The Obelisk Show on Gimme Radio Playlist: Episode 25

Posted in Radio on December 6th, 2019 by JJ Koczan

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As this is the final episode of The Obelisk Show… of the year — ha! gotcha — as well as being the 25th episode, it seemed only fair to make it a special one. As such, it’s a recap of Some of a Little Bit of the Best of 2019. Barely a snippet, really, but a digestible snippet as compared to, say, the full Top However Many list that’ll go up around here in the coming weeks.

This was a fun one to put together, and, frankly, easy. Yeah, I keep a running tally of what I think are any given year’s best records as the year plays out, but I pulled most of these just off the top of my head. Some are more recent, post-June, and some are from earlier in the year, but it’s all high-quality stuff, and though it by no means represents everything awesome that’s come my way — let alone all the stuff I’ve missed; Boris walks by and waves (on their way to the next Quarterly Review, anyhow) — it’s a fun look at some of a little bit of it. Hence the silly title.

I’ll be truthful and say I kind of miss doing this every other week, but it’s been once a month now for a couple months and I guess that’s fine. Gimme Radio has a couple other heavy rock-minded shows — John Brookhouse from Worshipper, Matt Bacon come to mind — but I’m still a little out there from that stuff, and I kind of like it that way. It’d be dishonest otherwise.

In any case, show’s on at 1PM today, and if you get to listen, I certainly appreciate it. Airs at http://gimmeradio.com

Here’s the full playlist:

The Obelisk Show – 12.06.19

Nebula Let’s Get Lost Holy Shit
Monolord The Last Leaf No Comfort
Slomatics Telemachus, My Son Canyons
BREAK
Mars Red Sky Hollow King The Task Eternal
Blackwater Holylight Seeping Secrets Veils of Winter
Earth An Unnatural Carousel Full Upon Her Burning Lips
Mammoth Weed Wizard Bastard The Spaceships of Ezekiel Yn Ol I Annwn
Roadsaw Along for the Ride Tinnitus the Night
Lo-Pan Ascension Day Subtle
BREAK
Saint Vitus Remains Saint Vitus
Orodruin Letter of Life’s Regret Ruins of Eternity
Destroyer of Light Dissolution Mors Aeterna
Lord Vicar The Temple in the Bedrock The Black Powder
Goatess Goddess Blood and Wine
Yatra Smoke is Rising Death Ritual
BREAK
Inter Arma The Atavist’s Meridian Sulphur English

The Obelisk Show on Gimme Radio airs every first Friday of the month at 1PM Eastern, with replays every Sunday at 7PM Eastern. Next show is Jan. 3, I think. Thanks for listening if you do.

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The Obelisk Show on Gimme Radio Recap: Episode 18

Posted in Radio on June 24th, 2019 by JJ Koczan

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Before I get started, I want to say thanks to Mark Kitchens from Stone Machine Electric for the artwork above. He did the platypus design and I added the blue background and yellow text kind of thinking it would be like one of those old title cards from David Letterman or something. I love it, so yeah. Thanks, Mark.

Like the prior episode, this one was themed around a playlist of some of the best of 2019 so far. I actually didn’t get to hear the whole show because I was at Maryland Doom Fest this past weekend, but I did check in on it while doing other stuff in Frederick. One way or the other, the playlist starts with Holy Grove and has Yawning ManMagic CircleDuelNebulaRoadsawEarth and Across Tundras on it, so you know it’s going to be killer. Really, the only thing I’d have listened for was to make sure I didn’t ruin it with my own derpy derp derp.

I wanted to include some lesser-known stuff here too, so check out the Cosmic Fall, SÂVEREaldor Bealu and Mount Saturn tracks if you haven’t, and that Centrum at the end I really dig a lot. Hell, the whole thing is great. You really can’t go wrong when your operating theme is “stuff that’s awesome.”

Thanks if you got to check it out.

Here’s the full playlist:

The Obelisk Show – 06.21.19

Holy Grove Valley of the Mystics Holy Grove II 0:10:37
Duel Drifting Alone Valley of Shadows 0:04:27
The Well Death Song Death and Consolation 0:04:48
BREAK
Across Tundras The Rugged Ranges of Curbs & Broken Minds The Rugged Ranges of Curbs & Broken Minds 0:06:58
Yawning Man I Make Weird Choices Macedonian Lines 0:07:21
Cosmic Fall Lackland Lackland 0:08:32
Lamp of the Universe Rite of the Spheres Align in the Fourth Dimension 0:05:12
SÂVER Dissolve to Ashes They Came with Sunlight 0:07:43
Atala Upon the Altar The Bearer of Light 0:06:06
Magic Circle I’ve Found My Way to Die Departed Souls 0:05:11
BREAK
Mount Saturn Idol Hands Kiss the Ring 0:04:11
Nebula Man’s Best Friend Holy Shit 0:04:56
Ruff Majik Seasoning the Witch Tårn 0:06:31
Earth An Unnatural Carousel Full Upon Her Burning Lips 0:06:51
Ealdor Bealu Smoke Signals Spirit of the Lonely Places 0:07:32
BREAK
Roadsaw Under the Devil’s Thumb Tinnitus the Night 0:03:54
Centrum Sjön För Meditation 0:08:39

The Obelisk Show on Gimme Radio airs every other Friday at 1PM Eastern, with replays every Sunday at 7PM Eastern. Next show is July 5. Thanks for listening if you do.

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Roadsaw, Tinnitus the Night: Knock ‘Em All Down

Posted in Reviews on June 12th, 2019 by JJ Koczan

roadsaw tinnitus the night

If you believe in ‘due,’ Roadsaw were most certainly that. The Boston heavy rock kingpins have been somewhat limited in their activity over the last half-decade or so, as their core members Tim CatzIan Ross and Craig Riggs explored other projects like White DynomiteMurcielago and Kind, but with Tinnitus the Night, the band’s signing to Ripple Music back in 2016 bears long-awaited fruit and they give their 2011 self-titled (review here) the follow-up it so much deserved, even eight years after the fact. Their sixth full-length overall in a span of 24 years going back to 1995’s One Million Dollars (discussed here), it finds this pared-down version of the band with Riggs handling frontman and drum duties alike while Catz, as ever, is on bass and some background vocals and Ross turns in a you-should-be-talking-about-IanRoss-when-you-talk-about-heavy-rock-guitarists-style performance. As a three- or four-piece, Roadsaw are an absolute powerhouse, and the luster of their work has not dulled with time away.

Tinnitus the Night, which earns immediate charm points for its title alone, comprises 10 tracks and 45 minutes of high-quality songwriting and hooks, the band essentially serving their fanbase a reminder of why they’ve been missing Roadsaw all these years. Cuts like the opener “Along for the Ride,” the extra-scorching “Final Phase” and side B’s “Find What You Need” are barn-burners in classic Roadsaw fashion, though the latter features a slowdown in its second half mirrored in its lyrics as well, while the more extended “Peel” (6:40) and “Midazolam” (7:03) — a sedative; I guess somebody had surgery? — are more spacious, touching on psychedelia while also emphasizing the vinyl construction of the album as a whole, the former positioned as the finale of side A led to by the catchy “Along for the Ride,” “Shake,” “Fat Rats” and “Final Phase” while the latter pushes outward on a solo-topped drift until its sudden stop that brings about the acoustic-based closer “Silence,” so not the actual finish of the record, but clearly the apex just the same. The sense of variety and depth that these songs add to the two sides of Tinnitus the Night isn’t to be taken for granted.

And still, one gets the sense that Roadsaw could just sit down for five minutes and bang out a tune like “Shake” whenever they felt like it. The middle component of the opening salvo is a bruiser riff with an echoing vocal melody and harmonized layers that is air-tight in its structure — nothing wasted, nothing without purpose — and RiggsRoss and Catz make it sound like just another day at the office. That’s not a comment on their performance — far from it; throughout the entire offering, they sound awfully driven for a band who haven’t released an LP in eight years — but on just how easy and natural they make what they do sound. Part of that is experience, obviously, but it goes to the heart as well of who they are as a band. They’ve never been overly flashy or indulgent — they’re punks as much as classic heavy rockers — but they’re a band who will step on stage and blow everyone else out of the room, and that’s also what’s happening with Tinnitus the Night.

roadsaw

“Along for the Ride” brings the audience into the creation of forward momentum, “Shake” pushes deeper and “Fat Rats” cuts the tempo but draws out the melody and makes them three-for-three on memorable choruses. Much the same happens on side B, with “Knock ‘Em All Down” — the chorus, “I’ve seen ’em come, I’ve seen ’em go/But none of that matters now/I’ve had enough, more than enough/You wanna set ’em up I’ll knock ’em downs” feels purely autobiographical — “Find What You Need” (likewise) and “Under the Devil’s Thumb.” If we’re picking highlights, the latter might be mine, at least for today, as it answers back the vocal layering of “Shake” while holding an upbeat rhythm and makes tradtionalist fare sound fresh as only truly great songcraft can. But again, Roadsaw make it all sound easy, fluid, natural. Ain’t no thing to just toss out six or seven flawless slabs of heavy rock, then, you know, maybe space out a bit or kick into the next gear, whichever suits the moment. I’m not in a band, but I imagine that if I was, Roadsaw would be infuriating to listen to.

So if “Along for the Ride,” “Shake,” “Fat Rats,” “Knock ‘Em All Down,” “Find What You Need” and “Under the Devil’s Thumb” serve as the root of Tinnitus the Night‘s impact, the moments where the band branches out are no less pivotal. After the rush of “Final Phase,” “Peel” rolls forth on a slower, thicker-feeling progression that pushes the vocals deeper to give a sense of largesse and seems to pull the punch of Catz‘s bass forward for the same reason, even as Ross solos into oblivion, seeming to crunch as the track winds its way toward the five-minute mark, but they were right to leave it. A mellower stretch follows but the nod resumes and takes its time fading. “Midazolam” feels even bigger in its melody, and its crescendo tops Ross‘ solo with the chorus in such a way as to unquestionably be the payoff for the album as a whole, but cuts short at 6:48, perhaps to convey the moment of losing consciousness. Its transition to “Silence” is stark and clearly meant to be that. Keys, drums, acoustic guitar, effects wash and a quiet distorted riff back Riggs in “Silence” and the feeling is very much one of epilogue to Tinnitus the Night; the party is over and they know it. Fair enough.

Even that swapping position — “Final Phase” before the longer track on side A, “Silence” after the longer track on side B — and the fact that those two songs are more or less opposites, should give the audience some idea of the range with which Roadsaw are ultimately working while still basically keeping to verse/chorus patterning. They don’t need to do otherwise. The only question as regards Tinnitus the Night is what it might lead to. Is it the last Roadsaw album? One final blowout? They certainly sound like they have more to say, but that’s never stopped bands from stopping before. When in 2008 they released See You in Hell! after an eight-year absence, they followed three years after that with the self-titled. They had three records out between 1995 and 2000. So maybe Roadsaw do things in bunches. I don’t know. What feels more important in listening to Tinnitus the Night is appreciating the level of accomplishment Roadsaw bring to what they do. It is a majestic execution of a purposefully un-majestic form.

Maybe it leads to something, maybe it leads to nothing. The point is that after eight long years and a shift in lineup, Roadsaw came back to stake their claim on their legacy and add to it with one more round of their nigh-unmatched execution. It’s a gift to their listenership and should be received as such.

Roadsaw, Tinnitus the Night (2019)

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Roadsaw Announce June 7 Release for New Album Tinnitus the Night

Posted in Whathaveyou on May 20th, 2019 by JJ Koczan

roadsaw

I’m gonna try real hard not to take it personally that I’m leaving the Boston area and Roadsaw FINALLY decide to release a new album. And, actually, after eight years since their self-titled (review here) on Small Stone, they’re kind of doing it on the quick. June 7 is like three weeks from now. “Oh, by the way, we haven’t done a record in the better part of a decade, but so here’s one.” Whatever, I’ll take it as it comes.

To that end, they’re streaming “Shake” now and it’s a fitting reminder of why you’ve been missing Roadsaw all this time even as members have embarked on developing other projects like White DynomiteMurcielago or Kind — oh yeah, then there’s that whole thing about Riggs joining Sasquatch — all of which are most certainly welcome ways for them to spend their time. Still, there’s only one Roadsaw, and the reaffirmation is welcome.

Preorders are up now from Ripple, so have at it:

roadsaw tinnitus the night

ROADSAW: Boston’s Hard Rock Bruisers Are Back, Louder and Heavier Than Ever! | New Album Out Next Month, Share New Song ‘Shake’

Tinnitus the Night by Roadsaw is officially released on 7th June 2019

It’s been a long time coming but the wait is finally over. Boston legends Roadsaw return this June with their eighth full-length album, Tinnitus the Night, a record that’s sure to please their faithful followers, while pulling in plenty of new ones along the way.

With a sound as searing and sleazy today as it was eighteen years ago, the heart and soul of the classic Roadsaw line-up has remained intact with Ian Ross on guitar, Tim Catz on bass and Craig Riggs doubling up on vocal and drum duties. Once again the band holed up in familiar digs at Mad Oak Studios in Allston with Benny Grotto on production. Packed front to back with rippers, trippers, killers and thrillers, from opener ‘Along for The Ride’ through to the stoner opus ‘Peel’, and weighty epic of ‘Midazolam’, Roadsaw dig deep to deliver the goods.

With every tour and new record released, their fans and friends come back for more. On the road, they’ve shared stages big and small on both sides of the Atlantic with the likes of Orange Goblin, Fu Manchu, Queens of The Stone Age, Nebula, Karma To Burn, Black Label Society and many others. They’ve also been regular guests at CMJ and SXSW events and played every metal and stoner festival that would have them.

Tinnitus the Night by Roadsaw is officially released on 7th June 2019 via Ripple Music, www.ripple-music.com

TRACK LISTING:
1. Along For The Ride
2. Shake
3. Fat Rats
4. Final Phase
5. Peel
6. Knock Em All Down
7. Find What You Need
8. Under The Devil’s Thumb
9. Midazolam
10. Silence

Roadsaw:
Ian Ross – Guitar
Craig Riggs – Vocals
Tim Catz – Bass

https://www.facebook.com/ROADSAW-106440249390336/
https://www.facebook.com/theripplemusic/
https://ripplemusic.bandcamp.com/
http://www.ripple-music.com/

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Friday Full-Length: Roadsaw, Rawk n’ Roll

Posted in Bootleg Theater on June 1st, 2018 by JJ Koczan

It’s easy to argue that Roadsaw‘s third album is more relevant today than 16 years ago when it was initially released. Both moments represent a general flourishing of heavy and stoner rock(s), but to listen to Rawk n’ Roll — which originally came out in 2002 via Luna Records and which Small Stone reissued in 2007 (also maybe there was a Tortuga release in 2000?) — its tracks seem even more of this moment than that one. Roadsaw were never the “let’s make a record about weed and space” band. I’ve been fortunate enough to have seen them on multiple occasions and even share the stage once or twice, and they’re a heavy rock hailstorm: riffs that leave dents in the roof of your car. And likewise, they’ve never wanted to be the most intense band on the planet, but to listen to opener “Right on Through” or the rampaging “Blackout Driver,” the undercurrent of punk is right there to be heard. Still, with bassist Tim Catz‘s classically-influenced writing style, Ian Ross‘ heroics on rhythm and lead guitar, drummer Hari Hassin‘s bending of time on the aforementioned “Blackout Driver,” all-out thrust on “The Finger,” strutting groove on “Bad Ass Rising,” quiet timekeeping on “Your Own Private Slice of Hell” and grounding the nod of “Hoof,” which pulls the band into previously undiscovered spaces, they could hardly be tighter or more electric in their delivery. And in the current moment where it’s more accepted that not every “stoner” band actually spends their days dropping out of life with bong in hand, a sans-bullshit record like Rawk n’ Roll, were it coming out now, could only possibly be greeted as a liberator.

Like the best of Roadsaw‘s work throughout the years, Rawk n’ Roll is dynamic, masterfully composed and structured, and executed with a precision that borders on the scary. With frontman Craig Riggs — who started out on drums when they released their debut, One Million Dollars, in 1995 — so firmly in command of the material, Roadsaw‘s range was able to flourish both from album to album and within the records themselves. Consider the spring of “Disconnected” and the organ and guitar showcase instrumental “That’s Mr. Motherfucker to You,” or the hook of “Bad Ass Rising” and the thickened shuffle of “Buried Alive,” the Hammond-infused midpaced classic vibe in “Foot” and the acoustic-based “Planet Caravan”-style spacer “Burnout,” and the range of Roadsaw‘s craft is all the more the star of Rawk n’ Roll. While acting as a tight, crisp and vibrant unit, they’re able to affect a broad range of material while still keeping an central current of righteousness throughout thanks to the quality of their songwriting, Riggs‘ presence as a frontman, and the focus they demonstrate across the entire album, no matter where an individual song might head. In other words? Really good fucking band and really good fucking album. If Rawk n’ Roll hit inboxes today, the heavy rock blogosphere, myself included, would crap its collective pants, and rightly so.

I guess that’s the other point. It’s been 16 years, maybe more, since Rawk n’ Roll first came out, and it’s timeless. It’s not so much that the genre of heavy rock hasn’t moved on, but that it’s moved on to a place even more suited to Roadsaw than “their day” in the late ’90s and aughts. Their material is straightforward without a lot of the dude-for-dudes chestbeating that permeated so much of the riff-based mindset a few years ago, and their songwriting is top notch to a degree that it could and should be used as a blueprint for others to follow. “Oh, Roasaw did it this way? Cool. That’s what I’ll do.” If only. I talk about it a lot here, especially in these week-ending posts, it seems, but Roadsaw belong in that class of pre-social media heavy that, at this point, doesn’t nearly get the recognition it deserves, though part of the reasoning behind that is obvious: it’s been seven years since they last put out a record.

The shame of that is that 2011’s Roadsaw (review here) was brilliant. No loss of edge, but a more mature band doing what they did best in terms of kicking ass and taking names. Like the preceding outing 2008’s See You in Hell!, it came out on Small Stone, and its hooks were as furious as ever. They did some touring for it, but mostly members have spent the years since developing other projects. Catz and Riggs have the suited-punker troupe White Dynomite, and Riggs also went back to drumming, this time in L.A.’s Sasquatch, making them a cross-country outfit. Ross released a self-titled debut (review here) in 2014 with the Maine-based Murcielago, and then-drummer Jeremy Hemond eventually found himself out of the lineup. Roadsaw signed to Ripple Music in 2016 and of course at that point there were discussions of their next album, but nothing has yet to surface. They’ve continued all along to play regional live shows, doing a weekender last Fall with the reactivated Scissorfight.

Their latest post, from February, on thee social medias reads, “The new Roadsaw record sounds great! Can’t wait for you all to hear it,” so it’s hardly like there isn’t any hope the thing will eventually come out, it’s just a matter of when. In any case, Roadsaw are a band who deserve to be embraced by the generation of heavy listeners who’ve come up in the last half-decade-plus, and nothing’s going to make that happen like a new album. I’m keeping my fingers crossed they get there, and so should you. If you need to know why, listen to Rawk n’ Roll again from the start. It’s not a punishment; you’re only doing yourself a favor.

As always, I hope you enjoy.

Massachusetts on the brain. Because I’m leaving. Not permanently, but as of this coming week, The Patient Mrs., The Pecan and I will be setting up shop to spend most of the summer splitting time between New Jersey and Connecticut, trying to give the baby as much exposure to both sides of his family as possible, familiarize himself with his older cousins, aunts, uncle, grandmothers. It’s important, and though the house where we’re staying needs a new kitchen — tear! down! that! wall! — I’m also looking forward to getting back to my beloved Garden State and feeling a little bit more like I belong where I am, which I never really have in the five years I’ve lived on the South Shore of MA. I know good people in and around Boston. A lot of them. But while I certainly enjoy the occasional Dudesbrunch (TM) or hanging out with Johnny Arzgarth once or twice a year, I don’t exactly have much going on here. Anyway, I’ll be back around up here periodically — my therapist is here, if nothing else — so I’m not moving, but the base of operations will change until probably later in August, sometime post-Psycho Las Vegas.

This weekend we’re making an initial run. There’s some stuff to bring down — I don’t even know what as of this writing, but stuff all the same; probably baby clothes and toys, maybe my giant Batman action figure. Again, I don’t really know. But I’ve got a few hours to figure it out, so yeah. And if I forget something, well, I’ll be back in MA on Monday, so there’s plenty of opportunity to forget again.

I woke up this morning at 1:30AM. The last couple days I’ve been running a science experiment on myself wherein I forego my evening dose of anxiety medication, which I originally started taking because, well, I was losing my mind. All the time. Anyone remember January? Not me. Anyhow, they’re not the kind of thing that I really think of as a long-term solution, so yeah, I was trying to pull back a bit. Lesson learned? Maybe. I’m going to give it another couple days and if I continue not to sleep, I’ll have my answer. Should make for an interesting weekend though, regardless of the geography. Hell, I’ll probably go back to bed in a bit and read a Star Trek book until I fall asleep, which will be all of 30 seconds. It’s quarter after three as I type this, in case you’re wondering.

While I’m bitching: I also have half a cold, which is delightful if you like sore throated coughing, congestion and sinus pressure. At least I got it traveling.

Notes for next week? Yeah, I have some. With the given that amid all the back and forth over the next five days — running around Monday, Tuesday, Wednesday, then back to CT, then back to NJ for what we’re thinking of as the actual start to summer on Thursday or Friday, weathepermitting — but here’s what I’ve got so far:

Mon.: Churchburn review. Holy shit that’s heavy.
Tue.: Pelagos review/album stream. Svart weirdness. Also a post about that 18-minute Sleep single.
Wed.: YOB review. That’s a day in itself.
Thu.: Orange Goblin review. Also have an interview done that will run soon.
Fri.: TBD. I’m sure something will come along.

I’m also waiting for my new camera and laptop to show up. According to FedEx, the camera was due yesterday, so I’m hoping it’s here today, and the laptop is supposed to be here early next week. I anticipate it’ll be pretty much an entire day to set that up to my specifications and preferences — no notifications for anything, as little as possible in the startup, remove intrusive and ineffective bundled “virus protection,” install VLC, PhotoShop, etc. — as Windows 10 has a mind of its own in addition to being a data mine. Also, that day will probably take place over the course of three days, because baby.

Baby. Man, I had that Pecan all day Tuesday, Wednesday, Thursday. Best job ever, but definitely exhausting. The Patient Mrs. was at a social justice colloquium, because she’s fucking brilliant and that’s the kind of awesome shit she’s into, so it was me and The Pecan pretty much straight through the morning and afternoon each day until we went and picked her up on campus. Coming off the London trip, where the situation was much the same, it was no big deal — like, not something scary at this point — but he’s crawling and pulling himself up to standing, and yeah, it’s baby-chasing time for sure. He’s a good dude though. The other night I sang him to sleep with Black Sabbath’s “Heaven and Hell,” so yeah. He stays.

Oh, and yesterday we went to this baby music class thing. Like a bunch of babies and toddlers in some very nice guitar-playing lady’s basement, an entire brigade of housewives and yours truly, sitting there in my faded-as-hell Earthless t-shirt with my son, singing “Wheels of the Bus.” Life takes you to unexpected places. The kid liked it though, and it’s an introduction to music more than what he hears me playing in the house all the time and what The Patient Mrs. and I sing to him, plus socialization for an only child who clearly already enjoys engaging with other kids, so I mark it a win.

Jeebus, think this post is long enough? Time to cut my losses and get the hell out for a bit. We’ll be on the road in a few hours, I imagine — everything these days seems to depend and center around naptimes — but I’m going to try to catch up on some email this weekend and Facebook messages and all that stuff. It’s the communication factor that’s really taken a hit since The Pecan was born. I used to be really good at that stuff, but there are only so many hours in the day and it’s the actual writing that I need.

Anyway, point is I’ll be around. Please have a great and safe weekend. It’s June now, so coming on Summer here in the States. If you can see this, I hope the weather’s good where you are and you can enjoy it. That’s what I’m hoping for as well.

All the best and thanks for reading. Back Monday. Forum and Radio.

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Tomorrow’s Dream: 200+ of 2017’s Most Anticipated Releases

Posted in Features on January 23rd, 2017 by JJ Koczan

tomorrow's dream 2017

Looks like it’s going to be another busy 12 months ahead. It’s been a busy better-part-of-a-month already, so that stands to reason, but you should know that of the several years now that I’ve done these ‘Tomorrow’s Dream’ posts, this is the biggest one yet, with over 150 upcoming releases that — one hopes — will be out between today and the end of 2017.

Actually, at last count, the list tops 180. Do I really expect you to listen to all of them? Nope. Will I? Well, it would be nice. But what I’ve done is gone through and highlighted 35 picks and then built lists off that in order of likelihood of arrival. You’ll note the categories are ‘Gonna Happen and/or Likely Candidates,’ ‘Definitely Could Happen’ and ‘Would be Awfully Nice.’

Beyond that last one, anything else just seems like speculation — one might as well go “new Sabbath this year!” with zero info backing it up. The idea here is that no matter where a given band is placed, there has been some talk of a new release. In some cases, it’s been years, but I think they’re still worth keeping in mind.

Another caveat: You can expect additions to this list over the next week — probably album titles, band names people (fingers crossed) suggest in the comments, and so on — so it will grow. It always does. The idea is to build as complete a document as possible, not to get it all nailed down immediately, so please, if you have something to contribute and you’re able to do so in a non-prickish, “You didn’t include Band X and therefore don’t deserve to breathe the same air as me,” kind of way, please contribute.

Other than that, I think it’s pretty straightforward what’s going on here and I’ll explain the category parameters as we go, so by all means, let’s jump in.

— Tomorrow’s Dream 2017 —

Presented Alphabetically

1. Abrahma, TBA

Late last year, Paris heavy progressives Abrahma announced a new lineup and third full-length in progress. No reason to think it won’t come to fruition, and a follow-up to 2015’s Reflections in the Bowels of a Bird (review here) is an easy pick to look forward to. Even with the shift in personnel, it seems likely the band will continue their creative development, driven as they are by founding guitarist Seb Bismuth.

2. All Them Witches, Sleeping Through the War

all them witches sleeping through the warIf 2017 ended today, Sleeping Through the War would be my Album of the Year. Of course, there’s a lot of year to go, but for now, Nashville’s All Them Witches have set the standard with their second album for New West Records behind 2015’s Dying Surfer Meets His Maker (review here) and fourth overall outing. They’ve got videos up so far for “3-5-7” (posted here) and “Bruce Lee” (posted here). Both are most definitely worth your time. Out Feb. 24. Full review should be later this week.

3. Alunah, Solennial

Seems like UK forest riffers Alunah are on this list every year. Wishful thinking on my part. Nonetheless, their fourth LP and Svart Records debut, Solennial, is out March 17, and if the tease they gave already with the clip for “Fire of Thornborough Henge” (posted here) is anything to go from, its Chris Fielding-produced expanses might just be Alunah‘s most immersive yet.

4. Arbouretum, TBA

I asked the Baltimore folk fuzzers a while back on Thee Facebooks if they had a new record coming in 2017 and they said yes, so that’s what I’m going on here. The last Arbouretum album was 2013’s Coming out of the Fog (review here), and even with frontman Dave Heumann‘s 2015 solo outing, Here in the Deep (review here), factored in, you’d have to say they’re due. Keep an eye on Thrill Jockey for word and I’ll do the same.

5. Atavismo, Inerte

This is another one that already has a spot reserved for it on my Best-of-2017 year-end list. Spanish heavy psych rockers Atavismo up the progressive bliss level with their second full-length, Inerte, without losing the depth of style that made 2014’s Desintegración (review here) so utterly glorious. It probably won’t have the biggest marketing budget of 2017, but if you let Atavismo fly under your radar, you are 100 percent missing out on something special.

6. Bison Machine, TBA

In addition to the video for new track “Cloak and Bones” that premiered here, when Michigan raucousness-purveyors Bison Machine put out the dates for their fall 2016 tour, they included further hints of new material in progress. As much as I dug their earlier-2016 split with SLO and Wild Savages (review here) and 2015’s Hoarfrost (review here), that’s more than enough for me to include them on this list. Killer next-gen heavy rock.

7. Brothers of the Sonic Cloth, TBA

News of a follow-up to Brothers of the Sonic Cloth‘s 2015 Neurot Recordings self-titled debut (review here) came through in October, and it remains some of the best news I’ve heard about 2017 doings. Took them a while to get the first record out, so we’ll see what happens, but it kind of feels like looking forward to a comet about to smash into the planet and cause a mass extinction, and by that I mean awesome. Can’t get here soon enough.

8. Cloud Catcher, Trails of Kosmic Dust

cloud catcher trails of kosmic dustOkay, so maybe I jumped the gun and did a super-early review of Denver trio Cloud Catcher‘s second long-player and Totem Cat Records debut, Trails of Kosmic Dust, but hell, no regrets. Some albums require an early-warning system. Their 2015 debut, Enlightened Beyond Existence (discussed here), was a gem as well, but this is a band in the process of upping their game on every level, and the songwriting and momentum they hone isn’t to be missed.

9. Colour Haze, TBA

I’ve gotten some details on the upcoming full-length from Colour Haze. They do not include a title, artwork, audio, song titles or general direction. Less details, I guess, than word that the CD version of this answer to 2015’s To the Highest Gods We Know (review here) is set to come out next month, as ever, on Elektrohasch. That puts it out in time for Colour Haze‘s upcoming tour with My Sleeping Karma (announced here). Fingers crossed it happens. Colour Haze are perpetual top-albums candidates in my book.

10. Corrosion of Conformity, TBA

Signed to Nuclear Blast after being rejoined by guitarist/vocalist Pepper Keenan, North Carolina’s C.O.C. have been in the studio since last year. The lineup of Keenan, bassist/vocalist Mike Dean and guitarist Woody Weatherman and Reed Mullin on drums is the stuff of legend and last worked together on 2000’s America’s Volume Dealer, so no question this reunion makes for one of 2017’s most anticipated heavy rock records. They nailed the nostalgia factor on tour. Can they now add to their legacy?

11. Elder, TBA

I was incredibly fortunate about a month ago to visit progressive heavy rockers Elder at Sonelab in Easthampton, MA, during the recording process for their upcoming fourth album. I heard a couple of the tracks, and of course it was all raw form, but the movement forward from 2015’s Lore (review here) was palpable. That LP (on Stickman) brought them to a wider audience, and I expect no less from this one as well, since the farther out Elder go sound-wise, the deeper the level of connection with their listeners they seem to engage.

12. Electric Wizard, TBA

Could happen, could not happen. That’s how it goes. Announced for last Halloween. That date came and went. Word of trouble building their own studio surfaced somewhere along the line. That was the last I heard. Frankly, I wouldn’t be surprised if it showed up tomorrow, if it showed up in 2018, or if the band broke up and never put it out. They’re Electric Wizard. Anything’s possible.

13. John Garcia, The Coyote Who Spoke in Tongues

Out Jan. 28 on NapalmThe Coyote Who Spoke in Tongues (review here) is the first-ever acoustic album from former Kyuss frontman John Garcia, also of Unida, the reunited Slo BurnHermanoVista ChinoZun, etc. — basically the voice of desert rock. He does a couple Kyuss classics for good measure, but shines as well on the new/original tracks, and while it’s a piece for fans more than newcomers — that is, it helps if you know the original version of “Green Machine” — his presence remains as powerful as ever despite this new context.

14. Goya, Harvester of Bongloads

Riffs, dude. Goya seem to have them to spare. The Arizona-based wizard doomers have set a pretty prolific clip for themselves at this point, with at least two short releases out in 2016, one a 7″ of Nirvana covers (review here), and the The Enemy EP (review here). Set for a March 3 release through their own Opoponax Records imprint, Harvester of Bongloads continues the march into the abyss that 2015’s Obelisk (review here) and 2013’s 777 set in motion, finding the band coming more into their own as well. Creative growth — and bongloads! The best of both worlds.

15. Ides of Gemini, TBA

Ides of Gemini are set to record their yet-untitled third album with Sanford Parker early this year, and it will also mark their debut on Rise Above Records upon its release. They’ve also got a new lineup around vocalist Sera Timms and guitarist J. Bennett, so as they look to move forward from 2014’s Old World New Wave (review here), one can’t help but wonder what to expect, but to be honest, not knowing is part of the appeal, especially from a band who so readily specialize in the ethereal.

16. Kind, TBA

Three-fourths of Kind feature elsewhere on this list. Bassist Tom Corino plays in Rozamov. Drummer Matt Couto is in Elder. Vocalist Craig Riggs is in Roadsaw. And for what it’s worth, guitarist Darryl Shepherd has a new band coming together called Test Meat. How likely does that make Kind to release a second LP in 2017? I don’t know, but their 2015 Ripple Music debut, Rocket Science (review here), deserves a follow-up, and I know they’ve demoed some new songs. If it happens, great. If it’s 2018, at least these dudes will be plenty busy besides.

17. Lo-Pan, In Tensions

lo-pan in tensionsYes, Lo-Pan‘s In Tensions (review here) has already been released — CD/LP with an artbook on Aqualamb. It’s out. Limited numbers. You can get it now. Why include it on a list of most anticipated releases? Because that’s how strongly I feel about your need to hear it. The fruit of a shortlived lineup with guitarist Adrian Zambrano, it distinguishes itself from everything they’ve done before in style while still keeping to the core righteousness that one hopes the Ohio outfit will continue to carry forward. It’s more than a stopgap between albums. Listen to it.

18. The Midnight Ghost Train, TBA

It seems to have been a rough ride for hard-boogie specialists The Midnight Ghost Train since their 2015 Napalm debut and third album overall, Cold was the Ground (review here). They’ve never taken it easy on the road or in terms of physicality on stage, and between injuries and who knows what else, their intensity at this point veers toward the directly confrontational. Nonetheless, they’ve been writing for album number four, may or may not have started the recording process, and I expect that confrontationalism to suit them well in their new material.

19. Monster Magnet, TBA

I have it on decent authority that NJ heavy psych innovators Monster Magnet were in the studio this past autumn. I’ve seen no concrete word of a new album in progress from Dave Wyndorf and company, and I wouldn’t necessarily expect to until it was time to start hyping the release, but after their two redux releases, 2015’s Cobras and Fire (review here) and 2014’s Milking the Stars (review here), their range feels broader than ever and I can’t wait to hear what they come up with next.

20. Mothership, High Strangeness

A pivotal moment for Mothership arrives with High Strangeness, and the heavy-touring, heavy-riffing Texas power trio seem to know it. Their third record on Ripple Music pushes into new avenues of expression and keeps the energy of 2014’s Mothership II (review here) and 2012’s Mothership (review here), but thus far into their career, it’s been about their potential and what they might accomplish going forward. 2017 might be the year for Mothership to declare a definitive place in the sphere of American heavy rock.

21. The Obsessed, Sacred

On Halloween 2016, founding The Obsessed guitarist/vocalist and doom icon Scott “Wino” Weinrich announced a new lineup for the band, with his former The Hidden Hand bandmate Bruce Falkinburg on bass/vocals, Sara Seraphim on guitar and Brian Costantino continuing on drums. A genuine surprise. Their first album since 1994, Sacred (due on Relapse) was tracked as the trio of WeinrichCostantino and bassist/vocalist Dave Sherman, but clearly they’ve moved into a new era already. Wouldn’t even guess what the future holds, but hopefully Sacred still comes out.

22. Orange Goblin, TBA

When it was announced that London’s Orange Goblin were picked up by Spinefarm as part of that label’s acquisition of Candlelight Records last Spring, the subheadline from the PR wire was “Working on Ninth Studio Album.” I haven’t heard much since then, but even as 2014’s Back from the Abyss (review here) pushed them deeper into metallic territory than ever before, their songs retained the character that’s made the band the institution they are. Always look forward to new Orange Goblin.

23. Pallbearer, Heartless

pallbearer heartlessDoomers, this is your whole year right here. I haven’t heard Pallbearer‘s third album, Heartless (out March 24 on Profound Lore), but I have to think even those who haven’t yet been won over by the Arkansas four-piece’s emotive, deep-running style have to be curious about what they’ve come up with this time around. I know I am. These guys have been making a mark on the genre since their 2012 debut, Sorrow and Extinction (review here), and there’s little doubt Heartless will continue that thread upon its arrival.

24. Radio Moscow, TBA

Fact: Radio Moscow stand among the best classic heavy rock live acts in the US. They’re the kind of band you can watch upwards of 15 gigs in a row — I’ve done it — and find them putting on a better show night after night, in defiance of science, logic and sobriety. Word of their signing to Century Media came just this past week and brought with it confirmation of a follow-up to 2014’s stellar Magical Dirt (review here), and for me to say hell yes, I’m absolutely on board, seems like the no-brainer to end all no-brainers. Can’t wait.

25. Roadsaw, TBA

Nearly six full years later, it’s only fair to call Boston scene godfathers Roadsaw due for a follow-up to their 2011 self-titled (review here). Granted, members have been busy in KindWhite Dynomite, and other projects, but still. Their upcoming outing finds them on Ripple Music after years under the banner of Small Stone Records, and though I haven’t seen a solid release date yet, my understanding is they hit Mad Oak Studio in Allston, MA, this past fall to track it, so seems likely for sooner or later. Sooner, preferably.

26. Rozamov, This Mortal Road

Speaking of albums by Boston bands a while in the making, This Mortal Road (out March 3 on Battleground Records and Dullest Records) is the debut full-length from Boston atmospheric extremists Rozamov. Haven’t heard it yet, but I got a taste of some of the material when I visited the band at New Alliance Audio in Aug. 2015, and the bleak expanses of what I heard seem primed to turn heads. I’m a fan of these guys, but in addition, they’ve found a niche for themselves sound-wise and I’m curious to hear how they bring it to fruition.

27. Samsara Blues Experiment, TBA

It’s been a pleasure over the last couple months to watch a resurgence of Berlin heavy psych trio Samsara Blues Experiment take shape, first with the announcement of a fourth album in October, then with subsequent confirmations for DesertfestRiff Ritual in Barcelona, and a South American tour. Reportedly due in Spring, which fits with the timing on shows, etc., the record will follow 2013’s righteous Waiting for the Flood (review here) and as much as I’m looking forward to hearing it, I’m kind of just glad to have these guys back.

28. Seedy Jeezus, TBA

Work finished earlier this month on Melbourne trio Seedy Jeezus‘ second full-length. As with their 2015 self-titled debut, the band brought Tony Reed of Mos Generator to Australia to produce, and after their blissed-out 2016 collaboration with Earthless guitarist Isaiah MitchellTranquonauts (review here), it’s hard not to wonder what experimentalist tendencies might show in the trio’s style this time out, and likewise difficult not to anticipate what guitarist Lex “Mr. Frumpy” Wattereus comes up with for the cover art.

29. Shroud Eater, Strike the Sun

Not to spoil the surprise, but Feb. 1 I’ll host a track premiere from Florida’s Shroud Eater that finds them working in a different context from everything we’ve heard from them to this point in their rightly-celebrated tenure. They also recently had a split out with Dead Hand, and their second long-player, Strike the Sun, will be their debut through STB Records. It’s been since 2011’s ThunderNoise (review here) that we last got a Shroud Eater album, so you bet your ass I’m dying to know what the last six years have wrought.

30. Sleep, TBA

If Sleep were any other band, they’d probably be in the “Would be Awfully Nice” category. But they’re Sleep, so even the thought of a new record is enough to put them here. The lords of all things coated in THC are reissuing their 2014 single, The Clarity (review here), on Southern Lord next month, but rumors have been swirling about a proper album, which of course would be their first since the now-legendary Dopesmoker. If it happens, it’ll automatically be a heavy underground landmark for 2017, but it’s one I’m going to have in my ears before I really believe it.

31. Stoned Jesus, TBA

Even as they tour playing their second album, 2012’s Seven Thunders Roar (review here), to mark its fifth anniversary and continued impact, Ukrainian trio Stoned Jesus are forging ahead with a fourth record behind 2015’s The Harvest (review here). The capital-‘q’ Question is whether or not looking back at Seven Thunders Roar and engaging that big-riffing side of their sound will have an impact on the new material, and if so, how it will meld with the push of The Harvest. Won’t speculate, but look forward to finding out.

32. Stubb, TBA

Since reveling in the soul of 2015’s Cry of the Ocean (review here) on Ripple, London trio Stubb have swapped out bassists, and they were in Skyhammer Studio this month recording a single that may be an extended psychedelic jam. I’ll take that happily, but I’m even more intrigued at the prospect of a third LP and what guitarist/vocalist Jack Dickinson, bassist/vocalist Tom Hobson and drummer Tom Fyfe might have in store as the band moves forward on multiple levels. Might be 2017, might not.

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

sun blood stories it runs around the room with usIt Runs around the Room with Us seems to find peace in its resonant experimentalist drones, loops, open, subdued spaces, but there’s always some underlying sense of foreboding to its drift, as if Boise’s Sun Blood Stories could anticipate the moment before it happened. Toward the end of the follow-up to 2015’s Twilight Midnight Morning (review here), they execute the 90-second assault “Burn” and turn serenity to ash. Look for it in April and look for it again on my best of 2017 list in December.

34. Ufomammut, TBA

Any new offering from the Italian cosmic doom magnates is worth looking forward to, and while Ufomammut have left the 15-year mark behind, they’ve never stopped progressing in style and form. To wit, 2015’s Ecate (review here) was a stunner after 2012’s two-part LP, Oro (review here and review here), tightening the approach but assuring the vibe was no less expansive than ever. They started recording last summer, finished mixing in November, so I’m hoping for word of a release date soon.

35. Vokonis, The Sunken Djinn

Born out of Creedsmen Arise, whose 2015 demo, Temple (review here), offered formative thrills, Swedish trio Vokonis debuted with last year’s Olde One Ascending (review here) and proved there’s still life in post-Sleep riffing when it’s wielded properly. They signed to Ripple in November and confirmed the title of their sophomore effort as The Sunken Djinn, as well as a reissue for the first album, which will probably arrive first. I don’t know how that will affect the timing on this one, but keep an eye out anyway.

Gonna Happen and/or Likely Candidates

Obviously some of these are more likely than others. Some have solidified, announced release dates — Dopelord‘s out this month, Demon Head‘s out in April, etc. — and others come from social media posts of bands in studios and hints at upcoming releases and so on. A big tell is whether or not a band has an album title with their listing, but even some of those without have their new albums done, like Atala and Royal Thunder, so it’s not necessarily absolute.

Either way, while I’m spending your money, you might want to look into:

36. Against the Grain
37. Amenra
38. Atala
39. Attalla, Glacial Rule
40. Ayahuasca Dark Trip, II
41. Beastmaker
42. Beaten Back to Pure
43. Blackout
44. Bretus
45. Buried Feather, Mind of the Swarm
46. The Clamps
47. Cold Stares
48. Coltsblood, Ascending into the Shimmering Darkness
49. Come to Grief, The Worst of Times EP
50. Cortez
51. Cruthu, The Angle of Eternity
52. The Dead-End Alley Band, Storms
53. Dead Witches, Dead Witches
54. Dealer
55. Death Alley, Live at Roadburn
56. Demon Head, Thunder on the Fields
57. The Devil and the Almighty Blues, II
58. Devil Electric
59. Doctor Cyclops, Local Dogs
60. Dool, Here Now There Then
61. Dopelord, Children of the Haze
62. Doublestone, Devil’s Own/Djævlens Egn
63. Dread Sovereign, For Doom the Bell Tolls
64. Drive by Wire
65. Elbrus, Elbrus
66. Electric Age
67. Electric Moon, Stardust Rituals
68. Endless Floods, II
69. Five Horse Johnson
70. Forming the Void, Relic
71. Funeral Horse
72. Greenbeard
73. Green Desert Water
74. Greenleaf
75. Grifter / Suns of Thunder, Split
76. Hair of the Dog, This World Turns
77. Heavy Temple, Chassit
78. Here Lies Man, Here Lies Man
79. Hollow Leg, Murder EP
80. Holy Mount, The Drought
81. Hooded Menace
82. Horisont, About Time
83. Hymn, Perish
84. Lecherous Gaze
85. Magnet, Feel Your Fire
86. Mastodon
87. Merlin, The Wizard
88. Merchant
89. Mindkult, Lucifer’s Dream
90. Mirror Queen
91. Moonbow, War Bear
92. Mos Generator
93. The Moth
94. MotherSloth
95. Mouth, Vortex
96. My Sleeping Karma, Mela Ananda – Live
97. Orango
98. Papir
99. PH, Eternal Hayden
100. Psychedelic Witchcraft, Magick Rites and Spells
101. Royal Thunder
102. Saturn, Beyond Spectra
103. Season of Arrows, Give it to the Mountain
104. Siena Root
105. Six Organs of Admittance, Burning the Threshold
106. Six Sigma, Tuxedo Brown
107. Sólstafir
108. The Sonic Dawn, Into the Long Night
109. Spelljammer
110. Spidergawd, IV
111. Steak
112. Stinking Lizaveta, Journey to the Underworld
113. Sula Bassana, Organ Accumulator
114. Summoner
115. Sun Voyager, Sun Voyager
116. Sweat Lodge, Tokens for Hell EP
117. Thera Roya, Stone and Skin
118. Toke
119. Troubled Horse, Revelation on Repeat
120. VA, Brown Acid The Third Trip
121. Weedpecker
122. Youngblood Supercult, The Great American Death Rattle

Definitely Could Happen

Maybe a recording process is upcoming (Gozu, Cities of Mars, YOB), or a band is looking for a label (The Flying Eyes), or they’ve said new stuff is in the works but the circumstances of an actual release aren’t known (Arc of Ascent, Dead Meadow, High on Fire), or I’ve just seen rumors of their hitting the studio (Freedom Hawk, La Chinga, Ruby the Hatchet). We’ve entered the realm of the entirely possible but not 100 percent.

So, you know, life.

Dig it:

123. The Age of Truth
124. Ape Machine
125. Arc of Ascent
126. At Devil Dirt
127. Bantoriak
128. Bask
129. BCAD
130. BoneHawk
131. La Chinga
132. Chubby Thunderous Bad Kush Masters
133. Cities of Mars
134. Crypt Sermon
135. Dead Meadow
136. Death Alley (Studio LP)
137. Dee Calhoun
138. Destroyer of Light
139. Devil
140. Devil Worshipper
141. Duel
142. Dustrider
143. Egypt
144. Electric Moon
145. Elephant Tree
146. Farflung
147. The Flying Eyes
148. Freedom Hawk
149. Gozu
150. The Great Electric Quest
151. Green Meteor, Consumed by a Dying Sun
152. High on Fire
153. Horrendous
154. Insect Ark
155. In the Company of Serpents
156. Iron Monkey
157. Jeremy Irons and the Ratgang Malibus
158. The Judge
159. Killer Boogie
160. King Dead
161. The Kings of Frog Island
162. Lords of Beacon House, Recreational Sorcery
163. Mangoo
164. Mondo Drag
165. Monolord
166. Mountain God
167. The Munsens
168. Naxatras
169. Never Got Caught
170. Ommadon
171. Orchid
172. Ordos
173. Pilgrim
174. Poseidon
175. Purple Hill Witch
176. Ruby the Hatchet
177. Sasquatch
178. Satan’s Satyrs
179. Serpents of Secrecy
180. Shabda
181. Shooting Guns
182. Sleepy Sun
183. Slow Season
184. Snowy Dunes, Atlantis
185. Spectral Haze
186. The Sweet Heat
187. Switchblade Jesus
188. Superchief
189. Tÿburn
190. YOB
191. Zone Six

Would be Awfully Nice

This last category is basically as close as I’m willing to come to rampant speculation. Endless Boogie have hinted at new material, and Queens of the Stone Age have talked about hitting the studio for the last two years. There were rumors about Om, and though Kings Destroy just put out an EP, they have new songs as well, though I doubt we’ll hear them before the end of 2017. I’ll admit that Across Tundras, Fever Dog, Lord Fowl, Lowrider and Hour of 13 are just wishful thinking on my part. A boy can hope:

192. Across Tundras
193. Eggnogg
194. Elephant Tree
195. Endless Boogie
196. Fever Dog
197. Fu Manchu
198. Halfway to Gone
199. Hour of 13
200. Kadavar
201. Kings Destroy
202. Lord Fowl
203. Lowrider
204. Masters of Reality
205. Om
206. Orodruin
207. Queens of the Stone Age

If you’ve made it this far, thanks for reading. Whatever this year brings, I hope it’s been great so far for you and I hope it continues to be so as we proceed inexorably to 2018 and all the also-futuristic-sounding numbers thereafter. At least we know we’ll have plenty of good music to keep us company on that voyage.

As always, comments section is open if there’s anything I’ve left out. I’m happy to add, adjust, etc., as need be, so really, have at it, and thanks in advance.

All the best.

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Roadsaw Sign to Ripple Music

Posted in Whathaveyou on August 25th, 2016 by JJ Koczan

Roadsaw news is good news. The Boston heavy rock magnates have announced that they’ll hit Mad Oak Studio to work with producer Benny Grotto next month in order to record their eighth album, the awaited follow-up to their 2011 self-titled (review here), which will be released — and here comes the twist — on Ripple Music. Formerly the quintessential Small Stone band, Roadsaw will work with Ripple for their new one, the label having already released material from heavy punkers White Dynomite, whose lineup features Roadsaw‘s Tim Catz and Craig Riggs.

Ripple continues its upswing and will have the new Roadsaw album out early next year, as the PR wire informs:

roadsaw

Boston Riff-Masters, Roadsaw, Sign World-Wide Deal with Ripple Music – New Album out Early 2017

Ripple Music is proud to announce the signing of legendary riff-masters, ROADSAW to the label’s hard and heavy roster. The veteran Boston motor-stoner act still consists of the decade-long classic line up and will be heading into the illustrious Mad Oak Studios with producer Benny Grotto to lay down a potent new batch of songs, due out early 2017, that are sure to please old fans and turn on new ones.

For the unfamiliar ROADSAW invite you to climb inside their jaded jalopy and careen headlong into their amplified analog landscape. From the shores of British electric blues, across the pond to America’s sonic 70s stomp; down to the Southern swamps, thru the New York groove, straight into heart of California’s psychedelic desert. ROADSAW’s long strange trip is a virtual history of heavy riffs.

ROADSAW’s often turbulent career includes 7 albums , numerous compilations, and a smattering of hard-to-find singles. The band has shared stages big and small on both sides of the Atlantic with comrades like Orange Goblin, Fu Manchu, Queens Of The Stone Age, Nebula, Scissorfight, Karma To Burn, Black Label Society and many others. Together with Ripple, the band looks forward to adding a big bold exclamation point to this already impressive resume. US and European tours are being booked for spring 2017, including an appearance at London’s Desert Fest. Spirits are high for the much anticipated return of one of riff rocks most loyal disciples.

Like cockroaches in a post apocalyptic fall out, ROADSAW rise once again. Having survived every storm, war, trend and taste, ROADSAW simply refuses to die. Now, they’re signed to one of the world’s leading heavy rock, stoner, doom and heavy psych label’s, Ripple Music, and it’s a certainty that mayhem will follow. Look for limited edition vinyl, CD’s and digital to be spread around the world in Spring 2017.

So there you have it. New year. New music. New label. The ‘Saw remains the same.

https://www.facebook.com/ROADSAW-106440249390336/
www.ripple-music.com

Roadsaw, Roadsaw (2011)

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Live Review: Small Stone Boston Showcase with Mellow Bravo, Wo Fat, Lo-Pan, Gozu, Roadsaw and Neon Warship, 03.28.14

Posted in Reviews on March 31st, 2014 by JJ Koczan

I’ve had some pretty landmark good times at Small Stone showcases over the last 10 or so years. Some of them — admittedly, the more recent ones — I’ve even remembered. The last one in Massachusetts was 2012 at Radio in Somerville (review here) was a monster, and as my first time in the upstairs room at the Middle East in Cambridge, I can’t imagine a more fitting occasion. A six-band bill with a shared love of riffs and a record label in common, it was a front-to-back night of volume, distortion, and groove, and from Neon Warship through Roadsaw, Gozu, Lo-Pan, Wo Fat and Mellow Bravo, there was no letup. No moment when you’d want to go outside and smoke or get some air. No moment when the place to be wasn’t in front of the stage.

That’s rare enough when three acts are playing, let alone twice as many. The same lineup minus Mellow Bravo and plus Geezer would play the next night at St. Vitus bar in Brooklyn, but as I had family coming north Saturday and zero dollars for gas, this was my fix. Parking in Cambridge on a Friday night is a singular joy between what’s campus housing for this or that elite-perpetuation factory and other sundry restrictions, but I found a spot and made it into the Middle East well enough in advance of Neon Warship starting off the night. Here’s how it went down from there:

Neon Warship


Of all the acts who’d take stage Friday night, Neon Warship were the most recent addition to the label’s roster. Picked up late in 2013, the Dayton, Ohio, three-piece gave a taste of Small Stone to come with their steady rolling riffs and the post-The Sword vocal stylings of guitarist Kevin Schindel, who when he hit into his higher register made up for some of Freedom Hawk‘s absence from the bill. It was my first exposure to them live, though their 2013 self-titled debut had made an impression, and though they’ve been a band for three years, they came across initially as still getting their feet under them on stage. They were well received by what was rightly a friendly crowd, however, and flourished as their set progressed, getting more comfortable as they went on. It was short sets for everybody, however, so just as Neon Warship were hitting their stride, they were also wrapping up. I doubt it’ll be my last encounter with them, and I’d be interested to see them go longer and have more of a chance to engage the audience. They seemed to be headed in that direction.

Roadsaw

I knew when I left the house that it was going to be an evening of top-notch guitar work. What I didn’t realize was that Ian Ross of Roadsaw was going to meet the quota on his own. Don’t get me wrong — situated as early headliners no doubt to bring in the local crowd early and get them drinking; a nefarious plot that worked wonders — all of Roadsaw was on fire, including new drummer Kyle Rasmussen (Phantom Glue) who recently came aboard to replace Jeremy Hemond for reasons yet undisclosed, but Ross seemed particularly to rise to the occasion that the night presented, and whether he was tearing ass through “The Finger” from 2001’s Rawk ‘n’ Roll or leading the way through the undulating stonerism of “Black Flower,” if it wasn’t the best I’ve ever seen him play, it was certainly close. They finished out with two from their 2011 self-titled (review here) — which at this point is begging for a follow-up — “Long in the Tooth” and “Weight in Gold,” and were nothing if not in headliner form, frontman Craig Riggs sharing a mic with bassist Tim Catz after swinging his enough to dislodge its cable and all four bringing their still-too-short set to a monstrously noisy finish. Sometimes earplugs just don’t matter.

Gozu

Never say never in rock and roll, but at least for the time being this night marked the end of Gozu‘s three-guitar experiment. Lead player Jeff Fultz, who’d pull double-duty with Mellow Bravo, is reportedly on the move out of the area, so there goes that. And while his farewell with Mellow Bravo would be drunker/more emotional later on — he’d been in Mellow Bravo five years, a few months playing with Gozu — it was nonetheless a stellar sendoff. For me, they seemed to affirm the potential for Gozu as a five-piece they showed when I saw this lineup make its debut at the Great Scott back in January (review here), songs like “Irish Dart Fight” and “Meth Cowboy” benefiting both from the extra heft and and still nascent dynamic between Fultz and Doug Sherman‘s soloing. Guitarist/vocalist Marc Gaffney brought his own edge via a Gretsch hollow-body guitar — I don’t play, but if I had the money to spend I’d buy one just to look at it — and Joe Grotto, his foot up on the monitor, was duly animated holding down the low end, while still-relatively-new drummer Mike Hubbard made himself comfortable in the slower, more swinging terrain of “Alone,” the closer from 2010’s Locust Season (review hereand a rare enough inclusion in the set that I don’t think I’d ever seen them play it before. Certainly not since 2013’s The Fury of a Patient Man (review here) was released, anyway. They didn’t get to “Meat Charger,” but “Ghost Wipe” had been a raucous enough opener that all was well. They’re ready to hit Europe next month.

Lo-Pan

Oh, it had been too long. Too long. Not quite a year since they headlined the third Eye of the Stoned Goat fest in Brooklyn (review here), but still, that’s too long to go without seeing Lo-Pan. They played a set comprised almost entirely of new material, songs from the fourth album, Colossus, they’re recording with Andrew Schneider in Brooklyn this week, some I’d heard — “Colossus,” “The Duke” — others that were completely new. Hearing a runthrough of something once live is no way to judge how it will sound on record, but as guitarist Brian Fristoe nestled into the open, winding grooves of his own riffs backed by bassist Scott Thompson and drummer Jesse Bartz while vocalist Jeff Martin soul-man crooned behind, Lo-Pan sounded like Lo-Pan, and yes, I mean that as a compliment. It means the Ohio four-piece have established their sound and know what sides of what they do they want to develop and they’ve set to the work of that. I pulled my earplugs about halfway out for “El Dorado” from 2011’s Salvador (review here), but even the stuff I hadn’t heard before was easy to appreciate. As the hardest-touring band on Small Stone, Lo-Pan lack nothing for presence on stage, and though I almost got cracked in the head by Thompson‘s bass once or twice and when the night was over, I’m pretty sure it was Bartz‘s crash cymbal ringing in my ears, they silver-plattered a reminder of how vital an act they are. It would be premature to say their best days are ahead of them since Colossus is just now in progress, but they showed the room at the Middle East that anything’s possible, even topping Salvador.

Wo Fat


Getting to see Texas trio Wo Fat play a packed room was one of the highlights of my Roadburn 2013 (review here), and with their second Small Stone outing (fifth overall), The Conjuring, on the way, brief as it was, their set was no less enjoyable here. At the same time they’re probably the best advertisement for Texan tourism I can think of, it’s probably also a good thing they’re from so far away, otherwise I’d probably wind up saying something like, “Oh, it’s only 10 hours. That’s not too far to drive to see Wo Fat again.” The TSA had rifled through guitarist/vocalist Kent Stump‘s gear, so they had to set everything up from scratch before they got going, but once they did, it was a weekend’s worth of fuzz condensed and served in a three-song can. Bassist Tim Wilson was dug in deep for “The Conjuring,” which took hold following a noisy transition from “Nameless Cults” from their 2013 Cyclopean Riffs split LP with Egypt (review here) and in turn shifted via jam into “Sleep of the Black Lotus” from 2012’s The Black Code (review here), the whole set coming across as one consistent riff and fuzz fest, grounded by the plod of drummer Michael Walter. Wo Fat are masters of getting the most out of a slow stoner groove and pushing it into or out of a faster rush (“The Conjuring” does this really well), and the swamp-voodoo lyrical themes they’ve paired with their Fu Manchu-worthy tonality fits perfectly. They don’t have Lo-Pan‘s road experience, but like their Ohio compatriots, Wo Fat clearly know what works in their approach. They wrapped up with a big rock finish — no other way to do it, really — and suddenly the night seemed too short…

Mellow Bravo

…But the fact of the matter is when you want to round out a party in Boston, Mellow Bravo are the way to go. As noted, it was guitarist Jeff Fultz‘s last show with the band, and they were in top form to say goodbye. Irrepressibly outspoken frontman Keith Pierce warned the audience that they were going long in his honor, and while the local six-piece left the room thoroughly entertained — aside from borrowing my camera to take a house-lights-up shot of the crowd, I also saw Pierce at the bar at one point, and he finished the set in the audience — it was readily apparent that for them this was more than just another show or even a label showcase. For Pierce, keyboardist/vocalist Jess Collins, guitarist Andrew Doherty, bassist/vocalist Seager Tennis and drummer Dave Jarvis, they were losing a bandmate and a friend and paying him bittersweet tribute. That’s how it felt watching, anyhow. I’ve seen Mellow Bravo a few times at this point, as well as Collins and Pierce in their acoustic side-project, Tastefulnudes (live review here), and while this was hardly the tightest, crispest set I’ve watched from them, they gave the night a suitable finale, more or less starting an afterparty while they were still playing. To say the very least of it, it was worth sticking around for.

Other bands had started to pack up, but there was still a good deal of milling about, drinking, band-bonding, etc. going on. It was just hitting two in the morning, which had the bar in get-the-fuck-out mode, so I hiked the several blocks back to my car made my way home, more than a little bummed to know what I’d be missing the next night in Brooklyn but feeling fortunate to have been able to see the show I did.

More pics after the jump. Thanks for reading.

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