Posted in Whathaveyou on September 24th, 2014 by JJ Koczan
I’ve only seen Wovenhand once. They’ve come through New York a few times, but I never went because I didn’t want to deal with the crowd. When I caught them though, they were staggeringly good, and that was before Refractory Obdurate (review here), which is their latest album. I guess the point I’m trying to make is if you get the chance and you can put yourself in a place where they’re going to be, you should give it a shot. Particularly now since the new record is so unbelievable, though I’d probably have told you the same thing with the last one too.
Okay:
WOVENHAND ANNOUNCES U.S. TOUR DATES IN NOVEMBER WITH PONTIAK
New Album Refractory Obdurate Available Now from Deathwish Inc.
Wovenhand is a band led by dedicated life-musician and lyricist, David Eugene Edwards. Over the last two decades, his prolific work in both Wovenhand and the legendary 16 Horsepower has influenced and inspired a generation of musicians throughout the expansive alternative music world. Wovenhand cannot be described in traditional terms. Its sound is an organic, weavework of neo-folk, post rock, punk, old-time, and alternative sounds, all coming together as a vehicle for David’s soulful expression and constant spiritual self exploration. Sometimes sad and sorrowed and at other times uplifting, Wovenhand is always unforgettable in spirit and sound.
Wovenhand released its landmark effort Refractory Obdurate this past April via a partnership between Deathwish Inc. and Glitterhouse Records. Refractory Obdurate is a moving masterwork that shows Wovenhand exploring louder roots hinted at on prior albums.
Now, Wovenhand is gearing up to play a three-week-long tour of the Western United States with Pontiak (Thrill Jockey) throughout November. The bands will make a stop at Fun Fun Fun Nites in Austin, TX on November 7th, as well as play an amazing show with a lineup including King Dude and Spencer Moody with DJ Chelsea Wolfe in Los Angeles on November 12th – check out the full routing below.
Wovenhand – On Tour With Pontiak Tue 11/4/2014 Santa Fe, NM- Skylight (no Pontiak) Thur 11/6/2014 Lubbock, TX- Bash Riprock’s Fri 11/7/2014 Austin, TX- FFF Nites, Venue TBA // Free Show Sat 11/8/2014 Dallas, TX- City Tavern Mon 11/10/2014 El Paso, TX- Lowbrow Palace Tue 11/11/2014 Phoenix, AZ- Pub Rock Live Wed 11/12/2014 Los Angeles, CA- Jewel’s Catch One ** ^^ Thur 11/13/2014 Atascadero, CA- Molly Pitcher // Free Show Fri 11/14/2014 San Francisco, CA- Bottom of the Hill Sat 11/15/2014 Arcata, CA- The Alibi Mon 11/17/2014 Portland, OR- Hawthorne Theatre Tues 11/18/2014 Bellingham, WA- The Shakedown Wed 11/19/2014 Vancouver, BC Thur 11/20/2014 Seattle, WA- Highline ** Fri 11/21/2014 Boise, ID- Neurolux Sat 11/22/2014 Salt Lake City, UT- The Garage
** w/King Dude ^^ w/Spencer Moody, DJ Chelsea Wolfe
Posted in Features on June 23rd, 2014 by JJ Koczan
It’s custom around here to do a Top 10 of the First Half of the Year, in advance of doing a Top 20 of the Year in December. The idea is that the later list will basically build on the earlier one. That’s never really how it works out — albums always drop off or appear unexpectedly depending on what gets listened to most, what gets reviewed late, etc. — but it always works out to be a good time anyway, and that’s really what it’s all about.
The difference this year is that instead of doing a Top 20 in December, I’m planning on expanding to a full Top 30, so to do a Top 10 of the stuff from January until now makes less sense. So here we are with a Top 15. A slightly longer list, but still the same basic idea as years past otherwise. These are albums I’m expecting will turn up again at the end of the year on the final Top 30, and though some will and some won’t and almost all of them will move around, there are more than a handful — particularly if we’re counting by fingers — of essential records released over the last six months recounted here.
If you missed something, I hope it’s something cool you get to check out, and if I missed something (as I inevitably did), I hope you’ll let me know in the comments. Please note that this is full albums only, no EPs, splits, singles or demos.
I’ll freely admit I was more than a little thrown off by the change in approach on Greenleaf‘s fifth album. Where prior outings like 2012’s Nest of Vipers(review here) and 2007’s megatriumph Agents of Ahrimanhad been lush heavy rock affairs helmed by Dozer guitarist Tommi Holappa with a slew of guests on vocals, organ, etc., Trails and Passesdialed back the “extras” in favor of a more stripped down, stage-ready approach. Holappa‘s songwriting alone would likely be enough to have Greenleaf on this list one way or another, and Trails and Passesis one of the year’s best. The turn was just unexpected and I feel like I’m not caught up to it yet.
Initially put out in a limited tape run in late 2013 (review here), the Enter Venus full-length from Richmond-based sludgers Druglord codified the noisy murk of their prior outings into one devastating wave of lurching riffage and echoing shouts. The Virginian three-piece recorded with Garrett Morris of Windhand and the STB vinyl topped off with artwork by W. Ralph Walters, making for a package both visually and sonically devastating, and though it’s short for an album at under a half-hour, the 12″ still earns the nod for the unmitigated heft its four songs carry. It’s one you can either dig or miss out, but Druglord show there’s more room for invention in sludge.
There really isn’t much left to say when it comes to Wovenhand and their driving force, frontman David Eugene Edwards. Their first for Deathwish Inc., Refractory Obdurate is the latest document of one of this generation’s most accomplished songwriting progressions. It follows a brilliant record in 2012’s The Laughing Stalk (review here) and likely precedes one in whatever they decide to do next, and the enduring fascination on Edwards‘ part with tonal weight and groove continues to push Wovenhand into a creative territory that is without genre. Nobody else comes close.
Quick-working Danish jammers Papir made a strong impression with IIII early in the year, offering a progressive take on the style of heavy instrumental jamming that has flourished throughout Europe over the last half-decade or so. Immediately individualized, the Copenhagen three-piece carried across four intricately constructed pieces, most open with the 21-minute “III” but never lacking for twists and turns that were an utter joy to follow. A band that has already collaborated with the even-jammier Electric Moon and who’ve aligned themselves with Causa Sui‘s El Paraiso Records, they seem like a safe bet to continue to grow into reliable purveyors of high-quality instrumental heavy psychedelia.
Its arrival was heralded by the righteousness of a Lego video for “Nine Princes in Amber,” though even that was little preparation for the classic doomery that would take place on the return long-player from Portland, Maine’s Ogre. The trio of guitarist Ross Markonish, bassist/vocalist Ed Cunningham and drummer Will Broadbent broke up in 2009, got back together in 2012, and with their fourth album, they made it clear they still had plenty to offer those who worship trad-style riffing, Sabbathy grooves and the kind of hooks that stay with you for days. The Last Neanderthalhad plenty of those, and “Warpath,” the aforementioned “Nine Princes in Amber,” “Bad Trip” and “Son of Sisyphus” tapped into what makes the best of doom so ready for repeat listens.
Another reunited trio, Floor had it tough coming into their first album in a decade, Oblation. The legacy of their 2002 self-titled would loom large over anything they put out, and guitarist/vocalist Steve Brooks had since gained a huge following as the spearhead of Torche, but four years after they started playing shows again, Floor met the challenge head-on with Oblation‘s 14 tracks, showing a natural progression from where they left off so long ago without seeming like they were trying to recapture a past that inevitably would prove irretrievable. Instead, they’ve set themselves on a course for continuing to develop as a band, and though Torche have a new album expected out this summer on Relapse and doubtless that will take some time and focus away from Floor, hopefully they keep pursuing that growth.
I’ll claim no impartiality when it comes to Port Orchard, Washington, heavy rock purveyors Mos Generator or the craftsmanship of guitarist/vocalist Tony Reed, but if half the point of a list like this is to nerd out over albums you dig (and I’ll gladly argue that it is), then Electric Mountain Majestyis right where it should be. Reed, bassist Scooter Haslip and drummer Shawn Johnson are clockwork-reliable when it comes to putting out high-grade material, and their second record since getting going again after Reed‘s few years in Stone Axe pushed beyond the considerable accomplishments of 2012’s Nomads(review here) and brought their sound to new and at times surprisingly doomed places while still keeping their core in a love of classic heavy rock songwriting. From where I sit, new Mos Gen is never one to pass up.
Not that I didn’t expect a new Blood Farmers release to be cool, but Headless Eyes was still a surprise when it arrived earlier in 2014. Who was to say what the New York trio would concoct after a 19-year studio absence? Of course, what they came out with was dead-on horror-loving doomly plod, cuts like the instrumental “Night of the Sorcerers” and the deceptively catchy “Headless Eyes” not only worthy of Blood Farmers‘ substantial legacy but building on it. Void of pretense, Headless Eyesresonated with a brooding atmosphere capped by the surprising closer, “The Road Leads to Nowhere,” a cover of the theme from The Last House on the Left and positioned the three-piece of vocalist Eli Brown, guitarist/bassist David Szulkin and drummer Tad Léger among the fore of traditional doom’s practitioners.
After seeing them live late last year (review here), digging their 456th Div. tape (review here) and putting their debut single on the best short releases of 2013 list, I had little doubt that their self-titled debut full-length would deliver a satisfying listen. Sure enough, the five-tracks of the quality-over-quantity release did precisely that, the Brooklyn three-piece harnessing unashamed positive vibes to mesh with a burgeoning psychedelic feel, catchy hooks and classic-style road songs serving as a reminder of the good times that rock and roll both provides and complements. Now that summer is here, I expect to revisit The Golden Grassplenty of time over these sunny, hot months, since it would seem the year has finally caught up with the band’s warmth and day-long spirit. The Golden Grass are reportedly headed to Europe later this year, so more to come on them for sure.
Every time I think I’m out, Cabalgata Hacia la Luz pulls me back in. The third full-length from Argentina trio Ararat seems to hit me with a different song each week. This week, it’s the six-minute “El Hijo de Ignacio,” with the insistent, punkish drums from Alfredo Felitte, backing noise and later keyboard eeriness from Tito Fargo and the low bass rumble of Sergio Chotsourian (ex-Los Natas), whose vocals seem to hover over the rest of the mix as though piped in from someplace else entirely. The whole album had a hypnotic effect that pulled the listener away from how diverse it actually was, moving into and out of heavy psych atmospherics with expert smoothness, but the more attention you paid, the more rewarding the experience became, as Ararat defied any expectations that might have come from their 2012 sophomore outing, II(review here), and boldly pushed toward new avenues of progression.
Who’s heavier than Conan? The superlative UK trio have spent the two years since the release of their full-length debut, Monnos (review here), solidifying their dominance, and their first album for Napalm Records plays out like a victory lap over the skulls of lesser riffs. Opening with the near-10-minute lumber of “Crown of Talons,” Blood Eagle solidified the two-sidedness of Monnos into a back-breaking doom assault, and their pummel remains unparalleled as they continue to grow as players and songwriters. This year has also seen producer Chris Fielding join the band on bass, and as badass as Blood Eagleis — one would rarely think of a song called “Gravity Chasm” as being so aptly-named — I can’t help but look forward to hearing what Conan do from here and how they continue to refine one of doom’s most bludgeoning approaches.
It’s the songs. I really, really dug Dwellers‘ 2012 debut, Good Morning Harakiri (review here) as well, and I won’t say a bad word about that album, but Pagan Fruit is in a different class altogether. And you know, it’s not just the songs. It’s how the songs play next to each other, the mood they create, and the hooks that Dwellers bring to the table with so much stylistic poise, calling the bluffs of any number of heavy psych blues rockers on “Totem Crawler,” or “Creature Comfort,” or “Son of Raven” or “Spirit of the Staircase.” The Salt Lake City-based trio of guitarist/vocalist Joey Toscano, bassist Dave Jones and drummer Zach Hatsis brought new levels of cohesion to their sound throughout Pagan Fruitand it remains an album that I have yet to get enough of hearing, one that seems to offer more each time I put it on and let my mind drift to its patient, open spaces.
From here on out, on any given day, any one of these is my album of the year. What a thrill it was to put on Fu Manchu‘s first album in five years, Gigantoid, and have it roll out such a tight-knit collection of heavy rolling excellence. The West Coast stoner riff gods of gnarl stripped down their production inspired in part by a reissue campaign of their earlier work on their own At the Dojo Records label, and the punkish feel suited them better than even they likely could’ve expected. With its opening four-song punch, the no-frills shot of “No Warning” and the closeout jam at the end of “The Last Question,” Gigantoid felt like more than one could’ve reasonably asked from a Fu Manchu long-player 20 years on from their debut, but the vitality they showed in its tracks, paired with the efficiency with which the songs were executed, showcased a timeless, perpetual appeal. They know what they’re doing and how they want to do it, and just because there was no doubt going into Gigantoiddoesn’t make the end product any less of a payoff.
I’ve gone on at some length about what I find so appealing in the second full-length from Bordeaux trio Mars Red Sky, so even putting aside the deft hand with which they incorporated further heavy psych soundscapes into their songwriting, let me just focus on how memorable Stranded in Arcadia actually is. That was true as well of Mars Red Sky‘s 2011 self-titled debut (review here), but these songs are more ambitious, from the eight-minute opener “The Light Beyond” to the gorgeous melody-wash in the chorus of “Join the Race” and the stomp in the de facto closer “Seen a Ghost” before the leadout/refrain “Beyond the Light” calls all the way back to the first track. The development of Mars Red Sky‘s take isn’t necessarily such a surprise — the debut had its psychedelic, jammy feel as well — but the fact that the trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Matgaz managed to elicit such development while remaining true to the warm tones and humble, unpretentious vibe of the debut only makes Stranded in Arcadiamore remarkable. I wouldn’t stop listening to it if I could.
It wasn’t easy to hold off on reviewing the fifth album from the Texas power trio for as long as I did, but I thought the record was too good to jump the gun on, and so yeah, it’s a pretty recent writeup, but I feel comfortable putting The Conjuring at number one here because I’ve actually had a while to live with these songs. Or maybe “live in” them would be a better way to say it, since the dense wall of fuzz and jammed-out distortion Wo Fat create across this record is basically thick enough to take up residence. Recently back from a European tour, Wo Fat hit the road supporting their finest work to date, and as the lineup of guitarist/vocalist Kent Stump, bassist Tim Wilson and drummer/backing vocalist Michael Walter are more or less self-sustaining in their own Crystal Clear Sound studio in Dallas, there’s no reason they can’t just keep developing along the path they are. The Conjuringboasts their best jams yet but also holds firm to the already-planted-in-your-consciousness hooks that Wo Fat have long since established a penchant for, and one could just as easily put the band at the fore of traditional heavy rock riffing as of American heavy psych jammers. Any way you look at them, they’re at the top of their class.
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Quick honorable mention goes to Radio Moscow, The Wounded Kings, 1000mods (review forthcoming), Eyehategod, Abramis Brama, Truckfighters, Valley of the Sun, the live Causa Sui record and Alcest. Been a hell of a year so far, and I’m already putting together a list of anticipated records for the next six months, so there’s much more to follow.
Whatever genre tag one might want to saddle Wovenhand with, I’ve yet to come across one that doesn’t leave some integral facet of their sound uncovered. Like the cover art of their latest outing and first for Deathwish Inc. (their alliance with Glitterhouse Records continues outside North America), Refractory Obdurate, their aesthetic is a patchwork. Always in progress, it draws from world music influences, from folk, from indie (whatever that means), and increasingly over the last several albums, 2012’s The Laughing Stalk(review here) and 2010’s The Threshingfloor(semi-review here) particularly, from heavier-toned rock, but they are not a band to be pinned down to one modus or another, and that’s as true on Refractory Obdurateas it has been all along. Driven by the songwriting of guitarist, vocalist, founder and oft-perceived figurehead David Eugene Edwards (formerly of 16 Horsepower) and featuring guitarist Charles Edward French, bassist Neil Keener, percussionist Ordy Garrison and organist Jeff Linsenmaier, the 10 songs/43 minutes of Refractory Obduratehave some sonic carryover from The Laughing Stalk, but as ever for Wovenhand, there’s progression as well. They are immediately recognizable. There’s no one who sounds like Wovenhand both because of Edwards‘ vocal style and because of the fluidity of the band’s arrangements. All but Keener appeared on the last album, so there’s some consistency of approach in the bright, joyous rush of “Good Shepherd” or the brooding spaciousness of the later “Obdurate Obscura,” but more than last time, what stands out here is the feverishness of the builds and payoffs in the material’s structure. That is, to bring a song to an apex isn’t really anything new for the band, but in “Masonic Youth” (get it?), “The Refractory,” “Salome,” the bass-fueled “Field of Hedon,” and the penultimate “Hiss,” which provides the climax for Refractory Obdurate as a whole as well, the tension is more of a focal point than it’s ever been in Wovenhand‘s approach. At this point, they’ve also gotten heavy enough to allow for that.
I’ve said before that I have trouble thinking or speaking about Wovenhand in anything other than hyperbole. Refractory Obdurateprovokes that response as well since Edwards and his companions emerge from it no less a singular sonic entity than they went in. They are unique, and as that’s an absolute term, Refractory Obdurateis bound to cause a strong reaction. As a fan, I looked forward to the release, and listening to it, was pleased to discover no dilution in the quality of songwriting, whether it’s more bombastic material like “Masonic Youth,” the culmination of which is punkish in its intensity, or “King David,” which holds firm to the acoustic strum around which its rumble builds, Edwards‘ vocals echoing in an impeccable mix. It is a long way sonically from Wovenhand’s 2002 self-titled debut, but traced over the course of their albums, which have been released on even years since with the Blush Musicscore arriving in 2003, Refractory Obdurate is a next logical installment in the development of their take. One wouldn’t expect them to repeat themselves, and they don’t, but neither is Refractory Obdurateturning the feel of The Laughing Stalkcompletely on its head. As a whole, its vibe reads darker because the art is darker and the songs are by and large heavier, but it’s a step, not a jump from one to the other, and their sound remains utterly distinct, opener “Corsicana Clip” hinting as the higher acoustics give way to lower-toned electric guitar in the chorus at some of the relative pummel to come. An essential component running a thread through all of Wovenhand‘s work is Edwards‘ faith, and his penchant for turning dogma into deeply personal portraits remains firm in “Good Shepherd,” “The Refractory,” “Salome,” “Field of Hedon,” and the other cuts included, coloring lyrical perspective even in moments without direct reference and making the overarching feel all the more individual. Many of the album’s loudest moments are also its most fervent testimonials, and emotional and spiritual weight play as much if not more of a role than anything coming from the guitar on “Hiss.”
Posted in Features on April 30th, 2014 by JJ Koczan
This kind of thing happens every now and again throughout the course of a year, where there just happens to be one day filled with killer releases. It’s convenient if periodically overwhelming, and even in this age of preorders and stuff just showing up in the mail — a somewhat disconnected process compared to going to a shop and asking at the counter if something is in yet, but again, convenient — a day like that can be special. I remember days like that going back a longer time than I care to admit, and yesterday was definitely one of them as well.
If you felt the North American continent rumble just a little bit, that was probably just the combined weight — applied one on the West Coast, one on the East — of Fu Manchu and Floor putting out records at the same time. What will no doubt be two of 2014’s best releases when the year is done both arrived on April 29, but they were hardly the end of the story. In case you missed any of it, here’s a convenient (there’s that word again), alphabetically-organized assemblage from which to organize yourself before payday:
1. Floor, Oblation
Released by Season of Mist. File picking up the first Floor record since 2004’s Dove as a no-brainer. The Miami trio of guitarist/vocalist Steve Brooks, guitarist Anthony Vialon (interview here) and drummer Henry Wilson have been kicking around doing stuff live since a little while after they released their 8CD Below and Beyond box set in 2009, but Oblation(review here) is the new album and spiritual successor to 2002’s landmark self-titled outing. Following that one up is no easy task and they know it, but I think history will serve Oblationwell in the long run, songs like “Love Comes Crushing” and the eight-minute “Sign of Aeth” expanding the sludge-pop formula that made Floor‘s early work so vital without sacrificing the hooks that at this point have spanned more than a decade en route towards timelessness. Floor on Thee Facebooks.
Floor, Oblation (2014)
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2. Fu Manchu, Gigantoid
Released by At the Dojo. The first new Fu Manchu self-release after two full-lengths on Century Media and a handful of reissues through their own imprint, Gigantoidbrings a rawer sound from the widely influential SoCal fuzz stalwarts. They recorded with Moab guitarist Andrew Giacumakis, and while the album boasts some quintessential examples of what’s always made the Fu‘s songwriting so infectious — looking at you, “Anxiety Reducer” and “Radio Source Sagittarius” — their hardcore punk roots come through on “No Warning” and Gigantoidrounds out with an extended jam led by bassist Brad Davis on “Last Question” and filled out through a barrage of effects from guitarist Bob Balch. If I can get to it today I’ll have an interview up with guitarist/vocalist Scott Hill (otherwise tomorrow), and a review is forthcoming, but the short version is Gigantoidis one of the year’s best, no doubt. Fu Manchu on Thee Facebooks.
Fu Manchu, Selections from Gigantoid (2014)
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3. Jeremy Irons and the Ratgang Malibus, Spirit Knife
Released by Small Stone. Swedish upstarts Jeremy Irons and the Ratgang Malibus offer engaging touches of heavy psychedelic blues and expanded-definition stoner rock on their third long-player and Small Stone debut, Spirit Knife (stream/video premiere here), working naturally in a classic heavy context without pretending the last 40 years never happened. The album is immersive and atmospheric, offering standout moments of righteousness in 10-minute opener “Fog by the Steep,” “Clang,” “Point Growth” and elsewhere, and provides a look at a unit with the potential to continue to expand their sound going forward. Seems like JIRM have thus far flown under North American radars for the most part, but Spirit Knifeis worth the effort of tracking down, and by that I mean clicking “play” on the Bandcamp stream below to hear it for yourself. Give it some time to unfold and you won’t regret it. Jeremy Irons and the Ratgang Malibus on Thee Facebooks.
Jeremy Irons and the Ratgang Malibus, Spirit Knife (2014)
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4. Revelation, Salvation’s Answer
Released by Shadow Kingdom. Perennially underappreciated Maryland doomers Revelation and Pittsburgh’s Shadow Kingdom Records are no strangers. The label has handled reissues of 1992’s Never Comes Silence, 1995’s …Yet So Far, and 2008’s Release, in addition to having the first release of 2009’s For the Sake of No Oneand 2012’s Inner Harbor. This time, the band and imprint partner up for a revisit of Revelation‘s 1991 debut, Salvation’s Answer, and while the look is overdue, it’s no less welcome for its late coming. Salvation’s Answermight sound raw 23 years after the fact, but its elemental sound remains deceptively atmospheric, and like much of Revelation‘s earlier output, it wears a deep-running melancholy on its sleeve and blends progressive guitar work with a strong foundation of metallic groove. Revelation on Thee Facebooks.
Revelation, Salvation’s Answer (1991/2014)
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5. Salem’s Pot, …Lurar ut dig på prärien
Released by EasyRider Records. Mired in drug-derived riffing and classic horror/exploitation ambience, Swedish four-piece Salem’s Pot have plenty of scummer groove in common with Electric Wizard on their debut, …Lurar ut dig på prärien, but if worshiping at the altar of Sabbath and drawn-out fuzz was a crime, we’d all have been put to death years ago. Their reverential depravity comes through in the three extended tracks, “Creep Purple” (14:28), “Dr. Death” (9:52) and “Nothing Hill” (9:12), and the album unfolds in a haze of degenerate psychedelia. It’s crafted with vinyl in mind, but give me a CD to get lost in front-t0-back without having to worry about changing sides, because Salem’s Pot isn’t the kind of listen where you want to have anything whatsoever to do with consciousness. You could tag it derivative, but what isn’t? Familiar though it might be, it’s still worth a nod. Salem’s Pot on Thee Facebooks.
Salem’s Pot, “Nothing Hill” from …Lurar ut dig på prärien (2014)
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6. Wovenhand, Refractory Obdurate
Released by Deathwish Inc. History has taught time and again not to be surprised when it comes to the David Eugene Edwards-led outfit Wovenhand, and their seventh offering and first for Deathwish Inc., Refractory Obdurate continues to expand beyond genre bounds, incorporating tonal weight into their signature brilliant arrangements so that songs like “Masonic Youth” (get it?) and “Hiss” pummel their payoffs as much as they enhance the atmospheres of “Salome,” “King David” and the joyously rumbling “Good Shepherd.” Wovenhand are a singular entity on stylistic terms, and Edwards‘ commanding presence burns through this material even at moments when he seems consumed by the full-breadth chaotic churning surrounding him in the mix. Refractory Obdurate— culling influences no less a patchwork than its cover art — is the work of genius, driven by faith and in perpetual development. Wovenhand on Thee Facebooks.
Wovenhand, Refractory Obdurate (2014)
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That’s a pretty good day. If I left anything out or if you’ve already picked any of these up, I hope you’ll let me know in the comments. Thanks as always for reading.
I have a particularly hard time speaking about Wovenhand in terms other than hyperbolic praise. The David Eugene Edwards-fronted genre-defiers will release their new album, Refractory Obdurate, through Deathwish Inc. and Glitterhouse Records on April 29. It’ll be Wovenhand’s seventh full-length, following 2012’s The Laughing Stalk(review here), which continued to push their sound into new places in terms of influence and arrangement, the band getting progressively heavier, more joyful, more intense as they go along. Their style, though it always shifts from record to record, is distinctly their own, and the new single “Hiss” follows that pattern with a fullness of tone and spaciousness in the recording.
On the sheer level of its chugging riff and furious tension, “Hiss” is up there with the heaviest output Wovenhand have had to date, though in the bigger picture of their work overall, that’s a tertiary consideration. I wouldn’t expect “Hiss” to speak for the entirety of Refractory Obduratemore than I’d expect the river to speak for the lake, but it’s a clear signal that Edwards as the principal songwriter has maintained a fascination with what weighted sound can bring to Wovenhand‘s aesthetic. They continue to be on a level of their own in both their mastery of what they do and their drive to push beyond that mastery, out of their comfort zone, and into new ground.
Release info follows the video. Enjoy:
Wovenhand, “Hiss”
Brought to you by a partnership of Deathwish and Glitterhouse Records, release dates are as follows:
April 29th: Deathwish Release Date (World) April 25th: Glitterhouse Release Date (Europe)
Wovenhand is a band led by dedicated life-musician and lyricist, David Eugene Edwards. Over the last two decades, his prolific work in both Wovenhand and the legendary 16 Horsepower has influenced and inspired a generation of musicians throughout the expansive alternative music world.
Wovenhand cannot be described in traditional terms. Their sound is an organic, weavework of neo-folk, post rock, punk, old-time, and alternative sounds. All coming together as a vehicle for David’s soulful expression and constant spiritual self exploration. Sometimes sad and sorrowed and at other times uplifting, Wovenhand are always unforgettable in spirit and sound.
“Refractory Obdurate” is the latest album from Wovenhand. Joining David on this album are longtime percussionist Ordy Garrison, along with musicians Chuck French and Neil Keener (Planes Mistaken For Stars, Git Some).
“Refractory Obdurate” is a moving masterwork that shows Wovenhand exploring louder roots hinted at on prior albums. As they maintain their melodious course, “Good Shepherd”, “Field of Hedon”, and “Hiss”, stomp forth with a newly amplified punk rock heart. While “The Refractory”, “Salome”, and “Obdurate Obscura” each ascend epically into a multi-layered haze. Ten songs in all, “Refractory Obdurate” plays as a beautifully crafted patchwork that transcends genres and expectation; a true artistic achievement, that only Wovenhand could offer.
Track Listing: 01. Corsicana Clip 02. Masonic Youth 03. The Refractory 04. Good Shepherd 05. Salome 06. King David 07. Field of Hedon 08. Obdurate Obscura 09. Hiss 10. El-bow
