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Friday Full-Length: Los Natas, München Sessions

Posted in Bootleg Theater on October 6th, 2023 by JJ Koczan

Yeah, I know I closed a week with Los Natas like four months ago. Whatever. I don’t care. I’ll do the whole catalog eventually. Today is München Sessions. If you saw that and were going to call me on repeating myself, from the bottom of my heart, thank you for paying attention.

Moving on.

In 2003, pivotal Buenos Aires-based heavy rockers Los Natas would have been supporting 2002’s Corsario Negro on tour in Europe, as well as the 2003 and 2004 Toba Trance duology of exploratory psych that, well, maybe in another couple months it’ll close out another week because sometimes you go on a kick. Either way, also ripe for revisit.

It’s funny to write about a record in long-ago hindsight that I remember writing about 18 years ago when it came out in 2005. I got the CD of München Sessions from German imprint Elektrohasch Schallplatten. It was a 2CD, with the 12 tracks — the corresponding Oui Oui Records edition from Argentina edits that down to seven, omitting “Trilogia,” “El Cono del Encono” “Nada,” “Corsario Negro Loco” and “Traicion en el Arrocero,” I’m not entirely sure why — arranged in programs à la vinyl sides, and featured cuts from across their then-discography. Here’s the full 12-track version, with the album the song first appeared on in brackets:

Los Natas, München Sessions:
1. Soma [Delmar]
2. 13 [Ciudad de Brahman]
3. El Negro [Delmar]
4. Tormenta Mental [2003 7″]
5. Trilogia [Delmar]
6. El Cono Del Encono [Corsario Negro]
7. Nada [Ciudad de Brahman]
8. Polvareda [Ciudad de Brahman]
9. Corsario Negro Loco [Corsario Negro]
10. Traición En El Arrocero [Toba Trance]
11. Humo de Marihauna [Corsario Negro]
12. Tomaiten (Jamm Aleman)

You’ll note that the last inclusion, the 19-minute “Tomaiten (Jamm Aleman)” — the title translates to ‘Tomatoes (German Jam)” — is the only one that doesn’t actually come from a prior Los Natas release. I don’t know how the trio — guitarist/vocalist Sergio Chotsourian, bassist Gonzalo Villagra, drummer Walter Broide — wound up in the studio with engineer Tim Höfer, but they did, and at the end of the full half-hour-plus set, for that final jam they brought in Colour Haze‘s Stefan Koglek (who also ran and still runs Elektrohasch, if less actively) for a guest spot on guitar and vocals.

So in addition to a live-in-studio LP, München Sessions features a to-date once-in-a-lifetime meeting of two pinnacle heavy rock guitarists of their generation. Chotsourian is widely acknowledged as an essential figurehead in Argentine and greater South American heavy as a whole, and though their styles of play are different between the punk metal and the hippie prog, Koglek is in a similar position, having played a large role in establishing heavy psychedelia as a sound distinct from both the heavy and the psych that comprise it.

Just the idea that these two would ever share air in the same room while holding guitars is exciting, but the 19-minute “Tomaiten (Jamm Aleman)” is a three-tiered adventure in sound that is well placed as the culmination of a righteous showcase. Both are tonally and stylistically present, Chotsourian‘s fuzz sharper at the edges and recognizable from the earlier hooky thrust of “Tormenta Mental” or the psychedelic twist-around of “13” after “Soma” opens, the latter taken from the band’s 1996 debut, Delmar (discussed here), which I’ll gladly argue as one of the best heavy rock albums ever made.

The sweep at the start of “Tomaiten (Jamm Aleman)” makes immersion that much quicker, the two guitars feeling their way through the buildup as Koglek solos and Chotsourian riffs, the latter stepping forward in a stop shortly before three minutes in to establish what will be the signature riff of the piece, echoed later, but changed into something else after 10-plus minutes of exploration as a four-piece unit. Chotsourian and Koglek both sing. There are early verses from the former, or at least lines arranged in rhythm over the off-the-cuff instrumental progression behind, and Koglek and Broide both seem to contribute backing vocals, Koglek circling around a vocal part over a solo before Chotsourian rejoins during a driving, classic Los Natas push.

Shifting through those initial movements, the group arrive at the nine-minute mark and mellow out for a while, Chotsourian still singing a bit, the words in Spanish with a bit of reverb added. There’s a decisive stop in the drums after 10:30 with just guitar and voice, the Koglek rejoins subtly, and that’s a joy in itself, but it’s when Villagra joins that the movement takes shape. The bass comes in not playing the same part but a different interpretation — not quite a new movement, but almost — and that reinvigorates both guitars. Broide comes back in on drums and soon they’re dug into a riff that’s like a paean to stoner rock from players who helped define it, the entire band — yes, a band — comfortable in the swing and stomp of that groove.

Once they lock in again they remain that way for the duration. This was all done in one day; Oct. 13, 2003. That’s 20 years ago next weekend. The Los Natas tracks and the jam that was likely carved out of a longer take but still preserves a special moment in the tenure of Los Natas (and of Colour Haze, for that matter). I would eventually get to see Los Natas on tour in Europe in 2010, at the Roadburn Festival (review here), and the vitality of “Polvareda” and the swagger in “13” on München Sessions effectively translates to a studio setting, the Oui Oui Records edition — I was going to include the second tracklist but it seemed like too much; here’s an image — starting with “Humo de Marihuana” where the Elektrohasch one starts, giving a different character to each version with two highlights of tone.

Of course, Los Natas effectively called it quits in 2013 and in the aftermath Chotsourian has pursued a number of projects, Ararat, Soldati, solo work under the moniker Sergio Ch.Brno, and other outfits and collaborations, in an ongoing exploration of sounds drawing from rock to doom to punk to folk to psych and any and/or all of them mixed together in various conglomerations. They’re not overly likely to reform, and somehow knowing that makes me even gladder they wound up in Munich that day.

As always, I hope you enjoy. Thanks for reading.

I will not lie to you or mince words: that fucking Quarterly Review was hard to get through. Most of that is because of organizational stuff on the back end, the importing and arrangement of outbound links, embedded players, images, and so on. But I would say three of the five days were tougher as well because I had other stuff going on that was not happening in front of my computer, and that was a challenge. The kid had to go to school, the dog had to go to the vet. I had to go to Hungarian class. Did I mention I’m trying to learn to speak Hungarian?

My father’s family emigrated from Hungary. My great grandfather, I think. Came right to Morris County, NJ, where I grew up and currently reside. Because of that generational connection (and if it was further back this wouldn’t be the case), I’m in a position where I can hopefully begin a process of gaining Hungarian citizenship.

Why Hungarian citizenship? Well, Europe’s badass and I’d have a much easier time getting there with an EU passport. We’re also looking at traveling to Hungary next summer for a few weeks’ stay. And basically it’s kind of our we-need-to-flee backup plan for what happens when American democracy falls to fascism — just in case — sometime in the next 10 years. Seems like silly, low-stakes liberal panic until you look at the bills being proposed in state legislatures around the country concerning the rights of trans kids and other gender-queer individuals. No, Hungary is not a beacon of progressive thought, but with American political candidates openly embracing christofascist white supremacist ideologies and paralyzing the government to get their way, I’d rather be safe than shot in the face by my rifle-toting right-winger neighbor for having a trans flag hanging outside the house. These are horrifying times. And Hungarian is hard. Really hard. But it’s also fun using my brain in a way I haven’t in a long time.

So yes, that.

But to go back to the above, yeah, that Quarterly Review. I don’t know what the answer is there. It’s always so difficult to make those happen, and there was so much ELSE this week that I wanted to cover but couldn’t because I’d booked that. I guess I’m pissed at having missed the Mars Red Sky video — it’ll go up Monday, so not a permanent thing — and being late on the Slift news, but the hours I had in the days of this week were spoken for, and once you start one of those things the only way out is through. This afternoon, when I go through and take 50 records off my desktop and put them in the stuff-that-was-covered folder, I’ll be glad to have been productive. Getting to that point, though. God damn.

Next week, then, is some form of return to normalcy. In addition to the Mars Red Sky video, I’ve got a Travo full stream on Monday, a King Potenaz video on Tuesday, a long-overdue Mondo Drag review on Wednesday, a video premiere for All Are to Return on Thursday and an Oslo Tapes video premiere on Friday. Packed. Another week. Lot of writing. Lot of riffs.

But I’ve also got new records from Green Lung and Lamp of the Universe to listen to, and that gul-dern Howling Giant album that I can’t seem to put down for an entire day. So I’ll be fine.

Have a great and safe weekend. Hydrate, watch your head. Gonna rain here, which sucks, but I hope you’re good and that you don’t mind Los Natas showing up again here so soon. They’re one of my favorite bands. Sometimes it’s nice to dig in. Your understanding and patience are appreciated as always. Thanks for reading.

FRM.

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Friday Full-Length: Los Natas, Nuevo Orden de la Libertad

Posted in Bootleg Theater on May 19th, 2023 by JJ Koczan

So perfect and so raw, the fifth and final full-length from Buenos Aires trio Los Natas, Nuevo Orden de la Libertad (review here), was issued in 2009 through the celebration-worthy triumvirate of Nasoni Records in Europe, Small Stone Records in the US and Oui Oui Records in Argentina. Its 10 songs are inherently transitional in nature — even more so in hindsight, but nonetheless are the culmination of a creative growth that began more than a decade earlier on 1996’s Delmar (discussed here), which is one of the best heavy rock records ever made and one of two the three-piece would put out through Man’s Ruin, with the other being their second LP, 1999’s Ciudad de Brahman (discussed here). Then just Natas, the band would jump to Small Stone for 2002’s Corsario Negro, releasing a flurry of short offerings concurrent to their second and third albums, including splits with Dozer and Viaje a 800 and the Livin’ La Weeda Loca and El Gobernador EPs.

The jammier full-lengths Toba Trance I, Toba Trance II (also compiled together on 2CD) and München Sessions followed in 2003, 2004 and 2005, respectively, the latter a recorded exploratory collaboration with Stefan Koglek of Colour Haze. El Hombre Montaña, their fourth album-proper, arrived in 2006 and was the capstone on the most productive era of the band. Guitarist/vocalist Sergio Chotsourian, bassist Gonzalo Villagra and drummer Walter Broide issued a split with Solodolor (which featured Chotsourian and producer Billy Anderson) in 2008, but when Nuevo Orden de la Libertad landed in 2009, it was very much the culmination even then of what Los Natas were going to be. Presented across 10 tracks and 50 minutes, its procession is led by “Las Campanadas,” which on guitar introduces the Western-ish theme that will bookend and flesh out in “Dos Horses” at the finish, Sergio‘s brother Santiago Chotsourian contributing piano, before launching into one of the most righteously gritty A sides an LP could ever hope for. The lead movement in “Las Campanadas” is punkish with Broide‘s snare pops, but the guitar and bass tones around are low and dust-coated, the vocals out front and melodic but able to keep up with the intensity of the thrust. “Las Campanadas,” in addition to its maddeningly cool circular pattern and fuzzed solos, finally opens up its groove at the very end, but the tension holds over into “El Nuevo Orden de la Libertad,” the chorus of which stretches the delivery of the title line as if to teach the audience to sing along regardless of their native language. The words are sharp, precise: “El nuevo, nuevo orden, de la libertad.”

That hook is a big part of the album’s personality, and especially as someone who doesn’t speak the language, its identity as a heavy rock recordlos natas nuevo orden de la libertad that dares to be political when most don’t. The subsequent “Resistiendo Dolor” (‘resisting pain’) is mellower for about 90 seconds and answers that intro at its finish, but hits just as hard as either of the first two cuts in between. The song actually sounds like it’s getting up and running as the distorted guitar enters at 1:33 into its total 5:11, and the confidence behind its turn back toward the subdued part is striking, leading to the end of sustained organ notes. “Hombre de Metal” — their own “Iron Man,” perhaps — follows, presumably having resisted the prior pain in order to declare oneself via that riff. Nestled into a groove on the ride cymbal, Broide answers the bridge of “Las Campanadas,” but he’s no less on the snare or toms throughout, and the whole band sounds dug into the momentum they’ve built to that point, which leads them to “Ganar-Perder,” the side B opener that begins to branch out sound-wise from what the first four songs established. Classic in style, melancholy in mood and desert-hued in tone, it takes its time where most of Nuevo Orden de la Libertad has been a shove to that point, and is given flourish of layered acoustic guitar as it moves into its middle, which will gradually come to prominence as they move toward the evocative instrumental finish.

Like much of Nuevo Orden de la Libertad, the expanded-mindset of the 6:44 longest track “Ganar-Perder” is a hint of things to come from Chotsourian, who before 2009 was done would release the first album from his then-nascent Ararat project, Musica de la Resistencia (review here), building in concept on some of the sociopolitical expression here while pushing further into doom and psychedelia, etc. “Ganar-Perder,” as precursor to that, is entrancing by the time it gives over to “El Pastizal,” which is a five-minute build into a last-minute freedom run — at last seeming to break out of the crunch and not look back. It doesn’t last — it is quite literally the final minute of the track — but the point gets across just the same. The shorter instrumental “David y Goliath” throws the listener into a fuzz blender set to puree, giving hints of the gallop of “Ganar-Perder” or its foreshadow in the ending of “Las Campanadas” but seeming to be consumed by its speedy rhythmic churn, which lets the interlude-ish “Bienvenidos” be the exhale with its stretch of acoustic guitar and some light effects swell. That moment becomes all the more appreciable with the feedback entry of “10,000,” a return to the push of the album’s early going that acts as the crescendo for the release as a whole. Intricate with the various stops in its second half, it resolves of course in a gallop growing faster and coming apart even as it fades. It doesn’t sound like a band hitting it hard for the last time together in the studio.

In the first paragraph, I used the word “transitional” to describe the album’s nature, and “Dos Horses” — the closer in the sense of an epilogue or, in our franchise-centric times, a post-credits scene — revives the intro of “Las Campanadas” with breadth in the acoustic guitar and winding course of piano that accompanies, some backward. There are subtle effects behind the ending lines, but the song just kind of stops, and that’s it. But that it and “Ganar-Perder” would show up on Ararat‘s Musica de la Resistencia, the latter with a dramatic rearrangement, began an interplay between projects for Chotsourian that would continue through his solo work under the banner of Sergio Ch., on subsequent Ararat releases and in the late ’10s trio Soldati, his songs becoming open to multiple interpretations and able to withstand the repeat visits. In being the moment of that change, Nuevo Orden de la Libertad was not the final Los Natas release — they put out Death Sessions (review here) in 2016, capturing a live set in the studio — but it was the final new release, and it remains a beautiful component of the legacy Los Natas left behind in their subsequent dissolution. And Broide, it should be noted, currently features in the instrumental outfit Poseidótica.

For as long as I’m alive, I will be grateful to have seen them at Roadburn 2010 (review here) — much as one could see anything when the room was so dark — and to have gotten to hear some of this material in-person. Among heavy rock acts of their generation, who got their start in the post-grunge, post-Kyuss mid and late 1990s, I will gladly put Los Natas among the best, and even more than their seminal first two LPs, which were more directly communing with (and contributing to) the beginnings of desert rock as a global genre, Nuevo Orden de la Libertad was the claim they laid to an individual sound and point of view, and 14 years it remains an album with a presence of its own; some of the stateliest punk-born heavy rock you’ll ever hear.

As always, I hope you enjoy. Thanks for reading.

I didn’t close out last week, felt kind of guilty about it. The time I would’ve spent finishing that post, I instead took as a chance to pick up something for The Patient Mrs. for Mother’s Day, and that seemed like a warranted use of an hour and a half. If you’re interested, I had a post talking about Entombed on Man’s Ruin. It was the Black Juju EP, which I’ll probably talk about next week if something else doesn’t come along, or at some point in the future either way. Sometimes it’s hard to come up with something. It’s good to know I have two more Los Natas records in my pocket as well. Yes, I do keep track of these things.

This week? It was a week. I feel like a garbage human lately, so whatever. I hope you had a good week. Next week will be another one. Years will pass in this manner as they already have.

Today The Patient Mrs. and I are going to try recording voice tracks for a podcast. We are not often collaborators, but she suggested it and I’ll basically take any opportunity to hang out with her at this point since we so rarely get to do so, so whatever. It’ll have music and probably more talking than the Gimme Metal show did — there’s two of us, after all — but still not a ton I hope. I don’t know. Gonna feel it out and see where it goes, but in the true fashion of keeping up with the times, I figure it’s probably a good moment to embrace a format that arguably peaked a decade ago. As opposed to radio, mind you, which peaked three decades ago. Shrug.

Today is also family class at The Pecan’s tae kwon do school, which we’ll be hitting up after regular school this afternoon. I can’t remember if I talked about this before or not — pretty sure I did — but tae kwon do, the fact that he goes to a place that was branched off the same one I went to — brings up all kinds of emotional baggage for me. I did that from maybe 8 or 9 until I was 14-ish? It’s difficult to explain, but that was a pretty rough time for me, and near the end I had an instructor I didn’t like who hated fat people, and going to The Pecan’s class — let alone taking part, which is what family class is — an emotional trigger for me in ways that I have yet to fully understand, never mind express. But the kid loves it, so there. I just want it to be over so we can go home. Performing parenting is a fucking drag anyway.

I hope you have a great and safe weekend. I’ve got a bunch of stuff lined up for next week, including a premiere from the High Desert Queen and Blue Heron split on Monday, so that’ll be fun. Totimoshi interview as well, speaking of the ’00s. Hydrate, watch your head, all that stuff.

FRM.

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Gabo Ferro & Sergio Ch. Post “Corona de Caranchos” Video

Posted in Bootleg Theater on May 21st, 2018 by JJ Koczan

sergio ch y gabo ferro

In a way, it seems that a collaboration between Sergio Chotsourian and Gabo Ferro was probably bound to happen. Both Buenos Aires-based artists have long-running career trajectories that have brought them to solo singer-songwriterism: Ferro was the founding vocalist of hardcore outfit Porco and went on to release a number of albums on his own, while Chotsourian took an even more path to releasing solo albums as the founding guitarist/vocalist of Los Natas and an ongoing string of other projects and collaborations from Ararat to Soldati and so on. Neither is a stranger to working in collaboration with other artists, and together, as Gabo Ferro y Sergio Ch., they’ll release their debut album, Historias de Pescadores y Ladrones de la Pampa Argentina, next month on Oui Oui Records.

The album’s title translates to “stories of fishermen and thieves of the Argentinian lowlands,” and if you note that there’s an immediate gabo ferro y sergio ch historias de pescadores y ladrones de la pampa argentinaconnection to place in the title, that would hardly seem to be a mistake. To herald the record’s arrival, Ferro and Chotsourian have released a video for “Corona de Caranchos,” and it’s a song steeped in South American folk traditions. Still modern in its structure and sound, it speaks to that specificity of place in its atmosphere and melody, bringing the listener along on a textured journey that is naturalistic in its execution and no less emotionally resonant than it is thoughtfully composed. I’ll cop to not being as familiar with Ferro‘s work as Chotsourian‘s but as “Corona de Caranchos” demonstrates plainly, their two voices and styles work well alongside each other, and the single leaves one curious to find out where else Historias de Pescadores y Ladrones de la Pampa Argentina might take them. Presumably, at some point, near some water.

When we spoke, Chotsourian had the release in two weeks through Oui Oui Records. Sometimes their stuff can be hard to find outside Argentina, but we live in a magical age of technical wonders in which it’s really, really, really easy to spend money, and if you’re reading this, you’re already on the internet, so I’m guessing you can figure it out.

Enjoy the “Corona de Caranchos” video below:

Gabo Ferro & Sergio Ch., “Corona de Caranchos” official video

Directed by Dante Martínez.

From the album: “Historias de Pescadores y Ladrones de la Pampa Argentina.”

Out on OUI OUI RECORDS.

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Sergio Ch. on YouTube

Oui Oui Records website

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Ararat Post “Tres de Mayo” Video

Posted in Bootleg Theater on May 10th, 2016 by JJ Koczan

ararat

“Tres de Mayo” was a bit of an outlier from Ararat‘s 2012 second full-length, II (review here), which was more defined by the elephantine tonality and plod of “Caballos” or “La Ira del Dragon (Uno),” though not at all out of character for the Sergio Chotsourian-led trio overall. The closer on II, “Tres de Mayo” found Sergio collaborating with his brother, Santiago Chotsourian — the two would compose the soundtrack to the film Los Salvajes together, on which “Tres de Mayo” also closes — in an spirit not entirely dissimilar to “Dos Horses” from Ararat‘s 2009 debut, Musica de la Resistencia (review here), that song also built out on a theme established in a track of the same name on the final offering from Sergio‘s prior band, Los Natas, 2009’s Nuevo Orden de la Libertad (review here).

That’s a somewhat complicated line to draw, but the point is that by the time Sergio and Santiago Chotsourian got around to “Tres de Mayo,” they were already well acquainted to the form. The brothers’ collaboration would hit its peak to-date with the Los Salvajes soundtrack, first issued in 2012, but Santiago may have also contributed to Sergio‘s 2015 solo outing, 1974, as well, I’m not entirely sure. In any case, though Ararat released another album in 2014, the stunning Cabalgata Hacia la Luz (review here), the trio, whose live incarnation is completed by guitarist/keyboardist/noisemaker Tito Fargo and drummer Alfredo Felitte, have a new video for “Tres de Mayo” that, if I read the translated info right, also uses footage from Los Salvajes. Perhaps it’s intended to coincide with a CD release for the soundtrack through Sergio Ch.‘s South American Sludge Records imprint, which is reportedly impending, or maybe it was just something put together off the cuff. You won’t find me arguing either way.

Video and the aforementioned translated info follow. Please enjoy:

Ararat, “Tres de Mayo” official video

ARARAT NEW VIDEO “TRES DE MAYO”

Official video from Ararat – “Ararat II” disc and Santiago and Sergio Ch. – “Los Salvajes” soundtrack.

Produced by Sergio Ch. and Patricio Claypole. Video made by Andres Estrada, Alejandro Fadel and with fragments of the film Los Salvajes. Driven Alejandro Fadel.

“Tres de Mayo is a song conceived from the piano and guitar creole for disc Ararat II, recorded and performed by Sergio and Santiago Chotsourian at Death Studios.

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Sergio Ch. Releases 1974 Limited CD

Posted in Whathaveyou on November 4th, 2015 by JJ Koczan

sergio-ch-(Photo-by-Emmanuel-Silva)

Now, Google’s translation matrix may have played hell with some of the copy in the quote below from current Ararat and former Los Natas frontman Sergio Chotsourian — who also has a new band called Soldati that will be worth keeping an eye on — but the point you want to take away from the whole thing is that Sergio Ch.‘s solo album, 1974, has gotten a limited release on CD through his own South American Sludge imprint and Oui Oui Records. The album continues to build on the personal themes that Ararat‘s 2014 outing, Cabalgata Hacia la Luz (review here), put forth, drawing on different interpretations of some of the same material to give a companion feel from one release to the next while still covering raw, untrod ground.

I continue to await the day when Sergio Ch. puts up a webstore with international shipping, but if you can track down the limited CD version in the meantime, it’s worth the effort. Sergio Ch. also has a new video for “Las Piedras” from the album (a different incarnation was on the last Ararat as well), and you can see that under the album info below, which came down the PR wire:

sergio ch 1974

“1974” produced artistically by its author, is a release of Oui Oui Records South American Sludge Records.

A limited edition CD 13 songs that reflect concepts of life, redemption and exchange format transformed into work.

In the words of Sergio Ch:
“1974 is the story of my journey. A meeting with myself, with my ghosts, my demons. So it was lightning in the dark to start riding towards the light”

“In 1974 the concept was that the songs remain the most crude and simple as possible, with fewer elements to define them. No recording quality, but color takes sought. Therefore Creole and acoustic guitars and piano They took great character in the main audio. As the voices, poetry and audio was most important for this record. Almost like a search from the lo-fi. Some of the songs were the first shots of some issues that then They formed part of the album Ararat “Ride into the light”. Others are part of my history, my experiences and radical changes that I made in the last years of my life. The dark and heavy as possible rock is intended, in the manner and form in which the message of the song, either with a note and a word can convey that manifests itself. It does not take a double bass and 10 distortion pedals to make battery. The dark and heavy is the message same, in this case the change, the break and how to get ahead in life no matter what happens.”

https://sasrecords.bandcamp.com/
https://www.facebook.com/SASRECORDSARGENTINA/
https://www.youtube.com/user/Nataspress
http://www.ouioui-records.com/

Sergio Ch., “Las Piedras” official video

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Oui Oui Fest 2015: Ararat, Metamorfica, Acorazado Potemkin and More to Play

Posted in Whathaveyou on September 1st, 2015 by JJ Koczan

oui oui records logo

Argentina’s Oui Oui Records has announced the lineup for the 2015 Oui Oui Fest, which is set for Sept. 19 at the Niceto Club in Buenos Aires. Headlining will be Ararat, and they’re joined on the bill by Acorazado PotemkinFutbolEl PerrodiabloLas Diferencias and Metamorfica for a varied evening of heaviness and rock. Oui Oui has been going for more than a decade now, and they’ll use both stages at the Niceto Club to further celebrate their commitment to Argentinian bands at what will no doubt be a killer time for those who get to check it out.

Before we get to the lineup preliminaries, links and the audio of Metamorfica‘s recently-issued Cisma, which is well worth your ears, I want to say a special thanks to Félix Bunge for taking the time to translate the info for posting here. Very much appreciated.

Here’s that info:

oui oui fest 2015

Oui Oui Fest 2015

Bring together in an evening to the emerging bands more thriving seal will be the Oui Oui Fest 2015, the event will be on Saturday, September 19, and the venue is Niceto Club. (Niceto Vega 5510, Palermo, Buenos Aires, Argentina) The event will be held in the entire complex, i.e. side A and B, using both scenarios in turn giving continuity to the shows.

The event will start at 19:30 hours with Dj Cobra Rod (Poseidotica) and Dj Satanchuk (Oui Oui Records) through music to the beginning of the first band.

The bands that play on the B side will be the EL PERRODIABLO – LAS DIFERENCIAS – METAMORFICA

The bands of Stage A are ARARAT – ACORAZADO POTEMKIN – FUTBOL

There will be Merchandising position where you can get all the catalog of the label. The tickets can be obtained by system Ticketek (http://www.ticketek.com.ar/oui-oui-fest/niceto-club) at the box office of Niceto Club (Niceto Vega 5510, Palermo) or the Office of Oui Oui Records (Soler 6090 (, Palermo)

Listen to all the bands participating at the label’s Bandcamp: http://ouiouirecords.bandcamp.com/

Keep Rocking, Stay Free

https://www.facebook.com/events/1678715169027978/
http://www.ticketek.com.ar/oui-oui-fest/niceto-club
https://www.facebook.com/ouiouirecords
ouioui-records.com

Metamorfica, Cisma (2015)

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Metamórfica’s Cisma Available Now

Posted in Whathaveyou on August 24th, 2015 by JJ Koczan

metamorfica (photo by Carolina Galetto)

Plenty of fuzz and bluesy vibing pervades Cisma, the third album by Argentinian four-piece Metamórfica, but it’s the way a song like opener “Desaparece” — also the longest cut on the record (immediate points) — seems to take off into proggy soloing without losing its tonal warmth or vibrant presence that really puts it over the edge. Cisma seems to have been out at least digitally for a minute, released on Oui Oui Records, but it’s new to me and as I dug it, I thought maybe someone else would too. Hopefully it works out that way.

Info and the full stream from Oui Oui‘s Bandcamp follow, as sent down the PR wire:

metamorfica cisma

METAMORFICA RELEASES THEIR THIRD ALBUM “CISMA”

Their third studio album, “Cisma” was edited by OUI-OUI RECORDS and produced once again by Tito Fargo and Metamórfica. Recorded and mixed by Pájaro Rainoldi at Romaphonic Studios -Buenos Aires, Argentina- and mastered by Tom Baker at Baker Mastering – LA, USA-.

A forceful and intimate album shaped by eight songs where voices jump from sweet to energetic interventions to get their place among abundant instrumental passages. Cisma expounds the musical identity that the band has been exploring and building for 12 years.

Alejandra Mariona and Mariela Talento command voices and two colorful and contrasted electric guitars, shifting between soft, raw and energetic sounds. Both guitars get combined after soaking through their chains of effects and landing in a variety of atmospheres and intensities. The quartet is completed by Javier Prazak on bass and the recent incorporation of Ariel Andrés Solito (Dragonauta) on drums.

Their style is rock where songs can load tints of psychedelic, stoner, space and progressive rock as well.
Their lyrics narrate life experiences with harshness, sensitivity and astonishment. They mostly appeal to metaphors so listeners can make a personal interpretation of what is being narrated.

THE CONCEPT
Metamorphic rocks arise from transformation when subjected to high levels of heat and pressure.

SHORT BIO AND DISCOGRAPHY
– Formed in September 2003 in Buenos Aires city, by Alejandra Mariona y Mariela Talento on voices and guitars.
– In May 2006 they release their first LP “Tiempo de escupir y vomitar”. Recorded, mixed and mastered by Hernán Caratozzolo at Casa Frida Studios.
– In 2009 they meet Tito Fargo (Los Redonditos de Ricota, Ararat and Gran Martell) and together they’ve been working on the albums that follow up to today:
* Carnicera (EP – 2010). Recorded and mixed by Mario Altamirano at Santito Studios and mastered by Andrés Mayo at Mr. Master.
* Sinapteína (LP – 2012). Recorded and mixed by Walter Chacón at Santito Studios, mastered by Tom Baker at Precision Mastering (USA) and edited by Oui Oui Records.
* Cisma (LP – 2015). Recorded and mixed by Gonzalo Pájaro Rainoldi at Romaphonic Studios, mastered by Tom Baker at Baker Mastering (USA) and edited by Oui Oui Records.

http://ouiouirecords.bandcamp.com/album/metamorfica-cisma
https://www.facebook.com/metamorfica.pagina/

Metamorfica, Cisma (2015)

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The Obelisk Presents: The Top 30 of 2014

Posted in Features on December 22nd, 2014 by JJ Koczan

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

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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

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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

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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. Alunah, Awakening the Forest

alunah awakening the forest

Released by Napalm Records. Reviewed Oct. 14.

I initially made this list without Alunah‘s excellent third album and Napalm Records, but when it came down to it, not having the UK four-piece on here haunted me to the point where I had to come back in and swap them out with somebody else. Just couldn’t live with myself for not giving this record its due, which, to be frank, I’m still not since it should be higher on the list than it is. At least it’s here though, so the mistake is somewhat corrected.

 

24. Greenleaf, Trails and Passes

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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

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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

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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

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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

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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

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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.

Sólstafir, Ótta — They were originally on the list proper but had to be moved to make room for Alunah. I didn’t really get to know this record in 2014 anyway.

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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