Pallbearer Announce Tour Dates with Tribulation; New Video Posted

Posted in Whathaveyou on July 11th, 2018 by JJ Koczan

pallbearer

Is it really even necessarily at this point to mention that Pallbearer are among the most important American doom acts of their generation? Isn’t it kind of a given? I don’t know. Whatever. If you don’t know that, it’s probably because your taste dictates otherwise. That is, if you’re reading this, it’s not like you haven’t heard of them. Especially after last year’s Warning-gone-prog LP Heartless (review here), they’re about as close to household names as doom gets without being Black Sabbath.

It’s not a mistake either. They didn’t just happen into success. They’ve broken their collective ass on the road for the last half-decade-plus, and the thread continues this weekend as they begin yet another European tour. Copious festival dates will round out on Aug. 16 in Germany at Summer Breeze — is it the same Summer Breeze you got all those 1996 bootlegs from? I don’t know, go to Radio Shack and spend $100 on like five CD-Rs and I’ll take two hours trying to burn you copies on my 1x CD-RW drive and we’ll find out. After that, they’ll take it to the streets in the western half of the US and also north up into Canada, this time in the company of Tribulation. Much to do.

And as if that didn’t count as busy enough, they’ve got a new video for “Thorns” at the bottom of this post, and keep an eye out. In the band’s quote below, they talk about “revisiting and adding new dimension” to stuff from their whole discography. True enough they’ve undertaken significant growth in their sound, but to me, that sounds like the kind of thing they might want to represent on a live album somewhere down the line. That’s speculation, of course, but you never know.

Unless they say something. Then you know. But they haven’t said anything. So there.

PR wire, take me away:

pallbearer tribulation tour

PALLBEARER ANNOUNCE NORTH AMERICAN TOUR, PREMIERE MUSIC VIDEO FOR ‘THORNS’

See them on the road with Tribulation in September & October

Ascending Arkansas progressive doom quartet Pallbearer will head to European + UK shores next week for a run of shows and festival appearances and today, the band has announced a North American tour with Sweden’s finest metal exports Tribulation this Fall. In anticipation of their forthcoming tour dates, Pallbearer has unleashed a live music video for the track “Thorns”, taken from their recent release, Heartless. The live video was shot during part of the band’s U.S. tour back in February; watch the video for “Thorns” here: https://youtu.be/ooKeykeDsHQ

In regard to the upcoming tours, Pallbearer commented: “After a long period of constant touring behind Heartless, it’s almost time for us to settle in to the cold season and begin crafting our next musical endeavor. But before that, we are heading out once more across North America to bring this chapter to its conclusion. We look forward to stretching out our sets each night on this double bill with Tribulation, revisiting and adding new dimension to material across our entire catalogue.” See all Pallbearer tour dates below.

PALLBEARER, ON TOUR:
July 13 DE Hamburg – Molotow Club
July 14 BE Dour – Dour Festival
July 15 NL Nijmegen – Valkhof Festival
July 16 UK London – Islington Assembly Hall
July 17 UK Glasgow – Stereo
July 18 UK Leeds – Brudenell Social Club
July 19 UK Bristol – The Fleece
July 21 DE Crispendorf – Chaos Descends Festival
July 23 IT Milan – Circolo Magnolia
July 24 SL Tolmin – Metaldays festival
August 3 DK Copenhagen – Vega
August 4 DE Beelen – Krach am Bach Festival
August 5 DE Cottbus – Zum Faulen August
August 7 HR Primosten – SuperUho Festival
August 8 HU Budapest – A38
August 9 CZ Josefov – Brutal Assault Festival
August 10 DE Bad Kotzting – Void Fest
August 12 UK Derbyshire – Bloodstock Festival
August 14 DE Wiesbaden – Schlachthof
August 15 CH Winterthur – Gaswerk
August 16 DE Dinkelsbuhl – Summer Breeze Festival

September 15 – Toronto ON – Lee’s Palace *
September 16 – Detroit MI – Magic Stick *
September 18 – Chicago IL – Bottom Lounge *
September 19 – Minneapolis MN – Turf Club *
September 21 – Denver CO – Bluebird *
September 22 – Salt Lake City UT – Metro *
September 24 – Calgary AB – Dickens *
September 25 – Edmonton AB – Starlite *
September 27 – Vancouver BC – Rickshaw *
September 28 – Seattle WA – El Corazon *
September 29 – Portland OR – Hawthorne *
October 1 – San Francisco CA – Slim’s *
October 3 – Phoenix AZ – Rebel Lounge *
October 5 – Austin TX – Barracuda *
October 6 – Dallas TX – Trees *
October 7 – Houston TX – White Oak *
* w/ Tribulation

Buy tickets: http://pallbearerdoom.com/tour

Pallbearer are:
Brett Campbell | lead vocals, electric & acoustic guitars, synthesizers
Devin Holt | electric & acoustic guitars, vocals
Joseph D. Rowland | electric bass, vocals, synthesizers
Mark Lierly | percussion

https://www.facebook.com/pallbearerdoom
https://twitter.com/pallbearerdoom
https://instagram.com/pallbearerdoom/
https://www.profoundlorerecords.com/
https://profoundlorerecords.com/
https://profoundlorerecords.bandcamp.com/

Pallbearer, “Thorns” official video

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Pallbearer Tour Starts Tonight; “Dropout” Documentary Posted

Posted in Whathaveyou on May 2nd, 2018 by JJ Koczan

Arkansas doomers Pallbearer head out on a month-long tour tonight in the company of classic death metallers Obituary, darkthrashers Skeletonwitch and Dust Bolt. They’ve got dates booked as well for July and August — yes, they’ll be at Psycho Las Vegas — as they continue to support last year’s Heartless (review here) full-length, and a new single issued through the Adult Swim Singles Program called “Dropout” that pushes them into some new and surprisingly psychedelic sonic territory.

Not that Pallbearer‘s tones haven’t always been spacious, just that they’ve never been used in quite this way. Could be a one-off or could be portentous of future stylistic evolution, but the song is cool either way and the band have a short documentary up about its making that you can see below. No reason not to get on that.

From the PR wire:

pallbearer (Photo by Diana Lee Zadlo)

Ruminant progressive doom quartet Pallbearer recently premiered a new track entitled ‘Dropout’ as the 53rd installment of the Adult Swim Singles Program. The song, which is available digitally, represents a subtle expansion of the singular doom-prog metal sound the quartet is known for.

To coincide with this release, the band have also made an accompanying mini documentary which gives a behind the scenes look at the recording of ‘Dropout’ – recorded at Fellowship Hall Sound in Little Rock, Arkansas.

Pallbearer comments on the single: “We have almost always written music intended to exist as part of an album, with common musical and lyrical threads that tie many elements together into one release. Being freed from those confines in recording this song allowed us to explore themes and immediacy that might not have been uncovered in our more typical “large format” composition process.”

Pallbearer are undoubtedly road warriors, and they will continue to uphold that titled with their forthcoming North American tour dates. Along with a freshly announced batch of headlining gigs, the group is gearing up to support Obituary on an expansive U.S. tour in the coming month.

PALLBEARER, ON TOUR:
May 2 Atlanta, GA @ Masquerade *
May 3 Greensboro, NC @ The Blind Tiger *
May 4 Philadelphia, PA @ Theatre of Living Arts *
May 5 New York, NY @ Gramercy Theatre *
May 6 Boston, MA @ Sinclair *
May 8 Toronto, ON @ Opera House *
May 9 Montreal, QB @ Club Soda *
May 10 Rochester, NY @ Main Street Armory *
May 11 Cleveland, OH @ Agora Ballroom *
May 12 Detroit, MI @ Majestic *
May 13 Chicago, IL @ Metro *
May 15 Des Moines, IA @ Wooly’s *
May 16 Omaha, NE @ Waiting Room *
May 18 Denver, CO @ Gothic Theatre *
May 19 Salt Lake City, UT @ Metro Music Hall *
May 21 Portland, OR @ Hawthorne Theatre *
May 22 Seattle, WA @ El Corazon *
May 23 Vancouver, BC @ Rickshaw Theatre *
May 25 San Francisco, CA @ DNA Lounge *
May 26 Pomona, CA @ Glasshouse *
May 27 Phoenix, AZ @ Club Red *
May 29 Austin, TX @ Barracuda *
May 30 Dallas, TX @ Gas Monkey Bar & Grill *
May 31 Houston, TX @ Scout Bar *
Jun 1 Pensacola, FL @ Vinyl Music Hall *
Jun 2 Orlando, FL @ The Haven Lounge *
Jun 3 Miami, FL @ The Ground *
Jun 17 Little Rock, AR @ Mutants of the Monster Festival
June 22 Tulsa, OK @ Guthrie Green
July 26 Hamden, CT @ The Space
July 27 Syracuse, NY @ Lost Horizon
July 28 Montreal, QC @ Heavy Montreal
July 29 Bangor, ME @ Impact Festival
July 30 Brooklyn, NY @ Saint Vitus +
July 31 Amityville, NY @ Amityville Music Hall
Aug 18 Las Vegas, NV @ Psycho Las Vegas
Oct 13 San Bernardino, CA @ Glen Helen Amphitheater ^

* w/ Obituary, Skeletonwitch, Dust Bolt
^ w/ System Of A Down, Incubus
+ Kerrang! presents

PALLBEARER is:
Brett Campbell | lead vocals, electric & acoustic guitars, synthesizers
Devin Holt | electric & acoustic guitars, vocals
Joseph D. Rowland | electric bass, vocals, synthesizers
Mark Lierly | percussion

Pallbearer, “Dropout”

Pallbearer, The Making of “Dropout”

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Psycho Las Vegas 2018 Reveals Lineup; Dimmu Borgir, Hellacopters, Godflesh, Witchcraft and More to Play

Posted in Whathaveyou on February 23rd, 2018 by JJ Koczan

Psycho Las Vegas 2018 logo

It’s only taken a few years for Psycho Las Vegas to establish itself as the premier underground festival in the US. All well and good. With 2018’s lineup, though, it’s time to start thinking of Psycho among the best in the world.

Sounds like too much? Consider Godflesh and Dimmu Borgir sharing a stage, both for exclusive West Coast appearances. Think of Sweden’s Witchcraft playing one of the two shows they’ll do in the US at Psycho, and ditto that for Japanese riff-madmen Church of Misery. Think of US exclusives from Lee Dorrian’s With the Dead, or Lucifer, whose Johanna Sadonis will also DJ the Center Bar. The commitment to up and coming underground acts local, domestic and foreign like Temple of Void, King Buffalo, Dreadnought, The Munsens and DVNE. Picture yourself watching Wolves in the Throne Room headline a pre-fest pool party with Elder, Young and in the Way, Dengue Fever, Fireball Ministry and Toke.

2018 is the year Psycho Las Vegas outclasses even itself and pushes further than it ever has in terms of stylistic reach (Integrity walks by and waves… at Boris) and the sheer power of its construction. If you’re looking for the future, you’ll find it in scumbag paradise.

Here’s the lineup:

Psycho Las Vegas 2018 poster

Psycho Las Vegas 2018

Hard Rock Hotel and Casino Las Vegas
4455 Paradise Rd, Las Vegas, Nevada 89169

Tickets: https://www.vivapsycho.com/pages/tickets

PSYCHO LAS VEGAS 2018 lineup:
DIMMU BORGIR (west of chicago exclusive)
HELLACOPTERS (one of two shows to be played in the USA in 2018)
SUNN 0)))
GODFLESH (west of chicago exclusive)
WITCHCRAFT (one of two shows to be played in the USA in 2018)
ENSLAVED
AMERICAN NIGHTMARE
HIGH ON FIRE
ROCKET FROM THE CRYPT
RED FANG
ZAKK SABBATH
CHURCH OF MISERY (usa exclusive 2018 with exception to one other show in San Diego)
TINARIWEN
GOBLIN
CKY
VENOM INC
EYEHATEGOD
VOIVOD
BORIS
COVEN
INTEGRITY
PALLBEARER
WITH THE DEAD (USA exclusive 2018)
MONOLORD
LUCIFER (USA exclusive 2018)
ACID WITCH
SURVIVE
DOPETHRONE
BIG BUSINESS
UNEARTHLY TRANCE
MUTOID MAN
TODAY IS THE DAY
HELMS ALEE
SPIRIT ADRIFT
BATUSHKA
PRIMITIVE MAN
DVNE
ALL PIGS MUST DIE
EIGHT BELLS
WORMWITCH
INDIAN
NECROT
HOMEWRECKER
BRAIN TENTACLES
CLOAK
BLACK MARE
MAGIC SWORD
UADA
TEMPLE OF VOID
DREADNOUGHT
WOLVHAMMER
ASEETHE
DISASTROID
FORMING THE VOID
VENOMOUS MAXIMUS
GHASTLY SOUND
HOWLING GIANT
KING BUFFALO
NIGHT HORSE
THE MUNSENS
GLAARE

Paradise Pool Pre Party
August 16th

WOLVES IN THE THRONE ROOM
ELDER
YOUNG AND IN THE WAY
DENGUE FEVER
FIREBALL MINISTRY
TOKE

Center Bar DJ’s
Andrew W.K.
Nicke Andersson (Entombed/Hellacopters)
Johanna Sadonis (Lucifer)

https://www.facebook.com/psychoLasVegas/
https://www.facebook.com/events/125340824913552/
http://vivapsycho.com

High on Fire, Live at Psycho Las Vegas 2016

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The Top 20 of 2017 Year-End Poll — RESULTS!

Posted in Features on January 1st, 2018 by JJ Koczan

top-20-of-2017-year-end-poll-results

Happy New Year 2018! If you’re reading this, welcome to the future. Enjoy your flying car, free healthcare, universal income, matter replicators and life on that moon colony you moved to a couple years back — New Berlin, wasn’t it? Well, either way, I’m sure it’s lovely this season.

Way back in the Dark Ages, on Dec. 1, 2017, I put up The Obelisk’s annual Year-End Poll, looking for submissions from as many people as possible with their picks for what were the year’s best albums. The response was once again staggering. Over 400 lists came in — including my own, which I submitted yesterday — for a final tally of 419, and the amount of consensus that emerged from them was no less impressive.

We’ll get there in a second. First, a reminder about the point system. As ever, a 1-4 ranking is worth five points, 5-8 worth four, 9-12 worth three, 13-16 worth two and 17-20 worth one. So it doesn’t only matter that you included a record on your list — the raw votes are also tallied — but where it was included. That only seems fair in acknowledging how passionate people were about a given release.

You know the drill by now I’m sure, but it pays to be thorough. Below you’ll find both the weighted point tally and the raw votes results, followed by some quick honorable mentions, comment, etc. After the jump, you’ll find the complete list of everyone who submitted. If you’d like to check my math on anything, feel free. I’m by no means perfect when it comes to statistics or counting or any of that stuff involving those things that aren’t letters. Whatever they’re called.

Thanks to everyone who took part this year. Here are the lists:

Top 20 of 2017 — Weighted Results

elder reflections of a floating world adrian dexter

1. Elder, Reflections of a Floating World (888 points)
2. Monolord, Rust (397)
3. All Them Witches, Sleeping Through the War (346)
4. Pallbearer, Heartless (327)
5. Colour Haze, In Her Garden (284)
6. Mastodon, Emperor of Sand (256)
7. Bell Witch, Mirror Reaper (250)
8. The Obsessed, Sacred (248)
9. Sasquatch, Maneuvers (242)
10. Electric Wizard, Wizard Bloody Wizard (237)
11. Kadavar, Rough Times (236)
12. Samsara Blues Experiment, One with the Universe (225)
13. Ufomammut, 8 (205)
14. DVNE, Asheran (198)
15. Ruby the Hatchet, Planetary Space Child (189)
16. Woodhawk, Beyond the Sun (163)
17. Spaceslug, Time Travel Dilemma (158)
18. Causa Sui, Vibraciones Doradas (155)
19. Telekinetic Yeti, Abominable (150)
20. Motorpsycho, The Tower (149)

Honorable Mention:
Youngblood Supercult, The Great American Death Rattle (144)
Radio Moscow, New Beginnings (134)
Dopelord, Children of the Haze (132)
Chelsea Wolfe, Hiss Spun (129)
Mutoid Man, War Moans (123)

No real surprise here, but with the fact that Elder’s Reflections of a Floating World topped 880 points and got more than twice as much as the next closest record, it’s hard to begrudge 2017 some measure of predictability. For what it’s worth, that’s an even stronger showing than their Lore LP got in 2015, and they took the lead on day one and did not relinquish it for the duration. Outside of them and Monolord, who held command of the number two spot for the entire month, there was some measure of parity, but it was clear where hearts and minds were situated in 2017, and certainly difficult to argue with the picks on the whole, regardless of where a given individual ranked one album or the other. Looking at that list of 20-plus, especially with the honorable mentions, I’d sign up for that year every time. It was a good one. Now then…

Top 20 of 2017 — Raw Votes

elder reflections of a floating world adrian dexter

1. Elder, Reflections of a Floating World (207 votes)
2. Monolord, Rust (110)
3. Pallbearer, Heartless (94)
4. All Them Witches, Sleeping Through the War (88)
5. Kadavar, Rough Times (77)
6. Electric Wizard, Wizard Bloody Wizard (75)
7. Colour Haze, In Her Garden (74)
8. Mastodon, Emperor of Sand (72)
9. The Obsessed, Sacred (71)
10 Sasquatch, Maneuvers (70)
11. Ufomammut, 8 (67)
12. Bell Witch, Mirror Reaper (64)
13. Ruby the Hatchet, Planetary Space Child (60)
14. Samsara Blues Experiment, One with the Universe (59)
15. Woodhawk, Beyond the Sun (54)
16. DVNE, Asheran (53)
17. Telekinetic Yeti, Abominable (48)
18. Causa Sui, Vibraciones Doradas (47)
19. Radio Moscow, New Beginnings (45)
19. Spaceslug, Time Travel Dilemma (45)
20. Dopelord, Children of the Haze (43)
20. Mothership, High Strangeness (43)

Honorable Mention:
Youngblood Supercult, The Great American Death Rattle (40)
Chelsea Wolfe, Hiss Spun (37)
The Atomic Bitchwax, Force Field (34)
Beastmaker, Inside the Skull (34)
Motorpsycho, The Tower (33)
Mutoid Man, War Moans (32)

Even less surprising given the above. 207 people of the 419 who submitted lists included Elder somewhere on theirs. It’s pretty hard to get about 50 percent of anyone to agree on anything these days, so I consider that no minor feat. Again, Reflections of a Floating World earned its place, and it was a pretty astounding achievement for the band and the genre they’re working to remake in their own image. A couple minor shifts between the raw tallies and the weighted results as there always are, but again, the underlying point here is that 2017 was a pretty killer year all the way around and across a deep variety of styles, the quality of work being put forth by veterans and newcomers alike was nothing short of excellent.

Before I turn you over to the massive swath of everybody’s lists, I just want to say thanks again to Slevin for being so instrumental in setting up the technical end of this poll. It’s amazing year after year to be able to basically at this point flip a switch and have it all set to go and there’s no way that would happen without Slevin working so hard behind the scenes to put the structure in place that holds this project, the entire site, together. Thanks dude.

And thank you for reading and contributing your favorites of 2017! This is the last of the 2017 Year-End coverage for The Obelisk. If you missed any of it, go here:

The Top 30 Albums of 2017

The Top 20 Short Releases of 2017

The Top 20 Debut Albums of 2017

2017 Song of the Year

12 of 2017’s Best Album Covers

One more time, thank you for reading. After the jump, please find the raw lists of everyone who took the time to turn one in. Enjoy:

Read more »

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The Obelisk Presents: THE TOP 30 ALBUMS OF 2017

Posted in Features on December 28th, 2017 by JJ Koczan

top-30-of-2017

Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2017 to that, please do.

We’re almost at the finish line for 2017, and if I’m honest, it’s not a minute too soon. I think if one more record comes out this year my head is going to explode.

A perpetual onslaught of cool music is, of course, nothing to complain about. It just seemed like every time I thought I had a handle on where the year was going, some other announcement came through and knocked me on my ass. What’s that? The Obsessed are putting out their first album in more than two decades? Oh and Monolord have a new one coming? Radio Moscow just signed to Century Media? Arc of Ascent are back? Samsara Blues Experiment are back? Causa Sui are putting out a live album and a studio album? Sasquatch are going to Europe and sneaking a record along with them? All of a sudden I’m out of breath feeling like I just ran a lap.

It’s been madness this year. Between an emergent neo-psych movement in the wake of King Gizzard and the Lizard Wizard and others, and the ongoing and constant reshaping of doom and heavy rock from practitioners new and old, I don’t know how anyone could ever claim to keep up with any of it.

You know I do the best I can, so when you look through this list, please keep in mind that these are my picks and the result of applying my own standard, which if you’ve ever seen a list on this site before you probably already know is a combination of things like what I view as being important on a critical level and things like what kept me coming back as a listener. What were the year’s biggest releases and what couldn’t I get enough of? Sometimes those two things come together around one record and it’s beautiful. That’s usually your album of the year, or close to, anyhow.

No sense in delaying further. I hope if you haven’t heard some of this stuff you’ll give it a shot, and if you have something you felt strongly about it, you’ll let me know in the comments. Thanks in advance for keeping it civil, and of course for reading.

Here goes:

30. Geezer, Psychoriffadelia
geezer psychoriffadelia

Released by Kozmik Artifactz and STB Records. Reviewed May 16.

Coming off of what was their strongest album to-date in their 2016 self-titled (review here), New York heavy psych blues trio Geezer decided it was time to take the groove for a walk. And so they did. Psychoriffadelia is the result — a looser collection of jams and willfully unrefined heavy blues, reveling in the politically incorrect on “Dirty Penny” only after basking in the post-Monster Magnet hypnosis of “Red Hook” and the earlier roll of the more straightforward “Hair of the Dog” and “Stressknots.” Everything Geezer has done to this point has pushed their sound to new places. Psychoriffadelia is no exception.

29. Orango, The Mules of Nana

orango the mules of nana

Released by Stickman Records. Reviewed March 27.

More than a touch of twang on opener “Heartland” sets a tone of Americana-infusion for Orango‘s sixth LP, The Mules of Nana, but the 10-tracker is ultimately much more about harmony-laced classic heavy smoothness than playing to prairie-minded sensibilities, though roots spread wide through a natural, dirty blues just the same. However they get there, “Hazy Chain of Mountains,” the softshoe-ready funk of “Head on Down” and the peacefully progressive finish of “Ghost Rider” bring ’70s-style thrills in songwriting and their precise, gorgeous execution. Underrated record from an underappreciated band.

28. Radio Moscow, New Beginnings

radio moscow new beginnings

Released by Century Media. Reviewed Oct. 6.

Cali boogie kingpins and all-around marvelous frenetic bastards Radio Moscow were in top form on their Century Media debut, and if it was a new beginning they were searching for, they met it head on with a sound as classic and organic as ever. Arguably the most powerful power trio in their game, they tore through cuts like “No One Knows Where They’ve Been” and “Deceiver” while offering flourish in the trip-out “Woodrose Morning” and subdued blues-psych on the penultimate “Pick up the Pieces.” Very much to form, but cast of a form that still manages to outclass all challengers.

27. Spaceslug, Time Travel Dilemma

spaceslug time travel dilemma

Released by Southcave Records, BSFD Records and Oak Island Records. Reviewed Feb. 10.

And so here we have the first of what will no doubt be several records about which I’m going to say they should be higher on the list. Poland’s Spaceslug have emerged from the moist ground created by their own tonality and on their sophomore full-length, they proffered warm depth of fuzz and a corresponding melodic and psychedelic reach that was resonant even before they brought in ex-Sungrazer bassist Sander Haagmans for a guest spot on the title-track. It’s been out for 10 months and still delivers every time I put it on, which is often.

26. Mothership, High Strangeness

mothership high strangeness
Released by Ripple Music and Heavy Psych Sounds. Reviewed March 7.

Three albums into a tenure marked by hard-driving riffs, scorching solos and relentless road work, there’s little Texas trio Mothership need to do at this point to prove themselves to their audience. At the same time, High Strangeness brought considerable expansion to their range overall, whether it was the exploratory “Eternal Trip” or the semi-metallic insistence behind “Midnight Express,” while staying tied together with lyrical and instrumental hooks. High Strangeness set a new standard for Mothership, plain and simple, and easily surpassed the considerable accomplishments of their 2012 self-titled debut (review here) and 2014’s Mothership II (review here).

25. Eternal Black, Bleed the Days

eternal black bleed the days

Released by Obsidian Sky Records. Reviewed Aug. 1.

There was a lot about Eternal Black‘s Bleed the Days that chugged its way into the post-Wino oeuvre of US-style trad doom, but the gruff, lumbering and impeccably riffed outing was nonetheless one of 2017’s best debut full-lengths, and it was the songwriting that got it there. Already sounding sure in the vibe captured, cuts like the plodding brooder “Sea of Graves” and “Stained Eyes on a Setting Sun” showed potential in mood and atmosphere as much as sheer sonic heft — though of course there was plenty of that to go around as well. Doomers missed it at their peril.

24. Kadavar, Rough Times

kadavar rough times

Released by Nuclear Blast. Reviewed Sept. 6.

It kind of feels like a slight to have Berlin trio Kadavar appear anywhere outside of at least a top 10 on any kind of list whatsoever, ever, but that’s not my intention at all. Rather, their fourth album and third for Nuclear Blast found them at an important stage in their progression — past the novelty of the vintage feel in their early work, after having proven their songwriting could translate to a modern context, and embarking on a process of expanding their sound. Rough Times, which was as current as current could be, met that goal and beat it easily with a barrage of memorable choruses and a dark streak one could only consider suitable for our age.

23. Shroud Eater, Strike the Sun

shroud eater strike the sun

Released by STB Records. Reviewed June 28.

The biggest surprise about Shroud Eater‘s long-awaited sophomore long-player was also its most encouraging aspect — namely how it found the Miami trio bringing together various impulses shown on a number of shorter releases over the course of the six years since their debut, ThunderNoise (review here), came out in 2011, and still managed to utterly crush when it so chose. With a swath from sludge to drone and back again, this was no minor feat, and that the songs they brought to bear were so memorable at their heart as well makes me hope all the more it’s not 2023 before their third album arrives.

22. Enslaved, E

enslaved e

Released by Nuclear Blast. Reviewed Oct. 4.

What’s left to say about Norwegian progressive black metal innovators Enslaved 14 records into their career? Plenty as it turns out. The introduction of new keyboardist/vocalist Håkon Vinje in place of Herbrand Larsen brought a new twist on a signature element of Enslaved‘s approach. Vinje utterly owned his role, and his performance alongside guitarist Ivar Bjørnson, bassist/vocalist Grutle Kjellson, guitarist Arve “Ice Dale” Isdal and drummer Cato Bekkevold resulted in a fresh urgency that made the band’s sound even more potent and set their ongoing creative evolution on a new branch of its self-directed path.

21. Arc of Ascent, Realms of the Metaphysical

arc-of-ascent-realms-of-the-metaphysical

Released by Astral Projection and Clostridium Records. Reviewed April 6.

Some five years on from 2012’s The Higher Key (review here) and seven out from their debut, Circle of the Sun (review here), and with bassist/vocalist Craig Williamson firmly entrenched in his always excellent Lamp of the Universe psych-drone-folk solo-project, I wasn’t sure there would be another offering from New Zealand heavy psych-rock trio Arc of Ascent, but Realms of the Metaphysical took shape from an ether of riffs and echoes atop resilient underlying structures and revitalized the group with new drummer Mark McGeady in the lineup with Williamson and guitarist Matt Cole-Baker. Remains to be seen if this marks a priority shift for Williamson or it’s a one-off, but its arrival was welcome either way.

20. Causa Sui, Vibraciones Doradas

causa sui vibraciones doradas

Released by El Paraiso Records. Reviewed Oct. 20.

With the various glories already offered in 2017 on the Live in Copenhagen (review here) 3LP, one didn’t necessarily expect a new studio outing from Danish instrumental psych masters Causa Sui, but Vibraciones Doradas found them as vibrant as ever, bringing forth a surprising amount of tonal weight on songs like “El Fuego,” warm fuzz for the basking on opener “The Drop” and spaciousness on the closing title-track. Somewhat more straight-ahead in its rocking groove than 2016’s Return to Sky (review here), the five-track/38-minute long-player showed yet again why Causa Sui are always welcome and that any news of a new release from them, live, studio, whatever, is good news. This was the kind of record that could make your day if you let it.

19. Telekinetic Yeti, Abominable

telekinetic yeti abominable

Released by Sump Pump Records. Reviewed April 10.

The Iowa-based duo of guitarist/vocalist Alex Baumann and drummer Anthony Dreyer, operating as Telekinetic Yeti, released what I considered to be the debut of the year, both for the fullness of its tonality and the accomplishment in songcraft it already showed. Powered by cuts like its lumbering title-track and the gloriously fuzzed runner “Stoned and Feathered,” it could’ve been another band’s second or third record for the level of cohesion on display and the obvious awareness on the part of the band of what they wanted to do with their sound and the just-as-obvious result of their bringing it to life.

18. Cloud Catcher, Trails of Kozmic Dust

cloud catcher trails of kozmic dust

Released by Totem Cat Records. Reviewed Dec. 9, 2016.

While I admit I’m still not 100 percent certain on whether to spell “kozmic” in the title with a ‘k’ or with a ‘c’ on the end, that question did nothing ultimately to diminish enjoyment of Denver emergents Cloud Catcher‘s sophomore outing. Topped off by one of the best album covers of the year, the follow-up to their 2015 debut, Enlightened Beyond Existence (discussed here), took the progressive casting of that record to a place entirely more raw and rock-driven, willfully roughing up the edges even as it showed marked creative growth on a relatively quick turnaround. The must-hear bass tone of “Beyond the Electric Sun” and “Super Acid Magick” was icing on a cake of choice riffing and Hendrixian lead swirl, and the shuffle they elicited was enough to make even the most stubborn of asses (i.e. mine) think about moving.

17. Ruby the Hatchet, Planetary Space Child

ruby the hatchet planetary space child

Released by Tee Pee Records. Reviewed Aug. 29.

After the neo-garage manifestations of their 2015 sophomore outing, Valley of the Snake (review here), it was clear Philly psych rockers Ruby the Hatchet were a force when it came to songwriting. What was less obvious was what they’d do with that going forward. On Planetary Space Child, at least, the answer is they’ll take it to Freaktown. The melody-happy, organ-laced swirlmasters conjured presence kosmiche enough to justify the album’s title, and around the cast-in-moon-rock structures of the swinging “Pagan Ritual” and the playfully doomed “Symphony of the Night,” Ruby the Hatchet built a multifaceted weirdoist triumph the likes of which simply doesn’t come along every year, establishing themselves as more reliable and less predictable than ever: an absolute win.

16. Alunah, Solennial

alunah solennial

Released by Svart Records. Reviewed March 1.

It’s been the case more or less all along with UK forest rockers Alunah that their nature-minded material and heavy rolling grooves have had their haunting aspects, but with the production of Conan‘s Chris Fielding behind it, Solennial — their fourth LP and first on Svart — brought this to new levels entirely. The songs, memorable like footprints in the woods, are somewhat bittersweet in context now, since founding guitarist/vocalist Sophie Day announced in September she was leaving the band, but as the group will move forward led by guitarist Dave Day and recently acquired new singer Siân Greenaway, intrigue remains high at what the future might bring and the impact of Solennial is undiminished.

15. Mindkult, Lucifer’s Dream

mindkult-lucifers-dream

Released by Transcending Obscurity Records and Caligari Records.

Virginia-based doomgazing garage cult solo-project Mindkult has thus far managed to keep some of the mystique around its sole inhabitant, Fowst, which is admirable in a way. As the multi-instrmentalist, vocalist and producer this year answered the promise of last year’s Witch’s Oath (review here) debut, he did so around a swath of purposeful miseries, loose devil worship and other dark thematics, casting an atmospheric darkness matched head-on by the tonal murk of his riffs. Through this, however, the songwriting was no less memorable than on the first offering, and as the project moves forward, one can only hope that Fowst will continue to use that as the core aspect buried six feet under his other, formidable stylistic achievements. That certainly was how it worked out on Lucifer’s Dream.

14. Argus, From Fields of Fire

argus from fields of fire
Released by Cruz del Sur Music. Reviewed Sept. 1.

Behold ye perhaps the most underrated band in heavy metal. Regardless of subgenre, style, strata, whatever, it’s hard to listen to From Fields of Fire and think of Pittsburgh’s Argus as anything else. The five-piece’s fourth album continued to owe part of its sound to doom, but was much more encompassing than simply that, touching on aspects of classic metal with a command that left one wondering how they hadn’t yet been tapped to open for Judas Priest on that band’s next tour. Victory abounds on a per-song basis throughout the nine-tracker, and whether it was the emotional crux of “Hour of Longing” or the catchy fistpump righteousness of “Devils of Your Time” or the 11-minute progressive reach of “Infinite Lives/Infinite Doors,” Argus once again crafted a work nigh-unmatched in poise and class.

13. Uffe Lorenzen, Galmandsværk

Uffe-Lorenzen-Galmandsvaerk

Released by Bad Afro Records. Reviewed Nov. 6.

For the first outing ever to be issued under his real name, Denmark’s Uffe Lorenzen — aka Lorenzo Woodrose of garage-psych pioneers Baby Woodrose — danced between acid folk singer-songwriterisms like “Flippertøs” and more expansive jamming on “På Kanten Af Verden,” all the while retaining his distinct structural and arrangement sensibilities and creating a flowing vibe that was nothing less than a pure joy of classic-form psychedelia. The most serene and pastoral freakout one was likely to witness in 2017, easily, Galmandsværk resounded in the Mellotron-laced “Høj Som Et Højhus” and was no less at home in the acoustic spaciousness of the earlier “Remits Tyranni,” able to wander where it pleased and find steady ground in molten surroundings.

12. The Flying Eyes, Burning of the Season

the flying eyes burning of the season

Released by Ripple Music. Reviewed Oct. 11.

A welcome return from a viciously underappreciated band, The Flying EyesBurning of the Season marked the Baltimore four-piece’s first offering for Ripple Music and first since 2013’s Lowlands (review here), a four-year stretch during which the band kept busy touring Europe and South America, the latter also being where they recorded these songs with Gabriel Zander at Estudio Superfuzz in Brazil. The tonal depth resulting from that process was enough to make the collection a highlight, but it was the songs themselves that most stood out, benefiting from the band’s expanded reach and legitimate, hard-won maturity. Especially for a group who’ve done so much work on the road over their years — to be fair, the US has been pretty low priority in that regard — they remain a secret kept too well.

11. Bell Witch, Mirror Reaper

bell witch mirror reaper

Released by Profound Lore. Reviewed Dec. 27.

Doomed extremity simply unmatched in its scope. The song of the year for 2017. An accomplishment the likes of which is prone to happen maybe once or twice in a generation. None of this seems to really speak to the entirety of the achievement that is Bell Witch‘s Mirror Reaper — the single-song, 83-minute full-length issued by the Seattle duo like a challenge in the face of mortality itself. Beautiful, devastating and weighted like the grave, its sprawl utterly consumed the listener, and I firmly believe it will be years before its depths are fully processed. Some offerings are bigger than the year in which they’re released. Mirror Reaper would seem to function on a scale of its own, and though it could easily be read as a litmus test for audience punishment, the truth of the listening experience is both more emotionally complex and more fulfilling than simple hyperbole can capture.

10. Monolord, Rust

monolord rust

Released by RidingEasy Records. Reviewed Oct. 26.

The story all along with Gothenburg’s Monolord has been tone. Tone tone tone. Crush crush crush. Riffs riffs riffs. Nothing wrong with any of that, but their third album, Rust, proves once and for all that there’s more to the trio than “cool riffs bro” and post-Electric Wizard nod. Catchy cuts like “Dear Lucifer” and rolling opener “Where Death Meets the Sea” brought a sense of space leading to the later sprawl of “Forgotten Lands” and “At Niceae,” and the band settled into an individualized, lumbering psychedelia that moved forward from 2015’s Vænir (review here), not leaving behind the heft that earned them their reputation, but not at all being limited by it either in scope or overall approach. Three records in, Rust brought forth Monolord‘s greatest sonic expansion yet and gave rise to the feeling that their true potential was just starting to come to fruition. Also, crush crush crush. Cool riffs, bro.

9. Vokonis, The Sunken Djinn

vokonis-the-sunken-djinn

Released by Ripple Music. Reviewed June 5.

The Sunken Djinn is Vokonis‘ second full-length in as many years, and in addition to serving as their Ripple debut where 2016’s Olde One Ascending (review here) landed via Ozium Records, it was a feast for hungry riff hounds. In defiance of its quick turnaround, it showed a firm evolution taking place within the upstart Swedish trio of guitarist/vocalist Simon Ohlsson, bassist/backing vocalist Jonte Johansson and drummer Emil Larsson, whose range overall was greater in tracks like “Rapturous” and the torrential “Blood Vortex” while nonetheless controlled in its delivery. Their Sleep-y origins still a factor sound-wise, Vokonis were able just the same to push themselves ahead into new sonic ground in fittingly lumbering fashion, and the character they brought to “The Sunken Djinn,” “Calling from the Core” and the noise-caked “Maelstroem” seemed to speak to a burgeoning sense of atmospheric focus taking hold as well. Still so much potential here.

8. Electric Moon, Stardust Rituals

electric moon stardust rituals

Released by Sulatron Records. Reviewed April 7.

Do I even need to remotely justify having Electric Moon‘s first studio album in six years on this list? Was it not just like a love-letter issued by the cosmos itself? What more explanation could possibly be necessary? Not that the German trio haven’t dropped copious, glorious live outings all the while, but to have Dave “Sula Bassana” Schmidt, “Komet Lulu” Neudeck and Marcus Schnitzler follow-up 2011’s The Doomsday Machine (review here) with four cuts culminating in the 22-minute sprawl of “(You Will) Live Forever Now” was high on the list of the year’s most satisfying psychedelic journeys. Constantly exploring, their methods always seem geared toward finding the molten essence of space rock itself, and though the songs on Stardust Rituals were a little more crafted than some of their straight-up improv jams, they nonetheless showed there are many avenues one might take to get to the heart of the sun.

7. Sun Blood Stories, It Runs Around the Room with Us

sun-blood-stories-it-runs-around-the-room-with-us

Self-released. Reviewed May 1.

This one is personal, and by that I mean I love this fucking band. Similar to my experience with their 2015 sophomore outing, Twilight Midnight Morning (review here), the third record by Boise-based trio of Ben Kirby (vocals, guitar, synth, percussion), Amber Pollard (vocals, guitar, theremin, percussion) and Jon Fust (drums, keys, percussion, noise) was one that I simply could not put down. Even now, seeing the name of the record is all I need to have songs like “The Great Destroyer” and the immersive midsection in “Come Like Rain” and “Time Like Smoke” stuck in my head, let alone the ultra-brazen, searingly-pissed “Burn” noise assault that finished the album and in the span of 90 seconds turned all the psychedelic warmth and serenity on its face with a visceral anger completely unforeseen and jarring, turning it from a depth-laden execution of adventurous neo-psych and indie into a project of conceptual artistry with all the efficiency of the chemical reaction it sought to portray. If you missed it, your loss.

6. The Atomic Bitchwax, Force Field

the-atomic-bitchwax-force-field

Released by Tee Pee Records. Reviewed Dec. 7.

Songs like “Alaskan Thunder Fuck,” “Humble Brag” and “Earth Shaker (Which Doobie U Be?)” assured that the defining character of Force Field, the sixth album from New Jersey’s The Atomic Bitchwax, was pure scorch. That made the 12-cut outing a more than worthy follow-up for 2015’s  Gravitron (review here), which introduced this more speed-rock-minded, aggressive delivery from the tight-as-nails trio, and while they proved they could still lock in a slower groove on the organ-topped finisher “Liv a Little,” head-spinners like the instrumental “Fried, Dyed and Layin’ to the Side” and “Houndstooth” came across like the fruit of the band pushing themselves to the limits of their physical ability in terms of tempo, and their ride along the edge of that line brought thrills at every turn. And make no mistake, there were a lot of turns. Fortunately, bassist/vocalist Chris Kosnik, guitarist/vocalist Finn Ryan and drummer Bob Pantella seemingly had a corresponding hook in their pocket for each one of them. This band is a national treasure.

5. Atavismo, Inerte

atavismo inerte

Released by Temple of Torturous. Reviewed Feb. 21.

Warm, fuzzy tones, rhythmic shifts right out of classic progressive rock, melodic intricacy and periodic excursions into glorious psychedelic drift: I’m not sure what wasn’t to like about Inerte, Atavismo‘s second full-length behind 2014’s Desintegración (review here). Comprising five tracks of unmistakable flow and jam-laden fluidity, it was immersive with landmarks along the way to keep the listener from getting too lost, and whether or not one spoke Spanish, the three-piece of Jose “Poti” Moreno (ex-Viaje a 800Mind!), bassist/vocalist Mateo and drummer/vocalist Sandri Pow (also ex-Mind!) made it easy to follow along their purposefully meandering path, offering guidance no less skillful on the 11-minute fuzz-freaker “El Sueño” than the dream-toned linear build of “Belleza Cuatro.” There were very, very few albums I listened to more this year than this one, which is precisely why it is where it is on this list.

4. Samsara Blues Experiment, One with the Universe

samsara-blues-experiment-one-with-the-universe

Released by Electric Magic Records and Abraxas Records. Reviewed May 4.

Four years between records isn’t at all an unheard of stretch. It’s not the longest on this list by any means. But with Berlin heavy psych rockers Samsara Blues Experiment, it really seemed like the band was done, so to have them come back with such force on One with the Universe was, as I know I said at several points throughout the last 12 months, one of the year’s total highlights. Tracked by former bassist Richard Behrens, the group’s fourth album answered the extended-track spread of 2013’s Waiting for the Flood (review here) with a deeper sense of sonic variety, and while the 15-minute title-cut and opener “Vispassana” still had plenty of room for jamming out and even six-minute centerpiece “Glorious Daze” found room for some flourish of organ and sitar, guitarist/vocalist Christian Peters, drummer Thomas Vedder and bassist Hans Eiselt rightly featured the chemistry they’ve built as a trio live and brought to the songs a renewed sense of vigor, sounding — and hopefully being — truly inspired. Waiting for the Flood capped a period of marked productivity across several years. Fingers crossed One with the Universe begins that cycle anew.

3. Elder, Reflections of a Floating World

Elder-Reflections-of-a-Floating-World

Released by Armageddon Shop and Stickman Records. Reviewed May 23.

You just can’t consider Elder‘s Reflections of a Floating World outside the context of the progressive achievement that was their prior outing, 2015’s Lore (review here). Where the trio — based now between Massachusetts and Berlin, Germany — took their first two outings, 2008’s self-titled debut (discussed here) and 2011’s Dead Roots Stirring (review here), to find their sound, which they began to showcase on the 2012 Spires Burn/Release EP (review here), it was Lore that brought to fruition the potential that had always been waiting to be unleashed by the trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto, and Reflections of a Floating World had the daunting task of being the next further step from that landmark moment. To say the band rose to the occasion is perhaps to undersell the cohesion at work in consuming-but-cohesive pieces like opener “Sanctuary” or “Blind” or “Staving off the Truth,” which brought together clear-headed psychedelia around a wash that seemed to stem as much from rhythm as melody. As they’ve matured stylistically and become a major touring presence, Elder have made themselves perhaps the most pivotal American heavy rock act going, and Reflections of a Floating World brings them to the discovery of yet another apex while at the same time giving zero indication it will be the last one they find.

2. Colour Haze, In Her Garden

colour haze in her garden

Released by Elektrohasch Schallplatten. Reviewed March 9.

Of course, the bonus of writing about Colour Haze in just about any context is that you get to put Colour Haze on while you’re doing it, and in the case of the 12th LP from these Munich heavy psych forebears, that’s an even more appealing prospect. After stripping down some of the arrangement flourish with 2014’s To the Highest Gods We Know (review here), the 13-track/73-minute 2LP In Her Garden brought a revitalized sonic expansion, but as ever, it wasn’t just the horns or the strings or the blend of keys and acoustics that made In Her Garden the unbridled joy that it was and continues to be — it was the underlying performance from guitarist/vocalist Stefan Koglek, bassist Philipp Rasthofer and drummer Manfred Merwald that gave the album the stem on which its garden grew. That’s not to say Jan Faszbender‘s work on modular synth, Rhodes, and Hammond or the arrangements of strings, tuba, bass-clarinet and trombone throughout hurt anything, just that as Colour Haze have grown into incorporating these elements into their groundbreaking aesthetic, they haven’t left behind the organic chemistry and necessary live feel that has helped them influence a generation of followers over their more than 20-year career. One came through as much as the other on In Her Garden, and that balance gave the overarching warmth of their self-recorded tonality yet another level on which to engage their audience. I’ll be a sucker for Colour Haze for as long as I live, and I have absolutely no problem admitting to and owning that.

1. All Them Witches, Sleeping Through the War

all them witches sleeping through the war

Released by New West Records. Reviewed Jan. 27.

It was clear early on that Nashville four-piece All Them Witches were contending hard for Album of the Year with Sleeping Through the War, their fourth long-player and second for New West following the mellow vibes of 2015’s Dying Surfer Meets His Maker (review here). What finally sealed it? The songs. Working with producer Dave Cobb, the each-member-essential lineup of bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, key-specialist Allan van Cleave (Rhodes, Mellotron, piano, organ, etc.) and drummer/graphic artist Robby Staebler solidified their approach in exciting new ways on early cuts like the grunge-crunching “Don’t Bring Me Coffee” and the shuffling “Bruce Lee,” which hit in succession following the fluid lead-in of opener “Bulls,” an introduction of the organic psychedelia and heavy blues that the loose-swinging of “3-5-7″‘s nigh-on-gospel chorus and subsequent, almost maddeningly catchy “Am I Going Up?” would continue to push outward, thereby setting a linear course into a consciousness-capturing side B with “Alabaster” and the jammier “Cowboy Kirk” and “Internet” playing between melodic nuance and mindful, go-with-it drift. The unflinching strength of the material was matched perhaps only by the understatement of its delivery, which was the more staggering considering how easily the arrangements of background vocals on “Am I Going Up?” or  “3-5-7” could have come through as overblown or self-indulgent, and by the time they got down to the light weirdo-bluesy stomp of “Internet” — the key lyric and hook being, “Guess I’ll go live on the internet” — there was no doubting the genuine nature of the realization Sleeping Through the War represented for All Them Witches. Coupling that feeling of achievement with the sheer repeatability of the listening experience itself left no doubt that 2017 belonged to these tracks and the marvelous way the band wove between them, and that whatever other sounds All Them Witches may go on to explore and whatever else they may accomplish as a result, Sleeping Through the War was a truly special moment in their evolution that, as with the best of offerings in any year, will continue to resonate long after the calendar page has turned.

The Next 20

You know, I used to feel like once you got past a top 20, the numbers were arbitrary. Then I felt that way about the top 30. This year, I think I agonized more about what to include in numbers 31-50 than I did between 30 and the album of the year. Put that in your “go figure” file while you chew on these picks:

31. Cities of Mars, Temporal Rifts
32. The Midnight Ghost Train, Cypress Ave.
33. Snowy Dunes, Atlantis
34. Rozamov, This Mortal Road
35. PH, Eternal Hayden
36. Sasquatch, Maneuvers
37. Young Hunter, Dayhiker
38. The Devil and the Almighty Blues, II
39. Ufomammut, 8
40. John Garcia, The Coyote Who Spoke in Tongues
41. Paradise Lost, Medusa
42. Beastmaker, Inside the Skull
43. Arduini / Balich, Dawn of Ages
44. Primitive Man, Caustic
45. Motorpsycho, The Tower
46. Arbouretum, Song of the Rose
47. Hymn, Perish
48. Youngblood Supercult, The Great American Death Rattle
49. Pallbearer, Heartless
50. Dool, Here Now There Then

There’s so, so much good stuff here. So much. The Cities of Mars debut was a treasure and the only reason it wasn’t on my top debuts list was because I haven’t had the chance to go back in and put it on. The Young Hunter record? Some of their best work yet. Hell, that Arduini / Balich album alone! Then you’ve got huge releases by Pallbearer, Ufomammut, Paradise Lost, Primitive Man, on and on. Like I said at the outset, one more album and my head was gonna explode this year. Way too much to ever hope to keep up with. One thing though I felt like I really wanted to emphasize including was Dool. They’re in the last spot, but make no mistake, in atmosphere and songwriting that album was something really special and loaded with potential. It’s not there because it came in last. It’s there to highlight the point of how much it should be on this list.

What’s that? More records? Okay…

Honorable Mentions

In case you also weren’t completely overwhelmed this year, maybe another batch of records will do the trick. Here’s some presented alphabetically:

Anathema, The Optimist
Blackfinger, When Colors Fade Away
Child, Blueside
Cortez, The Depths Below
Demon Eye, Prophecies and Lies
Elbrus, Elbrus
Electric Wizard, Wizard Bloody Wizard
Ecstatic Vision, Raw Rock Fury
Five Horse Johnson, Jake Leg Boogie
Mirror Queen, Verdigris
The Obsessed, Sacred
T.G. Olson, Foothills Before the Mountain
Outsideinside, Sniff a Hot Rock
Queens of the Stone Age, Villains
Siena Root, A Dream of Lasting Peace
Six Organs of Admittance, Burning the Threshold
Steak, No God to Save
Summoner, Beyond the Realm of Light
Valborg, Endstrand
With the Dead, Love from With the Dead

Plus: Abronia, Lewis and the Strange Magics, Iron Monkey, Band of Spice, Puta Volcano, Galley Beggar, Heavy Traffic, Coltsblood, REZN, Green Meteor, Demon Head, Lord, Grigax, The Raynbow, Carpet, Norska, Les Lekin, Slow, Ixion, and I’m sure more that I’ll add as the names continue to pop into my head.

I did this back in June as well, but I also want to draw attention to a swath of quality live albums that came out this year. The top pick should be no surprise if you’ve been hanging around the site of late:

Live Albums:
1. SubRosa, Subdued Live at Roadburn
2. Causa Sui, Live in Copenhagen
3. Slomatics, Futurians Live at Roadburn
4. My Sleeping Karma, Mela Ananda – Live
5. Wight, Fusion Rock Invasion
5. Death Alley, Live at Roadburn

Thank You

It’s been a hell of a year, obviously. Musically and otherwise. As always, I cannot possibly come close to thanking you enough for your incredible and ongoing support of The Obelisk, of what this site is, what it’s become over its nearly nine-year run, what it will continue to become going forward from here. It is astounding to me and deeply humbling that you would possibly take time out of your busy day and your busy life to check out what’s going on here, and words fail me continually when it comes to feeling like I can properly convey my appreciation for that. Thank you for reading. Thank you for reading. Thank you for reading. Tattoo it on my forehead.

Thank you to The Patient Mrs. for understanding how much I need to be doing this, to Slevin for keeping the site running on the technical end, to Behrang Alavi for taking over hosting earlier this year, to my family for their ongoing support, to The Pecan for sleeping late some mornings and giving me time to write, and to everyone who ever shared a link on social media or made a comment on a post or anything like that. To long-time readers and to newcomers alike — thank you so much. This year has seen a fair share of ups and downs, but the support this site gets sustains me in ways I never expected it could, and that would be impossible without you. Please know how crucial that is to me.

Well, that should do it. I know there are probably disagreements about where things landed on the list, what was included, what was left out, etc., as there always are. All comments are of course welcome — only thing I’d ask is you please keep it civil and respectful of the opinions of others. Otherwise, have at it. Please.

And one more time, thank you for reading.

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The Obelisk Presents: The Top 20 of 2017 So Far

Posted in Features on June 12th, 2017 by JJ Koczan

the obelisk top-20-2017-so-far

The time has come to take a look at some of the best albums of 2017 so far. I hardly know where to start. In some ways, this list is harder to put together than the end-of-year one that comes out in December, because by then not only do you have the full year to draw on, but it’s easier to sort of put a narrative to the course of events of 12 months, whereas in this case, obviously, the story is half told. So I guess if the list feels incomplete, that might be part of why.

Even with just six months to work from, the list has become fairly immense. I’ve been keeping track of 2017 releases since about September of last year, and the amount of stuff that’s come through has been staggering. Every year brings good music, and the basic fact of the matter is that if you don’t think so it’s because you’re either unwilling to find it or unwilling to let yourself hear it, but 2017 has been a multi-tiered assault of sounds from all over the world, and it seems like whatever you might be into, the universe stands ready to accommodate.

There’s a lot to say about that — is the market flooded? — but it’s a topic for a different post. I’ll keep it short here and just say that as always, it’s an honor to be covering the stuff that I cover and that I deeply appreciate you taking the time to read. I hope if there’s a release you feel deeply passionate about that you don’t see on my list below that you’ll please let me know about it in the comments.

Also, please note that in order to qualify for this list, a record had to come out on or before June 9. That’s the cutoff.

Okay, here goes:

The Top 20 of 2017 So Far

elder reflections of a floating world

1. Elder, Reflections of a Floating World
2. All Them Witches, Sleeping Through the War
3. Samsara Blues Experiment, One with the Universe
4. Colour Haze, In Her Garden
5. Atavismo, Inerte
6. Sun Blood Stories, It Runs Around the Room with Us
7. Cloud Catcher, Trails of Kozmic Dust
8. Vokonis, The Sunken Djinn
9. The Obsessed, Sacred
10. Mothership, High Strangeness
11. Spaceslug, Time Travel Dilemma
12. Electric Moon, Stardust Rituals
13. Alunah, Solennial
14. Arc of Ascent, Realms of the Metaphysical
13. Rozamov, This Mortal Road
14. Siena Root, A Dream of Lasting Peace
15. PH, Eternal Hayden
16. Geezer, Psychoriffadelia
17. T.G. Olson, Foothills Before the Mountain
18. Telekinetic Yeti, Abominable
19. The Devil and the Almighty Blues, II
20. Lord, Blacklisted

Notes

If you keep up with this site at all, there probably aren’t a lot of surprises in there. These are all records that have been discussed at great length over the last six months, reviewed, streamed, analyzed, whathaveyou’d all the way. If you don’t believe me, search any of the names. Still, as far as my personal picks go and who I think has crafted something special over the last six months, this feels pretty representative to me. I managed to live for a full week with the list as you see it above, without making changes. That’s usually my standard.

And as always, it’s a combination of what I’ve listened to most and what I feel has had the greatest impact thus far into the year. Between the two, there was little doubt Elder would take the top spot. I’ve probably listened to the All Them Witches record more than anything else this year, including Elder’s Reflections of a Floating World, but the truth is the Massachusetts trio are working at a level of their own making in terms of their sonic progression, and that they’ve emerged as one of if not the most pivotal American underground heavy rock bands going. The situation was much the same when they put out Lore in 2015 and claimed that year’s top-album spot, but even since then their sound has expanded and they continue to demand ultimate respect.

As for the All Them Witches album — absolute stunner. The increased depth of their arrangements on Sleeping Through the War came at no expense of songwriting, resulting in ultra-memorable material that could either wash over you with melody or shove you out of your seat with the force of its rhythm, and that band continues to be a treasure. No other way to put it.

From there, we move into what I think are the four best heavy psych offerings of 2017 so far, with Samsara Blues Experiment, Colour Haze, Atavismo and Sun Blood Stories, in that order. Samsara Blues Experiment’s return has been a joy to witness and their first album in four years lived up to the occasion. Colour Haze expanded the palette from their last album with In Her Garden and proved as immersive as always. I’m still getting to know that record. Atavismo’s second full-length upped the progressive influences without losing fluidity or cohesion in songwriting, and Sun Blood Stories’ hypnotic shoegaze offered expansive thrills and a sense of varied, beautifully crafted exploration.

A pair of exciting young bands thereafter in Colorado’s Cloud Catcher, whose boogie is right-on-right-on and whose development continues to hold much potential, and Vokonis, whose crushing riffs on The Sunken Djinn were met with an increased focus on structure and tightening of approach that maximized overall impact. The Obsessed’s unexpected return could only be called a triumphant one, and Mothership’s third long-player found them working in a richer sense of mood than previous outings, adding yet more character to what was still a blast of good-time rock and roll. They round out the top 10 in full command of who they are as players.

Granted, the next 10 releases are kind of all over the place, but I think that just shows the overarching quality of work being done across the board. From Spaceslug’s melodic stoner-psych to Electric Moon’s studio return — so, so, so good — to Alunah’s continued growth in nature-worshiping heavy and Arc of Ascent’s comebacker of rolling heavy riffs and metaphysical themes, there’s been so much to take in. I especially like the pairing of Rozamov and Siena Root as a sense of scope for 2017 so far; the former being so dark and crushing and the latter who lived up to calling their record A Dream of Lasting Peace. You want to know both ends of the spectrum? There they are.

PH’s Eternal Hayden gets a nod for its effective reset of the context of that band following the completion of their trilogy of albums, and Geezer’s Psychoriffadelia might have been something of a tossoff in the making, but the level at which the New York trio jams nonetheless assures it a spot here. Plus, a Nazareth cover. So duh.

I couldn’t help but include T.G. Olson’s Foothills Before the Mountain on the list as the Across Tundras frontman creeps closer to a full-band sound for his solo work, adding to his acoustic singer-songwriter foundations, and the crush of Telekinetic Yeti’s post-Sleep riffing evoked so many nods I thought they deserved one here as well. Placing The Devil and the Almighty Blues was difficult, but especially after seeing them live, I felt like I had a better idea of where they were coming from on II, so knew they belonged somewhere, even if it was tucked in at the end. And of course, Lord. Always killer, always experimenting, always chaotic. Never have grind and sludge sounded more cohesive together. They’re the band I wish Soilent Green had become, and yes, I mean that.

Honorable Mention

Let’s do another 10 releases, shall we?

21. Beastmaker, Inside the Skull
22. Arduini/Balich, Dawn of Ages
23. Brume, Rooster
24. John Garcia, The Coyote Who Spoke in Tongues
25. Six Sigma, Tuxedo Brown
26. Demon Head, Thunder on the Fields
27. Summoner, Beyond the Realm of Light
28. Steak, No God to Save
29. Six Organs of Admittance, Burning the Threshold
30. Dool, Here Now There Then

And just to make the point, here are even more worthy of note in this space:

Elbrus, Elbrus
Cortez, The Depths Below
Ecstatic Vision, Raw Rock Fury
Child, Blueside (a December 2016 release, maybe, but I think the vinyl was this year, so whatever)
Pallbearer, Heartless
Spidergawd, IV
Green Meteor, Consumed by a Dying Sun
Loss, Horizonless

There are of course other names as well that come to mind. Like I said at the outset, it’s a crowded field: Hymn, Arbouretum, Green Meteor, REZN, Demon Head, Galley Beggar, Devil’s Witches, Orango, Heavy Traffic, Coltsblood, Mt. Mountain, Vokonis, Solstafir, High Plains, on and on.

Also worth highlighting several really, really quality live records that have surfaced so far this year. I didn’t really know where to place them among the other studio offerings, but they deserve note for sure:

Causa Sui, Live in Copenhagen
Death Alley, Live at Roadburn
My Sleeping Karma, Mela Ananda – Live
Enslaved, Roadburn Live

More to Come

Of course, we’re still just barely halfway through the year, so keep on the lookout for more to follow. If you didn’t see my massive 200+ albums to watch for list in January, it has many that have come out and many more still to surface, but here are a few highlight names as well that you’re going to want to keep an eye on in the months ahead:

Queens of the Stone Age
Radio Moscow
The Atomic Bitchwax
Kadavar
Ufomammut
The Midnight Ghost Train
Moon Rats
Clamfight
Egypt
the Melvins
Bison Machine
Seedy Jeezus
High on Fire
Monster Magnet

Thanks for Reading

Before I check out, I’d like to give special mention to Lo-Pan’s In Tensions EP as the best short release of the year thus far. Along with EPs from Godhunter, Kings Destroy, Solace and Shroud Eater, it has assured those seeking a quick fix are handed their ass in return for asking.

Well, that’s about where I’m at with it. As per usual, I’m sure there are things I forgot and/or left off here, because I’m human and whatnot, so please if you have something to add, feel free to do so in the comments so long as you can keep it cordial. No name calling. I’m sensitive and you’ll ruin my whole day. I mean that.

Thanks again for being a part of this and here’s to an excellent rest of 2017.

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ROADBURN 2017 Day Four: God Particle

Posted in Features, Reviews on April 23rd, 2017 by JJ Koczan

roadburn 2017 banner (Photo by JJ Koczan)

04.23.17 — 22.26 — Sunday night — Hotel room

The last day of putting together the Weirdo Canyon Dispatch started with a panic when the office coffee machine was busted. At first I didn’t believe it and plugged the thing in to see if the sign that had been taped onto the front was bullshit, but indeed, it was not. Could’ve cried. Instead, went downstairs to the backstage area where they serve the meals and got coffee there. Survived.

Thus, the final issue of the 2017 Weirdo Canyon Dispatch came into being. Download the PDF version here.

What used to be known as the Afterburner, the traditional easing between a given Roadburn and the transition back to real life, is now basically just another day of the fest proper. They’ve dropped the name, and fairly enough so. Running across four stages this year, it’s hardly a means of becoming less immersed in the Roadburn experience at this point. If anything, it’s Roadscorch. The absolute last blast from the furnace that is this festival. My brain has turned into Roadchar.

I had no fewer bands I wanted to see today than yesterday or the day before, and a few others that I wouldn’t have minded catching had I been able to do so, so yeah, it was definitely Roadburn. It started early and went late and was packed for the duration. I did one more bounce between venues as I had earlier in the weekend — none at Cul de Sac for me today, but two at Het Patronaat — and was back and forth a few times between the Main Stage and the Green Room at the 013 proper, running past the merch area as well for good measure. Can’t be too careful. Wouldn’t want something to get by unnoticed.

It was a 15.00 start in the big room with Temple of BBV. I knew from seeing Gnod the other night (review here) that the culmination of their residency in a collaboration with Radar Men from the Moon was one I didn’t want to miss, so while it was early, I figured a head-first dive into willful prog oddity was well in order. I won’t like to you — it was a lot for three in the afternoon. Or three in the morning, for that matter. It was a lot, period. 10 people on Temple of BBV (Photo by JJ Koczan)stage, including two drummers, a near-constant throb and pulsations pushing outward into psycho-psychedelic reaches of the bizarre.

They were aggressively strange. On a strangeness crusade. They wore their strangeness like a badge of strangeness honor and as the room filled up slowly, people seeing to be hungover perhaps from the sensory assault Mysticum had provided the night before as much as from actual inebriation of whatever sort, the crowd had no choice but to be subsumed by what Temple of BBV were doing on that stage. Hair of the cosmic dog that gave you demonic space-rabies. Was it weird? Why, yes. Yes, it was.

I couldn’t help but try to remember when last I actually saw Pallbearer as their set got underway, also on the Main Stage. Turns out it was 2013 (review here). I’d also caught them at Roadburn that year (review here), as part of what was then the Afterburner in the Green Room. While I didn’t think it’d been that long at the time, the reason I thought of it was because of how much the Arkansas doomers seem to have stepped up their game in the intervening years. Their third album, Heartless (review here), is newly issued and fresh in mind, but live that material became heavier than it is on record and their presence in delivery was unmistakable. Since the last time I saw them, Pallbearer have become a headlining band.

No question they belonged on the Main Stage at Roadburn 2017. They not only held down that Pallbearer (Photo by JJ Koczan)spot well, but were in full command of their material and their sound, and with shared vocals across the front of the stage, they offered a richness to their doom that only underscored just how much they’ve made the genre work to their interests rather than working to the interests of genre. Heartless cuts like “I Saw the End,” “Thorns” and “Dancing in Madness” were high points in emphasizing their progression, but the churning heft of the whole set was dead on, whether it was those or “Fear and Fury,” “Worlds Apart,” or “The Ghost I Used to Be.” Remarking from the stage that playing Roadburn felt like coming home since it was where they’d done their first European show, they were welcomed as returning heroes and clearly rose to the occasion.

I know they’re like the hottest shit in the world and everyone knows it and Heartless is going to be everyone’s album of the year and blah blah blah so I’m giving away state secrets or anything, but Pallbearer fucking killed at Roadburn. I’ve seen them before and I was still genuinely surprised at how good they were.

Just for fun, I poked my head into the Green Room to catch a minute of Author and Punisher. A boy and his robots. The space was packed out so I didn’t linger, and instead sauntered back over to the big room again to watch Pallbearer finish and await the arrival of Les Discrets, who are also supporting a new album, Prédateurs, released just this week on Prophecy Productions. The moody vibes that the Parisian outfit proffered would make a lot of sense leading into Ulver, songs like “Virée Nocturne” having an element of the dark and urbane to them, progressive even beyond what one might’ve come to expect from their past work in post-black metal and Alcest-style melodicism. Guitarist/vocalist Fursy Teyssier, who also had a showcase of his visual art upstairs in the 013, had a quieter presence than when he led Les Discrets (Photo by JJ Koczan)the band when they played Roadburn 2013 at Het Patronaat (review here), but it worked for what they were doing.

In hindsight, it probably would’ve made narrative sense to stay put in the big room and await the arrival of the aforementioned Ulver. I didn’t do that. First, I went and grabbed dinner — chicken salad over lettuce and arugula with bacon and a bit of chicken/peppers in curry sauce; some bean sprouts in there, no corn, no onions, no celery; two plates, second void of curry and bacon — and was fortunate enough to sit in the company of Norwegian artist and Weirdo Canyon Dispatch contributor Kim Holm, and then I made my way back up to the Green Room to catch at least some of Valborg. I knew that I wanted to watch somebody from the Green Room balcony, and the underrated German martial metallers seemed like the perfect occasion.

And so they pretty much were. I watched as the space below filled up and when the German trio — whose new record, Endstrand, is also out on Prophecy this month (it came out April 7) — took stage, it was pretty clear the crowd knew them well. “Werwulf” from the 2016 single of the same name (review here) was like a riff-led wrecking ball that highlighted how perfectly paced Valborg‘s material is and the genre lines their songwriting so fluidly crosses between death metal, progressive synth textures Valborg (Photo by JJ Koczan)and goth atmospherics. They demonstrated clearly they can roll a groove with the best of them but seem to have little interest in heavy rock or anything quite so not-extreme, but wherever it was ultimately coming from, their sound was on its own wavelength and its complete lack of compromise notched a mark in the skull of everyone who was there to hear it, myself included.

I didn’t get to stay for Valborg‘s whole set because I knew Ulver were soon to go on the Main Stage. I worked my way off the balcony much to the delight of the person who’d been standing behind me while I leaned over the rail to take a couple pictures of the band and down around the back way to the Main Stage room — still kind of strange to me how the 013 works since it was remodeled last year; there’s a hallway with bathrooms there now that I think used to lead to the Bat Cave/Stage01, but jeez, don’t quote me on that. I’d have to look at the blueprints to be sure, and that would probably take hours because I’d have to find a YouTube video on how to read blueprints first. Sucks being useless sometimes. Most of the time, actually.

Anyway, I did manage to get myself one room over in time for the start of Ulver, and when the Norwegian more-post-everything-than-everything outfit got underway, I was really, really glad I’d already heard the new album which was the focus of their set: The Assassination of Julius Caesar (review here). Otherwise all that dark post-New Wave moodiness and nighttime ambienceUlver (Photo by JJ Koczan) might’ve thrown me for a loop. It’s usually safe to assume two things about Roadburn attendees. One, they’re open-minded. Two, they’re pretty well informed. Still, of all the men and women assembled at the 013 to watch Ulver play, I have to imagine there was at least one person who had no idea what they were in for, and so when the band broke out the laser light show and the electronica beats and the Depeche Mode gone prog sexytime vibes they were completely taken aback by all of it. Now that I think about it, it might’ve been fun to be surprised like that.

But when it comes to Ulver, part of the appeal is the band’s willingness to dismantle their own formula, or more precisely, to not have a formula in the first place, so it’s safe to assume that whether this hypothetical Roadburner knew or not what they were getting with the songs featured from The Assassination of Julius Caesar, they were still able to get on board. Still, one day someone’s going to trick Ulver into playing 2007’s Shadows of the Sun front to back — or at least doing live variations based thereupon — and that’s going to be incredible. One for Roadburn 2022, maybe?

I didn’t stay for all of Ulver either. Not for lack of patience or anything, but I could feel my Roadburn 2017 crunch winding down and knew I had to try to pack as much in as I could. That meant getting my ass to Het Patronaat to see The Doomsday Kingdom. Every year I’m lucky enough to be at Roadburn I let myself buy one piece of vinyl. This year it was the special edition 12″ The Doomsday Kingdom were selling at the merch stand. Why? Because Leif Edling, god damn it. The founding Candlemass The Doomsday Kingdom (Photo by JJ Koczan)bassist and crucial architect of what we know to be true and traditional doom metal — yes, I mean that — was making a live debut with this new four-piece at the church, and I knew I didn’t want to regret later not getting that record when I had the chance. It’ll probably get damaged in my luggage on the trip home. Still worth it.

Their set was likewise. Songs like “Never Machine” and “The Silence” offered classic doom very much of the style one might expect from Edling‘s long-established craft and methodology, but hell, I’ve got no problem with that whatsoever. It hasn’t been that long since Candlemass put out their 2016 EP, Death Thy Lover (review here), and they’re still doing shows as well, but before he took over lead vocals from mesh-shirt-clad frontman Niklas Stålvind — who’d been righteously belting out the material up to that point — for the set finale “God Particle,” Edling called The Doomsday Machine his “therapy band.” I wasn’t sure what he meant, but I sure was glad I stayed to watch their full set, because they were awesome. A couple first-show-type hiccups, but nothing major by any stretch, and after “God Particle,” they even came back out in made an encore of the metallic-galloping “Hand of Hell,” with Stålvind back on vocals, guitarist Marcus Jidell tearing into solo after solo and drummer Andreas Johansson fueling the big rock finish before coming out from behind the kit to take a bow with the band. If that was therapy, sign me up.

From Sweden to Boston. Come to Grief were on next at the church, and if I’d tried, I don’t think I’d have been able to come up with a more appropriate ending to my Roadburn 2017 than to watch the native Beantowner offshoot of Grief play a set of ultra-misanthropic extreme sludge. Tones of home. You Come to Grief (Photo by JJ Koczan)have no idea how hard it was not to shout out “Go Sox!” in a Boston accent before they played. You cannot possibly know. Fortunately, before I could muster the gumption to do same, guitarist Terry Savastano began to unleash maddening floor-shaking undulations of feedback. He, fellow guitarist/vocalist Jonathan Hébert, bassist Justin Christian and drummer Chuck Conlon would soon loose a set that spanned all the way back to the title-track from Grief‘s 1992 debut EP, Depression — which Savastano noted was the first song that band ever wrote — all the way forward to Come to Grief‘s new four-tracker compact disc, The Worst of Times.

“No Savior” and “JunkLove” from the latter (and later) release were featured, but at their core, wherever they were drawing material from, Come to Grief were a mainline shot of visceral abrasiveness. Intense, pummeling and straight from the gut, they crashed each riff with maximum intensity and left no mystery about the sincerity of their intent to kill. It was impressive the way one thinks of primitive humanoids bashing in each other’s heads as a sign of evolution at work. Like I said, the perfect finale to my Roadburn 2017 — one last raw scrub to get the unwanted pieces of myself gone before I get on that plane and go home tomorrow morning.

Did I just say tomorrow morning? Yuppers. It’s 01.40. Shuttle comes to take me to the airport in about five hours, as it happens. When I left Het Patronaat, in addition to looping through the merch area to pick up the aforementioned Come to Grief CD, I made one last run through the 013 hoping to find Walter and say goodnight and thanks, but no such luck. Tired, beaten, missing my wife and with my earplugs still in, I trod past the assembled throngs in Weirdo Canyon and back to the hotel, where packing still awaits and pictures want sorting.

So yeah, I’m going to go get on that.

I’ll have another post up at some point tomorrow, but in the meantime, thank you so much for reading and please find the rest of those pics after the jump here:

Read more »

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Pallbearer Announce Headlining West Coast and Midwest Tour

Posted in Whathaveyou on April 4th, 2017 by JJ Koczan

Arkansas doom forerunners Pallbearer begin a European tour tomorrow supporting their new album, Heartless (review here). That tour will culminate with a stop April 23 at Roadburn 2017 in Tilburg, the Netherlands, and the band will follow it with a US headlining run. You can go ahead and be surprised by this news if you want, but frankly, Pallbearer touring is about as shocking as the sun coming up and going back down. It happens, is what I’m saying. Dudes get around.

The difference? Well, to see the band headline in spaces like Union Transfer in Philly — last time I was there, it was to see High on Fire — is something that shows how far they’ve come in moving to the head of the class in the current generation of doom, and they’re certainly showing some range in the bands with whom they’re sharing the stage. I took the dates out because they already happened, but in addition to the acts listed below, they recently did some shows with Marissa Nadler and others in the Midwest and on the Eastern Seaboard.

You know what I enjoy? Seeing a good band who work really hard get popular and then continue to work really hard.

From the PR wire:

pallbearer

PALLBEARER ANNOUNCE U.S. HEADLINE TOUR IN MAY & JUNE 2017

In support of their newly released magnum opus Heartless, genre-defying giants Pallbearer will canvas North America in May and June on a headline tour featuring support from Gatecreeper, Pinkish Black, Venomous Maximum, and Inter Arma on select dates. This run will follow Pallbearer’s late-March U.S. jaunt and their forthcoming European tour in April. Pallbearer’s full tour routing can be found below.

Released last Friday on Profound Lore in North America (and Nuclear Blast in Europe), Heartless is a 7-song album grander in scope than anything Pallbearer have released prior, showcasing a natural progression that melds higher technicality and more ambitious structures. Heartless was recorded straight-to-tape with Joe Barresi (Queens of the Stone Age, Tool, Melvins, Soundgarden) manning the board, making for the band’s most pummeling, ambitious, and virtuosic work to date.

“Instead of staring into to the void—both above and within—Heartless concentrates its power on a grim reality,” the band explains. “Our lives, our homes and our world are all plumbing the depths of utter darkness, as we seek to find any shred of hope we can.”

See Pallbearer on the road through June 2017:
April 5 Brussels, Belgium @ Botanique !
April 6 London, UK @ Underworld !
April 8 Bristol, UK @ Thekla !
April 9 Manchester, UK @ Ruby Lounge !
April 11 Hamburg, Germany @ Hafenklang !
April 12 Goteborg, Sweden @ Sticky Fingers !
April 13 Stockholm, Sweden @ Kraken STHLM !
April 14 Aarhus, Denmark @ Atlas !
April 15 Copenhagen, Denmark @ Pumpehuset !
April 16 Hanover, Germany @ Cafe Glocksee !
April 18 Köln, Germany @ Underground !
April 19 Berlin, Germany @ Musik & Frieden
April 20 Leipzig, Germany @ Doom Over Leipzig
April 21 Zurich, Switzerland @ Rote Fabrik
April 22 Karlsruhe, Germany @ Dudefest
April 23 Tilburg, Netherlands @ Roadburn
May 11 Houston, TX @ Warehouse Live — Studio ^
May 12 Dallas, TX @ Curtain Club ^
May 13 Austin, TX @ Barracuda ^
May 15 Phoenix AZ @ The Rebel Lounge %
May 16 San Diego, CA @ Casbah #
May 18 Los Angeles, CA @ The EchoPlex #
May 19 Oakland, CA @ The New Parish #
May 20 Reno, NV @ Jub Jub’s Thirst Parlor #
May 22 Salt Lake City, UT @ Urban Lounge #
May 23 Denver, CO @ Bluebird Theater #
May 25 Kansas City, MO @ The Riot Room ^^
May 26 Minneapolis, MN @ 7th Street Entry ^^
May 27 Des Moines, IA @ Vaudeville Mews ^^
May 28 Madison, WI @ High Noon Saloon ^^
May 30 Columbus, OH @ Ace of Cups ^^
May 31 Pittsburgh, PA @ Rex Theater ^^
June 1 Washington, DC @ Rock and Roll Hotel ^^
June 2 Philadelphia, PA @ Union Transfer **
June 5 Harrisonburg, VA @ The Gameolden Pony ^^
June 6 Louisville, KY @ Zanzabar ^^
June 7 St. Louis, MO @ Fubar ^^

! w/ Pinkish Black
^ w/ Gatecreeper, Pinkish Black
% w/ Gatecreeper, Spirit Adrift
# w/ Gatecreeper, Venomous Maximus
^^ w/ Gatecreeper, Inter Arma
** w/ Baroness, Nothing

Pallbearer is:
Brett Campbell – guitar, vocals
Devin Holt – guitar, vocals
Mark Lierly – drums
Joseph D. Rowland – bass, vocals

https://www.facebook.com/pallbearerdoom
https://twitter.com/pallbearerdoom
https://instagram.com/pallbearerdoom/
https://www.profoundlorerecords.com/
https://profoundlorerecords.com/
https://profoundlorerecords.bandcamp.com/

Pallbearer, “I Saw the End” official video

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