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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audiObelisk Transmission 064

Posted in Podcasts on December 26th, 2017 by JJ Koczan

audiobelisk transmission 064

So this is something I’ve never done before. I’m not exactly what you’d call an early adopter when it comes to new technology, but this weekend I finally signed up for Spotify and decided to give a shot at putting together a year-end playlist through that rather than doing the standard podcast. Aside from a kind of ongoing latent concern about essentially giving away downloads of music that doesn’t belong to me via the old mp3 files — no one’s ever said anything and I always figured it was okay since songs were bundled together as one file — this just seemed more useful in allowing people to explore different artists, albums, etc. If you disagree, I’m sorry.

I can’t say I won’t ever go back to the other way, or that I’ll actively enjoy having a Spotify account enough to keep it, and so on, but it’s something new to try, so I’m giving it a shot. The playlist turned out to be nine hours and 12 minutes long, and once I got going, I couldn’t really resist making it 65 tracks, what with it being the 64th podcast and all. One to grow on.

As always, I hope you enjoy. Thanks for listening:

Track details:

• Artist, Track, Album, Runtime
• Elder, Sanctuary, Reflections of a Floating World, 00:11:13
• All Them Witches, Am I Going Up?, Sleeping Through the War, 00:05:33
• Lo-Pan, Pathfinder, In Tensions, 00:06:22
• MOON RATS, Heroic Dose, Highway Lord, 00:04:27
• Bees Made Honey in the Vein Tree, Medicine, Medicine, 00:06:38
• Mindkult, Lucifer’s Dream, Lucifer’s Dream, 00:09:06
• Brume, Reckon, Rooster, 00:09:12
• Riff Fist, King Tide, King Tide, 00:11:20
• Monolord, Dear Lucifer, Rust, 00:08:41
• Hymn, Serpent, Perish, 00:07:32
• Vinnum Sabbathi, Gravity Waves, Gravity Works, 00:08:26
• Electric Wizard, Wicked Caresses, Wizard Bloody Wizard, 00:06:43
• Ruby the Hatchet, Symphony of the Night, Planetary Space Child, 00:07:08
• Telekinetic Yeti, Colossus, Abominable, 00:08:56
• Bong Wish, My Luv, Bong Wish, 00:02:31
• Radio Moscow, New Skin, New Beginnings, 00:03:02
• Cloud Catcher, Celestial Empress, Trails of Kozmic Dust, 00:05:41
• The Atomic Bitchwax, Humble Brag, Force Field, 00:02:52
• Sasquatch, Just Couldn’t Stand the Weather, Maneuvers, 00:06:27
• Kadavar, Die Baby Die, Rough Times, 00:04:18
• Cities of Mars, Children of the Red Sea, Temporal Rifts, 00:08:27
• Argus, You Are the Curse, From Fields of Fire, 00:06:23
• Comacozer, Hylonomus, Kalos Eidos Skopeo, 00:13:43
• Samsara Blues Experiment, One with the Universe, One with the Universe, 00:15:02
• Orango, Heirs, The Mules of Nana, 00:04:46
• Siena Root, Tales of Independence, A Dream of Lasting Peace, 00:03:39
• Demon Head, Older Now, Thunder on the Fields, 00:04:17
• Sun Blood Stories, Great Destroyer, It Runs Around the Room with Us, 00:06:11
• Spaceslug, Time Travel Dilemma, Time Travel Dilemma, 00:10:07
• Arc of Ascent, Hexagram, Realms of the Metaphysical, 00:07:34
• Causa Sui, Seven Hills, Vibraciones Doradas, 00:07:24
• Alunah, Fire of Thornborough Henge, Solennial, 00:05:32
• Vokonis, Calling From The Core, The Sunken Djinn, 00:06:03
• Enslaved, Sacred Horse, E, 00:08:12
• Dvne, Edenfall, Asheran, 00:07:04
• The Midnight Ghost Train, Break My Love, Cypress Ave., 00:03:33
• The Obsessed, It’s Only Money, Sacred, 00:02:35
• Mothership, Crown of Lies, High Strangeness, 00:05:41
• Geezer, Red Hook, Psychoriffadelia, 00:06:02
• Uffe Lorenzen, Flippertøs, Galmandsværk, 00:02:46
• Youngblood Supercult, Master of None, The Great American Death Rattle, 00:04:01
• Beastmaker, Nature of the Damned, Inside the Skull, 00:03:26
• Pallbearer, I Saw the End, Heartless, 00:06:21
• Paradise Lost, Blood and Chaos, Medusa, 00:03:51
• Rozamov, Wind Scorpion, This Mortal Road, 00:08:49
• Eternal Black, Sea of Graves, Bleed the Days, 00:06:33
• Demon Eye, Politic Divine, Prophecies and Lies, 00:03:40
• Snowy Dunes, Ritual of Voices, Atlantis, 00:07:17
• The Devil and the Almighty Blues, Low, II, 00:08:49
• Abronia, Glass Butte Retribution, Obsidian Visions / Shadowed Lands, 00:06:09
• John Garcia, Kylie, The Coyote Who Spoke in Tongues, 00:04:58
• Tuna de Tierra, Raise of the Lights, Tuna de Tierra, 00:07:09
• Colour Haze, Lotus, In Her Garden, 00:07:05
• IAH, Stolas, IAH, 00:08:39
• Fungus Hill, Are You Dead, Creatures, 00:08:54
• Atavismo, El Sueño, Inerte, 00:11:18
• Tuber, Noman, Out of the Blue, 00:08:14
• Spidergawd, What You Have Become, Spidergawd IV, 00:03:44
• Puta Volcano, Bird, Harmony of Spheres, 00:05:07
• Ufomammut, Core, 8, 00:05:15
• Kings Destroy, None More, None More, 00:14:03
• PH, Looking Back at Mr. Peter Hayden, Eternal Hayden, 00:16:44
• Mt. Mountain, Dust, Dust, 00:17:15
• Electric Moon, Live Forever Now (You Will), Stardust Rituals, 00:22:41
• Bell Witch, Mirror Reaper, Mirror Reaper, 01:23:15

If you want to follow me on Spotify, apparently that’s something you can do here.

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Paradise Lost, Medusa: Deathly Passages

Posted in Reviews on August 10th, 2017 by JJ Koczan

paradise lost medusa

Next year will mark the 30th anniversary of England’s Paradise Lost, who in that time have crafted a storied, varied and massively influential career in doom. Whether as part of the original ‘Peaceville three’ alongside UK countrymen My Dying Bride and Anathema in the ’90s as they helped shape the decade’s course with records like 1991’s Gothic, which followed their 1990 debut, Lost Paradise, or 1992’s Shades of God, 1993’s Icon and 1995’s Draconian Times or the veering away from what had been the innovative downtrodden aggression of death-doom and gothic-doom in their sound — if not the dramatic sensibility — that came later in 1997’s One Second, 1999’s Host, 2001’s Believe in Nothing and 2002’s Symbol of Life, their evolution has divided fans and critics as only a band truly committed to following their own path can. With the release of their self-titled in 2005, Paradise Lost began to reemphasize the lead guitar of Gregor Mackintosh in their sound, and gradually since, the five-piece have pushed back into heavier and darker territory.

It’s been a decade-long process, with 2007’s In Requiem, 2009’s Faith Divides Us – Death Unites Us (review here), 2012’s Tragic Idol and 2015’s The Plague Within (review here), and with 2017’s Medusa — also their first offering through Nuclear Blast after releasing the prior four LPs and other numerous collections through Century Media — that progression toward darkened heft would seem to have hit a new zenith. From the Branca Studio artwork through the ultra-thick chug from Mackintosh and rhythm guitarist Aaron Aedy, the thudding drums of newcomer Waltteri Väyrynen (ex-Moonsorrow, among others), the heft of Stephen Edmonson‘s bass and the shifts between cleaner singing and harsh growls from vocalist Nick HolmesMedusa is Paradise Lost unabashed in their approach to doom — a sound they’ve made their own over time and one that tracks like the deeply metallic “From the Gallows” and the slogging “No Passage for the Dead” show they’re willing to reshape to their purposes on any given track.

Vital in their delivery and given added impact through the biting production of Jaime Gómez Arellano at Orgone Studios in London (see also: CathedralWith the DeadSólstafir and many others), Paradise Lost can come across as absolutely vicious throughout Medusa‘s eight tracks and 42 minutes, so that by the time they get around to the last push and rasps of closer “Until the Grave,” the organ introduction of 8:31 opener and longest inclusion (immediate points) “Fearless Sky” is a distant, mournful memory. Yet their work here is informed by an accessibility of structure as well. “Fearless Sky” is clearly intended to send a message to their audience with its overbearing crash, grueling tempo, drawn-out leads and Holmes‘ initial growls, but it also shifts into a melodic hook in its midsection — the crafters of Gothic playing very much to the gothic metal they helped craft — and once established, that dynamic becomes essential to the atmosphere and, in the end, the success of Medusa.

paradise lost

With Paradise Lost circa 2017, it’s not just about drawing solely on their early albums, or their middle period, or even the last decade’s clear-headed pummel — it’s about taking all of that and creating something with it that continues to move their progression forward. Second track “Gods of Ancient” follows the willful body-drag of “Fearless Sky” with an extremity of darkness worth of the band’s legacy that picks up its pace in the second half around a particularly punishing riff, setting up a thrust further into darkness on the shorter “From the Gallows,” which offsets a chugging verse with transitional lead lines and a more open-feeling chorus. This opening salvo consumes most of side A along with whatever else happens to step in front of it, and as “The Longest Winter” offers a breather in its atmospheric, birdsong-laden introduction, it also marks a turn toward cleaner-singing from Holmes that was foreshadowed in “Fearless Sky” but that, brought more forward and only offset by a couple guttural complementary lines, emphasize just how deeply bleak Paradise Lost get over the first three tracks. I’m not sure I’d call it a moment of hope in terms of ambience — it’s still plenty dark, plenty gray — but it’s nonetheless a departure from the rest of side A before it.

So does that mean the final four cuts on Medusa find Paradise Lost further expanding the context of the album overall? Somewhat, but they also reaffirm the emotional and tonal mire of the first half. The title-track, at 6:20, mirrors “Fearless Sky” in being the longest piece on its side (secondary points), and it begins with a quiet piano line that will reemerge throughout the entirety of the song as a focal point, a theme around which the weighted guitars and bass churn, vocals going from clean to rough in a flipped-script manner that was initiated by “The Longest Winter” before reverting to the deathly on the very-much-guitar-led “No Passage for the Dead” and “Blood and Chaos” — the latter arguably the most metallic of Medusa‘s tracks in quickness of pace and the straightforward swapping of growled verses and a harmonized chorus, Mackintosh‘s leads still a hallmark of Paradise Lost‘s sound as ever in the efficient, tightly-executed 3:51 that seems to answer “From the Gallows” in ferocity of purpose while surpassing it in catchiness level.

One might expect, given the traditional shape of the tracklist and the way Medusa unfolds across its span, that “Until the Grave” would task itself with summarizing the entirety of what comes before it, but it instead draws on the bitter mournfulness of “No Passage for the Dead” and “Blood and Chaos” and pushes them outward with keyboard flourish and steady rhythmic roll. It is a grim and thoroughly doomed finale, but I suppose in that it does actually do a fair bit of summary for what Medusa has on offer — a lack of pretense in its intention and a sharp-edged lucidity underlying the murk created throughout. A mission statement unto itself, “Until the Grave” ends simply, perhaps even in understated fashion, and leaves the listener wanting more, which for a band about to hit their 30th year and releasing their 15th full-length is no minor accomplishment in itself. Nonetheless, that Paradise Lost have never settled in terms of aesthetic, songwriting or performance has become a key facet of their longevity, and monstrous as it is, it’s only right that Medusa should stand as another richly satisfying next-step in their seemingly perpetual growth.

Paradise Lost, “Blood and Chaos” official video

Paradise Lost website

Paradise Lost on Thee Facebooks

Paradise Lost at Nuclear Blast website

Nuclear Blast on Thee Facebooks

Nuclear Blast on Twitter

Nuclear Blast on Instagram

Nuclear Blast webstore

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Paradise Lost: New Album Medusa Due this Summer

Posted in Whathaveyou on April 27th, 2017 by JJ Koczan

Those who’ve followed UK death-doom groundbreakers Paradise Lost for the better part of the last decade have been rewarded thoroughly by the band’s return toward darker and more extreme sounds. Their 2015 outing, The Plague Within (review here), was perhaps the bleakest step in this somewhat reformed direction to-date, and it would seem that the forthcoming Medusa — which will be the band’s 15th album and label debut on Nuclear Blast after working with Century Media since 2007 — intends to continue that thread. Nothing to complain about there. When Paradise Lost go dark, they go really, really dark.

Good news that they’re in the studio now — including artsy shots of them at work — follows, courtesy of the PR wire:

PARADISE LOST reveal new album title and details

At this moment, iconic UK metallers, PARADISE LOST, are putting the final touches to their upcoming album, recorded at Orgone Studios in the misty countryside of Woburn, England. Together with producer Jaime Gomez Arellano, they have forged the follow-up to their highly acclaimed release The Plague Within (2015), which brought them a step closer to their death metal roots. This time, PARADISE LOST will haunt their fans with a heavy, doom-ridden monster, as lead guitarist and songwriter Greg Mackintosh reveals:

“The new album will be slower, sludgier and more doom filled than ever before. Eight riff laden monster tracks of sheer Northern misery.”

This 15th studio album will see the light of day at the end of summer via Nuclear Blast and is entitled Medusa. As some might know, Medusa is considered a hideous Gorgon in Greek mythology – a winged female monster with living venomous snakes in place of hair and everyone who dares taking a look at her will immediately turn to stone! So watch out for new details about the album being revealed soon – if you dare.

PARADISE LOST are:
Nick Holmes | vocals
Greg Mackintosh | lead guitars
Aaron Aedy | rhythm guitars
Steve Edmondson | bass
Waltteri Väyrynen | drums

www.paradiselost.co.uk
www.facebook.com/paradiselostofficial
www.nuclearblast.de/paradiselost
https://www.facebook.com/nuclearblastusa
https://twitter.com/nuclearblastusa
https://www.instagram.com/nuclearblastusa/
http://shop.nuclearblast.com/en/shop/index.html

Paradise Lost, The Plague Within (2015)

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GIVEAWAY: Win Opeth and Paradise Lost Vinyl from Music for Nations

Posted in Features on July 27th, 2016 by JJ Koczan

[TO ENTER GIVEAWAY: Leave a comment on this post with your email address in the form. You’ll be contacted at that address if you win.]

Get yourself some free vinyl now by entering to win Music for Nations reissues of Opeth‘s Lamentations and Paradise Lost‘s Shades of God. Both releases came out through the reborn imprint on July 22 and are available now to purchase, but if you leave a comment on this post, you can get them both for free. No personal information will be kept, and you sign up for nothing by entering.

I’m going to guess if you’re reading this you’re already familiar with both bands, but here’s more info on these releases from the PR wire:

opeth lamentations

Opeth, Lamentations

Lamentations features a live performance of Opeth’s Damnation album in full, interspersed with songs from the band’s masterpieces Blackwater Park and Deliverance. Conceived and recorded alongside Deliverence, Damnation marked a radical shift in style and tone. The band took the opportunity to move away from their earlier death metal sound and towards a style reminiscent of 1970s progressive rock, taking inspiration from their Blackwater Park collaborator and producer Steven Wilson (Porcupine Tree).

Lamentations was recorded live at the prestigious Shepherd’s Bush Empire venue, shortly after both albums were released.

paradise lost shades of god

Paradise Lost, Shades of God

The album, a follow up to 1990’s Gothic album, is seen as the moment where Paradise Lost moved towards a more doom-centric sound, while still encompassing a wide range of other musical genres, showing off the band’s creativity and inventiveness in forging their own distinct take on doom metal, a style that would be continued on 1993’s Icon.

The album also saw the band’s initial transition away from using traditional death metal growls by blending them in with clean vocals, and quieter passages at times throughout the record.

Special thanks to Music for Nations and Atom Splitter PR for letting me host the giveaway. Winners will be chosen one week from today.

[TO ENTER GIVEAWAY: Leave a comment on this post with your email address in the form. You’ll be contacted at that address if you win.]

Opeth on Thee Facebooks

Paradise Lost on Thee Facebooks

Music for Nations

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Opeth and Paradise Lost Sign to Nuclear Blast Records

Posted in Whathaveyou on June 15th, 2016 by JJ Koczan

It’s only been two years since the last Opeth record came out — seems like much longer — but they’ve got a new one coming. It’s called Sorceress. I’m not even going to speculate what it might sound like, but as I was getting ready to post the news that Paradise Lost signed to Nuclear Blast, word came down that Opeth had as well, so it seemed only fair to combine them. Monte Conner killing it once again, as he will.

After four full-length albums, numerous compilations, reissues, live albums and so on, UK doom mainstays Paradise Lost have left Century Media to sign with Nuclear Blast. Entirely possible that whatever the terms of Paradise Lost‘s contract with Century Media were, those terms have been fulfilled — like I said, there have been a lot of releases since 2007’s In Requiem, their debut on the label — but though Century Media and Nuclear Blast at one time shared a building (their US offices), it’s a considerable jump anyway and is a name of considerable import to add to the Nuclear Blast roster, which continues to flourish.

Paradise Lost‘s most recent full-length is 2015’s The Plague Within (review here). They seem to drop hints below of a new release coming in 2017.

From the PR wire:

opeth

paradise-lost

OPETH sign to Nuclear Blast Entertainment; “Sorceress” to be released in late 2016

PARADISE LOST sign to Nuclear Blast

Nuclear Blast Entertainment is very pleased to announce the signing of Swedish progressive legends, OPETH. Always an unstoppable force for uniqueness amid a sea of generic swill, OPETH has been setting the rulebook ablaze, and ploughing a uniquely progressive and exploratory furrow for over 25 years now. Neither conforming nor exhibiting any desire to be restricted to a single genre, OPETH, quite simply, has a time honored tradition of blowing our minds with both class and forward thinking. All these years later, nothing and everything has changed once again with their forthcoming album Sorceress.

“We’re happy to confirm that we have indeed signed a deal with Nuclear Blast Entertainment and will be putting out our 12th studio album Sorceress via our own imprint, Moderbolaget Records,” states Mikael Åkerfeldt. “The decision was made in Markus Staiger’s (Nuclear Blast kingpin) ridiculously potent Porsche going at 150 mph somewhere in the south of Germany. We’re happy to be part of the NB team and look forward to a fruitful relationship.”

Nuclear Blast owner, Markus Staiger, continues:
“I am honored that OPETH has joined the Nuclear Blast family. Mikael Åkerfeldt and his fellow bandmates have demonstrated time and time again that OPETH are a band that never releases an album that sounds the same. You never know what their new music will sound like! Nuclear Blast has been following the musical journey of OPETH from the beginning with Orchid to landmark albums like Still Life, Deliverance, Damnation and Blackwater Park, right up to 2014’s Pale Communion. The band has become one of the most challenging artists in rock music today. It is not often that we get to work with musicians of their caliber and I am thrilled to have such a unique genre-leader on the label. The future for OPETH and Nuclear Blast looks very bright.”

Monte Conner, Nuclear Blast Entertainment president adds:
“OPETH are a band that has continually evolved and moved forward at every stage. Always innovating and always continuing to challenge themselves as players and writers. They are simply fearless. I can’t wait to hear what they come up with next! It’s an amazing feeling to be reunited with one of my favorite bands and I look forward to my colleagues here at Nuclear Blast being able to have their own OPETH experience and role in the band’s continuing journey. I want to thank Mikael Åkerfeldt and OPETH for putting their faith and trust in everyone here at Nuclear Blast.”

OPETH are currently in the studio with Tom Dalgety putting the finishing touches on Sorceress. A release for the album is tentatively scheduled for the fall via Moderbolaget Records / Nuclear Blast Entertainment.

Iconic UK metallers, PARADISE LOST, have signed a worldwide deal with German-based metal powerhouse Nuclear Blast! Formed in Halifax, West Yorkshire in 1988 and still boasting 4 of its 5 original members, the band are widely-credited with co-founding the gothic metal genre with their sophomore album, Gothic (1991). Through the years, PARADISE LOST have changed their style effectively and reinvented themselves again and again. They elbowed their way from their original doom/death metal on their debut, Lost Paradise (1990) to the classic Icon (1993) and more experimental One Second (1997). Finally they went back to the roots with their current release, The Plague Within (2015) and some of the best reviews of their career.

Vocalist Nick Holmes commented:
“PARADISE LOST’s career has run alongside Nuclear Blast Records since the label began in the late 80’s. And as huge fans of original death metal, we still have the majority of the label’s first releases from those very early days. It’s pretty incredible to see how the label has become a real force in metal music over the years, both in Europe and America and now, nearly 30 years later, in a new chapter for the band, it’s exciting for PARADISE LOST to be a part of Nuclear Blast in 2017!”

Nuclear Blast owner Markus Staiger adds:
“As a fan from day one I’ve been following PARADISE LOST ever since their death metal era but also enjoyed watching them grow into something even bigger and so unique. They defined and later on re-defined the gothic genre and always delivered the most dark and memorable songs. It’s with great pleasure to finally welcome the band to the ever-growing Nuclear Blast family! Needless to say that we’re very much looking forward to this cooperation!”

PARADISE LOST live:
18.06. B Dessel – Graspop Metal Meeting
19.06. F Clisson – Hellfest *SOLD OUT*
03.07. D Roitzschjora – With Full Force
09.07. SRB Novi Sad – Exit Festival
17.07. FIN Joensuu – Ilosaarirock
11.08. D Schlotheim – Party.San Open Air
13.08. UK Walton On Trent – Bloodstock Open Air
20.08. D Hamburg – Elb-Riot
27.08. TR Istanbul – %100 Metal Fest Headbangers’ Weekend
15.10. BR Sao Paulo – Epic Metal Fest Brazil

PARADISE LOST are:
Nick Holmes | vocals
Greg Mackintosh | lead guitars
Aaron Aedy | rhythm guitars
Steve Edmondson | bass
Waltteri Väyrynen | drums

www.paradiselost.co.uk
www.facebook.com/paradiselostofficial
www.nuclearblast.de/paradiselost
www.opeth.com
www.facebook.com/opeth
www.twitter.com/officialopeth
www.instagram.com/officialopeth
www.youtube.com/opethofficial

Paradise Lost, “Beneath Broken Earth” official video

Opeth, Live at Motocultor 2015

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ROADBURN 2016 DAY ONE: Cosmic Truth

Posted in Features, Reviews on April 14th, 2016 by JJ Koczan

roadburn 2016 day one (Photo by JJ Koczan)

04.15.16 – 00:16 — Hotel room, Tilburg

Already it seems like Roadburn is in full swing. There’s no sense of the outside world, only Roadburn, which always has and always will. Familiar faces abound, and new ones too. A lot of them. That build-out on the 013 allowed for more tickets sold, so inarguably Roadburn 2016 is the most crowded this event has ever been. That’s saying something. Mostly, it’s saying, “get there early if you want to get up front.”

the poisoned glass 1 (Photo by JJ Koczan)I did just that what seems like a million hours ago for The Poisoned Glass starting the day — the first day; my god, it’s still the first day — at Het Patronaat, aka the church. The band is new, but the players involved were clearly known to the early crowd, vocalist/noisemaker Edgy59 and bassist G. Stuart Dahlquist both veterans of widely influential doom extremists Burning Witch. By astounding coincidence, their debut album, 10 Swords, came out this week via Ritual Productions, and they played the vast majority of it and then some, the volume of Dahlquist‘s bass loud enough to vibrate earplugs and dissuade any accusations of minimalism one might try to make.

With Edgy59 switching between harsh screaming rasps and cleaner vocals, it was entertaining to look around the room and see so many smiling faces among those in attendance. Yes, the music is unspeakably dark. Yes, it sounds like your soul in a trash compactor. Doesn’t mean you can’t enjoy it. Their post-Khanate dystopian oppression found its audience for sure, and it was gripping to watch the seething intensity in Edgy59‘s performance particularly, his movements restless in comparison to the slow motion tempos of the material. They were as heavy in mood as in Dahlquist‘s tone, and inescapable in their rumbling churn. Perfect for the church.

As they were wrapping up, Inverloch were taking the stage in the redone Green Room. I tried to catch some of Mantra Machine, but already the Cul de Sac was full and it would remain so for the duration. I thought about running over to Extase, which is around the other side of the alley behind the Patronaat, to get a sample of Grafir, but wound up marauding through the merch section — like a fucking champ — and back at the church to catch Der Blutharsch and the Infinite Church of the Leading Hand, who, as it turns out, were exactly what I was looking for.

der blutharsch 1 (Photo by JJ Koczan)Later on, I’d go back to the merch area to pick up a full copy of their new record, The Wolvennest Sessions, which came out in December, and grabbing 2012’s The Story About the Digging of the Hole and the Hearing of the Sounds from Hell on a whim, basically because that’s how good Der Blutharsch and the Infinite Church of the Leading Hand Were, the Austrian experimentalists celebrating their 20th anniversary with a short tour in the winding-down stage. Their blend of classic krautrock and forward-thinking psychedelia was a joy to take in, and since their stuff is so far out, I didn’t really know what was coming. Anything would’ve been a surprise. With founder Albin Julius on synth and vocals, they spread their sound out over their hour-long set and seemed right at home in the flow.

There seems to be some threat that this is their last tour. Obviously, I don’t know if that’s true or not, and since they’re pretty prolific, I wouldn’t take that to mean they’re done overall — though one never knows — but even if it’s a year or a few years before they get out again, I felt fortunate to watch them play. It’s the kind of thing I’d never get to see anywhere but at Roadburn, something I didn’t even know how badly I wanted to watch, and though I checked out a little early to go catch The Skull on the Main Stage back at the 013Der Blutharsch and the Infinite Church of the Leading Hand left one of the day’s most memorable impressions. Considering the course of the day, that’s saying something.

Yeah, I watched The Skull last night at the Hardrock Hideout (review here). It’s a fact. I thought this was their set of Trouble songs, and there were a few sprinkled in for good measure, of course — “R.I.P.,” “At the End of My Daze,” “Come Touch the Sky” and so on — the skull rb 1 (Photo by JJ Koczan)but was awfully Skull-y for being the Trouble set, which as it turns out is late tomorrow night. Go figure. No harm done, of course. Let “A New Generation” and “The Longing” be the worst things that ever happen at Roadburn. They riffed on “I Want You/She’s so Heavy” and tossed “Till the Sun Turns Black” into the set, which was certainly welcome, and after the swinging “Send Judas Down,” which included a nod to “In-a-Gadda-Da-Vida,” it was once again the title-track from For Those Which are Asleep (review here) rounding out.

To see them on such a huge stage less than 24 hours after seeing them in a club that holds about 200 people was something of a trip, but The Skull were no less in command of the cavernous space than they were the tiny Cul de Sac, where New Keepers of the Water Towers were going on shortly. I ran over quickly to see if there was any room in the building. There was enough for me to buy a copy of their new album, Infernal Machine (review here), but by the time you walked to the bar in the much-longer-than-it-is-wide venue, there was basically no passage through the throng of humanity. Buying the record seemed like the least I could do for having made the attempt to see them and failed, and once I got it, I headed back to the Main Stage to watch The Skull finish and to wait for Hexvessel, who were one of my most anticipated bands for the entire fest, to take the Main Stage.

I said as much in today’s Weirdo Canyon Dispatch (issue here) but nature-worshiping Finnish outfit Hexvessel‘s new record, When We are Death (review here), stands among the best albums of 2016 so far. Before they went on, I ran over to the merch area — more hexvessel 1 (Photo by JJ Koczan)of a waddle, really — and picked up the artbook edition of the album as well as a patch with a fish head on it. They also had owls and bears and several other wildlife options, but you don’t see a lot of fish in underground heavy, so I was all about it. No idea what I’ll do with the thing, not being the battle-vest type, but whatever. For three euro? Sold. Their set more than justified both purchases, focused heavily on the new album and a huge shift in dynamic from when they were here in 2012, having departed from their folkish roots on the strength of infectious, progressive and deeply nuanced songs like “Mushroom Spirit Doors,” a set highlight, and “Cosmic Truth,” which frontman Mat McNerney prefaced by saying it was about, “true love and spaceships.” Needless to say, right up my alley.

Quietly percussive, “Hunter’s Prayer” finished off what seemed to be Hexvessel‘s regular set, after “Cosmic Truth,” “Mushroom Spirit Doors,” “Transparent Eyeball,” “Teeth of the Mountain,” “Mirror Boy,” and “Sacred Marriage” and the earlier “Woods to Conjure” from 2012’s No Holier Temple, but the band did an encore of sorts with “Earth over Us” and “When I’m Dead” back to back, both maddeningly catchy, the former delivered with surprising heft from the stage, before closing with “Invocation Summoning” from their 2011 debut, DawnbearerMcNerney encouraging the crowd to sing and clap along, which of course it did.

Timing worked out that as Hexvessel were finishing, Bang were starting in the Green Room, so I hobbled over there and waited for the Franks and Jake to follow-up their Hardrock Hideout set with another runthrough of their heavy ’70s lost classics. They did not disappoint, and their warm, laid back take on heavy rock continues to thrill. I’ve seen the band I don’t even know how many times at this point — let’s say circa 15 — but their vibe is always right on, and I don’t think I’ve heard bassist Frank Ferrara‘s tone sound as full and inviting as it has last night and tonight. He and guitarist Frankie Gilcken founded the band in 1969 and their self-titled debut was released two years later, and Ferrara remarked from the stage that their first European appearance — this one — was 46 years in the making. Time flies.

bang 1 (Photo by JJ Koczan)Much to their credit, they lived up to the occasion, and though he’s far from being an original member of the band, Jake Leger‘s drums have become essential to Bang‘s live presence. Maybe they’ll do another record, maybe they won’t, but with Leger swinging away behind, Gilcken and Ferrara are that much more able to nail that spirit every time out. “Lions, Christians” was a highlight, and of course “Our Home,” both from the self-titled, but in the live setting, the much newer “The Maze” is no less vintage-sounding. I think Leger is a big part of that. A third in the power trio, at very least. As they always do, Bang looked to be genuinely enjoying making their European debut, and a crowd that already knew their songs made it seem all the more overdue.

Back on the Main Stage, Converge were finishing up their set playing 2001’s Jane Doe in full: The album that launched 100,000 metalcore bands who were nowhere near as interesting as Converge ever were. Hard to hold that against it, I suppose. I caught the tail end of the set, which was as furious as it would have to be, and the four-piece of vocalist Jacob Bannon, guitarist Kurt Ballou, bassist Nate Newton and drummer Ben Koller brought out former bassist Stephen Brodsky (also Cave In) to join them on guitar and melodic vocals for the closing title-track from Jane Doe, its sweep well on the other side of epic. Not really my thing stylistically, but people were jammed into the Main Stage space for them, and I watched as dudes had to be helped out of the front for what I guess was a rare Roadburn pit — unless someone just stepped on that guy’s foot, which would be sadder somehow — so it was clear the room was making the connection to the off-genre elements Jane Doe brought to hardcore, or more likely, they made that connection 15 years ago. Either way.

My second failure at Cul de Sac came after Converge were done when I ran over to try to see the reunited Gomer Pyle. No luck. Same as with New Keepers: I bought a CD and that was about as close as I could get. Fair enough. By this time, I was reconciling myself to the fact that I’d probably not get in to see either Zone Six at Cul de Sac or CHRCH at Extase, both of which were bigtime mental bummers. Still, as consolation, Paradise Lost playing their defining 1991 opus, Gothic, in its entirety ain’t bad. That album turns 25 this year, has been reissued multiple times over, and its paradise lost 1 (Photo by JJ Koczan)influence continues to spread, now feeding a new generation a blueprint of how to do death/doom so very, very right.

It would’ve been an event to see Paradise Lost play anything, but “Gothic,” “Shattered,” “Dead Emotion” — this is the stuff of which doom extremity is made. I stayed a while to pay my respects and then did decide after all to not be a defeatist jerk and see if I could get in for Zone Six after all. I could. The key was to be early as hell. That’s an old Roadburn trick. The German space jammers, who feature in their ranks Dave “Sula Bassana” Schmidt and Komet Lulu, both of Electric Moon, played as a trio with Rainer Neeff on guitar, which meant that synth specialist Modulfix was missing, but the jams were happening either way. I dug the gosh darn heck out of last year’s Love Monster (review here), and they were another act where the safer assumption probably would’ve been that I’d never get to watch them do a set save at Roadburn. I am very, very fortunate to be here.

Zone Six played in the dark. I mean it. Cul de Sac isn’t exactly bright to start with, and Lulu asked before they went on to have the lights turned down so it was like shooting a show in Boston in there. With Sula filling in on synth, their swirl was certainly colorful enough that it would’ve justified a bit of brightness, but I’ll take what I can get and the pictures can work themselves out. I got to see Zone Six. That’s a win. And since I had a hot streak going, I thought maybe I’d give Extase a shot for CHRCH to round out the night on a bludgeoning note of tonal mass, their Unanswered Hymns (review here) debut album on Battleground Records continuing to resonate as one of 2015’s best. As fate would have it, my luck held.

My two gotta-sees for today were Hexvessel and CHRCH. I wish I could say I stayed for the latter’s full set, but between the fact that it zone six 1 (Photo by JJ Koczan)was getting on midnight and I had writing to do and the full-crowd press up against the stage in Extase bringing on a need for breathable air that smelled like something other than beer sweat, I indeed did not. Was enough to see them play “Unanswered Hymns” though to justify my anticipation. The Sacramento five-piece are touring to support the aforementioned first LP, and they’re doing numerous fests in the US as well as putting in this abroad road time, so it probably won’t be the last time in my life I run into them, but I was extraordinarily glad I did. Partially veiled frontwoman Eva played up a ritualistic sensibility with incense at the front of the stage, but really, so much of what they did was about absolutely crushing everything in their path — which is a kind of ritual, granted — that their primary impression was one of sheer impact. Switching between screams and cleaner croons, Eva shared vocal duties with guitarist Chris, whose growls underscored the death/doom aspects of CHRCH‘s sound, making them all the more crushing.

Listening to Unanswered Hymns, it was clear CHRCH (who were called Church at the time) were onto something that could be really special. After watching them bring that material to life, I feel no less vehement in my appreciation for just how on-the-right-path they absolutely are. Their second offering will be a big tell. I can’t wait to hear what it has to say.

When it was time to go, I fought my way through the wall of humans at Extase and eventually out into the street wherechrch 1 (Photo by JJ Koczan) some non-Roadburn-type tourists were taking their picture in front of the big cathedral. Dudes were plastered. I took their picture with one of their phones and told them to have a good night. Theirs might’ve just been beginning, and I suppose in a way mine was too, but with Day One of Roadburn 2016 down, I felt like something really substantial had been accomplished even as I looked at the schedule for tomorrow and Saturday and Sunday and knew that there remains so much more to come.

More pics after the jump. Thanks for reading.

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Roadburn 2016 Trip Pt. 4: Eternal Waltz

Posted in Features on April 14th, 2016 by JJ Koczan

weirdo canyon sign

04.14.16 – 11:51AM – 013, office

Some issue with the printer in the office here at the 013. Doubt it’s anything major, but it’s just holding up the proof of the day’s issue of the Weirdo Canyon Dispatch. I’m not worried. It will work out. It’s hard to be worried with such a professional crew working here. wcd issue 1Shaman Lee is on it as well, so while I have a couple changes to make in the copy, and the deadline is/was noon to start printing, we’ll get there.

In the interim, I got to catch a minute of Paradise Lost’s soundcheck. The new Main Stage space is huge — holds 3,000 people — and I expect it will be full. When I showed up to the loading dock (also suitably cavernous) this morning, I got a tour of the redone 013. There’s a photo pit in the new Jupiler Stage (former Green Room), which makes me feel like the universe is doing me personal favors, and space downstairs for the panels and this and that. I don’t know of anything in the US that compares to it. It’s a big country, I’m sure there’s something in a similar class somewhere, anywhere, but nothing I’ve ever seen. That was true before it was redone as well, and now it’s brand new.

And of course the sound is incredible. The space is both familiar and not, and I expect it’ll take some getting used to going from room to room, then down the way to Extase or Cul de Sac — I’m already nervous about missing CHRCH later tonight owing to the crowd; they’re among the most anticipated bands for the fest from people here and playing the smallest space — but it’s Roadburn. Everything will be fine. It’s so good to be here again. I saw Walter and Becky and Miranda paradise lost soundcheck (Photo by JJ Koczan)and Gijs and a bunch of other familiar faces from the 013 crew, and it’s been nothing but warm feelings since I walked in. I even met the general manager of the 013, who is responsible for bringing me over again to do the WCD. I felt like I should’ve brought him a gift basket. Here sir, please take these fruits and cheeses as a minimal token of my appreciation. Would be hilarious to try to get that through customs, standing like a dope on the non-EU passports line.

Just a couple hours now until the start. We’ll get the margins for the ‘zine sorted and then get to folding, and maybe I’ll have some more coffee before the day begins in earnest, or that tea that I put in the office fridge to cool off, and then take a deep breath before the big plunge. Definitely felt like it after last night, but Roadburn 2016 starts now.

Check out the first issue of Weirdo Canyon Dispatch here

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