Saint Vitus Announce Self-Titled LP out May 17

Posted in Whathaveyou on February 27th, 2019 by JJ Koczan

saint vitus

Saint Vitus have never been much for following the rules, so hey, 35 years after making an absolute doom metal landmark in their 1984 self-titled debut, why not put out a new, also-self-titled album with original vocalist Scott Reagers back in the band? Season of Mist, which has been the band’s label home since their 2012 comebacker, Lillie: F-65 (review here), will stand behind the new offering — recorded, like its predecessor, by Tony Reed — and the band will support it on a month-long European tour beginning in April, celebrating the 40th anniversary of the band.

They’re streaming the track “12 Years in the Tomb” right now and as you can hear at the bottom of this post, the deranged style of founding guitarist Dave Chandler and Reagers‘ vocals sound like long lost friends finding each other after years apart. And so they are.

Album’s out May 17. Preorders are up now from the label, which posted the following:

saint vitus saint vitus

Saint Vitus – Saint Vitus

Taken from the album “Saint Vitus”. Release date: May 17, 2019. Order here: http://smarturl.it/SaintVitusShop

Seven years after their epic comeback album, ‘Lillie: F-65’ (2012), legendary doom metal trailblazers SAINT VITUS return with their eponymous new album. The band sees the return of their original vocalist, Scott Reagers, as well as the addition of new bassist Pat Bruders (DOWN, ex-CROWBAR), who join long-time drummer Henry Vasquez and founder/guitarist Dave Chandler. As if in a time machine, the seasoned quartet pick up where their 1985 classic ‘Hallows Victim’ left off. Saint Vitus delivers nothing less than the truest and most enduring representation of original and fundamental doom metal.

Tracklisting:
1. Remains
2. A Prelude to…
3. Bloodshed
4. 12 Years In The Tomb
5. Wormhole
6. Hour Glass
7. City Park
8. Last Breath
9. Useless

Recording: Heavyhead Recording co. Port Orchard, WA (US)
Producer/sound engineer: Tony Reed

SAINT VITUS ’40 F’N Years’ European Tour 2019:
w/ special guest Dopelord unless noted
Apr 3 Gothenburg (SE) @ Sticky Fingers
Apr 4 Stockholm (SE) @ Debaser Strand
Apr 6 Jyväskylä (FI) @ Lutakko
Apr 7 Helsinki (FI) @ On The Rocks
Apr 9 Oslo (NO) @ Blaa
Apr 10 Copenhagen (DK) @ Pumpehuset
Apr 11 Berlin (DE) @ So36
Apr 12 Hamburg (DE) @ Headcrash
Apr 13 Bomal-Sur-Ourthe (BE) @ Durbuy Rock Festival
Apr 14 Dortmund (DE) @ Junkyard
Apr 15 Cologne (DE) @ Luxor
Apr 17 Birmingham (UK) @ Mama Roux
Apr 18 Leeds (UK) @ Brudenell
Apr 19 Glasgow (UK) @ Audio
Apr 20 London (UK) @ The Underworld Camden
Apr 21 Paris (FR) @ Petit Bain
Apr 23 Nantes (FR) @ Le Ferrailleur
Apr 24 Toulouse (FR) @ Le Rex
Apr 25 Barcelona (ES) @ Boveda
Apr 26 Madrid (ES) @ Copernico
Apr 27 Barroselas (PT) @ Swr Metalfest
Apr 28 Bilbao (ES) Kafé @ Antzokia
Apr 20 Fribourg (CH) @ Fri-Son*
May 1 Milan (IT) Circolo @ Circolo Magnolia
May 2 Zurich (CH) @ Dynamo*
May 3 Karlsruhe (DE) @ Dudefest
May 4 Leipzig (DE) @ Ut Connewitz
*No Dopelord

BAND LINE-UP:
David Chandler (guitar)
Scott Reagers (vocals)
Henry Vasquez (drums)
Pat Bruders (bass)

https://www.facebook.com/saintvitusofficial
https://twitter.com/saintvitusband
http://saint-vitus.tumblr.com/
http://www.saintvitusband.com/
https://www.facebook.com/seasonofmistofficial
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http://www.season-of-mist.com/

Saint Vitus, “12 Years in the Tomb”

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Friday Full-Length: Saint Vitus, Die Healing

Posted in Bootleg Theater on January 4th, 2019 by JJ Koczan

Saint Vitus, Die Healing (1995)

The idea at the outset of Die Healing was to do just that. By 1995, Saint Vitus had been playing since they got together as Tyrant in 1978, had six albums out, and no singer. Guitarist Dave Chandler, who as ever was the core of the unit when it came to songwriting, tracked vocals for a would’ve-been seventh album (I’d love to hear those tapes), but they were ultimately scrapped in favor of a reunion with original vocalist Scott Reagers for one last album and one last tour. “Let the End Begin,” indeed. They didn’t quite make it through that tour, but Die Healing — issued by Hellhound Records — stood for years as their final album and a testament to everything Vitus were as a band.

It remains and will remain their last record with their original lineup of Chandler, Reagers, bassist Mark Adams and drummer Armando Acosta, the latter of whom passed away in 2010, and more than that, from the opening crawl of “Dark World” and righteous outsider perspective of “One Mind” through the periodic speed bursts as in “Let the End Begin” or the lurch of songs like “Return of the Zombie,” “Trail of Pestilence,” “Sloth” and “In the Asylum” ahead of the okay-we’ll-finally-play-punk “Just Another Notch,” on which Chandler does in fact take the helm on vocals, Die Healing reaffirms the notion of just how right Vitus were all along to fly in the face of trends in underground music. I don’t know if during their original run, their worship at the altar of Black Sabbath was ever “the cool thing,” but they were unwavering.

There was always a vicious current of noise to Chandler‘s soloing, and through the work of Reagers on their 1984 self-titled debut and 1985’s Hallow’s Victim, Scott “Wino” Weinrich‘s stepping into the frontman role on 1986’s Born Too Late, the 1987 Thirsty and Miserable EP, 1988’s Mournful Cries and 1990’s V, and Christian “Chritus” Linderson (Count Raven, now Lord Vicar) stepping in for 1992’s C.O.D., the band’s root in classic and grim heft prevented them from being at all in line with the metal of the day. They were doom. Unrelenting, unwavering doom. Die Healing might as well have been called ‘Die Slow,’ because if Vitus knew the band was coming to an end one way or another, they were going out the way they came in: volume up, tempo down, middle finger high.

I’m not sure if anything ever would or could replace the groundbreaking regression that was their self-titled or the mastery of the form they showed on Born Too Late, but neither should the grim saint vitus die healingatmosphere of Die Healing be discounted among the band’s myriad achievements of style and songwriting. With the theatricality in Reagers‘ vocals as heard on “In the Asylum” or even “Return of the Zombie” before it, Die Healing was in direct conversation with the first record, to the point that the latter track was a sequel to “Zombie Hunger” from the earlier release, but at 49 minutes, it was a product of the CD era too, and though Chandler had certainly handled some vocals in the past, on “When Emotion Dies” from Born Too Late, “Dragon Time” from Mournful Cries or “A Timeless Tale” from C.O.D., the fact that he effectively had the last say on the band’s last-until-the-reunion release in the addiction tale “Just Another Notch” spoke to his holding onto some piece of Vitus for himself.

That push and pull seems always to have existed in the band, and their split in 1996 stands as the dissolution of one of the greatest acts American doom has ever produced, but their volatility was a part of what made them so special in the first place. Saint Vitus were never going to be a completely stable entity. It wouldn’t have worked. Certainly they knew what they wanted sound-wise, and in the beginning they knew they wanted to be different, to play slow when others were playing fast, to be loud in a bottom-end-heavy kind of way that became signature to their style, but just because they were conscious of what they were doing doesn’t necessarily mean they were playing by a set of rules.

Consider Saint Vitus in relation to Sweden’s Candlemass. Similar start with their debuts in the mid-’80s, but Candlemass took on a cleaner Sabbathian sound, crisp and classy, whereas even on Die Healing, nearly 20 years after they first got together, Saint Vitus still sounded like the band who were going to steal your VCR while you weren’t looking. They flew in the face of rock, of pop, of metal, and of punk, and they proved just how ahead of their time they were when it was another full generation before they really even started to get their due from a broader audience.

Saint Vitus‘ reunion in 2009 with Weinrich on vocals led to 2012’s Lillie: F-65 (review here) and the 2013 reissue of their catalog through their new label, Season of Mist (plus tapes on RidingEasy), as well as a couple subsequent live records. No longer was Die Healing the last Vitus LP, and what had come full circle was reopened. With Henry Vasquez on drums, ChandlerAdams and Wino toured as triumphant heroes returning circa 2012 and 2013, but Wino‘s much-reported drug charge and subsequent five-year ban from European touring (now expiring) brought Reagers back into the lineup.

Adams, meanwhile, has been diagnosed with Parkinson’s Disease — a GoFundMe was set up to help with his medical expenses — and Pat Bruders, who once took the place of Rex Brown in Down and was a founding member of Goatwhore, has been playing with them for the last couple years. That puts Chandler and Reagers as the remaining founders of the band currently in the lineup, but of course that volatile aspect is always there as well. Nonetheless, they’ll celebrate the band’s 40th anniversary with a European tour this coming Spring (dates here), and word has been bandied about of a new album in the works as well, though a solid release date remains to be set. One has to wonder if, when Saint Vitus‘ next record does arrive, it will feature a third installment of Reagers‘ zombie-centered lyrics. Nothing like a good sequel, and Die Healing certainly deserves the nod.

As always, I hope you enjoy.

Last night was the first night I really slept this week. I’ve been waking up here and there throughout the night. Not the baby getting up or anything like that, just me. Wednesday I was up half the damn night, but last night I crashed pretty hard. I’ll still probably need a little downtime this afternoon if I can get it, and I wouldn’t necessarily call myself caught up, but every little bit counts.

I got a tattoo this week. It’s my first one. More on that later. It’s healing nicely. Not dying. Got my arm all gooped up and whatnot.

Today is my mother’s birthday and we’re still in New Jersey for the better part of this month, so my family is coming over to celebrate and get takeout and hang around, which will be good. I like being down here. There’s more space for that Pecan to run around and more shit for him to climb on, and the family time is good. Plus we’re like two minutes from the center of the universe, which is nice.

But anyway, things persist. I have an Inner Altar track premiere slated for Monday, but actually the rest of the week is pretty wide open right now, which I think is nifty. I’ll probably review John Garcia in there somewhere and maybe the new Skraeckoedlan record unless something else comes up, but I kind of like having a bit of flexibility for a change. November and December were crammed.

Episode 7 of ‘The Obelisk Show’ on Gimme Radio airs Sunday at 7PM Eastern. I’m going to stay up until 9 to listen and you should too. I also recently bought a Gimme t-shirt, which I think makes something or other official.

And I just got a new merch design from Shy Kennedy (Horehound, Blackseed Records, Descendants of Crom, etc.) that’s awesome and coming soon to the merch page for Dropout. I’m not going to post the design yet, but I’ve decided to call it “the lunar doomer” because I like slant rhymes and there’s a moon on it. It’s cool.

There’s more, probably, but I can’t think of it because golly-gosh I’m tired.

I hope you came through the holidays alright. That time of year is always a challenge for me, and my mother’s birthday is always kind of the finish line for it, so I’m right there. Made it. I’ve got writing to do this weekend, but today I’m gonna post stuff, read, chill, record voice tracks for Gimme Radio and just catch my breath a bit before everyone gets here this afternoon. I got up early to enjoy some coffee and a bit of doom, and I don’t regret it.

I hope you’re good. Really. I don’t know if I am or not. I have good days and bad. Really hard swings. But I’m glad to be around family for the time I am.

Alright.

Everyone have a great and safe weekend. Please. Forum, radio, merch at the merch table.

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The Obelisk Presents: THE TOP 30 ALBUMS OF 2018

Posted in Features on December 20th, 2018 by JJ Koczan

the-top-30-of-2018

Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2018 to that, please do.

It just wouldn’t be a year if it wasn’t completely overwhelming, right?

2018 has certainly met that standard and then some. The swath of output, whether it’s a new generation adopting and adapting established methods or out and out reinventing the stylistic wheel and then pushing it uphill on a seemingly endless barrage of tours, has been staggering, and it’s still happening. There’s a little more than a week to go in the year. You think a band isn’t putting something out today? Of course they are. It’s every day. It’s all the time.

But this year wasn’t just about quantity either. I think one of my biggest struggles in writing about albums in 2018 — and with the last Quarterly Review and various premieres and video posts that were basically album reviews in disguise, let’s estimate we’re somewhere past 300 records reviewed one way or another — was in conveying just how killer so much of the stuff coming through was. How many times can you say the word “awesome?” Well, I’m sure we’ll see it a few more times before this list is over, so there you go.

I say something like this every time I do a list, but please keep in mind these are my picks and I’m one person. But I am a person. I know there’s the whole internet-anonymity thing, but I assure you, I’m a human being (more of a cave troll, really) typing these words. I’m all for everyone sharing their own picks in the comments, and all for passionate advocating, but please, let’s keep it civil and respectful. These things can spiral out of control quickly, but let’s remember that we’re all human beings and worth of basic courtesy, even if some of us are dead wrong about a good many things. You should definitely punch nazis, though.

Thanks in advance for reading. Here we go:

[UPDATE: You’ll notice the inclusion of an ’18a.’ I had Stoned Jesus in my notes as number 18 initially and they got dropped as I was adjusting things along the way. I’ve added them back in, but it didn’t seem fair to bump everyone else down after the post had already been published. That was the best I could come up with for a solution. If you’re pissed about one more killer record being added, please feel free to email me and tell me all about it.]

30. The Skull, The Endless Road Turns Dark

The Skull The Endless Road Turns Dark

Released by Tee Pee Records. Reviewed Sept. 12.

Chicago’s The Skull had no small task before them in following up their 2014 debut, For Those Which are Asleep (review here) — let alone living up to their pedigree — but their second album demonstrated a creative growth that sacrificed nothing of memorability when it came to songs like “Breathing Underwater” and “All that Remains (Is True).” They got down to work and got the job done, which is what a working band does. 2018 was by any measure a fantastic year for doom, and The Skull were a big part of why.

29. Foghound, Awaken to Destroy

foghound awaken to destroy

Released by Ripple Music. Reviewed Nov. 21.

The Dec. 2017 murder of Rev. Jim Forrester was tragic. No other way to say it. Foghound, who were in the midst of making Awaken to Destroy at the time, put together an album that not only features Forrester‘s last recorded performance, but pays respect to his memory while the wound is still raw and manages to kick ass all the while. It’s a record that can’t ever be divorced from its circumstances — just can’t — and so it can be a heavy listen in more than just its tones, but it’s basically Foghound proving they’re unstoppable. And so they are.

28. Orange Goblin, The Wolf Bites Back

orange goblin the wolf bites back

Released by Spinefarm Records. Reviewed June 13.

Who among us here today is not a sucker for Orange Goblin? Come forward an be judged. I mean, really. Nine records deep, the London sceneforgers are nothing less than an institution, beloved by boozehounds, riffhounds, doomhounds, and really, a wide variety of hounds the world over. Also dudes. With its essential title-track hook and highlight cuts in “Ghosts of the Primitives” and “Burn the Ships” — or, you know, any of them — they added to one of heavy’s most unshakable legacies with an album as furious as it is welcoming to its generations-spanning fanbase.

27. Fu Manchu, Clone of the Universe

fu manchu clone of the universe
Released by At the Dojo Records. Reviewed Feb. 15.

There are two kinds of people in this world, and they’re both Fu Manchu fans. Clone of the Universe turned heads with a guest appearance from Rush‘s Alex Lifeson on the 18-minute side-B-consuming “Il Mostro Atomico,” but really to focus on that instead of “Intelligent Worship,” “(I’ve Been) Hexed,” “Don’t Panic,” “Slower than Light,” etc., is only seeing half the point of the album in the first place. The long-running lords of fuzz hit a new stride with 2014’s Gigantoid (review here), and Clone of the Universe was in every way a worthy successor.

26. Witch Mountain, Witch Mountain

Witch-Mountain-Witch-Mountain
Released by Svart Records. Reviewed May 16.

It was an unenviable task before Witch Mountain in replacing vocalist Uta Plotkin, but founding guitarist Rob Wrong and drummer Nathan Carson found the right voice in Kayla Dixon and solidified the lineup with her and bassist Justin Brown enough to make a declarative statement in Witch Mountain‘s self-titled LP. That’s the story of it. They pulled it off. Met with what was unquestionably a bummer circumstance, they pushed through and moved their sound forward through a new beginning — and not their first one. Watch out when their next record hits.

25. Windhand, Eternal Return

windhand eternal return

Released by Relapse Records. Reviewed Oct. 3.

Richmond, Virginia, doomers Windhand‘s second collaboration with producer Jack Endino produced a marked and purposeful expansion of their sound, encompassing classic grunge influences and a heavy psychedelic swirl that added color their previously-greyscale sonic haze. Resonant in tone and emotionalism, Eternal Return readjusted Windhand‘s trajectory in such a manner that, where one might’ve thought they knew where the band were headed in terms of their progression, they’ve made themselves a less predictable outfit on the whole. For that alone, it’s a triumph. Then you have the songs.

24. Sun Voyager, Seismic Vibes

Sun Voyager Seismic Vibes

Released by King Pizza Records. Reviewed April 18.

I don’t even want to admit how long I was waiting for Sun Voyager‘s first long-player to show up, but when it finally did, the New York trio did not disappoint. Catchy, energetic, fuzzed-out tunes with driving rhythms and a heavy psych flourish, they tapped into shoegaze and desert vibes without losing any sense of themselves in the process, and if the extra wait was so they could be so remarkably coherent in their expression on their full-length, then I wouldn’t want it to have shown up any sooner. An easy pick to stand among 2018’s best debut albums. Now to wait for the next one.

23. Forming the Void, Rift

forming the void rift

Released by Kozmik Artifactz. Reviewed July 27.

It should tell you something that after working quickly to produce three albums, Louisiana’s Forming the Void are still defined by their potential. If I had my druthers, I’d put the recent Ripple signees on tour for the bulk of 2019, across the US and in Europe for festivals and support-slot club shows, really give them an opportunity to hammer out who they are as a band and then hit the studio for LP four. I don’t know if that’ll happen, but they’d only be doing the universe a favor by kicking into that gear. As it stands, their progression is palpable in their material and they stand absolutely ready for whatever the next level might be for them.

22. Spaceslug, Eye the Tide

spaceslug eye the tide

Released by BSFD Records and Oak Island Records. Reviewed June 29.

Aside from the speed at which Spaceslug have turned around offerings — with Eye the Tide following 2017’s Mountains and Reminiscence EP (review here) and Time Travel Dilemma (review here) full-length and their 2016 debut, Lemanis (review here) — the Polish outfit have undertaken significant progression in their sound, moving from pure heavy psychedelic warmth to incorporating elements out of extreme metal as they did on Eye the Tide. Adding to the latest record’s accomplishment is the smoothness with which they brought seemingly opposing sides together, only adding depth to an approach already worthy of oceanic comparison.

21. Conan, Existential Void Guardian

Conan Existential Void Guardian
Released by Napalm Records. Reviewed Sept. 14.

Conan‘s reign of terror has been unfolding for more than a decade now, and each of their albums has become a kind of step along a path of incremental growth. Consider the melody creeping into the shouts of founding guitarist Jon Davis, or the emergence of bassist Chris Fielding as a vocal presence alongside, the two sharing a frontman role more than ever before while welcoming drummer Johnny King to the fold of destructive tonality and doomly extremism. Existential Void Guardian may end up just being another stomp-print on their way to the next thing, but it affirmed the fact that as much as Conan grow each time out, their central violence continues to hold sway.

20. Pale Divine, Pale Divine

PALE DIVINE S/T
Released by Shadow Kingdom Records. Reviewed Nov. 21.

Look. A new Pale Divine record doesn’t come along every day, so yeah, their self-titled was probably going to be on my list one way or the other, but it definitely helps that not only was it their first outing in six years since 2012’s Painted Windows Black (review here), but it had the songs to live up to a half-decade-plus of anticipation. It marked the first studio appearance from bassist/backing vocalist Ron “Fezz” McGinnis alongside guitarist Greg Diener and drummer Darin McCloskey — now both of Beelzefuzz as well — and made a strong argument for how much Pale Divine deserve more than 20 years on from their initial demo to be considered classic American doom.

19. Mos Generator, Shadowlands

mos generator shadowlands
Released by Listenable Records. Reviewed May 11.

The return and rise to prominence of Washington pure heavy rockers Mos Generator might be the underground’s feelgood story of the decade, but it hasn’t by any means been easily won. In addition to rebuilding the band however many albums ago, guitarist/vocalist Tony Reed has put in innumerable hours on tour and worked to actually develop the group creatively in addition to in terms of stage presence. This is shown throughout some of the classic prog elements making their way onto Shadowlands, and perhaps some of the collection’s moodier aspects are born of the aforementioned road time as well. Hard for that kind of thing not to be a slog after a while, but at least they have killer tunes to play.

18a. Stoned Jesus, Pilgrims

STONED JESUS PILGRIMS

Released by Napalm Records. Reviewed Sept. 5.

The only safe bet about Stoned Jesus‘ fourth long-player, Pilgrims, was that it was going to sound different than the third. That 2015 outing, The Harvest (review here), preceded the band touring to celebrate the fifth anniversary and after-the-fact success of 2012’s Seven Thunders Roar (review here), but Pilgrims defied narrative in that instead of incorporating elements from the second record in more of a heavy psych or jam sound, Stoned Jesus instead showcased a tighter, more sureheaded sense of craft than they’ve ever displayed before, and arrived on Napalm Records with a collection of songs that demonstrated the growth and sense of creative will that drives them. While one can take a look at their moniker and think immediately they know what’s coming, Stoned Jesus have made themselves one of the least predictable bands in heavy rock.

18. Backwoods Payback, Future Slum

backwoods payback future slum

Self-released. Reviewed Aug. 15.

“Pirate Smile.” “Lines.” “Whatever.” “It Ain’t Right.” “Threes.” “Cinderella.” “Generals.” “Big Enough.” “Alone.” “Lucky. Mike Cummings, Jessica Baker, Erik Larson. Every player, every song, every minute. If you want to know what heart-on-sleeve sounds like, it fucking sounds like Backwoods Payback. In their line from hardcore punk to grunge to heavy rock, they encompass experiences and emotionalism that are both shown in raw form throughout Future Slum, and build all the while on the chemistry they set out in developing with 2016’s Fire Not Reason (review here), when they welcomed Larson to the lineup on drums and revitalized their mission. Also worth noting, they were the best live band I saw this year. Anywhere.

17. Corrosion of Conformity, No Cross No Crown

corrosion of conformity no cross no crown

Released by Nuclear Blast Records. Reviewed Jan. 3

No question the excitement of C.O.C. putting out their first record with frontman Pepper Keenan involved since 2005’s In the Arms of God was one of this year’s top stories in heavy. And No Cross No Crown tapped directly into the spirit of 1994’s Deliverance (discussed here) and 1996’s Wiseblood (discussed here) in terms of direction, while updating the band’s style with a four-part 2LP in mind. In some ways, it’ll be their next album that really gives listeners a sense of where they’re at and where they might be headed, but as welcome returns go, having Keenan alongside Mike DeanWoody Weatherman and Reed Mullin is in no way to be understated, and neither is the quality of their output together, then and now.

16. Naxatras, III

naxatras iii

Self-released. Reviewed Feb. 14.

It is no simple feat to hypnotize an audience and convey serenity while at the same time holding attention with songcraft, so that the listener isn’t actually so much unconscious as malleable of mood and spirit in such a direction as the band suggests. Greek trio Naxatras have worked quickly to become experts at this, and their third full-length fosters tonal warmth and jammy progressions with an overarching naturalism that finds them so committed to analog recording that one can buy direct transfers of the tape master of III. Some acts take classic-style practices as an aesthetic choice. With Naxatras, it seems to be the stuff of life, yet their sound is only vibrant and human in a way that, at least one hopes, is even more representative of the future than the past.

15. Clutch, Book of Bad Decisions

clutch book of bad decisions

Released by Weathermaker Music. Reviewed Aug. 27.

It was time for Clutch to make a change in producers, and the Maryland overlords of groove seemed to know it. Known as a live band, they went with Vance Powell, who’s known a live band producer. The results on Book of Bad Decisions might not have been so earth-shatteringly different from 2015’s Psychic Warfare (review here), which was the too-soon follow-up to 2013’s Earth Rocker (review here) — both helmed by Machine — but the inimitable four-piece indeed succeeded in capturing the electricity of their stage performance and, as ever, treated fans to a collection of songs bearing Clutch‘s unmistakable hallmarks of quirky lyrics, funky rhythms and heavy roll. They may always be a live band, but Clutch‘s studio work is in no way to be discounted, ever, as this record reaffirmed. Plus, crab cakes.

14. Ancestors, Suspended in Reflections

Ancestors Suspended in Reflections

Released by Pelagic Records. Reviewed Aug. 3.

After 2012’s In Dreams and Time (review here), I wasn’t sure Ancestors were going to put out another record. They kicked around word of one for a while, but it wasn’t until the end of last year that it really seemed to congeal into a possibility. And by then, who the hell knew what they might get up to on a full-length? With Suspended in Reflections, in some says, they picked up where they left off in terms of finding a niche for themselves in progressive and melodic heavy, but I think the time showed in the poise of their execution and the control of the material. Suspended in Reflections can’t help but be six years more mature than its predecessor, and that suits its contemplative feel. In tracks like “Gone,” and “The Warm Glow,” they tempered their expansive sound with an efficiency that can only be had with time.

13. High on Fire, Electric Messiah

high on fire electric messiah

Released by eOne Heavy. Reviewed Sept. 28.

The narrative here was hard to beat. Matt Pike spending an album cycle talking about Lemmy Kilmister and paying homage to his dirt-rock forebear and the gods of old? It doesn’t get much more perfect than that. Electric Messiah was the third collaboration between High on Fire and producer Kurt Ballou behind 2015’s Luminiferous (review here) and 2012’s De Vermiis Mysteriis (review here), and while it seemed after the last record that the formula might be getting stale, the band only sounded more and more lethal throughout the latest offering. Even putting aside their contributions to underground heavy, they’ve become one of the most essential metal bands of their generation. Metal, period. Doesn’t matter what subgenre you’re talking about it. If you’re listening to High on Fire, you know it. Usually because you’ve just been decapitated.

12. Yawning Man, The Revolt Against Tired Noises

yawning man the revolt against tired noises

Released by Heavy Psych Sounds. Reviewed July 2.

You know, if you take the time to separate Yawning Man from their 30-plus-year history and their legacy as one of the foundational acts of what later became desert rock, and you listen to The Revolt Against Tired Noises, you’re still left with basically a dream of an album. Mostly instrumental, as is their wont, they nonetheless had bassist Mario Lalli (also Fatso Jetson) sing this time around on a version of the previously-unreleased “Catamaran,” which Kyuss covered once upon a whenever although Yawning Man had never officially put it to tape. But really, that and all other novelty aside, guitarist Gary Arce, Lalli and drummer Bill Stinson are a chemistry unto themselves. I don’t know if they’ll ever be as huge as they should be, but every bit of acclaim they get, they’ve earned, and if The Revolt Against Tired Noises helps them get it, all the more so.

11. Greenleaf, Hear the Rivers

greenleaf hear the rivers

Released by Napalm Records. Reviewed Nov. 26.

Swedish heavy rock mavens Greenleaf have become an entirely different band than they once were. No longer a Dozer side-project from guitarist Tommi Holappa with a rotating cast of players, they’re a solidified, road-tested, powerhouse unit, and Hear the Rivers bleeds soul as a result. Holappa, frontman Arvid Hällagård, bassist Hans Fröhlich and drummer Sebastian Olsson sound like they’re absolutely on fire in the album’s tracks, and far from being staid or formulaic as one might expect a sixth long-player to be, Hear the Rivers built on what the band accomplished with 2016’s Rise Above the Meadow (review here) and came across as all the more vital and nearly frenetic in their energy. I won’t say Greenleaf has seen their last lineup change, because one never knows, but the band as they are today is the realization of potential I don’t think even Greenleaf knew was there.

10. Gozu, Equilibrium

gozu equilibrium

Released by Blacklight Media / Metal Blade Records. Reviewed April 4.

Five records deep into a career into its second decade, Gozu haven’t had a miss yet. Admittedly, some of their early work can seem formative considering where they are now, but still. And after the 2016 rager, Revival (review here), to have the band return to the same studio — Wild Arctic in Portsmouth, New Hampshire, where strides producer Dean Baltulonis — for the follow-up allows for the four-piece to directly show how their sound has grown more encompassing in the last couple years. And it has. Equilibrium is a rich and varied listen that holds true to Gozu‘s well-established penchant for soulful vibes and crunching, hard-hitting riffs and groove, but while it shares the directness of approach with Revival, it makes moves that a band could only make moving from one record to the next. I expect nothing less their next time out as well, because a decade later, that’s Gozu‘s proven track record.

9. Monster Magnet, Mindfucker

monster magnet mindfucker
Released by Napalm Records. Reviewed Feb. 23.

The battle for the best album title of 2018 ended early when New Jersey everything-rockers Monster Magnet announced the release of Mindfucker. And what else to call a Monster Magnet LP at this point? They’ve stopped writing to genre. They’re driven by the creative mania of frontman/founder Dave Wyndorf, and they’ve seen psychedelic expanses and commercial success the likes of which would serve the tenure of four lesser bands. What’s left to do but whatever the hell you want? So that’s what Monster Magnet are doing. It just so happens that while they’re doing it, they’re still basically outclassing the entirety of the former planet earth as songwriters. As Monster Magnet fan in 2018, there was nothing more I could’ve asked than what Mindfucker delivered. And if you’re still trying to get your brain around it however many months later, you’re not alone. I think that’s the idea.

8. Apostle of Solitude, From Gold to Ash

Apostle of Solitude From Gold to Ash

Released by Cruz del Sur Music. Reviewed Feb. 20.

Best doom album of 2018. The combination of craft and passion behind the delivery. The way the dark tones fed into the emotions so clearly on display and sheer presence of it in listening to songs like “Keeping the Lighthouse,” “Ruination by Thy Name” and “My Heart is Leaving Here.” Apostle of Solitude never seem to be the highest profile band out there, but their work seems never to be anything less than outstanding, and I refuse to accept them as anything less than among the most pivotal American acts out there making traditional doom. And not just making it, but making it their own, with a sense of new pursuits and individualism that extends to playing style as well as atmosphere. I know doom isn’t exactly in short supply these days — figuratively or literally — but if you miss out on what Apostle of Solitude are doing with it, you’ll only regret it later. I’ll say it one more time: Best doom album of 2018.

7. Holy Grove, Holy Grove II

holy grove ii
Released by Ripple Music. Reviewed Oct. 31.

Every now and again, anticipating the crap of an album really pays off, and such was the case with Holy Grove II, the Ripple Music debut from the Portland outfit whose 2016 self-titled (review here) seemed like such a herald of excellence to come while also, you know, being killer. Holy Grove II brought the four-piece of vocalist Andrea Vidal, guitarist Trent Jacobs, bassist Gregg Emley and drummer Eben Travis to entirely new levels of composition and execution. In songs like “Blade Born,” the shorter, sharper “Aurora,” the patiently rolling “Valley of the Mystics,” “Solaris” and closer “Cosmos,” which boasted a not-really-necessary-but-definitely-welcome guest vocal appearance from YOB‘s Mike Scheidt, — and oh wait, that’s all of the tracks — Holy Grove entered a different echelon. Anticipation will likewise be high for Holy Grove III, but it’ll be hard to complain with this record to keep company in the meantime.

6. All Them Witches, ATW

all them witches atw
Released by New West Records. Reviewed Sept. 18.

Over five All Them Witches albums, the Nashville four-piece have gone from a nascent heavy Americana jam band to one of the most distinct acts in the US underground. Their development in sound is chemistry-driven, so it was a risk when the founding trio of bassist/vocalist Charles Michael Parks, Jr., guitarist Ben McLeod (who also produced) and drummer Robby Staebler welcomed new keyboardist Jonathan Draper into the lineup to take the place of Allan van Cleave. Amid a more naturalist production than that of 2017’s Sleeping Through the War (review here), the revamped four-piece flourished in terms of songwriting and conveying their stage-born sonic personae. From the gleeful fuckery of opener “Fishbelly 86 Onions” to the memorable moodiness of “Diamond” and the back-end jam “Harvest Feast” en route to the stretched-out end of “Rob’s Dream,” All Them Witches essentially confirmed they could do whatever they wanted and make it work.

5. YOB, Our Raw Heart

yob our raw heart
Released by Relapse Records. Reviewed June 7.

Actually, if you want a sample of YOB‘s raw heart, the place to go is probably 2014’s Clearing the Path to Ascend (review here), but whatever the Eugene, Oregon, shapers of cosmic doom might’ve lacked in titular accuracy on their eighth long-player, they made up for in a new, statesman-like posture. Their approach was mature, hammered out to a professionalism working completely on its own terms, and they never sounded so sure of who they are as a band or as confident of their direction. In extended cuts “Beauty in Falling Leaves” and “Our Raw Heart,” they explored new and progressive textures and melodies, and managed to reaffirm their core aspects while finding room for conveying emotion that came across as nothing but ultimately sincere. They have been and still are one of a kind, and as they continue to move forward, they remain a band that makes one feel lucky to be alive to witness their work. Our Raw Heart was perhaps more refined than it let on, but the heart was there for sure, as always.

4. Brant Bjork, Mankind Woman

brant bjork mankind woman

Released by Heavy Psych Sounds. Reviewed Sept. 13.

I’m not going to say I wasn’t a fan of the (relatively) harder-hitting approach Brant Bjork and his Low Desert Punk Band took on 2014’s Black Power Flower (review here) and 2016’s Tao of the Devil (review here), but Mankind Woman brought in some more of his soul influences, and whether it was the subtly subversive funk of “Chocolatize” and “Brand New Old Times” or the callout “1968” and laid back vibes of the title-track and “Swagger and Sway,” Bjork — working with guitarist Bubba DuPree on songwriting and production — offered a definitive look at what has made his 20-year solo career so special and demonstrates not only his longevity and his legacy, but his will to continue to progress as an artist honing his craft. His discography is well populated by now to be sure, but Mankind Woman represents a turn from the last couple records, and if it’s in any way portentous of things to come, it bodes well. Bjork is right at home nestled into classic-style grooves, and his legacy as one of the principal architects of desert rock is continually reaffirmed.

3. Earthless, Black Heaven

earthless black heaven

Released by Nuclear Blast Records. Reviewed March 15.

They’ve been great, not just good, for a long time now, and as forerunners of the San Diego heavy scene, they’re godfathers to an up and coming generation of bands taking their influence — let alone acts from the rest of the world — but Black Heaven is a special moment for them because of its departure. No, it wasn’t not the first time guitarist Isaiah Mitchell sang on an Earthless recording, but it did represent a tip of the balance in that direction for the band on a studio full-length, and that resulted in a special moment. Album opener “Gifted by the Wind” was one of the best songs I heard this year, and while “End to End” and the all-thrust “Volt Rush” affirmed that more traditional songwriting was well within the grasp of Mitchell, bassist Mike Eginton and drummer Mario Rubalcaba, they still found space for a sprawling jam or two, keeping their claim on the instrumentalism that’s (largely) fueled their tenure to date. Earthless don’t want for acclaim, but every bit of it is earned, and while their primary impact has always been live, Black Heaven saw them construct a traditional-style LP that still bore the hallmarks of their collective personality. It was the best of all worlds.

2. King Buffalo, Longing to Be the Mountain

king buffalo longing to be the mountain
Self-released/released by Stickman Records. Reviewed Sept. 27.

In the dark early hours of 2018, the Rochester, New York, trio of guitarist/vocalist Sean McVay, bassist Dan Reynolds and drummer Scott Donaldson issued the Repeater EP (review here) as a follow-up to their 2016 debut, Orion (review here), so Longing to Be the Mountain didn’t exactly come out of nowhere, but even with Repeater preceding its arrival, I don’t think anyone necessary expected King Buffalo‘s second album to have such a scope or to be so engrossing with it. In its melody, patience, atmosphere and heft, it was an absolute joy to behold. Its songs were memorable at the same time they were far-reaching, and while Orion was already my pick for the best debut of 2016, Longing to Be the Mountain realized even more potential than that record had hinted toward. It could be intimate or majestic at its whim, and its dynamic set an individual characterization of heavy psychedelia and blues-style sprawl that the band wholly owned. With production by Ben McLeod of All Them Witches behind them, they worked to serve notice of a progression undertaken the results of which are already staggering and still seem to be looking ahead to the next stage, literally and figuratively. One of the principal standards I use in constructing this list every year is what I listen to most. That’s this record.

1. Sleep, The Sciences

sleep the sciences

Released by Third Man Records. Reviewed May 1.

Obviously, right? To some extent, when Sleep surprise-announced on April 19 they’d release their first album in 15 years the next day, and then did, they took ownership of 2018. Even with records still to come at that point from YOB and Sleep guitarist Matt Pike‘s own High on Fire, there was no way that when the end of the year came around, it wasn’t going to be defined by the advent of a new Sleep record. And even if it sucked, it would probably still be Album of the Year, but fortunately, as Pike, bassist/vocalist Al Cisneros (also Om) and drummer Jason Roeder (also Neurosis) took their long-running stage reunion to the studio, they brought material that highlighted the best elements from all players. Pike‘s wild soloing, Cisneros‘ meditative vocals and Roeder‘s intricate but smooth style of roll all came together in older pieces like “Antarcticans Thawed” and “Sonic Titan” and newer highlights “Giza Butler” and “Marijuanaut’s Theme,” and aside from the excitement at their existence, they showed the mastery of form that Sleep had been demonstrating live since 2009 and which they hinted toward in the 2014 single, The Clarity (review here). A new Sleep full-length was something long-discussed, long-rumored and long-considered, but when it finally happened, I think the results vaporized expectation in a way no one could’ve anticipated. There’s a reason Sleep are Sleep. Having The Sciences as a reminder of that brought about the defining moment of 2018.

The Next 20

Indeed, it wouldn’t be much of a Top 30 at all if it didn’t go to 50. Don’t try to make sense of it, just look at the records.

31. Atavismo, Valdeinfierno
32. Grayceon, IV
33. Clamfight, III
34. Seedy Jeezus, Polaris Oblique
35. Megaton Leviathan, Mage
36. Uncle Acid and the Deadbeats, Wasteland
37. Arcadian Child, Superfonica
38. Freedom Hawk, Beast Remains
39. The Machine, Faceshift
40. Messa, Feast for Water
41. Black Rainbows, Pandaemonium
42. Church of the Cosmic Skull, Science Fiction
43. Domkraft, Flood
44. Träden, Träden
45. Mythic Sunship, Another Shape of Psychedelic Music
46. Samavayo, Vatan
47. Foehammer, Second Sight
48. Bongripper, Terminal
49. Mansion, First Death of the Lutheran
50. Sunnata, Outlands
51. Chubby Thunderous Bad Kush Masters, Come and Chutney

Believe me when I tell you, I sweated over this section more than I did the actual top 30. Mansion should be higher. So should Chubby Thunderous, though something in me thought they might like being #50 on a list of 30. Church of the Cosmic Skull, Clamfight, Black Rainbows, Foehammer, Seedy Jeezus, Messa, Domkraft. All of these were fucking awesome. And there are more (we’ll get there). Eventually numbers add up. I won’t say a bad word about any of these. That’s it.

Honorable Mention

This section always winds up expanded as other people point out things I missed and so on, but here’s what I’ve got in the immediate, alphabetically:

  • Alms, Act One
  • Ape Machine, Darker Seas
  • Belzebong, Light the Dankness
  • Black Moon Circle, Psychedelic Spacelord
  • Blackwater Holylight, Blackwater Holylight
  • Bong, Thought and Existence
  • Carpet, About Rooms and Elephants
  • Churchburn, None Shall Live… The Hymns of Misery
  • Deadbird, III: The Forest Within the Tree
  • Dead Meadow, The Nothing They Need
  • Death Alley, Superbia
  • Drug Cult, Drug Cult
  • Dunbarrow, II
  • Electric Citizen, Helltown
  • Eagle Twin, The Thundering Heard: Songs of Hoof and Horn
  • Evoken, Hypnagogia
  • Funeral Horse, Psalms for the Mourning
  • Fuzz Evil, High on You
  • Graven, Heirs of Discord
  • Graveyard, Peace
  • Green Dragon, Green Dragon
  • Green Druid, Ashen Blood
  • Here Lies Man, You Will Know Nothing
  • High Priestess, High Priestess
  • Horehound, Holocene
  • IAH, II
  • JIRM, Surge ex Monumentis
  • Killer Boogie, Acid Cream
  • Lonely Kamel, Death’s Head Hawkmoth
  • MaidaVale, Madness is Too Pure
  • Moab, Trough
  • Mountain Dust, Seven Storms
  • Mouth, Floating
  • Mr. Plow, Maintain Radio Silence
  • T.G. Olson, Earthen Pyramid
  • Onségen Ensemble, Duel
  • Orango, Evergreen
  • Owl, Nights in Distortion
  • Pushy, Hard Wish
  • Rifflord, 7 Cremation Ground/Meditation
  • River Cult, Halcyon Daze
  • Rotor, Sechs
  • Somali Yacht Club, The Sea
  • Sumac, Love in Shadow
  • Sundrifter, Visitations
  • Svvamp, Svvamp II
  • Thou, Magus
  • Thunder Horse, Thunder Horse
  • Weedpecker, III

Special Note

Somehow it didn’t seem appropriate to include these in the list proper because they’re not really underground releases, but there were two more records I especially wanted to highlight for their quality:

  • Alice in Chains, Rainier Fog
  • Judas Priest, Firepower

Best Short Release of the Year

Normally I’d do this as a separate post, but as a result of being robbed earlier this year, I feel like my list is woefully incomplete. If you have any demos, EPs, splits, singles, etc., to add to it, please feel free to do so in the comments below. Still, the top pick was clear:

  • Mammoth Weed Wizard Bastard & Slomatics, Totems Split

Rarely do two bands work in such coherent tandem to their mutual benefit. Here are a few other essential short releases for 2018, alphabetically:

  • All Them Witches, Lost and Found
  • Alunah, Amber & Gold
  • Canyon, Mk II
  • Demon Head, The Resistence
  • Destroyer of Light, Hopeless
  • Ecstatic Vision, Under the Influence
  • Godmaker & Somnuri, Split
  • Holy Mushroom, Blood and Soul
  • King Buffalo, Repeater
  • Minsk & Zatokrev, Split
  • Sleep, Leagues Beneath
  • Stonus, Lunar Eclipse
  • Sundecay, Gale

Looking Forward

A good many albums have already been announced or hinted at for 2019. I in no way claim this to be a complete roundup of what’s coming, but here’s what I have in my notes so far, in absolutely no order:

Kings Destroy, Lo-Pan, Cities of Mars, Heavy Temple, Mr. Peter Hayden, Curse the Son, High Fighter, Destroyer of Light, Year of the Cobra, Buffalo Fuzz, Zaum, The Sonic Dawn, Alunah, Candlemass, Elepharmers, Grandier, Dorre, Abrahma, Mars Red Sky, Eternal Black, Elephant Tree, Atala, No Man’s Valley, Sun Blood Stories, Crypt Sermon, The Riven, Hibrido, Snail, Red Beard Wall, 11Paranoias, Dead Witches, Monte Luna, Captain Caravan (LP), Swallow the Sun, Oreyeon, Motorpsycho, Vokonis, Hexvessel, Saint Vitus, Mammoth Weed Wizard Bastard, Kind, Mastiff, Shadow Witch, Om.

Okay, That’s It

Yeah, no, I’m serious. List is done. Everybody go back to your lives. Your families miss you.

Really though, while this is by no means my last post of 2018, I can’t let it pass without saying thank you so much to everyone for checking out the site this year, or for just digging into this, or for sending me music, or hitting me up on social media, sharing a link, anything. Thank you. Thank you. I could never have imagined when it started out where it would be now. Or that I’d still be doing it. Your support means more to me than I can say, and I thank you so much for being a part of this with me.

So thanks.

If you have something to add to the list, please do so by leaving a comment below, but keep in mind as well the above note requesting civility. Please don’t make me feel stupid because I forgot your favorite record. I forgot a lot of people’s favorite records. I’m one dude. I’m doing my best.

And please keep in mind if you’ve got a list together that the Year-End Poll is open and results will be out Jan. 1.

Everybody have a great and safe 2019.

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Saint Vitus Tease New Album; Headed Back to Europe in 2019

Posted in Whathaveyou on December 10th, 2018 by JJ Koczan

saint vitus

Could it be a Spring 2019 release for a new Saint Vitus album and the band’s first to be fronted by Scott Reagers since 1995’s Die Healing? Well, I mean, yeah, it could. A March or April release is well enough time away for Season of Mist to get the promo-whatnot rolling for it, and the three words I’m keying into in the band’s short tour announcement below as snagged from social media are: “NEW RECORD READY.” I like the sound of that. Does that mean the thing will necessarily show up in time for the April 3 start of the European run? Not at all. But it means it’s possible, and I’ll take that for the time being.

Vitus celebrate 40 years in 2019, and if you missed word when the band put it out, original bassist Mark Adams has been diagnosed with Parkinson’s Disease and a GoFundMe has been set up to help with his medical expenses. Donate here: https://www.gofundme.com/mark-adams-parkinson039s-disease

More on the next Vitus LP when I hear it. Here are the tour dates in the meantime:

saint vitus tour

SAINT VITUS announce headlining European tour

SAINT VITUS have announced new European live dates for April and May 2019. A full list of confirmed shows for the ’40 F’N Years’ trek can be found below.

“NEW RECORD READY TO BLOW YOUR FACE OFF!!!!!!” – Saint Vitus

SAINT VITUS ’40 F’N Years’ European Tour 2019:
w/ special guest Dopelord unless noted
Apr 3 Gothenburg (SE) @ Sticky Fingers
Apr 4 Stockholm (SE) @ Debaser Strand
Apr 6 Jyväskylä (FI) @ Lutakko
Apr 7 Helsinki (FI) @ On The Rocks
Apr 9 Oslo (NO) @ Blaa
Apr 10 Copenhagen (DK) @ Pumpehuset
Apr 11 Berlin (DE) @ So36
Apr 12 Hamburg (DE) @ Headcrash
Apr 13 Bomal-Sur-Ourthe (BE) @ Durbuy Rock Festival
Apr 14 Dortmund (DE) @ Junkyard
Apr 15 Cologne (DE) @ Luxor
Apr 17 Birmingham (UK) @ Mama Roux
Apr 18 Leeds (UK) @ Brudenell
Apr 19 Glasgow (UK) @ Audio
Apr 20 London (UK) @ The Underworld Camden
Apr 21 Paris (FR) @ Petit Bain
Apr 23 Nantes (FR) @ Le Ferrailleur
Apr 24 Toulouse (FR) @ Le Rex
Apr 25 Barcelona (ES) @ Boveda
Apr 26 Madrid (ES) @ Copernico
Apr 27 Barroselas (PT) @ Swr Metalfest
Apr 28 Bilbao (ES) Kafé @ Antzokia
Apr 20 Fribourg (CH) @ Fri-Son*
May 1 Milan (IT) Circolo @ Circolo Magnolia
May 2 Zurich (CH) @ Dynamo*
May 3 Karlsruhe (DE) @ Dudefest
May 4 Leipzig (DE) @ Ut Connewitz
*No Dopelord

BAND LINE-UP:
David Chandler (guitar)
Scott Reagers (vocals)
Henry Vasquez (drums)
Pat Bruders (bass)

https://www.facebook.com/saintvitusofficial
https://twitter.com/saintvitusband
http://saint-vitus.tumblr.com/
http://www.saintvitusband.com/
https://www.facebook.com/seasonofmistofficial
https://www.twitter.com/seasonofmist
http://instagram.com/seasonofmistofficial
http://www.season-of-mist.com/

Saint Vitus, Die Healing (1995)

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Saint Vitus Confirm European Tour Dates with Mos Generator

Posted in Whathaveyou on August 3rd, 2017 by JJ Koczan

Granted, we already knew that doom masters Saint Vitus were heading back to Europe this Fall. The legendary-yet-somehow-still-perpetually-underdog outfit were previously confirmed to take part in Up in Smoke 2017, Desertfest Athens 2017, Blowup Vol. 3, Desertfest Belgium 2017, Into the Void and Keep it Low 2017, and well, that pretty much accounts for three successive weekends of busy-as-hell European touring. Still, it’s good to fill in the gaps between and get the news that the band will be joined by Mos Generator on the run, which is the second Euro tour for Vitus in 2017 behind a Spring fling with the now-defunct Tombstones that included stops at Desertfest London and Berlin. By hitting Athens and Antwerp, Vitus will have played every single 2017 Desertfest. Not too shabby.

This also isn’t their first stint with Mos Generator, and if you’ll recall, it was that band’s guitarist/vocalist, Tony Reed, who produced their triumphant 2012 comeback long-player,  Lillie: F-65 (review here). With original vocalist Scott Reagers returned to the lineup and new bassist Pat Bruders having stepped in earlier this year for founder Mark AdamsVitus were allegedly working on a follow-up to Lillie: F-65, though what the current status of that might be as they head abroad once again, I couldn’t say. In the meantime, they released Live Vol. 2 (review here) last year via Season of Mist.

That same label sent the following down the PR wire:

SAINT VITUS announce new European tour

Heavy metal legends SAINT VITUS have announced a new European headlining tour this Fall. The tour kicks off on September 8, and sees SAINT VITUS performing across several festivals such as Fall of Summer, Desertfest, Keep it Low and more before concluding in October. Support on this tour comes from MOS GENERATOR. A full list of confirmed tour dates can be found below.

SAINT VITUS are touring in support of their recently released ‘Live Vol. 2’ album. ‘Live Vol. 2’ captures a dominating, Wino-fronted 2013 Euro festival headline set from the ‘Lillie: F-65’ line-up (Dave Chandler: guitar, Scott “Wino” Weinrich: vocals, Mark Adams: bass, Henry Vasquez: drums) and tour. ‘Live Vol. 2’ , is streaming now at the official SAINT VITUS Bandcamp page. ‘Live Vol. 2’ is available at the Season of Mist E-Shop.

In addition to the CD and Double LP versions that are in worldwide distribution, a deluxe edition of ‘Live Vol. 2’ is available exclusively from Season of Mist. This deluxe version is available as a double CD and triple-LP with the rare live album “Marbles in the Mosphit” as the second CD and third LP respectively. “Marbles in the Moshpit” features a killer performance recorded live on December 20, 1984 in Ontario while the band was supporting BLACK FLAG. The album features the classic SAINT VITUS lineup (Dave Chandler: guitar, Scott Reagers: vocals, Mark Adams: bass, Armando J. Acosta: Drums) performing VITUS classics such as “Hallow’s Victim”, “White Magic/Black Magic”, “White Stallion”, and more.

SAINT VITUS tour dates:
Sept 8 Torcy (FR) @ Fall of Summer
Sept 30 Sheffield (UK) @ Academy (HRH Doom & Stoner)
Oct 1 London (UK) @ Underworld
Oct 2 Coventry (UK) @ Phoenix
Oct 3 Glasgow (UK) @ Audio
Oct 4 Manchester (UK) @ Rebellion
Oct 7 Pratteln (CH) @ Z7 (Up in Smoke Festival 2017)
Oct 8 Athens (GR) @ Lera Odos (Desertfest 2017)
Oct 9 Wien (AT) @ Viper Room
Oct 10 Bologna (IT) @ Freakout Club
Oct 11 Roma (IT) @ Traffic Live
Oct 12 Mezaggo (IT) @ Bloom
Oct 14 Helsinki (FI) @ Korjaamo (Blowup Vol. 3)
Oct 15 Antwerpen (BE) @ Trix (Desertfest 2017)
Oct 17 Frankfurt (DE) @ Zoom
Oct 19 Chemnitz (DE) @ Talschock
Oct 20 Leeuwarden (NL) @ Neushoorn (Into the Void Festival)
Oct 22 München (DE) @ Feierwerk (Keep It Low Festival)
Oct 23 Berlin (DE) @ Lido

BAND LINE-UP:
David Chandler (guitar)
Scott Reagers (vocals)
Henry Vasquez (drums)
Pat Bruders (bass)

https://www.facebook.com/saintvitusofficial
https://twitter.com/saintvitusband
http://saint-vitus.tumblr.com/
http://www.saintvitusband.com/
https://www.facebook.com/seasonofmistofficial
https://www.twitter.com/seasonofmist
http://instagram.com/seasonofmistofficial
http://www.season-of-mist.com/

Saint Vitus, Live Vol. 2 (2016)

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Keep it Low 2017: Colour Haze, Belzebong, The Necromancers and A Great River in the Sky Added

Posted in Whathaveyou on June 26th, 2017 by JJ Koczan

keep it low 2017 banner

I was kind of wondering if the Munich-based Keep it Low festival would add Colour Haze for Keep it Low 2017. The long-running German heavy psych progenitors have played multiple editions of the event and have kind of become a staple of the lineup, so to see them added as they support their new album, In Her Garden (review here), is definitely cool. Joining them in this round of adds are BelzebongThe Necromancers and A Great River in the Sky, and on a bill with Saint VitusBrant BjorkRadio MoscowMars Red SkyConanUfomammutStoned JesusMonolordMos Generator and so on — the list is fucking wild — they only make it stronger and richer.

Of all the Fall fests in Europe — there are many and I won’t take away from what any of them are doing — Keep it Low has been the one I’ve most wanted to see over the past few years. It’s grown into what really seems like a unique vibe between its stages, skatepark, biergarten, and so on, and though they’re promising heavier acts this year and delivering that already with the likes of Ufomammut and Vitus and Conan, etc. — see also Belzebong here — there’s still plenty of heavy psych and rock and roll to be had, and that blend, as we all know, is what it’s all about. Anyway, it looks awesome. It won’t be this year, but I’ll get there one of these days.

It’s presented, of course, by Sound of Liberation, who updated the lineup thusly:

keep-it-low-2017-new-poster

Keepers,
Today we have 4 new band announcements for Keep It Low Festival 2017! We’re happy to present you:

Colour Haze
BelzebonG
The Necromancers
A Great River In The Sky

It has become a kind of tradition that mighty Colour Haze headline Keep It Low’s Friday, so never change a winning team!

Get your 3-day tickets here: http://bit.ly/2lr4hzH and….keep it low!

Line Up:
BRANT BJORK (with Special Guest Sean Wheeler) | SAINT VITUS | RADIO MOSCOW | MARS RED SKY | UFOMAMMUT | STONED JESUS | CONAN | MONOLORD | NAXATRAS | HOUSE OF BROKEN PROMISES | BEASTMAKER | MOS GENERATOR | USNEA | ELEPHANT TREE | KALEIDOBOLT | MOUNT HUSH | GODSGROUND
+ many more TBA

Limited 3-day tickets available!

October 20 | 21 | 22 2017
Feierwerk München

After an amazing and once again sold out edition in 2016 you can expect 3 days, 27-30 bands, amazing people and good vibes at Keep It Low 2017! For the very first time we will have the “Doom-Frühschoppen” with some HEAVY bands on the last day of the Festival.

https://www.facebook.com/events/201489380309269/
https://www.facebook.com/keepitlowfestival/

Colour Haze, In Her Garden (2017)

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Keep it Low 2017: Saint Vitus, Brant Bjork, Radio Moscow, Ufomammut, Naxatras, Mos Generator and More to Play

Posted in Whathaveyou on May 23rd, 2017 by JJ Koczan

keep-it-low-2017-generic-banner

Well, the bill for Keep it Low 2017 is packed. It would be packed if it was just Brant Bjork and Saint Vitus and Ufomammut in the lineup, but of course it goes well beyond that, with the likes of Radio Moscow, Naxatras, House of Broken Promises, Conan, Monolord, Mos Generator, Elephant Tree, Mars Red Sky and everyone else you can see below. If you can take a look at this roster of bands and not immediately start daydreaming about making the trip to the fifth installment of the Munich, Germany-based festival, you’re a better person than I am. Or you’re dead. One or the other, I guess.

One suspects that, as with last year, the Fall European fest season will have some overlap. You’ll note Beastmaker here as well as on Up in Smoke. Ditto that VitusBrant BjorkUfomammutRadio MoscowUsnea and Kaleidobolt. Aside from the hand of Sound of Liberation in putting these events together, weekend fests make great anchors for touring groups. Club shows all week, fests every weekend? I can’t imagine a touring act wouldn’t sign up for that, so yeah, probably some more familiar names will be making their way out between these, the Desertfests in Antwerp and Athens, and whatever else might come along. Keep an eye out.

From Keep it Low‘s social medias:

keep-it-low-2017-poster

KEEP IT LOW FESTIVAL 2017

Line Up:
BRANT BJORK (with Special Guest Sean Wheeler) | SAINT VITUS | RADIO MOSCOW | MARS RED SKY | UFOMAMMUT | STONED JESUS | CONAN | MONOLORD | NAXATRAS | HOUSE OF BROKEN PROMISES | BEASTMAKER | MOS GENERATOR | USNEA | ELEPHANT TREE | KALEIDOBOLT | MOUNT HUSH | GODSGROUND
+ many more TBA

Limited 3-day tickets available!

October 20 | 21 | 22 2017
Feierwerk München

After an amazing and once again sold out edition in 2016 you can expect 3 days, 27-30 bands, amazing people and good vibes at Keep It Low 2017! For the very first time we will have the “Doom-Frühschoppen” with some HEAVY bands on the last day of the Festival.

HEAVY!

3-day tickets are selling fast so don’t wait too long and get it here:
http://bit.ly/2lr4hzH

https://www.facebook.com/events/201489380309269/
https://www.facebook.com/keepitlowfestival/

Ufomammut, “Warsheep” official video

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Up in Smoke 2017 Adds Saint Vitus, Brant Bjork, Stoned Jesus, Beastmaker, Toner Low, Kaleidobolt and Usnea

Posted in Whathaveyou on May 18th, 2017 by JJ Koczan

up-in-smoke-2017-banner

I was fortunate enough to see Toner Low once in my life, and though it sounds greedy to even think I’d like to do so again, yeah, that would be pretty frickin’ awesome. At least that’s how it went last time around. Theirs is just one of the considerable names added to the Swiss-based Up in Smoke 2017 festival in this update, and one finds the Netherlands trio in the company of desert legend Brant Bjork, doom legends Saint Vitus, and YouTube legends Stoned Jesus, as well as Beastmaker — one assumes they’re soon to announce a full European tour for this fall — Usnea and Finland’s Kaleidobolt. All told it’s seven new bands for Up in Smoke 2017, which wasn’t exactly hurting before, with the likes of Orange Goblin and Graveyard, Ufommamut, Windhand and so on.

Bottom line? Awesome bill. Here’s the latest:

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Up In Smoke 2017 – 7 New Bands : Brant Bjork (with Special Guest Sean Wheeler), Saint Vitus, Stoned Jesus & more added to the bill!

We are thrilled to announce 7 new bands confirmed for Up In Smoke 2017! BRANT BJORK (coming with Special Guest Sean Wheeler), SAINT VITUS, STONED JESUS, TONER LOW, BEASTMAKER, USNEA & KALEIDOBOLT! Our 5th edition will feature at least 20 bands on two stages with no overlapping set times, to guarantee you two days of Volume Worshipping!

BRANT BJORK (USA)
SAINT VITUS (USA)
STONED JESUS (UKR)
TONER LOW (NL)
BEASTMAKER (USA)
USNEA (USA)
KALEIDOBOLT (FIN)

Located Pratteln, in Switzerland’s best rock venue, Z7 Konzertfabrik, only a few kilometres from the German and French borders, Up In Smoke is an indoor festival for fans of Heavy Rock – Doom – Psych – Stoner… easily reachable by plane via the Euro-Airport (Basel/Muhouse) or by public transportations (train, bus) via Basel Main Station. There are plenty of affordable Hotels and Hostels located in Basel and for “budget savers” we are also offering to sleep over + breakfast (Coffee and bread rolls) in the venue for a small fee!

How does this work? After the last concert of the day, we ask everybody to step out of the venue for a few minutes. During that time, the venue and toilets are cleaned and the floor covered with a plastic sheet. (people have to bring their sleeping bags and air mattresses)

https://www.upinsmoke.de/tickets
http://www.z-7.ch/event.php?eventid=1306
https://www.facebook.com/UpInSmokeIndoorFestivalInZ7
https://www.facebook.com/events/466424317082118/
https://www.upinsmoke.de/

Brant Bjork, Live at Desert Generator 2017

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