequent 2011 full-length Salvador (review here) and their latest, the newly arrived Colossus, the path cut across these records is pretty clear, Lo-Pan moving from a relatively upbeat stoner rock sound to something much more focused, leaner, meaner sounding. Colossus, which at 10 tracks/43 minutes shaves a song and three minutes off Salvador‘s runtime, is their most pointed work yet. Their road time has made them tighter than they’ve ever sounded, and an Andrew Schneider production helps play up a more aggressive feel overall. They are not laying back on Fristoe‘s riffs so much as propelling them forward at the listener, and while pace varies throughout, the overarching whole of Colossus – named in honor of the Colossus of Rhodes, marking a triumph, perhaps simply of the band having come out of the last several years intact — has a breakneck feel and urgency that comes through even more than it did on Salvador, which when this decade is over I’ve no doubt will go down among its best heavy rock albums.

There’s continuity of structure between the two, and Lo-Pan‘s penchant for hooks remains strong, but opener “Regulus” signals the immediacy of Colossus quickly, shifting from the first verse into the chorus all within the first 30 seconds. Like Salvador‘s “El Dorado,” “Regulus” begins an opening salvo of four songs that boasts some of the album’s strongest material, its five minutes gone in breeze and rushing into the tighter, faster “Land of the Blind,” which is marked by a standout performance from Martin in its hook. Lo-Pan‘s singer has never skimped on soul or attitude either on record or from behind the drum kit on stage, but Colossus easily stands as his best recorded output in the band, and the graceful but forceful layering in “Land of the Blind” is among his most effective called-shots here; I’d also add the later call-and-response of “Relo,” “Marathon Man” and the commanding sway of “Eastern Seas” to that list, but it’s true elsewhere as well. Likewise, Bartz, Thompson and Fristoe have stepped up their game, drums picking up the start of “Black Top Revelation” from the end of “Land of the Blind,” a winding riff taking hold as Colossus‘ momentum continues to build. To call the album front-loaded would presume a dip in quality, but no question Lo-Pan bring Colossus up to full speed before throttling back as they did on Salvador‘s “Bird of Prey” with the six-and-a-half-minute “Marathon Man,” which fittingly enough begins with a vehicle — presumably their tour van, but I don’t know that — revving its worn-sounding engine before Fristoe‘s shuffling riff takes hold and the band remind that though the focus has been on push up to now, they still know how to boogie. After four minutes in and satisfying verse/chorus tradeoffs, there’s a turn to a bridge instrumentally that Martin ties to the original chorus well, his layering once again providing a highlight moment with this revamped hook and a play off the initial verse part. Before you can catch up to what just happened with “Marathon Man,” though, Bartz launches “N.P.D.” with another forward surge that slams Colossus‘ first half to a raucous but still controlled finish.

lo-pan (Photo by Meghan Ralston)

If there were any doubts about Lo-Pan‘s confidence or the cohesiveness of their approach, let the knock-you-on-your-ass crispness within the delivery of “N.P.D.” be testimony in their favor. But for the fact that it closes side A, it feels like an afterthought movement following “Marathon Man,” and on most albums it would be an apex. The title-track begins the second half and is a song that Lo-Pan have played live for the last couple years — “Eastern Seas” still to come is another — sounding more reminiscent of the last time out than most of Colossus, though both Thompson‘s place in the mix and the fluidity of Martin‘s integration with the music behind him mark its progress. That’s not to mention Schneider‘s treatment of Bartz‘s snare; as a producer/engineer, the Brooklyn-based Schneider has consistently delivered excellence in drum sounds and Colossus is no exception. Side B feels thicker between “Colossus,” “Vox” and “Eastern Seas,” less of a thrust, but the hooks are still there, and “Vox” delivers in that regard both vocally and in its riff and crash, Martin‘s voice echoing in an open space and Black Black Black‘s Jason Alexander Byers (who also contributed the cover art) coming in for a guest spot later in the track. There’s a ringing sound I can’t quite make out that coincides with the drum roll at the start of “Eastern Seas,” but the song’s prevailing impression is in its more languid rhythm — its first part is the slowest in tempo but still mid-paced by most standards — and bigger groove, Martin still in whatever cave he recorded “Vox.” “Eastern Seas” splits almost evenly in half, everyone else dropping out as Fristoe‘s guitar establishes the riff and then kicking back in soon with a faster pace, vocals layered, Thompson getting a turn to stand alone as they push into a secondary hook and through to repetition of the line “Straight on till morning.” It feels like the end of the album, but isn’t. As “N.P.D.” jumped into action after “Marathon Man,” so does “Relo” punch into gear after “Eastern Seas,” though “Relo” is the more memorable of the two — “N.P.D.” and “Relo” share a 2:28 runtime, if you’d like another reason for the comparison — marked out by Fristoe‘s lead-as-rhythm in the verse and the aforementioned call and response near the end, the uptick in pace effective after “Eastern Seas”‘ slowdown in reinforcing the dynamic within Lo-Pan‘s sound at this point in their tenure.

Another likewise vague sample is inserted at the beginning of closer “The Duke,” which caps Colossus like a victory lap, underscoring much of what has made the album work — the meaner push, Martin‘s accomplished layering, the across-the-board energetic delivery, their attacking the beat — but is distinguished from the rest of the collection by the solo Fristoe takes beginning at 2:37, which comes to the head of the mix almost to the point of abrasiveness and wails over a steady rhythm from Bartz and Thompson, who return about a minute later with Martin to round out with a last hook and crashing end. That solo in particular seems to have been residing in Lo-Pan‘s pocket the whole time; in the context of Colossus as a whole, they seem to have saved it for last. And fair enough — it’s as raging a finish as Colossus in its entirety calls for. Perhaps because so much of the album moves, and moves fast, and shoves the listener along its course, and perhaps because four records deep, Lo-Pan show few signs of stagnating creatively, Colossus feels less like a destination than another point along the way. It’s their tightest, tensest outing, but in scrutinizing it on those terms, one can hear the potential for them to move further on the line of their progression, to continue to dig toward the heart of what it is they’re trying to convey. Still, it’s an album that changes who they are as a band and stands as their most refined, precise collection to date. It captures them at a different moment than did Salvador — one can see that even in the sharpened edges of the logo that appears on the album cover — but showcases a forward step in a pursuit that seems thus far unrelenting. I’ve said before that I consider them one of the finest currently active heavy rock acts in the US, and Colossus only strengthens that opinion.

Lo-Pan, Colossus (2014)

Lo-Pan on Thee Facebooks

Small Stone Records

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Lo-Pan Premiere “Vox” from Colossus

Posted in audiObelisk on September 4th, 2014 by H.P. Taskmaster

lo-pan (Photo by Meghan Ralston)

If you’re looking for Lo-Pan, they’re on tour. That’s where you’ll usually find the Columbus, Ohio, heavy rockers. They’ve spent the better part of the last five years kicking up dirt across this fair land in pursuit of riffy glory, and the time and effort have paid off. Their new album, Colossus — their fourth overall and second for Small Stone Records – finds them a tighter and more efficient-sounding unit than they’ve ever been, and where their last full-length, 2011’s Salvador (review here), was a pinnacle for their songwriting’s blend of fluid groove, soulful vocals and memorable tracks, Colossus reaps the reward of all that touring in pushing Lo-Pan‘s methods even further.

So it’s a meaner, more precise Lo-Pan this time around — the band is still comprised of vocalist Jeff Martin, guitarist Brian Fristoe, bassist Scott Thompson and drummer Jesse Bartz – but they’re also branching out in terms of what their songs do. That will probably make no sense until you listen to “Vox” below. Lo-Pan have done big songs before, but “Vox” gives a spacious feeling in Martin‘s echoing voice that’s genuinely new for them — not to mention a guest spot near the end from Black Black Black‘s Jason Alexander Byers (also ex-Disengage) — and they blend it well with Fristoe‘s smooth-running riffs, Thompson‘s viscous but always moving basslines and the ever-raucous stomp from Bartz. In its hook, and in its subtle — and not so subtle — rhythmic shifts, “Vox” emphasizes a lot of the progression in Lo-Pan‘s approach, and less surprisingly, kicks a good deal of ass along the way.

Please find “Vox” on the player below, prepare yourself to spend the rest of the day listening to it on repeat, and enjoy:

Lo-Pan recorded Colossus with Andrew Schneider at Translator Audio in Brooklyn and will release the album Oct. 7 on Small Stone Records. Cover art is by Jason Alexander Byers. Lo-Pan have been on tour with Black Cobra since Aug. 28. Remaining dates for the run are as follows:

LO-PAN w/ Black Cobra:
9/04/2014 Siberia – New Orleans, LA
9/05/2014 Handlebar – Pensacola, FL
9/06/2014 Orpheum – Tampa, FL
9/07/2014 Gramps – Miami, FL
9/08/2014 Back Booth – Orlando, FL
9/09/2014 529 – Atlanta, GA
9/10/2014 The Mothlight – Asheville, NC
9/11/2014 Chop Shop – Charlotte, NC
9/12/2014 Strange Matter – Richmond, VA
9/13/2014 The Metro – Baltimore, MD
9/14/2014 Dusk – Providence, RI
9/15/2014 Nectars – Burlington, VT
9/16/2014 TT The Bears – Boston, MA
9/17/2014 Kung Fu Necktie – Philadelphia, PA
9/18/2014 Saint Vitus – New York, NY
9/19/2014 Lost Horizon – Syracuse, NY
9/20/2014 Bug Jar – Rochester, NY
9/21/2014 The Outpost – Kent, OH *
9/22/2014 Howlers – Pittsburgh, PA
9/23/2014 Reggie’s – Chicago, IL
9/24/2014 7th St Entry – Minneapolis, MN
9/26/2014 Replay – Lawrence, KS
9/27/2014 Lost Lake Lounge – Denver, CO
9/28/2014 Burt’s Tiki Bar – Salt Lake City, UT
9/29/2014 Dive Bar – Las Vegas, NV
9/30/2014 The Alley – Sparks, NV
10/01/2014 The Garage – Ventura, CA
10/02/2014 New Parish – Oakland, CA
10/04/2014 Downtown Lounge – Tulsa, OK *
*LO-PAN headlining date/No Black Cobra

Lo-Pan on Thee Facebooks

Colossus at Small Stone’s Bandcamp

Small Stone Records

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Valley of the Sun Announce European Tour Dates

Posted in Whathaveyou on September 3rd, 2014 by H.P. Taskmaster

So, get this. In the span of eight days — just over a week’s time — Ohio trio Valley of the Sun will get to play Desertfest Belgium, share the stage with the likes of ConanMonkey3 and Mars Red Sky, and then go play the Keep it Low festival in Munich. I’m sure the rest of the tour — which is their second run in Europe this year, by the way — will be awesome as well, but that’s a hard stretch to beat right there. Think of it in terms of “good weeks you’ve had,” and I think you’ll probably see what I mean.

Cool times for the Cincinnati three-piece after issuing their Fuzzorama Records debut LP, Electric Talons of the Thunderhawk (review here), in Europe at the start of the year and in the US over the summer. After a somewhat lengthy process getting the album into public hands and ears, all the better that they get to enjoy the fruits of their labors (which, incidentally are just more labor, but awesome labor).

Dates as follow:

valley of the sun

VALLEY OF THE SUN TO EUROPE AGAIN!!!

WE promised you an update with tourdates for the hardhitting OHIO trio, here you go! The band promise some new merch so don’t miss the shows ;)

Alright hard rockers, got a list of tour dates and links for you. Some off dates are still in the works so keep checking for updates, but here’s what’s on the books so far:

10.10.14 Antwerp, BE Desert Fest
11.10.14 Oelsnitz, GE Ragga
12.10.14 Berlin, GE Bassy Club with Mars Red Sky
13.10.14 Hamburg, GE Hafenklang with Conan
14.10.14 TBD
15.10.14 Jena, GE Kulturbahnhof with monkey3
16.10.14 Cologne, GE Sonic Ballroom
17.10.14 Frankfurt, GE Sky High Festival
18.10.14 Munich, GE Keep It Low – Festival (afternoon set)
18.10.14 Siegen, GE VORTEX Musikclub (evening set)
19.10.14 TBD
20.10.14 TBD
21.10.14 Pratteln, CH Z7 with Monkey3
22.10.14 Karlsruhe, GE Alte Hackerei with Monkey3
23.10.14 Lucerne, CH The Bruch Brothers
24.10.14 Innsbruck, AUS TBD
25.10.14 Brescia, ITA Latteria
26.10.14 TBD
27.10.14 Strasbourg, FR Mudd MuddClub
28.10.14 TBD
29.10.14 Dresden, GE Ost Pol
30.10.14 Cottbus, GE Blue Moon Festival
31.10.14 TBD
01.11.14 Munster, GE Rare guitar

FUZZORAMA: www.facebook.com/Fuzzorama
FUZZORAMA: twitter.com/FuzzoRecords
VALLEY OF THE SUN: www.facebook.com/valleyofthesun
VALLEY OF THE SUN: twitter.com/centaur_rodeo

Valley of the Sun, “Maya” Live

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Here’s a Bio I Wrote for Lo-Pan’s Colossus

Posted in Whathaveyou on July 28th, 2014 by H.P. Taskmaster

I gotta say, of the several band bios I’ve been fortunate enough to be asked to write over the last couple years — for Neurosis, for Conan, for Wo Fat, etc. — the one below for Lo-Pan‘s upcoming fourth album, Colossus, was among the easiest. It required little flourish, as the band’s accomplishments since the release of 2011’s Salvador (review here) speak for themselves, and the record itself is so direct and driving, that to pepper the piece with a bunch of extra descriptors or grandiose language would immediately be overdoing it. And one doesn’t want to overdo it.

Last Friday evening, Lo-Pan announced they’d be supporting Black Cobra for a month on the road ahead of Colossus‘ Oct. 7 release on Small Stone, and you’ll find those dates under the bio below, which I’ll keep in PR wire blue even though it’s my byline, just for form’s sake:

Lo-Pan, Colossus bio:

Lo-Pan’s fourth album, Colossus, is named for the Colossus of Rhodes – a 96-foot statue constructed in 280 BC to mark a failed siege and the indomitable nature of the city of Rhodes itself. No surprise it’s the Columbus, Ohio, four-piece’s most personal album yet and a testament to their growth and survival, as a band and as human beings.

Three years on from their third record, Salvador, Lo-Pan have logged countless miles, crossing the country multiple times over on headlining tours and supporting the likes of Torche, High on Fire, KENmode, Whores, Fu Manchu and Weedeater. They’ve become one of the most ferocious live acts in American heavy rock, and Colossus stands tall to reap the rewards of their experience.

For the first time in nearly a decade together, Lo-Pan knew exactly what they wanted when they hit the studio. They’d road-tested songs like “Eastern Seas” and “Colossus” for over a year, and partnering with producer/engineer Andrew Schneider at his Translator Audio studio in Brooklyn just days after headlining Small Stone showcases in that city and Boston this March, they belted out songs that show just how much they’ve moved beyond their influences and arrived at their own sound – a style built on aggression without caricature, fuzz without cliché, melody without redundancy and their meanest groove to date.

Completed with a cover courtesy of Jason Alexander Byers (ex-Disengage, Black Black Black), Colossus will be supported by numerous tours including a full US stint this fall alongside fellow road dogs Black Cobra and much more to come. Like its namesake, Colossus was built in defiance of gods and men, and while Lo-Pan’s loudest statement has always been made on stage, the material they craft and the power with which they execute it on this album is bound to stand for years to come.

BLACK COBRA US Tour w/ Lo Pan:
8/28/2014 Club Red – Phoenix, AZ
8/29/2014 Sister – Albuquerque, NM
8/30/2014 Conservatory – Oklahoma City, OK
8/31/2014 Doublewide – Dallas, TX
9/02/2014 Red 7 – Austin, TX
9/03/2014 Fitzgeralds – Houston, TX
9/04/2014 Siberia – New Orleans, LA
9/05/2014 Handlebar – Pensacola, FL
9/06/2014 Orpheum – Tampa, FL
9/07/2014 Gramps – Miami, FL
9/08/2014 Back Booth – Orlando, FL
9/09/2014 529 – Atlanta, GA
9/10/2014 The Mothlight – Asheville, NC
9/11/2014 Chop Shop – Charlotte, NC
9/12/2014 Strange Matter – Richmond, VA
9/13/2014 The Pinch – Washington, DC
9/14/2014 Dusk – Providence, RI
9/15/2014 Nectars – Burlington, VT
9/16/2014 TT The Bears – Boston, MA
9/17/2014 Kung Fu Necktie – Philadelphia, PA
9/18/2014 Saint Vitus – New York, NY
9/19/2014 Lost Horizon – Syracuse, NY
9/20/2014 Bug Jar – Rochester, NY
9/22/2014 Howlers – Pittsburgh, PA
9/23/2014 Reggie’s – Chicago, IL
9/24/2014 7th St Entry – Minneapolis, MN
9/26/2014 Replay – Lawrence, KS
9/27/2014 Lost Lake Lounge – Denver, CO
9/28/2014 Burt’s Tiki Bar – Salt Lake City, UT
9/29/2014 Dive Bar – Las Vegas, NV
10/01/2014 The Garage – Ventura, CA
10/02/2014 New Parish – Oakland, CA

https://www.facebook.com/lopandemic
http://smallstone.com/

Lo-Pan, “Eastern Seas” Live at Ralph’s Diner

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