Posted in audiObelisk on January 15th, 2015 by H.P. Taskmaster
Moorpark, California, four-piece Black Sheep Wall will issue their third album, I’m Going to Kill Myself, on Jan. 27 via Season of Mist (preorders available here). It is a full-length as distinguished by its brazen sonic assault as by its unfuckwithable cover art, comprised of just four tracks that total 64 minutes, more than half of which is dedicated to 34-minute closer “Metallica.” Billed as doom, Black Sheep Wall are probably even more in league with sludge, bringing a post-hardcore sensibility and irreverence to disaffected themes and massive dual-guitar chugging. Opener “The Wailing and the Gnashing and the Teeth” (the title of which I can’t help but hear in Professor Frink’s voice) begins with a single cymbal hit from drummer Jackson Thompson and proceeds to fade in guitars and bass around it, but ultimately cuts back when Brandon Gillichbauer‘s vocals enter to a steady march and ambient, subdued notes. Those vocals, by the way, are vicious. So what you have is Gillichbauer (also bass) screaming over a military snare and the sparse guitars of Scott Turner and Andrew Hulle. I’m pretty sure the line “Fuck this band” features in the first verse.
The tension is excruciating, and made more so by Trae Malone‘s guest vocals in the midsection, but they finally pay it off in the second half of the track, ending with feedback and piercing, abrasive noise that continues into the immediate start of “Tetsuo the Dead Man,” the chug of which soon takes full hold with consciousness-demolition in mind, a tonal largesse sliced through by the screams, Thompson‘s drum fills past the three-minute mark not so much trying to anchor the piece as push it off the pier. Already, I’m Going to Kill Myself has shown a tendency toward brutal weight and attack, and there’s very little letup as the album plays out. “Tetsuo the Dead Man” stomps past its midpoint with insert-your-favorite-CGI-monster-here abandon and seems to celebrate its destructive triumph with a riff change around six minutes in that will consume the next two minutes before Black Sheep Wall devolve the track into a savagery of noise and feedback, peppered by what my or may not be a wail of crowd noise. The change into “White Pig” comes from a stop, but is ultimately no less fluid than that which brought on “Tetsuo the Dead Man,” the third track’s tension coming from a series of stops and starts that would almost be breather moments if you weren’t just waiting the whole time for the next pounding to arrive.
It does, without fail. And even with a second, clean-vocal guest spot from Malone in the second half, “White Pig” retains its extremity, rounding out with more amp noise punishment that bleeds into the opening riff of “Metallica.” The song, at 34 minutes, is a beast unto itself, centered largely around one riff accompanied by vicious screams in what proves an absolutely unhinged execution. Quite simply, Black Sheep Wall lose their shit. 2012’s No Matter Where it Ends and their 2008 debut, I am God Songs, also had closers longer than what preceded them, but the scale of “Metallica” is something different entirely. What, if anything, it has to do with the band of the same name, I don’t know — somehow asking would feel like missing the point — but the song is an overwhelming album-unto-itself onslaught, breaking around 24 minutes in to vague conversation and sparse guitar only to resume its bludgeoning course and give I’m Going to Kill Myself the riotous ending it deserves, repeating the title line along the way as a kind of final argument over that last riff, by then molded and remade into something other than what it started as, an off-time sludgeshuggah chugging that cuts out as brashly as it arrived.
Today, I have the pleasure of hosting “Tetsuo the Dead Man” for streaming. These songs are not going to be for everyone, but the second track serves as more than solid summary of what I’m Going to Kill Myself has on offer. Black Sheep Wall‘s latest is out, once again, Jan. 27 on Season of Mist. Ready your ears and enjoy “Tetsuo the Dead Man” on the player below:
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SoCal doom-dirge purveyors BLACK SHEEP WALL deliver their most oppressive and challenging material to date with their newest album ‘I’m Going to Kill Myself’. ‘I’m Going to Kill Myself’ is a unique take on the modern doom/sludge paradigm. It’s at once stark, oppressive, unsettled, despondent, and unwavering: wholly unlike any of their big-volume/down-tempo contemporaries.
Tracklisting: 1. The Wailing and The Gnashing and the Teeth (9:58) 2. Tetsuo the Dead Man (10:03) 3. White Pig (10:12) 4. Metallica (34:24)
Lineup: Brandon Gillichbauer – Vocals/Bass Scott Turner – Guitar/Bass Andrew Hulle – Guitar Jackson Thompson – Drums
Additional vocals on “The Wailing and The Gnashing and the Teeth” and “White Pig” performed by Trae Malone.
Posted in Features on December 22nd, 2014 by H.P. Taskmaster
Please note: These are not the results of the Readers Poll, which is ongoing. If you haven’t added your list yet, please do.
This was a hard list to put together. The top three have been set in my mind for probably the last month, but trying to work my way backwards from there was a real challenge — what’s a top 10 record, a top 20 record, a top 30, honorable mentions and all the rest. I’ve never done a full top 30 before, always 20, but the truth is there was just too much this year to not expand.
I’m still juggling numbers even as I put together this post, and I’m sure that by the time I’m done several records will have switched places. That’s always how it seems to go. What I’m confident that I have is a list accurately representing critique and my own habits, both what I gravitated toward in listening throughout the year and what I feel is noteworthy on a critical level. This site has always been a blend of those two impulses. It’s only fair this list should be as well.
Before we dig in, you should note this is full-length albums only. I’ll have a list of short releases (EPs, singles, demos) to come, as well as a special list of debut releases, since it seemed to be a particularly good year for them. And since I’m only one person, I couldn’t hear everything, much as I tried.
The kings of London’s heavy scene offered more powerhouse heavy rock with their eighth album and second for Candlelight, and their rabid and ever-growing fanbase ate it up. Back from the Abyss proved yet again that few can attain the kind of vicious force that seems to come so natural to Orange Goblin, and made it clear their domination shows no signs of losing momentum.
A darker affair from Port Orchard, Washington’s Mos Generator, Electric Mountain Majesty still found its core in the songwriting led by guitarist/vocalist Tony Reed. They’re a band with some changes on the horizon, and I’ll be interested to hear what hindsight does to these songs. As it was, the hooks and downer vibes may have been in conceptual conflict, but the execution was inarguable.
Richer in the listening than 2012’s Misery Wizard debut, Pilgrim‘s II: Void Worship nonetheless held firm to the doomly spirit that’s made the Rhode Island outfit such a sensation these last couple years. Its longer songs, “Master’s Chamber,” “Void Worship” and the emotionally weighted “Away from Here,” were particularly immersive, and they remain a bright spot in doom’s future.
His long-awaited solo debut, John Garcia‘s John Garcia offered memorable tracks culled from years of songwriting from the former Kyuss, Slo Burn, Unida and Hermano frontman, performed in the classic desert rock style he helped define. I’m not sure it was worth trading a second Vista Chino record for, but it was hard to argue with “The Blvd” and “All These Walls.”
An overwhelming two-disc barrage from a relentless creativity that, more than 30 years on from its first public incarnation, is still to be considered avant garde. I’m not sure planet earth realizes how lucky it is to have Swans running around unleashing all this chaos, but I hope they don’t stop anytime soon. To be Kind was brutal and beautiful in like measure.
Icelandic four-piece Sólstafir hit on a rarely attained balance of gorgeousness and melancholy, and while Ótta is expansive, it’s also gripping front to back and is the best execution of its style I’ve heard since Anathema‘s Alternative 4, which is not a comparison I make lightly. A challenging record, but satisfying in kind and universal in its expressiveness.
The follow-up to Greenleaf‘s stellar 2012 outing Nest of Vipers (review here) brought lineup changes and stripped away many of the textural elements of the band’s sound — guest appearances, arrangement flourishes — in order to get back to a classic heavy rock sound and translate better to the stage. With guitarist Tommi Holappa‘s songwriting ever at the core, it would be unfair to call the process anything but a success.
Most of the headlines went to the fact that Primitive and Deadly had vocals, where the generally-instrumental Earth had avoided singers for 18 years prior, but even putting aside Mark Lanegan and Rabi Shabeen Qazi, whose performance on “From the Zodiacal Light” was the high point of the record, presented Earth‘s always progressive tensions in a rawer, heavier production, and was a joy for longtime fans.
Six years and one breakup later, Portland, Maine, doom trio Ogre returned with The Last Neanderthal, neither afraid to revel in Sabbathian traditionalism or rock out a more upbeat cut like opener “Nine Princes in Amber.” For bassist/vocalist Ed Cunningham, guitarist Ross Markonish and drummer Will Broadbent, it was a welcome resurgence of pretense-free heavy riffs and grooves.
Of course, at the time we didn’t know it would be the final outing from this lineup of UK doomers The Wounded Kings, whose guitarist/founder Steve Mills has now reunited with original vocalist George Birch, but Consolamentum was a hell of a closing statement anyway for this era of the band, showcasing their murky, increasingly progressive style still waiting for wider appreciation.
Wasn’t sure where to put Floor‘s reunion offering, Oblation, on this list at first, since I kind of fell off listening to it as the year went on, but I’ve gone back to it over the last couple weeks and it has held up to the revisit, whether it’s songs like the extended “Sign of Aeth” or shorter, catchy pummelers like “Rocinante” or “War Party.” Floor‘s 2002 self-titled holds an untouchable legacy in heavy rock, but I think the years will prove Oblation a worthy successor. Nobody knew what they had with Floor at the time either.
Little on 2011’s Motherfucker Rising (review here) or their 2010 demo (review here) prepared for the kind of assault that Druglord‘s Enter Venus brought to bear. Four stomp-laden slabs of tectonic crash and distortion, vocals buried under and calling up from the amp-bred fog. The Virginian trio were in and out on the 27-minute 12″ release, but had enough heavy for a record twice as long, and the tinges of darkened psychedelia made their songs like a lurking presence just on the edge of consciousness, a threat waiting to be unleashed.
For the sheer variety of Ararat‘s third album in rockers like “Nicotina y Destrucción,” “El Hijo de Ignacio,” the experimentalism of “El Arca” and the piano-driven “Los Viajes” and the acoustic closer “Atalayah,” and the assured, flowing manner in which the Argentina trio pulled it all off, Cabalgata Hacia la Luz should be higher on this list than it is. Part of that might be my frustration at my apparent inability to buy a copy, but don’t let that take away from the quality of the material here, which is wonderfully chaotic, memorable and engaging, rushing in some places and stopping to weep in others.
You won’t hear me deny that Radio Moscow‘s primary impact is as a live band, but their fifth album, Magical Dirt, managed to bring forth much of their psychedelic blues presence in “Death of a Queen,” “Before it Burns” and “Gypsy Fast Woman,” the blinding rhythmic turns and wah-soaked guitar supremacy of Parker Griggs front and center throughout. Together with bassist Anthony Meier (also Sacri Monti) and drummer Paul Marrone (also Astra and Psicomagia), Radio Moscow are hitting their stride as one of heavy rock’s most powerful power trios. One never knows what to expect, but hopefully they keep going the way they are.
Four years isn’t the longest time I’ve ever waited for a record to come out, but in the case of Indianapolis’ Apostle of Solitude, it felt like an especially long stretch. Their third full-length and first for Cruz del Sur, Of Woe and Wounds followed the anticipation-building Demo 2012 (review here) and a couple splits and brought aboard bassist Dan Dividson and guitarist/vocalist Steve Janiak (also Devil to Pay), who fit well with drummer Corey Webb and guitarist/vocalist Chuck Brown to result in a payoff worthy and indicative of the time that went into its making. Hands down one of the finest acts in American doom.
Stubb‘s second long-player, also their debut on Ripple, gets a nod for the sense of progression it brought in answering the potential of the trio’s 2012 self-titled debut (review here), guitarist/vocalist Jack Dickinson, bassist Peter Holland and new drummer Tom Fyfe expanding the scope to include more heavy psych influence and soul along with the fuzz riffs and steady rolling while giving no ground in terms of the level of craft at work. Cry of the Ocean has become one of those albums where all I have to do is look at a title, be it “Cry of the Ocean Pt. I” or “Sail Forever” or “Heartbreaker,” and the song is immediately stuck in my head. With these tracks, that’s not at all a complaint.
14. Brant Bjork and the Low Desert Punk Band, Black Power Flower
Brant Bjork has worn many hats, literal and figurative, over the years, whether it’s drummer in Kyuss or Fu Manchu, producer, solo artist or bandleader. With Brant Bjork and the Low Desert Punk Band, he steps once again into the latter role, and with guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, presents not only on his heaviest record to date, but what could easily begin a sustainable full-band progression that can go just about anywhere his songwriting wants to take it. “Stokely up Now,” “That’s a Fact Jack,” “Controllers Denied” and “Boogie Woogie on Your Brain” made for some of 2014’s best in desert rock, and Black Power Flower was an stellar return for Bjork to his “solo” work.
An earlier version of this list had Pagan Fruit at a lower number, but I couldn’t live with it not being closer to the top 10. Salt Lake City’s Dwellers pushed deeper into laid back psych and blues on their second album, and in doing so, crafted an atmosphere entirely their own. From “Creature Comfort” down to “Call of the Hollowed Horn,” with triumphs along the way like “Rare Eagle,” “Totem Crawler” (“Ohh, my queen… To whom, I crawl…) and “Son of Raven,” Pagan Fruit became a staple of my 2014, building off their 2012 debut, Good Morning Harakiri (review here), but presenting their stylistic growth with a confidence and poise that can only come from a band who’ve figured out what they want to be doing and how they want to do it. Front to back, Pagan Fruit sounds like an arrival.
What made Brooklyn trio The Golden Grass‘ self-titled debut such a special released wasn’t just that it was heavy, or that the tracks were catchy, or that guitarist Michael Rafalowich and drummer Adam Kriney could harmonize over Joe Noval‘s warm-toned basslines. That was all great, don’t get me wrong, but what really stood out about The Golden Grass was its irony-free positivity, the way it was able to capture an upbeat, sunshiny feel without having to smirk about it on the other side of its mouth. It was self-aware, to be sure — knew what it was doing — but the way I see it, consciousness only makes the stylistic choices more impressive. Add to that the nuance they brought to ’70s revivalism, and all that stuff about catchiness and the harmonies, and there just wasn’t a level on which the album didn’t work.
My appreciation continues to grow for The Well‘s Samsara, which successfully pulled together influences from garage doom and heavy psychedelia while crafting an identity for the Austin, Texas, three-piece at once raw and melodically accomplished, guitarist Ian Graham and bassist Lisa Alley sharing vocals to classic effect on “Refuge” while otherwise trading off lead position to bolster variety in the material. The high point might’ve been the eight-minute “Eternal Well,” on which Graham, Alley and drummer Jason Sullivvan conjured some of their grooviest demons, but the hooks of “Mortal Bones,” “Trespass” and the attitude-laced “Dragon Snort” were no less engaging. One of many strong releases from their label this year — Slow Season, The Picturebooks, etc. — they seemed to come ready to serve notice of a stylistic movement underway.
10. Montibus Communitas, The Pilgrim to the Absolute
Peruvian psych adventurers Montibus Communitas more or less blew my mind when I heard their late-2013 offering, Harvest Times earlier this year, and the narrative, conceptual 2014 release, The Pilgrim to the Absolute, is even more of an achievement in its portrayal of improvised exploration, sonic ritualism and open creativity. The weaving of longer pieces against shorter ones with the various steps along the path as presented in the titles, some journeying, some arriving, some descriptive, almost all accompanied by nature in one form or another, gives The Pilgrim to the Absolute an almost impressionistic quality, so that even as you listen to it, you engage it as much as it carries you along its vibrant, breathtaking progression en route to the closing title-track, which is a destination every bit worthy of the journey. This is the most recently reviewed inclusion on this list, but Montibus Communitas‘ latest readily earns its place in the top 10. It is unique in its surroundings.
Looking back at the last two Fu Manchu records, 2007’s We Must Obey and 2009’s Signs of Infinite Power, it seemed reasonable to expect the groundbreaking SoCal fuzz foursome to put out another collection of big-sounding riffs in a big-sounding production. Nothing to complain about, but probably not a landmark. By going the other way completely — stripping their buzzed-out riffing down to its punkish core thanks in no small part to recording with Moab‘s Andrew Giacumakis — Fu Manchu served up a raw reminder both of where they came from and how top notch their songwriting remains. Reissuing their earliest work and being on their own label might’ve had something to do with it, but whatever it was, the 35 minutes of Gigantoid was as efficient a heavy rock outing as one could hope from an already legendary band, whether it was the hook-prone opening salvo of “Dimension Shifter,” “Invaders on My Back,” “Anxiety Reducer” and “Radio Source Sagittarius” or the righteous ending jam “The Last Question.”
Given the origins of The Skull — ex-Trouble members Eric Wagner, Jeff “Oly” Olson and Ron Holzner joining with Lothar Keller and a series of other guitarists, finally Matt Goldsborough, working essentially as a tribute band to their former outfit — I think not only did the quality of the material and performance on For Those Which are Asleep surprise, as well as the classically doomed feel that resonates throughout the album, but the sheer heartfelt nature of songs like “Sick of it All,” “Send Judas Down” and the title-track itself. This wasn’t a cynical attempt to make a go of an already set legacy. It was an expression of appreciation both for what they accomplished as Trouble and a desire to continue that work. The Skull‘s whole thing has been that they’re “more Trouble than Trouble,” and in their lineup that’s been true since they brought Olson on board. For Those Which are Asleep demonstrated that the classic spirit of that band is alive and well, its address has just changed. Moreover, it’s the beginning of a new progression for that spirit, and I hope it continues.
Nineteen years after releasing their self-titled debut, New York’s Blood Farmers contended for 2014’s comeback of the year with their sophomore outing, Headless Eyes — a morose, horror-obsessed six-track collection that on “Night of the Sorcerers” owed as much to Goblin as to Sabbath. The closing cover of David Hess‘ theme from The Last House on the Left, “The Road Leads to Nowhere,” was a late bit of melodic flourish to add depth, but how could the highlight be anything other than the 10-minute title-track itself, with its samples from the 1971 horror flick The Headless Eyes, bassist Eli Brown in a call and response with lyrics comprised of lines directly taken from the movie? That after playing shows the last several years, Blood Farmers managed to get a record out was impressive enough. That Headless Eyes turned out to be the year’s best traditional doom release was an entirely different level of surprise. I wouldn’t hold my breath waiting for their third, but Brown, guitarist David Szulkin and drummer Tad Leger gave plenty to chew on with Blood Farmers‘ second. It was better than would’ve been fair to expect.
A lot of what you need to know about Lo-Pan‘s fourth album you learn in the first five seconds of opener “Regulus.” There’s no fancy intro, no time wasted, nothing to take away from the directness of the song itself. Tones are crisp — the verse is already underway — and guitar, bass and drums are laser-focused in their forward movement. Even when vocalist Jeff Martin enters the song, roughly six seconds later, his arrival comes with no indulgence, no pomp. Colossus is easily Lo-Pan‘s most immediate work to date, and throughout, Martin, guitarist Brian Fristoe (since replaced by Adrian Zambrano), bassist Scott Thompson and drummer Jesse Bartz retain that focus no matter where the material takes them, delivering a clinic in how to kick as much ass as possible at any given moment on cuts like “Marathon Man” and “Eastern Seas,” or even bringing in guest vocalist Jason Alexander Byers, who also designed the album cover, for a spot on “Vox.” They had a hard task in following up 2011’s Salvador (review here), but the Columbus, Ohio, unit stood up to the challenge and met it and everyone else head-on.
What to do with All Them Witches‘ Lightning at the Door? The Nashville four-piece released the album last fall digitally, but it wasn’t until this September that it saw a physical manifestation. In fact, if you go back, it was included on the Top 20 of 2013 as well. Which is the release date? I don’t know. What I know is that in terms of the sheer amount of time spent listening, I put on Lightning at the Door more than any other record this year. From where I sit, that alone gets it a place in the top five. Yeah, it might be a cop-out to do a “5a,” but sometimes exceptions have to be made, and All Them Witches have proved to be nothing if not exceptional in their still relatively brief, jam-laden history, the psych-blues dynamic between bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, Fender Rhodes specialist Allan van Cleave and drummer Robby Staebler pushing them quickly to the fore of American heavy rock’s innovators, their natural, improv-sounding material feeling brazen and exploratory while reshaping the elements of genre to suit their needs. One can only see this dynamic developing further as they continue to grow as a live band, so Lightning at the Door may just be the start, and that’s perhaps most exciting of all.
A beautiful, stunning work made even more powerful by the honesty driving it. Portland, Oregon’s Witch Mountain completed a trilogy with the Billy Anderson-produced Mobile of Angelsthat brought about some of the best doom of this young decade, their 2011 return from a years-long hiatus, South of Salem (review here) serving as the foundation for a stylistic progression that continued on the following year’s Cauldron of the Wild (review here) and onto Mobile of Angels itself as the four-piece’s most accomplished album to date. The reason it feels like such a concluding chapter is because of the departure of vocalist Uta Plotkin, whose voice helped establish Witch Mountain both on stage and in the studio, leaving founders Rob Wrong (guitar) and Nathan Carson (drums) with the sizable task of finding a replacement. That situation will be what it will be, but Mobile of Angels remains a gorgeous, lonely testament. Plotkin gives a landmark performance on “Can’t Settle” and “The Shape Truth Takes,” which in the context of what was happening in Witch Mountain at the time ring with a truth that’s rare in or out of doom, and she seems to have left the band just as they were hitting their finest hour. So it goes.
In all of heavy, there is no assault so severe as Conan‘s. With their second full-length and debut on Napalm Records, the UK trio solidified the two sides of the preceding 2012 outing, Monnos (review here), in constructing material that, fast or slow, short or long, retained an epic feel melded with their ungodly tonality and memorable songwriting. Their first recording at guitarist/vocalist Jon Davis‘ Skyhammer Studio, it affirmed Conan‘s will to conquer in its two massive bookends, “Crown of Talons” and “Altar of Grief,” and in the High on Fire-worthy gallop of “Foehammer” — a bludgeon commandingly wielded by Davis, bassist/vocalist Phil Coumbe and drummer Paul O’Neil, the latter to of whom have since left the band to be replaced by longtime-producer Chris Fielding and Rich Lewis, respectively. What effect the changes might have on the band — except apparently more touring, which isn’t a bad thing — have yet to be seen, but Conan are already in the process of writing a follow-up to Blood Eagle, so it doesn’t seem like it’ll be all that long until we find out. With Davis still steering the band in songwriting and overall direction, one severely doubts they’ll be fixing what obviously isn’t broken anytime soon. None heavier.
Dallas riff-rockers Wo Fat have grown steadily over the course of their five albums, from the nascent heavy roll of 2006’s The Gathering Dark, to the hooks of 2008’s Psychedelonaut (review here), the jamming that started to surface on 2011’s Noche del Chupacabra (review here) and was pushed further on 2012’s The Black Code (review here). And their approach has been as steady as the frequency of their releases. In making The Conjuring, the three-piece were simply engaging the next step in their progression, but the material on the five-track/48-minute outing goes further than just that. Putting aside (momentarily) the 17-minute closer “Dreamwalker,” the other cuts, “The Conjuring,” “Read the Omens,” “Pale Rider from the Ice” and “Beggar’s Bargain” each found a place for themselves in pulling together jammed-sounding elements with a memorable construction, and when guitarist/vocalist Kent Stump, bassist Tim Wilson and drummer Michael Walter did kick into “Dreamwalker,” they hit on not only their longest piece yet, but their most accomplished showcase of the chemistry that has developed between them. That song is a beast unto itself, but as has been the case with Wo Fat each time out so far in their career, there’s nothing on The Conjuring to give the impression the band can’t or won’t continue to keep going on the path that’s worked so well for them on this point. They’ve spent the last eight years on the right track and have yet to waiver. The Conjuring should be played at top volume for anyone who contends there’s no life left in heavy rock and roll.
Mars Red Sky‘s second LP and first for Listenable, Stranded in Arcadia was originally supposed to be recorded in the California desert, but visa problems kept the French trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Matgaz in Brazil, where they’d previously been touring. Thus, “stranded in Arcadia,” which is basically another way of saying “lost in paradise.” Can’t say the Bordeaux three-piece didn’t make the most of it, though. Songs like “The Light Beyond” and “Hovering Satellites” — not to mention the utter melodic bliss of “Join the Race” — took cues from their 2011 self-titled debut (review here) in terms of memorable songwriting and melodic craft, but added to that heft and tonal richness more of a psychedelic vibe, so that not only was there fuzz and wah, but a spacious world in which the songs took place. With Kinast on lead vocals, the sneaky boogie of “Holy Mondays” became a highlight, and the one-two swing ‘n’ stomp of “Circles” and “Seen a Ghost” were a perfect demonstration by the band of the various sides of their sound, particularly following after the dreamy instrumental “Arcadia,” an echoing jam distinguished by Pras‘ wistful guitar lead and coming before the closing “Beyond the Light,” which reprises the opener’s resonant unfolding. It probably wasn’t the record they intended to make, but Stranded in Arcadia became one of my go-to albums for 2014, and like the best of any given year’s output, I’ve no doubt it will transcend the passage of time and continue to deliver for years to come. Hell, I was barely done with the debut when this one came out.
Can’t imagine this is any great surprise. Not only did Clearing the Path to Ascend – YOB‘s seventh album and first for Neurot — produce my pick for song of the year in its sprawling, emotionally weighted 18-minute closer, “Marrow,” but in the three full-lengths the Eugene, Oregon, trio of drummer Travis Foster, bassist Aaron Rieseberg and guitarist/vocalist Mike Scheidt have released since the latter reformed the band after breaking it up following 2005’s The Unreal Never Lived, all three have been my album of the year. The Great Cessation was in 2009, and Atma was in 2011. Consistency aside, I’ll point out specifically that each of the same three records has earned that position, perhaps Clearing the Path to Ascend most of all for its progressive feel, moving past genre even at its most raging moment, second cut “Nothing to Win,” the chorus of which proved that among everything else YOB could be, they could be anthemic. The cosmic, spiritual questing that has always been present in their songs, that feeling of searching, showed up in opener “In Our Blood,” but even there, it was evident YOB were pushing themselves beyond what they’ve done before, rewriting their own formulas incorporating lessons from their past in among their other points of inspiration. “Unmask the Spectre” could have easily been an album closer itself, with its patient exploration and feverishly intense payoff, but with the melodic progressivism of “Marrow” and the soul poured into every second of that track, every verse and chorus, solo and build — including the Hammond added to the last of them by producer Billy Barnett — YOB created a landmark both for themselves and the increasing many working under their influence. I’ve said on several occasions (bordering on “many” at this point) that YOB are a once-in-a-generation band, and it feels truer in thinking of Clearing the Path to Ascend than it ever has. Without a doubt, album of the year and then some.
First, special note to Colour Haze‘s To the Highest Gods We Know. I’ve decided to count it as a 2015 release since the vinyl will be out in Spring, but otherwise surely it would earn a place on this list. Blackwolfgoat‘s Drone Maintenance also deserves note.
A few other honorable mentions:
Mothership, Mothership II — It’s hard to argue with a classic heavy rock power trio kicking ass. I won’t try.
Alunah, Awakening the Forest — Every time I make a list, no matter what kind of list it is, there’s a band I wind up kicking myself for forgetting about at the time. This is the case 100 percent with why Alunah aren’t in the Top 30. In fact, I might go in and swap them out with somebody.
Ice Dragon, Seeds from a Dying Garden — Boston experimental psych/garage doomers continue to defy expectation. May their weirdness last forever and continue to produce material so satisfying.
Truckfighters, Universe – I thought at some point I’d go back to Universe again, but never really did. A problem with me more than the album.
Steak, Slab City — An impressive debut following two strong EPs.
Godflesh, A World Lit Only by Fire — I never got a review copy, so I never reviewed it. Its name is here because I’m a fan of the band and glad they’re back.
Thou, Heathen — Just recently purchased this and am only getting to know it, but a ridiculously strong album.
Corrosion of Conformity, IX — Everybody who gets a boner whenever Pepper Keenan is mentioned in connection with this band has missed out. This record and the self-titled kick ass.
Spidergawd, Spidergawd — Holy shit they’re over here! No they’re over there! No wait over here again! Oh my god I’ve just gone blind!
Monster Magnet, Milking the Stars — I wasn’t sure what to do with this since technically it’s not a new album, mostly reworked songs from the last one. I still listened to it a ton though, whatever it is.
Slomatics, Estron — Another one I’m just getting to know, but am very much digging.
Electric Wizard, Time to Die — People seem to do this thing where Electric Wizard puts out a record, everyone slathers over it for a few months and then spends the next two years talking about how it sucked. I guess I’ll be on the ground floor with not having been that into Time to Die.
Pallbearer, Foundations of Burden — Had to put their name somewhere on this list or someone would burn my house down. Album of the year for many.
The list goes on: Monolord, Comet Control, Mammatus, Triptykon, Eyehategod, Fever Dog, Moab, Karma to Burn, Atavismo, Grifter, 1000mods, Megaton Leviathan, Wovenhand, Mr. Peter Hayden, Primordial, and many more.
Before I check out and go sit in a corner somewhere to try and rebuild brain power after this massive dump of a purge, I want to sincerely thank you for reading. If you check in regularly, or if you’ve never been to the site before, if you don’t give a crap about lists or if you’re gonna go listen to even one band on here, it’s fantastic to me. Thank you so much for all the support this site receives, for your comments, for sharing links, retweeting, whatever it is. I am a real person — I’m sitting on my couch at this very moment — and being able to do this and have people see it and be a part of it with me is unbelievable. I realize how fortunate I am. So thank you. Thank you.
More to come as we close out 2014. I’ll have a list of short/split/demo releases, a year-end podcast, a list of the best debuts, a round up of the best live shows I saw, as much more as time allows. Please stay tuned.
And again, thank you. If I left anyone off the list, I hope you’ll let me know in the comments and contribute your own top albums, however many there are, to the Readers Poll.
Posted in Whathaveyou on December 18th, 2014 by H.P. Taskmaster
After delivering 2014 an elephantine boot to the ass with their much-anticipated reunion full-length, Oblation (review here), Floor are set to continue their run in 2015. The Miami trio will launch a European tour at Roadburn on April 9 and be joined by Minsk for shows in Germany, the Czech Republic, France, Austria, Belgium, Italy and a stop in London for Desertfest. It’s a stint that ends on April 25, which is just enough time to give guitarist/vocalist Steve Brooks a breather before Torche‘s own recently-announced European tour kicks off on May 2 in Leipzig, where Floor will have been less than a month earlier for the Doom over Leipzig festival.
A cruel schedule for Brooks, perhaps, but sure to be time well spent in Floor alongside guitarist Anthony Vialon and drummer Henry Wilson meeting the riffy demands of a hungry public. If you need a refresher, Oblation can be heard in full under the PR wire news below:
FLOOR announce European tour
Cult underground rock outfit FLOOR (Steve Brooks (also of TORCHE)- Guitar, Vocals, Anthony Vialon – Guitar, Henry Wilson – drums) have announced a European tour. The European tour, their first, sees them travel throughout a half dozen countries and play several European festivals, including Roadburn, Desert Fest London, Doom over Leipzig, and Solomacello Fest. Support on this tour comes from MINSK, and a full list of confirmed tour dates can be found below.
FLOOR are touring in support of ‘Oblation’, their first new album in over ten years. ‘Oblation’, which is available for purchase here, and for digital download here.
FLOOR Tour Dates: (All dates with MINSK) 4/9 Tilburg, Holland @ Roadburn (FLOOR ONLY) 4/10 Leipzig, Germany @ Doom Over Leipzig 4/11 Hamburg, Germany @ Hafenklang 4/12 Berlin, Germany @ Cassiopeia 4/13 Warsaw, Poland @ Hydrozagadka 4/14 Prague, Czech Rep @ 007 4/15 Innsbruck, Austria @ p.m.k. 4/16 München, Germany @ Feierwerk 4/17 Bologna, Italy @ Freakout 4/18 Milano, Italy @ Lo Fi Club, Solomacello Fest 4/20 Paris, France @ Espace B 4/21 Nantes, France @ La Scene Michelet 4/22 Lille, France @ La Peniche 4/23 Dortmund, Germany @ FZW 4/24 London, UK @ Desertfest 4/25 Antwerp, Belgium @ Kavka
Please note: For visual continuity with other Friday Full-Length posts, I’m using the YouTube post of the record, but the band also has it up on Bandcamp here, where it is available for stream and purchase.
I don’t usually like to close out a given week with something so recent, but after just really giving Sólstafir‘s Ótta album a shot the other day for the first time, I couldn’t really not. The Icelandic post-black metallers’ fifth full-length, it came out at the end of August on Season of Mist, and for somebody like me who’s always been a fan of Alternative 4-era Anathema, it plays off some of the same kind of melancholy well. It’s an undertaking at nearly 80 minutes — this version seems to have a couple bonus tracks — but worth the effort and though I’m late to the party, it’s one I’m glad I didn’t miss entirely before the year ended. I’ll probably have more in the next couple weeks, maybe a writeup with a radio add or something, just to basically get something in about it before too long as passed. But yeah, oof that’s good.
It’s Fall now, leaves changing and the dark getting earlier and the air getting colder, so something like this sits well with the season. And Sólstafir play to that cohesively, from the windswept cover art to the chill in the songs themselves. I’m only just really getting to know it, but I look forward to digging deeper into the songs. It made sense to me to close the week with it, both because it made such a strong impression when I posted that Roadburn update yesterday and in case maybe you hadn’t had the chance yet to check it out. Either way, of course I hope you enjoy listening.
In Jersey this weekend with The Patient Mrs. to see family. The lack of posts today is owed to the fact that what part of the day we didn’t spend on the road, we were sitting with my 99-year-old grandmother. That basically took priority on the day. It’s been a minute at this point since the last time I was down here — I popped into NYC from Connecticut to catch Uncle Acid a couple weeks ago, true, but drove back to CT that night, didn’t get into Jersey at all — and it’s good to see everybody. I’ve had a cold the last couple days, but I took some DayQuil and toughed it out because I have neither the energy nor the money to make this trip as often as I’d like, and I need to get it in while I can.
That could mean I’m starting next week at a deficit, but aside from being way, way behind on emails, I don’t think it matters. Tomorrow night is a big family dinner with my family and The Patient Mrs.‘ mother, who’s her only family around here at this point, so that will be good and maybe Sunday I’ll catch up a bit on email if I have the brainpower for it. Sometimes I even manage to put the computer down andnot do stuff. It happens rarely, but on occasion.
Streams next week for Weed is Weed and Vodun. Reviews of The Asound and Alunah and probably one or two other bands who may or may not start with the letter ‘a.’ Maybe Monster Magnet. That’d be fun. Need to do a tape too. They’re starting to stack up.
For now though, sleep. Wherever you are and however good the pizza is there, I hope you have a great and safe weekend. Be well, enjoy, and we’ll see you back here Monday.
Posted in Whathaveyou on September 29th, 2014 by H.P. Taskmaster
Not that Weedeater need an excuse to hit the road at this point, but finishing a new album is as good an occasion as any. That record, yet untitled, will be out in 2015 as their debut on Season of Mist, who’ve also reissued the band’s first two full-lengths. Like its 2011 predecessor, it was helmed by Steve Albini, and while five years seems like a long time between Weedeater records, it’s worth considering that in addition to swapping out drummers, the band hasn’t really been off tour since before the last LP came out.
Dates for the upcoming run follow, courtesy of the PR wire:
WEEDEATER announce North American Tour dates
Notorious southern metal outfit WEEDEATER (“Dixie” Dave Collins – Bass, Vocals; Dave Sheperd – Guitar, Vocals) have announced new North American tour dates. The tour starts on November 3. A full list of confirmed tour dates can be found below.
WEEDEATER recently re-issued their first two albums, ‘Sixteen Tons’ and ‘…And Justice for Y’all’. The long out of print albums are available as vinyl for the first time, as well as a CD and digitally at the Season of Mist E-shop and at Bandcamp.
The North Carolina-based band have finished recording their new full-length album, and first for Season of Mist, with their long-time engineer Steve Albini (HIGH ON FIRE, NEUROSIS, NIRVANA, HELMET, and more).
For more WEEDEATER news and tour information, please visit the Season of Mist website, and the WEEDEATER website and Facebook page.
WEEDEATER Tour Dates
*All dates with FULL OF HELL and LAZER/WULF Nov. 3 Pittsburgh, PA @ Rex Theater Nov. 4 Baltimore, MD @ Soundstage Nov. 5 Philadelphia, PA @ Kung Fu Necktie Nov. 6 Holyoke, MA @ Waterfront Tavern Nov. 7 Brooklyn, NY @ Saint Vitus Nov. 8 Dayton, OH @ Rock Star Arena Nov. 9 Chicago, IL @ Double Door Nov. 10 Grand Rapids, MI @ Pyramid Scheme Nov. 11 Indianapolis, IN @ 5th Quarter Lounge Nov. 12 Newport, KY @ Thompson House Nov. 13 Atlanta, GA @ 529 Nov. 14 Savannah, GA @ Jinx Nov. 15 St. Petersburg, FL @ The State Theater
Posted in Whathaveyou on August 4th, 2014 by H.P. Taskmaster
Not exactly like Weedeater have been sitting on ass for the last four years, what with the constant touring, sporadic singles and all, but three years going on four from 2011’s Jason… the Dragon(review here), it’s about time they got to it. All the more since this will mark their full-length debut on Season of Mist, which has also seen fit to reissue all their prior studio outings, including 2002’s Sixteen Tons, which is available now to preorder from the label.
In addition to confirming that they’ll once again work with Steve Albini to record the forthcoming LP, the PR wire also finds Weedeater to be, as ever, sneaking in some road time. Some bands simply will not be stopped.
WEEDEATER announce tour dates, new studio details
Notorious sludge outfit WEEDEATER (“Dixie” Dave Collins – Bass, Vocals; Dave Sheperd – Guitar, Vocals and Travis Owen – Drums) will record their new full-length album, and first for Season of Mist, with their long-time engineer Steve Albini (HIGH ON FIRE, NEUROSIS, NIRVANA, HELMET, and more).
The band has announced a brief tour around the recording. The string of dates, which begin on Sept. 5 in Richmond, VA with the band headlining the FALL IN LINE FEST, will eventually route them to Albini’s Electrical Audio studio in Chicago, IL. A full list of confirmed tour dates can be found below.
WEEDEATER recently announced the re-issue of their 2002 album, ‘Sixteen Tons’. The long out of print album will be available as vinyl for the first time, as well as a CD and digitally. Pre-order options of all sorts for ‘Sixteen Tons’ are available at the Season of Mist E-shop and the band’s store. ‘Sixteen Tons’ is also streaminghere.
Tracklisting Bull Potbelly Time Served Dummy #3 Woe’s Buzz Lines Riff Kira May WEEDEATER was originally formed by front-man/bassist “Dixie” Dave Collins on bass / vocals, Dave “Shep” Shepherd on guitar / vocals and Keith “Keko” Kirkum on drums. Following the release of their 2001 debut ‘…And Justice For Y’All’, WEEDEATER immediately established themselves as a force in the U.S. tour circuit and quickly gained notoriety in the American metal scene. In the time since, the band have released three critically-acclaimed albums: ‘Sixteen Tons’ (2002), ‘God Luck And Good Speed’ (2007), and ‘Jason… The Dragon’ (2011), and toured around the world with the likes of DOWN, SAINT VITUS, HIGH ON FIRE, THE MELVINS, HANK III, EARTH, SUNN O))), CLUTCH and countless others.
The band has played prestigious festivals such as Maryland Deathfest, Hopscotch Festival, Stoned From The Underground, Asymmetry Festival, Roadburn Festival, Hellfest, and many more.
WEEDEATER Tour Dates 9/5 Richmond, VA @ Fall Line Fest 9/6 Wilmington, NC @ Ziggys by the Sea 9/7 Salem, NC @ Ziggys Winston 9/8 Huntington WV @ V Club 9/15 St Paul, MN @ Turf Club 9/16 Champaign, IL @ Highdive 9/17 St Luis MO @ FuBar 9/18 Johnson City TN @ The Hideaway 9/19 Charlotte, NC @ Tremont Music Hall 9/20 Atlanta, GA @ 529
Posted in Features on June 23rd, 2014 by H.P. Taskmaster
It’s custom around here to do a Top 10 of the First Half of the Year, in advance of doing a Top 20 of the Year in December. The idea is that the later list will basically build on the earlier one. That’s never really how it works out — albums always drop off or appear unexpectedly depending on what gets listened to most, what gets reviewed late, etc. — but it always works out to be a good time anyway, and that’s really what it’s all about.
The difference this year is that instead of doing a Top 20 in December, I’m planning on expanding to a full Top 30, so to do a Top 10 of the stuff from January until now makes less sense. So here we are with a Top 15. A slightly longer list, but still the same basic idea as years past otherwise. These are albums I’m expecting will turn up again at the end of the year on the final Top 30, and though some will and some won’t and almost all of them will move around, there are more than a handful — particularly if we’re counting by fingers — of essential records released over the last six months recounted here.
If you missed something, I hope it’s something cool you get to check out, and if I missed something (as I inevitably did), I hope you’ll let me know in the comments. Please note that this is full albums only, no EPs, splits, singles or demos.
I’ll freely admit I was more than a little thrown off by the change in approach on Greenleaf‘s fifth album. Where prior outings like 2012’s Nest of Vipers(review here) and 2007’s megatriumph Agents of Ahrimanhad been lush heavy rock affairs helmed by Dozer guitarist Tommi Holappa with a slew of guests on vocals, organ, etc., Trails and Passesdialed back the “extras” in favor of a more stripped down, stage-ready approach. Holappa‘s songwriting alone would likely be enough to have Greenleaf on this list one way or another, and Trails and Passesis one of the year’s best. The turn was just unexpected and I feel like I’m not caught up to it yet.
Initially put out in a limited tape run in late 2013 (review here), the Enter Venus full-length from Richmond-based sludgers Druglord codified the noisy murk of their prior outings into one devastating wave of lurching riffage and echoing shouts. The Virginian three-piece recorded with Garrett Morris of Windhand and the STB vinyl topped off with artwork by W. Ralph Walters, making for a package both visually and sonically devastating, and though it’s short for an album at under a half-hour, the 12″ still earns the nod for the unmitigated heft its four songs carry. It’s one you can either dig or miss out, but Druglord show there’s more room for invention in sludge.
There really isn’t much left to say when it comes to Wovenhand and their driving force, frontman David Eugene Edwards. Their first for Deathwish Inc., Refractory Obdurate is the latest document of one of this generation’s most accomplished songwriting progressions. It follows a brilliant record in 2012’s The Laughing Stalk (review here) and likely precedes one in whatever they decide to do next, and the enduring fascination on Edwards‘ part with tonal weight and groove continues to push Wovenhand into a creative territory that is without genre. Nobody else comes close.
Quick-working Danish jammers Papir made a strong impression with IIII early in the year, offering a progressive take on the style of heavy instrumental jamming that has flourished throughout Europe over the last half-decade or so. Immediately individualized, the Copenhagen three-piece carried across four intricately constructed pieces, most open with the 21-minute “III” but never lacking for twists and turns that were an utter joy to follow. A band that has already collaborated with the even-jammier Electric Moon and who’ve aligned themselves with Causa Sui‘s El Paraiso Records, they seem like a safe bet to continue to grow into reliable purveyors of high-quality instrumental heavy psychedelia.
Its arrival was heralded by the righteousness of a Lego video for “Nine Princes in Amber,” though even that was little preparation for the classic doomery that would take place on the return long-player from Portland, Maine’s Ogre. The trio of guitarist Ross Markonish, bassist/vocalist Ed Cunningham and drummer Will Broadbent broke up in 2009, got back together in 2012, and with their fourth album, they made it clear they still had plenty to offer those who worship trad-style riffing, Sabbathy grooves and the kind of hooks that stay with you for days. The Last Neanderthalhad plenty of those, and “Warpath,” the aforementioned “Nine Princes in Amber,” “Bad Trip” and “Son of Sisyphus” tapped into what makes the best of doom so ready for repeat listens.
Another reunited trio, Floor had it tough coming into their first album in a decade, Oblation. The legacy of their 2002 self-titled would loom large over anything they put out, and guitarist/vocalist Steve Brooks had since gained a huge following as the spearhead of Torche, but four years after they started playing shows again, Floor met the challenge head-on with Oblation‘s 14 tracks, showing a natural progression from where they left off so long ago without seeming like they were trying to recapture a past that inevitably would prove irretrievable. Instead, they’ve set themselves on a course for continuing to develop as a band, and though Torche have a new album expected out this summer on Relapse and doubtless that will take some time and focus away from Floor, hopefully they keep pursuing that growth.
I’ll claim no impartiality when it comes to Port Orchard, Washington, heavy rock purveyors Mos Generator or the craftsmanship of guitarist/vocalist Tony Reed, but if half the point of a list like this is to nerd out over albums you dig (and I’ll gladly argue that it is), then Electric Mountain Majestyis right where it should be. Reed, bassist Scooter Haslip and drummer Shawn Johnson are clockwork-reliable when it comes to putting out high-grade material, and their second record since getting going again after Reed‘s few years in Stone Axe pushed beyond the considerable accomplishments of 2012’s Nomads(review here) and brought their sound to new and at times surprisingly doomed places while still keeping their core in a love of classic heavy rock songwriting. From where I sit, new Mos Gen is never one to pass up.
Not that I didn’t expect a new Blood Farmers release to be cool, but Headless Eyes was still a surprise when it arrived earlier in 2014. Who was to say what the New York trio would concoct after a 19-year studio absence? Of course, what they came out with was dead-on horror-loving doomly plod, cuts like the instrumental “Night of the Sorcerers” and the deceptively catchy “Headless Eyes” not only worthy of Blood Farmers‘ substantial legacy but building on it. Void of pretense, Headless Eyesresonated with a brooding atmosphere capped by the surprising closer, “The Road Leads to Nowhere,” a cover of the theme from The Last House on the Left and positioned the three-piece of vocalist Eli Brown, guitarist/bassist David Szulkin and drummer Tad Léger among the fore of traditional doom’s practitioners.
After seeing them live late last year (review here), digging their 456th Div. tape (review here) and putting their debut single on the best short releases of 2013 list, I had little doubt that their self-titled debut full-length would deliver a satisfying listen. Sure enough, the five-tracks of the quality-over-quantity release did precisely that, the Brooklyn three-piece harnessing unashamed positive vibes to mesh with a burgeoning psychedelic feel, catchy hooks and classic-style road songs serving as a reminder of the good times that rock and roll both provides and complements. Now that summer is here, I expect to revisit The Golden Grassplenty of time over these sunny, hot months, since it would seem the year has finally caught up with the band’s warmth and day-long spirit. The Golden Grass are reportedly headed to Europe later this year, so more to come on them for sure.
Every time I think I’m out, Cabalgata Hacia la Luz pulls me back in. The third full-length from Argentina trio Ararat seems to hit me with a different song each week. This week, it’s the six-minute “El Hijo de Ignacio,” with the insistent, punkish drums from Alfredo Felitte, backing noise and later keyboard eeriness from Tito Fargo and the low bass rumble of Sergio Chotsourian (ex-Los Natas), whose vocals seem to hover over the rest of the mix as though piped in from someplace else entirely. The whole album had a hypnotic effect that pulled the listener away from how diverse it actually was, moving into and out of heavy psych atmospherics with expert smoothness, but the more attention you paid, the more rewarding the experience became, as Ararat defied any expectations that might have come from their 2012 sophomore outing, II(review here), and boldly pushed toward new avenues of progression.
Who’s heavier than Conan? The superlative UK trio have spent the two years since the release of their full-length debut, Monnos (review here), solidifying their dominance, and their first album for Napalm Records plays out like a victory lap over the skulls of lesser riffs. Opening with the near-10-minute lumber of “Crown of Talons,” Blood Eagle solidified the two-sidedness of Monnos into a back-breaking doom assault, and their pummel remains unparalleled as they continue to grow as players and songwriters. This year has also seen producer Chris Fielding join the band on bass, and as badass as Blood Eagleis — one would rarely think of a song called “Gravity Chasm” as being so aptly-named — I can’t help but look forward to hearing what Conan do from here and how they continue to refine one of doom’s most bludgeoning approaches.
It’s the songs. I really, really dug Dwellers‘ 2012 debut, Good Morning Harakiri (review here) as well, and I won’t say a bad word about that album, but Pagan Fruit is in a different class altogether. And you know, it’s not just the songs. It’s how the songs play next to each other, the mood they create, and the hooks that Dwellers bring to the table with so much stylistic poise, calling the bluffs of any number of heavy psych blues rockers on “Totem Crawler,” or “Creature Comfort,” or “Son of Raven” or “Spirit of the Staircase.” The Salt Lake City-based trio of guitarist/vocalist Joey Toscano, bassist Dave Jones and drummer Zach Hatsis brought new levels of cohesion to their sound throughout Pagan Fruitand it remains an album that I have yet to get enough of hearing, one that seems to offer more each time I put it on and let my mind drift to its patient, open spaces.
From here on out, on any given day, any one of these is my album of the year. What a thrill it was to put on Fu Manchu‘s first album in five years, Gigantoid, and have it roll out such a tight-knit collection of heavy rolling excellence. The West Coast stoner riff gods of gnarl stripped down their production inspired in part by a reissue campaign of their earlier work on their own At the Dojo Records label, and the punkish feel suited them better than even they likely could’ve expected. With its opening four-song punch, the no-frills shot of “No Warning” and the closeout jam at the end of “The Last Question,” Gigantoid felt like more than one could’ve reasonably asked from a Fu Manchu long-player 20 years on from their debut, but the vitality they showed in its tracks, paired with the efficiency with which the songs were executed, showcased a timeless, perpetual appeal. They know what they’re doing and how they want to do it, and just because there was no doubt going into Gigantoiddoesn’t make the end product any less of a payoff.
I’ve gone on at some length about what I find so appealing in the second full-length from Bordeaux trio Mars Red Sky, so even putting aside the deft hand with which they incorporated further heavy psych soundscapes into their songwriting, let me just focus on how memorable Stranded in Arcadia actually is. That was true as well of Mars Red Sky‘s 2011 self-titled debut (review here), but these songs are more ambitious, from the eight-minute opener “The Light Beyond” to the gorgeous melody-wash in the chorus of “Join the Race” and the stomp in the de facto closer “Seen a Ghost” before the leadout/refrain “Beyond the Light” calls all the way back to the first track. The development of Mars Red Sky‘s take isn’t necessarily such a surprise — the debut had its psychedelic, jammy feel as well — but the fact that the trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Matgaz managed to elicit such development while remaining true to the warm tones and humble, unpretentious vibe of the debut only makes Stranded in Arcadiamore remarkable. I wouldn’t stop listening to it if I could.
It wasn’t easy to hold off on reviewing the fifth album from the Texas power trio for as long as I did, but I thought the record was too good to jump the gun on, and so yeah, it’s a pretty recent writeup, but I feel comfortable putting The Conjuring at number one here because I’ve actually had a while to live with these songs. Or maybe “live in” them would be a better way to say it, since the dense wall of fuzz and jammed-out distortion Wo Fat create across this record is basically thick enough to take up residence. Recently back from a European tour, Wo Fat hit the road supporting their finest work to date, and as the lineup of guitarist/vocalist Kent Stump, bassist Tim Wilson and drummer/backing vocalist Michael Walter are more or less self-sustaining in their own Crystal Clear Sound studio in Dallas, there’s no reason they can’t just keep developing along the path they are. The Conjuringboasts their best jams yet but also holds firm to the already-planted-in-your-consciousness hooks that Wo Fat have long since established a penchant for, and one could just as easily put the band at the fore of traditional heavy rock riffing as of American heavy psych jammers. Any way you look at them, they’re at the top of their class.
Quick honorable mention goes to Radio Moscow, The Wounded Kings, 1000mods (review forthcoming), Eyehategod, Abramis Brama, Truckfighters, Valley of the Sun, the live Causa Sui record and Alcest. Been a hell of a year so far, and I’m already putting together a list of anticipated records for the next six months, so there’s much more to follow.
Posted in Features on April 30th, 2014 by H.P. Taskmaster
This kind of thing happens every now and again throughout the course of a year, where there just happens to be one day filled with killer releases. It’s convenient if periodically overwhelming, and even in this age of preorders and stuff just showing up in the mail — a somewhat disconnected process compared to going to a shop and asking at the counter if something is in yet, but again, convenient — a day like that can be special. I remember days like that going back a longer time than I care to admit, and yesterday was definitely one of them as well.
If you felt the North American continent rumble just a little bit, that was probably just the combined weight — applied one on the West Coast, one on the East — of Fu Manchu and Floor putting out records at the same time. What will no doubt be two of 2014’s best releases when the year is done both arrived on April 29, but they were hardly the end of the story. In case you missed any of it, here’s a convenient (there’s that word again), alphabetically-organized assemblage from which to organize yourself before payday:
1. Floor, Oblation
Released by Season of Mist. File picking up the first Floor record since 2004’s Dove as a no-brainer. The Miami trio of guitarist/vocalist Steve Brooks, guitarist Anthony Vialon (interview here) and drummer Henry Wilson have been kicking around doing stuff live since a little while after they released their 8CD Below and Beyond box set in 2009, but Oblation(review here) is the new album and spiritual successor to 2002’s landmark self-titled outing. Following that one up is no easy task and they know it, but I think history will serve Oblationwell in the long run, songs like “Love Comes Crushing” and the eight-minute “Sign of Aeth” expanding the sludge-pop formula that made Floor‘s early work so vital without sacrificing the hooks that at this point have spanned more than a decade en route towards timelessness. Floor on Thee Facebooks.
Floor, Oblation (2014)
2. Fu Manchu, Gigantoid
Released by At the Dojo. The first new Fu Manchu self-release after two full-lengths on Century Media and a handful of reissues through their own imprint, Gigantoidbrings a rawer sound from the widely influential SoCal fuzz stalwarts. They recorded with Moab guitarist Andrew Giacumakis, and while the album boasts some quintessential examples of what’s always made the Fu‘s songwriting so infectious — looking at you, “Anxiety Reducer” and “Radio Source Sagittarius” — their hardcore punk roots come through on “No Warning” and Gigantoidrounds out with an extended jam led by bassist Brad Davis on “Last Question” and filled out through a barrage of effects from guitarist Bob Balch. If I can get to it today I’ll have an interview up with guitarist/vocalist Scott Hill (otherwise tomorrow), and a review is forthcoming, but the short version is Gigantoidis one of the year’s best, no doubt. Fu Manchu on Thee Facebooks.
Fu Manchu, Selections from Gigantoid (2014)
3. Jeremy Irons and the Ratgang Malibus, Spirit Knife
Released by Small Stone. Swedish upstarts Jeremy Irons and the Ratgang Malibus offer engaging touches of heavy psychedelic blues and expanded-definition stoner rock on their third long-player and Small Stone debut, Spirit Knife (stream/video premiere here), working naturally in a classic heavy context without pretending the last 40 years never happened. The album is immersive and atmospheric, offering standout moments of righteousness in 10-minute opener “Fog by the Steep,” “Clang,” “Point Growth” and elsewhere, and provides a look at a unit with the potential to continue to expand their sound going forward. Seems like JIRM have thus far flown under North American radars for the most part, but Spirit Knifeis worth the effort of tracking down, and by that I mean clicking “play” on the Bandcamp stream below to hear it for yourself. Give it some time to unfold and you won’t regret it. Jeremy Irons and the Ratgang Malibus on Thee Facebooks.
Jeremy Irons and the Ratgang Malibus, Spirit Knife (2014)
4. Revelation, Salvation’s Answer
Released by Shadow Kingdom. Perennially underappreciated Maryland doomers Revelation and Pittsburgh’s Shadow Kingdom Records are no strangers. The label has handled reissues of 1992’s Never Comes Silence, 1995’s …Yet So Far, and 2008’s Release, in addition to having the first release of 2009’s For the Sake of No Oneand 2012’s Inner Harbor. This time, the band and imprint partner up for a revisit of Revelation‘s 1991 debut, Salvation’s Answer, and while the look is overdue, it’s no less welcome for its late coming. Salvation’s Answermight sound raw 23 years after the fact, but its elemental sound remains deceptively atmospheric, and like much of Revelation‘s earlier output, it wears a deep-running melancholy on its sleeve and blends progressive guitar work with a strong foundation of metallic groove. Revelation on Thee Facebooks.
Revelation, Salvation’s Answer (1991/2014)
5. Salem’s Pot, …Lurar ut dig på prärien
Released by EasyRider Records. Mired in drug-derived riffing and classic horror/exploitation ambience, Swedish four-piece Salem’s Pot have plenty of scummer groove in common with Electric Wizard on their debut, …Lurar ut dig på prärien, but if worshiping at the altar of Sabbath and drawn-out fuzz was a crime, we’d all have been put to death years ago. Their reverential depravity comes through in the three extended tracks, “Creep Purple” (14:28), “Dr. Death” (9:52) and “Nothing Hill” (9:12), and the album unfolds in a haze of degenerate psychedelia. It’s crafted with vinyl in mind, but give me a CD to get lost in front-t0-back without having to worry about changing sides, because Salem’s Pot isn’t the kind of listen where you want to have anything whatsoever to do with consciousness. You could tag it derivative, but what isn’t? Familiar though it might be, it’s still worth a nod. Salem’s Pot on Thee Facebooks.
Salem’s Pot, “Nothing Hill” from …Lurar ut dig på prärien (2014)
6. Wovenhand, Refractory Obdurate
Released by Deathwish Inc. History has taught time and again not to be surprised when it comes to the David Eugene Edwards-led outfit Wovenhand, and their seventh offering and first for Deathwish Inc., Refractory Obdurate continues to expand beyond genre bounds, incorporating tonal weight into their signature brilliant arrangements so that songs like “Masonic Youth” (get it?) and “Hiss” pummel their payoffs as much as they enhance the atmospheres of “Salome,” “King David” and the joyously rumbling “Good Shepherd.” Wovenhand are a singular entity on stylistic terms, and Edwards‘ commanding presence burns through this material even at moments when he seems consumed by the full-breadth chaotic churning surrounding him in the mix. Refractory Obdurate– culling influences no less a patchwork than its cover art — is the work of genius, driven by faith and in perpetual development. Wovenhand on Thee Facebooks.
Wovenhand, Refractory Obdurate (2014)
That’s a pretty good day. If I left anything out or if you’ve already picked any of these up, I hope you’ll let me know in the comments. Thanks as always for reading.
Posted in Whathaveyou on April 25th, 2014 by H.P. Taskmaster
This week, even as they made ready to head to Desertfest, sludge mavens Weedeater unleashed a new Scion-sponsored single called “Hot Doughnuts Now,” and needless to say, but it features both their signature lurching tones and unmitigated charm. To wit, it’s about doughnuts. And “doughnuts” is spelled right. Not that there was ever any doubt, but Weedeater remain on the ball.
In addition to the new song, which is the first Weedeater studio track to surface since their signing to Season of Mist for the release of their next album, the band have announced a tour in Australia and New Zealand alongside Corrosion of Conformity, the two bands serving as ambassadors together of some of the best in heavy that the American South has to offer.
The PR wire digs it:
WEEDEATER announce new tour dates in Australia, New Zealand
Infamous sludge outfit WEEDEATER (“Dixie” Dave Collins – Bass, Vocals; Dave Sheperd – Guitar, Vocals) has announced a new tour in New Zealand and Australia. The tour, which begins on July 18 in Sydney, will travel through Melbourne, Perth, and more before ending on July 28, and will see WEEDEATER play alongside CORROSION OF CONFORMITY. A full list of confirmed dates can be found below.
WEEDEATER released a new track as part of the “SCION AV Presents…” series. The track, titled “Hot Doughnuts Now” can be streamed and downloaded here. The North Carolina-based band is currently writing new material for their first Season of Mist recording, slated for release in 2014.
WEEDEATER was formed by front-man/bassist “Dixie” Dave Collins. Following the release of their 2001 debut ‘…And Justice For Y’All’, WEEDEATER immediately established themselves as a force in the U.S. tour circuit and quickly gained notoriety in the American metal scene. In the time since, the band have released three critically-acclaimed albums: ‘Sixteen Tons’ (2002), ‘God Luck And Good Speed’ (2007), and ‘Jason… The Dragon’ (2011), and toured around the world with the likes of DOWN, SAINT VITUS, HIGH ON FIRE, and THE MELVINS, HANK III, EARTH, SUNN O))) and more. The band has played prestigious festivals such as Maryland Deathfest, Hopscotch Festival, Stoned From The Underground, Asymmetry Festival, Roadburn Festival, Hellfest, and many more.
For more WEEDEATER news and tour information, please visit the Season of Mist website, and the WEEDEATER website and Facebook page.
WEEDEATER TOUR DATES: All dates with CORROSION OF CONFORMITY 7/18 Sydney NSW @ The Factory Theatre 7/19 Canberra ACT @ ANU Bar 7/20 Melbourne VIC @ 170 Russell 7/22 Auckland NZ @ The Kings Arms 7/23 Wellington NZ @ Bodega Bar 7/25 Adelaide SA @ Fowlers Live 7/26 Perth WA @ The Rosemount 7/28 Brisbane QLD @ The Hi Fi
Posted in Features on April 24th, 2014 by H.P. Taskmaster
A little over four years ago, when Miami’s Floor reunited for a couple shows to coincide with the release of the 8CD box set, Below and Beyond, on Robotic Empire, I was fortunate enough to interview guitarist Anthony Vialon about the band’s getting back together for what seemed then to be a very limited run. Now, as they prepare to release their new album, Oblation (review here), next week on Season of Mist and embark a day later on a cross-country tour that will place them squarely on the other side of the line between a “reunion band” and a working one, it seemed only fitting to follow-up with Vialon about Floor‘s progress these last several years and how they got to where they are.
Because when they first booked three gigs back in 2010 in Florida and Georgia, the going impression — I think on the part of the band as much as fans — was that was it. Then the response they got was huge enough that it turned into a few more shows, and a tour, and then some more shows, and it kept rolling on until next thing you knew, they had been picked up by Season of Mist and streaming new material. It’s been a few years getting to this point, but for Floor – the trio of Vialon, guitarist/vocalist Steve Brooks (also of Torche) and drummer Henry Wilson (also of House of Lightning) — the progression seems to have been natural, one step taken at a time, building momentum as they might otherwise with a series of crushing bomb-string riffs.
Certainly that seems to be the method on Oblation. Set in the shadow of Floor‘s by-now-legend 2002 self-titled, what could’ve easily been a project doomed from the start — and not in the good way — has turned out to mark not only a successful return on the part of the band, but a creative evolution that gives a sense of where they left off and where they are now. Songs penned and constructed by Vialon, Wilson and Brooks like “Rocinante” and “War Party” call to mind the unabashed pop hooks of Floor‘s first run, while the eight-minute “Sign of Aeth” takes these elements to places they haven’t yet gone, so that Oblationisn’t nostalgic, but looking forward.
Doubtless a good part of Floor‘s legacy will remain linked to the self-titled, but in talking to Vialon yesterday, that only seemed like something for the trio to be proud of. Oblation releases in the EU and elsewhere tomorrow, April 25, and is out in North America next Tuesday, April 29. Floor begin their tour April 30 in Miami and will finish in Atlanta on June 1 (dates here). In the interview, Vialon discusses writing for the band again, the response the reunion has gotten these last few years, his affinity for Rush, and much more.
Enjoy the Q&A after the jump, and thanks for reading.
Posted in Reviews on April 22nd, 2014 by H.P. Taskmaster
It’s been just over four years since Miami trio Floor played a one-off reunion show that warned, “One show. One chance. Don’t blow it,” and it’s been a decade since the band’s sophomore outing, Dove, was released in 2004. Since that time, the band has spawned a family tree rivaled by few, members of the lineup throughout their 12-year initial run going on to play in acts like Torche, Dove, House of Lightning, MonstrO, Holly Hunt and Cavity (the latter of whom ran concurrent to Floor and who seem like fodder for a reunion of their own), among others. The biggest impact in terms of audience has unquestionably been by Torche, who, led by guitarist/vocalist Steve Brooks, inherited much of their pop-meets-bomb-drop-sludge-riffing ethic directly from Brooks‘ work in Floor, continuing to refine those methods and ultimately creating something new from them. Both bands now active, Floor release their first album since Doveand first new material since their reunion — 2009’s 8CD discography box set Below and Beyondnotwithstanding — in the form of Oblationon Season of Mist. Its title refers to “an offering,” and that may well be what Floor have in mind, but while the core focus on tone and pop melody remains intact, there have been some very distinct changes in the approach of Floor – the trio of Steve Brooks, guitarist Anthony Vialon (2010 interview here) and drummer Henry Wilson — since they issued their landmark 2002 self-titled debut and they show up audibly in the listening experience of Oblation.
That’s to be expected, right? It has been a decade. To expect Floor to get back together and release Floor Pt. 2seems unreasonable and unfair. As righteous as that album is, for Brooks, Vialon and Wilson to have come in with the intent of recapturing that magic — and it is the self-titled lineup that’s reunited — would be shooting themselves in the foot before they started. No. Oblationis a collection of songs poised not to surrogate the hooks of old, but to serve as a beginning for this new stage of the band. In short, Floor have grown up. Oblation is not the work of a three-piece experimenting with their sound and happening into brilliance. There is poise, confidence, and awareness at its root, and whether it’s the ultra-thick underlying chugging of the spacious opening title-track or the ensuing upbeat rush of “Rocinante” — one of Floor‘s sonic gifts was to not only have tones so thick, but to make them move, and that remains the case here — or the standalone megastomp of “Love Comes Crushing,” the band offer crisp, assured songcraft and a defining clarity of intent. While the songs remain exciting well beyond the simple novelty of their existence, a new Floor album seeming like an impossibility for years, that clarity necessarily comes in trade for the spontaneous sensibility of their earlier work. That’s the nature of creative progression — once you know what you’re doing, your approach to it changes. The middle section of Oblationthat runs from “New Man,” through “Sister Sophia,” “The Quill” and the aforementioned “Love Comes Crushing” before getting to the catchy “War Party” still works as a fitting summary for Floor‘s aesthetic — thick, at times lush, alternately crawling, running, but always moving, etc. — but it does so more in triumph at its level of execution than in raw punkish urgency.
Posted in Whathaveyou on March 19th, 2014 by H.P. Taskmaster
Time does strange things. It’s 2014. Floor, Sleep, Spirit Caravan and most of Kyuss are back together. Black Sabbath won a Grammy. The whole fucking world is upside down, the underground is over(ground), and all these things that seemed impossible to see are right in front of us. And yet we still use the combustion engine. Go figure.
I got sidetracked. Floor. The point is Floor are touring again, and the key difference is they’ll have a new album out — Oblation, which will be their first in a decade. Season of Mist will have the collection in the public’s greedy mitts come April 29, and wouldn’t you know the tour starts the day after? One would almost swear these things were coordinated ahead of time.
So says the PR wire:
FLOOR announce North American tour
Cult underground rock outfit FLOOR (Steve Brooks (also of TORCHE)- Guitar, Vocals, Anthony Vialon – Guitar, Henry Wilson – drums) have announced a North American tour this spring. The Noisey/Vice sponsored tour starts on April 30th in Miami, FL, and will see FLOOR travel throughout the month of April, before ending on May 1 in Atlanta, GA. A full list of confirmed tour dates can be found below.
FLOOR will be touring in support of their forthcoming album, ‘Oblation’. ‘Oblation’ will be released via Season of Mist on April 29 in North America (April 25 worldwide). ‘Oblation’ can be pre-ordered in various formatshere.
‘Oblation’ track list: 1. Oblation 2. Rocinante 3. Trick Scene 4. Find Away 5. The Key 6. New Man 7. Sister Sophia 8. The Quill 9. Love Comes Crushing 10. War Party 11. Homegoings and Transitions 12. Sign of Aeth 13. Raised to a Star 14. Forever Still
The Florida-based trio was originally formed by Brooks and Vialon in 1992, and issued singles on respected underground labels like No Idea, Bovine, Rhetoric and more. The band’s wildly influential self-titled album was recently inducted into the Decibel Magazine Hall of Fame.
FLOOR Tour Dates 4/30 Miami, FL @ Churchills 5/2 Gainesville, FL @ The Wooley 5/3 Charlotte, NC @ The Casbah @ Tremont Music Hall 5/4 Washington, DC @ Rock & Roll Hotel 5/5 Brooklyn @ Saint Vitus 5/6 Philadelphia, PA @ The Barbary 5/7 Boston, MA @ Great Scott 5/8 Buffalo, NY @ The Tralf 5/9 Pittsburgh, PA @ Smiling Moose 5/10 Grand Rapids, MI @ Pyramid Scheme 5/11 Chicago, IL @ Double Door 5/13 Denver, CO @ Moon Room 5/14 Salt Lake City, UT @ Bar Deluxe 5/16 Portland, OR @ Branx 5/17 Seattle, WA @ Chop Suey 5/19 San Franciso, CA @ Elbo Room 5/24 Los Angeles, CA @ The Satellite 5/25 Fullerton, OC @ SlideBar 5/26 Phoenix, AZ @ Yucca Tap Room 5/27 Albuquerque, NM @ Launchpad 5/29 Austin, TX @ Red 7 5/30 Dallas, TX @ Club Dada 5/31 Birmingham, AL @ Bottletree 6/1 Atlanta, GA @ The Earl
Posted in Questionnaire on February 17th, 2014 by H.P. Taskmaster
In many ways, Dave Chandler and Saint Vitus are inseparable. You cannot have one without the other. Since founding the band as Tyrant in 1979, Chandler has been Vitus‘ principle songwriter and lyricist, presiding over some of American doom’s most essential works in albums like 1984’s Saint Vitus, 1986’s Born too Lateand 1990’s V on SST and Hellhound Records. When Vitus were once again laid to rest after a 2003 reunion, Chandler formed Debris Inc. with Trouble‘s Ron Holzner on bass and a host of drummers, including Henry Vasquez, who’d later replace Armando Acosta in Vitus after they got together again in 2009 for a reunion that has, to date, stuck, resulting in tours around the world and their first studio outing since 1995’s Die Healing, the 2012 Season of Mist release Lillie: F-65(review here), a tour de force of Vitus‘ trademark no-frills, no-letup doom that only served to demonstrate how many others in their wake have taken their influence but not managed to capture the same vibe — that’s not to say “magic” — that makes Saint Vitus wholly distinct in their approach.
In 2012, Vitus officially released the limited Marbles in the Moshpit, a former bootleg live album on vinyl, and they’ve worked with Scion A/V on two releases, 2012’s LiveEP and a split single with The Casualties. A stage presence like none other, Chandler lives in New Orleans and reportedly has songs in progress for a follow-up to Lillie: F-65. As anyone who’s ever read his lyrics knows, he’s a master of word economy, and that’s as true as ever in his answers to The Obelisk Questionnaire.
The Obelisk Questionnaire: Dave Chandler
How did you come to do what you do?
I learned how to play music very young in grade school and it eventually progressed to rock and roll.
Describe your first musical memory.
Playing the coronet, small trumpet, in the grade school band.
Describe your best musical memory to date.
That would have to be when we headlined the second stage at Hellfest in 2009.
When was a time when a firmly held belief was tested?
When we stuck to our guns and played what we wanted during what we called “the punk rock wars” within the first two years when we were signed with SST. Eventually we gained the respect of the people that didn’t like us because we refused change.
Where do you feel artistic progression leads?
That depends on oneself, but in can lead to a betterment of what you create.
How do you define success?
If you are happy with what you are doing, regardless of what it is, and you are happy with your life… you are successful.
What is something you have seen that you wish you hadn’t?
Dead bodies on the street.
Describe something you haven’t created yet that you’d like to create.
Our next album.
Something non-musical that you’re looking forward to?
The legalization of marijuana throughout the United States.
Is it too soon? It doesn’t feel too soon. It’s been over a year and a half since Saint Vitus released their comeback long-player Lillie: F-65 (review here) through Season of Mist, adding studio work to the live reunion that began on stage at Roadburn 2009. The four-piece — guitarist Dave Chandler, vocalist Scott “Wino” Weinrich, bassist Mark Adams and drummer Henry Vasquez — recorded the album with Mos Generator‘s Tony Reed while on a West Coast tour, and though to have put it to tape and mixed over the course of just a few days seems awfully quick, it was actually the longest the band, who began as Tyrant in 1979 and for whom Lillie: F-65 would serve as their eighth album and first in 17 years, had ever spent in the studio.
I said at the time and I still feel like what the album did best was capture the spirit of Vitus‘ classic Wino-fronted material. It was simple, but in being simple, that much easier to screw up. Chandler‘s guitar tone sounds dead-on to what he delivers live on “Let Them Fall” and “The Bleeding Ground,” and there’s no studio trickery or excess to it. At 34 minutes, Vitus are as aesthetically lean and efficient as they always were, and while it would’ve been a surprise on multiple levels had they emerged from the studio with some overblown, multi-layered prog opera, that they didn’t only served to reaffirm how much they, as a long-running act, still had to offer in terms of progression and staying true to what works within their sound. Lillie: F-65 has little room for screwing around — even the Wino-penned guitar interlude “Vertigo” is brief, and I’ll argue all day that “Withdrawal” is as necessary a finish as an album can have, even though it’s basically just feedback — and spends its time instead handing down visceral judgments, plodding riffs and the sense of unease that made Vitus distinguished from their peers during their initial run and continues to stand them out today.
It would be easy to go on, to talk about Chandler‘s lyrics and Wino‘s vocals, Adams‘ basslines in “The Bleeding Ground,” or Vasquez stepping in to fill the role of original drummer Armando Acosta, or my hopes for a new album if not in 2014 then early next year, but at this point, Lillie: F-65 has been around long enough to speak for itself. Probably better to do that than ramble.
“Maybe I’ll just head back/To West Virginia, by god…”
I’m not going to say that Weedeater are a band I put on all the time. They’re not. If I’m sitting down to a nice dinner with The Patient Mrs. after a long day, and we’re having cheese and crackers or something like that, she’s got a glass of wine, maybe I’m nursing the end of an iced tea or whatever it is, I’m not likely to be like, “Hey baby, time for some Dixie Dave.” My mother, bless her heart, used to tell me when I said fuck too much in school that there’s a time and place for everything. Ultimately, and after much reprimand, I realized she was correct.
And to that, I will say there are corresponding times when nothing else butWeedeater will do. I know that Buzzov*en and Eyehategod were there before them in the South and Grief and Negative Reaction too in the North — to say nothing of Bongzilla or any such Western predecessor contingent — but they captured something right from the start on 2001’s …And Justice for Y’allthat I don’t think any of those other acts managed to nail in quite the same way. It’s not even about having an angry attitude, which of course plenty of sludge has. It’s about just sound like you absolutely do not give a fuck about anything or anyone. Stoned nihilism put to warped tape.
This was one of those times when nothing else would do but Weedeater, and as it happens, they’re kicking off a tour in a couple days on the West Coast with Black Cobra and they’re slated to reissue their four to-date LPs through new label Season of Mist in advance of a fifth later in the year. One to watch for, I guess. Their last outing, 2011’s Jason… the Dragon (review here), was a hoot.
As always, I hope you enjoy.
I was all set to sit here and type out some blues song woe is me shit. Lousy week, front to back. And I don’t know if it’s the Weedeater or what, but seriously, fuck it. I don’t have the energy for that shit anyway and what would it accomplish? Bum someone out who’s maybe enjoying some good tunes? Fuck that. I hope you had a great week, and I hope you hear the Weedeater and fucking groove out and it’s a good time.
Tonight ended strong at least. Got back a bit ago from seeing Gozu debut their new lineup. An interesting venture they’ve undertaken, adding a second lead guitar. The show was good, and hell, it’s probably still going on. I split a little while after they finished to come back here and start this. Leaving a show to go home and write about music. There’s probably not a lot of people who would understand that one. That’s how it went.
Monday I’ll review that, and I’ll hit up Weedpecker and Insider next week as well for album reviews. Also Monday I hope to have up my list of albums to watch for in 2014. My hope is to start writing over the weekend. So far I’m over 30, so yeah, I guess it’s gonna be a pretty large undertaking. I think maybe I’ll leave lists alone for a while after that, though they seem to be pretty popular. Fucking even the New York Times does that shit now. Capturing a moment, I guess. I’ve never been much for the moment.
From the bottom of my heart, I wish you a great and safe weekend. Have fun, kick ass, and we’ll see you back here Monday for more good times.