Posted in Whathaveyou on February 20th, 2017 by JJ Koczan
At any given second, there is nothing about the new streaming Cursus track that doesn’t seem to want to be as heavy as it can possibly be. One can hear the Neurosis influence noted by the PR wire in “Waters of Wrath,” which is the first audio to come from the San Antonio, Texas, two-piece’s self-titled debut, but less so the likes of Om or YOB, at least as regards an immediate ritualistic or cosmic impression — though after listening to the band’s 2013 Summer Solstice Sessions demo (available name-your-price at their Bandcamp) neither would I count on “Waters of Wrath” to speak for the entirety of the album.
An April 28 release has been set through Artificial Head Records, the label helmed by Funeral Horse guitarist/vocalist Walter Carlos, and I’ll be interested to find out what it has in store to go with the forceful churn Cursus showcase initially. For now, they certainly seem to know how to make a first impression.
Cover art and album details follow:
CURSUS: Texan doom-duo crush worlds on colossal debut | Listen to new song ‘Waters of Wrath’
Cursus will be released on vinyl/digital on 28th April 2017 via Artificial Head Records
Artificial Head Records is pleased to announce the signing of psychedelic sludge band Cursus and with it the release of their self-titled debut album this April.
Taken from the Latin word meaning “course” – specifically the mournful paths our ancestors once took to bury their dead – the San Antonio-based paring of guitarist/vocalist CJ Duron and drummer Sarah Roork first came into being in the winter of 2013 with the release of their Summer Solstice Sessions demo. Influenced by the likes of Om, Neurosis, YOB and Ufomammut, and deep in experimentation with different sounds, instruments and drone frequencies, the demo slowly unfurled colossal riff driven soundscapes that permeated and punched in equal measure.
Released through Bandcamp it quickly caught the ear of label boss and fellow Texan, Walter Carlos, who signed Cursus on the spot to his Houston-based label Artificial Head Records.
“I had toured with Cursus a few times over the years and I’ve always admired their massive sound. Their ability to crush bodies in the room with their songs is uncanny,” explains Carlos. “Initially, we were going to release a live cassette by the band from recordings they made while on tour. But as the project kept going, we decided that a full-length studio album would be better and we’re proud to have Cursus as part of our family.”
Three years on from the release of Summer Solstice Sessions and Duron and Roork have their debut album loaded. Produced in a basement-recording studio by close friend Chris Dillard, over six devastating songs Cursus summons personal and spiritual pains and turns each into amplified dirges packed with riffs, hypnotic string arrangements and spellbinding percussion. With the power of cosmic doom burning brightly, distortion slams hard into 6/8 rhythms as the Duron and Roork charter a longboat through a magnificent storm of ethereal destruction.
Cursus’s self-titled debut album will be released on vinyl/digital on 28th April 2017 via Artificial Head Records.
Cursus: CJ Duron – Guitar and Vocals Sarah Roork – Drums
Album art by Javier “Warhorse” Luis Artist: Cursus Title: Cursus Release Date: 28th April 2017 Label: Artificial Head Records Formats: Vinyl/Digital
Posted in Whathaveyou on February 13th, 2017 by JJ Koczan
It’s not a minor happening at this point when RidingEasy Records picks up anybody. Consider the Cali-based imprint’s track record: Monolord, The Well, Electric Citizen, Mondo Drag, Slow Season, on and on. Norway’s Dunbarrow now join these ranks on the sizable merits of their self-titled debut (review here), which was initially offered-up by the band last year and which will see issue on RidingEasy next month on CD with vinyl following in May.
What Dunbarrow bring to the RidingEasy lineup is a firm grip on an aesthetic born as much of ’70s worship as influence taken from earliest Witchcraft and the best of the Scandinavian retro doom set — the Pentagram loyalism of Burning Saviours comes to mind — as well as an abiding rawness of sound that complements the fluidity of their groove. Preorders, naturally, are up now.
The band and label are highlighting the track “Lucifer’s Child” ahead of the re-release, and you can hear it below, courtesy of the PR wire:
Dunbarrow sign to RidingEasy Records
Trondheim, Norway quintet Dunbarrow announce their signing to L.A. label RidingEasy Records today. The label will reissue the band’s 2016 self-titled debut album worldwide with a special die-cut sleeve and insert for the LP. It will be on CD for the first time ever.
Summoned to play it the old way in a new age, Trondheim, Norway quintet Dunbarrow draws inspiration from freezing winter nights, unpolished demo tapes from the 70’s and the Swedish throwback rock from the beginning of the 21st century. The result is Norwegian proto-doom with a back-to-basics sound, from Pentagram and Witchfinder General to Quicksilver Messenger Service.
Dunbarrow’s clean, unadorned sound shares the unpretentious brilliance of classic heavy progenitors playing basements and barns, before the big budgets and bloated habits diluted hard rock into an echo chamber awash in reverb and layered in distant, screeching hobbits. The band’s 9-track self-titled album is a classic in the sense that every song becomes instantly recognizable after just one listen.
With lyrics like the clever paean to a young witch mother’s birth of “Lucifer’s Child”, Dunbarrow has a wealth of gloomy sentiments: “Can you understand my young mother’s plight / Away from the comforts that burn at the stake / She gave birth to a venomous snake / On her great pyre she smiled / For she carried Lucifer’s child.”
Dunbarrow is based in the far northern Norwegian city Trondheim, but is originally from Haugesund on the west coast of Norway. The band has been playing together for over 8 years through different band names and genres. In 2014, vocalist Espen Andersen joined the band upon the departure of original singer/bassist Richard Chappell. Sondre Berge went from playing drums to playing bass. Kenneth Lønning and Eirik Øvregård are still on the guitars, with Pål Gunnar Dale taking over the drums permanently in 2016. Espen Andersen recorded and mixed the debut album at Stoy Studios. Dunbarrow is hitting the studio for their second album this summer.
Dunbarrow will be available on CD on March 10th, 2017 and LP in May via RidingEasy Records. Pre-orders are available at RidingEasyRecs.com.
Artist: Dunbarrow Album: Dunbarrow Label: RidingEasy Records Release Date: March 10th (CD) & May (LP), 2017
01. Try and Fail 02. The Wanderer 03. You Knew I Was a Snake 04. My Little Darling 05. Lucifer’s Child 06. Guillotine 07. The Crows Ain’t Far Behind 08. Forsaken 09. Witches of the Woods
Posted in Reviews on February 7th, 2017 by JJ Koczan
At four tracks and just under 19 minutes, the self-titled debut EP from Philadelphia three-piece Canyon give listeners just enough of a glimpse of where they might be headed to emphasize the potential at work. Canyon is their first outing since getting together in 2015 with the lineup of guitarist/vocalist Peter Stanko, bassist/vocalist Dean Welsh and drummer/vocalist Anthony Bove and after an initial digital self-release and tape through Anvileater Records, the short outing shows up as a full jewel-case CD with a picture of the band out front to emphasize the classic ideas they’re working from. I would not be surprised if some of the root jams out of which opener “Mashriq” was formed were some of Canyon‘s earliest, as there is definitely a formative aspect to their approach, vocals following the riff closely in a bouncing rhythm that, even compared to what follows on the palpably airier “She Comes to Me,” seems straightforward in a we’re-a-new-band-getting-our-footing kind of way.
That process itself, honestly represented as it is, can be and is refreshing to hear, and in the context of Canyon‘s style, which benefits greatly from an organic warmth of tone in the guitar and bass along with the interplay of vocals, it makes a particular sense that they would showcase where they’re at in this early stage of their progression. Their sound, captured here by Alex Santilli, who engineered and mixed at Spice House Sound while Mark Trewella at Full Circle Mastering handled the finishing touches, is raw, but still offers plenty to the curious listener, and even more so on repeat visits.
After some initial thud, “Mashriq” starts off with a righteously fuzzed impression. Philly has seen no shortage of heavy psych come through the last couple years, from Ruby the Hatchet and Ecstatic Vision to Meddlesome Meddlesome Meddlesome Bells, but right away, “Mashriq” positions Canyon as having a more earthbound take — fitting enough for their name, I suppose — given to roll and straightforwardness in structure. At just under three and a half minutes, it’s the shortest of the four inclusions on the EP and as “She Comes to Me,” “Radiant Light” and “Tell Me Mister” play out behind it, it becomes something of an outlier stylistically for that. Where Stanko, Welsh and Bove soon enough dig into a languid blend of heavy blues rock and, in the case of “Radiant Light” particularly, find a niche for themselves in dreamy vocal melodicism to complement a shimmer in Stanko‘s guitar, the leadoff cut seems more about establishing a context on which the subsequent material builds.
Maybe that’s Canyon‘s way of easing the listener into their world, and that’s certainly valid, even on a short offering like this one, but “Mashriq,” while a strong opener and memorable in its hook, ultimately does little to account for some of the fleshed-out vibes that follow, even as “Tell Me Mister” rounds out with a return to a more energetic push and the gotta-hear-it buzz-tone that begs to be turned up even louder than it starts. How one accounts for that will depend on the listener, but if we look at the concept of a “debut EP” doing the work that a band’s “demo” used to do, then Canyon‘s establishes them as an outfit with an immediately varied approach of craft, however nascent it might otherwise be.
Could that be the work of multiple songwriters? I don’t know, but I’d believe it based on how the progression plays out front to back. Most importantly, however, Canyon offer intrigue and show several potential avenues for future growth and where their sound might go, toying with pop elements in their use of backing vocals in a kind of garage-grunge mindset — this happens in “Mashriq” as well — and dedicate themselves to a breadth of approach that stays apparent even in this abbreviated context. As to how that growth might manifest, it hardly seems fair to speculate, but as the self-titled plays out with increasing complexity almost on a song-by-song basis until “Tell Me Mister” bridges the gap in summarizing what the band has been putting together all the while, it’s easy enough to foresee Canyon stabilizing their approach to songwriting in a way that allows them to construct a full-album flow.
This, of course, is essential to the work of an initial outing like this one — to give the band lessons to learn as they move forward, and I hear nothing in the tracks to make me think Canyon won’t do precisely that. On the most basic level, it’s a quick debut outing — a demo by any other name — that shows potential in tone and in trading between bounce and blues and drift and thrust all while holding to identifiable markers and avoiding a direct, blatant flag-bearing of its influences. This already is more than one might reasonably ask of it, and it is not by any means the sum total of what is delivered.
Someday, some brave soul is going to reissue all the records like Mammoth Volume‘s 1999 self-titled debut and notch an asterisk in the history of Swedish heavy rock. Like the first Sgt. Sunshine offering (which actually has been reissued), the 2000 debut from Blind Dog — the still-going Sparzanza and Mustasch would soon hit the scene — and a mountainous slew of others, not to mention then-contemporary works by Dutch acts like 35007 (also reissued), 7Zuma7 and Astrosoniq or any of the countless bands Germany produced at the time, it’s a collection that remains distinctly undervalued in the context of when it arrived and what it brought with it. Consider as you listen to “Dervishsong” that the self-titled Queens of the Stone Age had arrived only one year earlier in 1998. By then, Europe’s heavy underground was already flourishing, acts like Dozer and Demon Cleaner releasing early, desert-style singles (also ripe for reissue, as I’ve said many times) to put Sweden at the forefront, and by 1999, the prefacing of the vintage-heavy movement Norrsken would do — members going on to form Witchcraft, Graveyard, and Dead Man — was nearly at its end. It was a time of transition, in other words, and bands like Mammoth Volume, with their easy, open grooves on songs like “Closer to the Sun” on this self-titled, and the continuing progression of their second and third albums, Noara Dance (2000) and A Single Book of Songs (2001), helped establish stylistic parameters that groups continue to follow nearly two decades later.
One can hear classic psychedelia alongside post-Fu Manchu roll in Mammoth Volume‘s “Shindig” and a direct conversation with Californian desert rock happening in the later “The Pinball Referee” that’s true to Kyuss-style tonality than most at that point could come. Comprised of vocalist Jorgen Andersson, guitarist/producer Daniel Gustafsson, bassist Kalle Berlin and drummer/producer Nicklas Andersson would explore jazzy fluidity on “Matthew 6:21” as naturally as chugging heavy swing on opener “Seagull” and the subsequent “Morningsong,” which made the leap from one of the self-titled’s most satisfying rolls into open acoustic strum and subtle post-grunge harmonies with all the care of a shoulder shrug — and only then got into the stoner-jangle-shuffle en route back to the chorus and into an organ-topped bridge in the second half. It’s a familiar story, or at least it should be, of a release that seems ready to get a due that, at the time, just wasn’t there for the getting. Indeed, with the growth and seemingly endless appetite that’s developed for heavy rock and roll on the part of its audience’s next generation over the last five or so years, it’s no stretch to imagine Mammoth Volume‘s Mammoth Volume working next to an entire catalog of repress-worthy outings from its era. If one is given to such daydreaming, anyhow.
If you’d like to do some more digging — “visit your local library!” — in the US, their records were released on a label called The Music Cartel, which also partnered with Rise Above at the time on outings by Cathedral, Orange Goblin, Electric Wizard, Sheavy, Lid, Firebird and Hangnail while also releasing records by Sally, Leadfoot, The Bronx Casket Companyand righteous compilations like In the Groove and Rise 13 – Magick Rock Vol. 1. Ufomammut‘s Snailking was another pivotal The Music Cartel release, proving they were willing to take a chance on these relatively unknown acts when just about no one else would. Sure, Monster Magnet had a label deal, and Fu Manchu, and Queens of the Stone Age would soon enough, but fewer and farther between were people ready to step up and put out Sleep‘s Jerusalem, and like a less aesthetically inclined East Coast answer to Man’s Ruin Records (Frank Kozik‘s cover art was sometimes as much of an event as the music itself), The Music Cartel did that — as well as Mammoth Volume‘s first three full-lengths and the 2002 The Early Years comp that would end up as the band’s last physical release.
A few digital offerings followed, the most recent of them titled quizzically titled Loved by Few, Hated by Dolphins and put out as a free download from the band’s now-defunct website on the occasion of their official breakup in 2008. I’m not sure if members have gone on to other outfits or what, but if you have any info, I’d love to know in the comments.
In the meantime, I hope you enjoy.
I’ve avoided talking about it, but it’s been an unhinged couple of weeks in the country where I live, and much as I’ve tried to live in a bubble of good tunes, Star Trek and Final Fantasy, I’ve not been unaffected. Having lived through the George W. Bush era as an adult-type person aware of the world around me, I’ve seen things get plenty fucked before — anyone remember 2006? — but even on that scale, it would be impressive if it wasn’t all so tragic and terrifying. You don’t need a big fascism-is-bad internet thinkpiece essay from the likes of me, and I can all but promise one isn’t coming, but I’ll just say that thus far, remembering “this isn’t normal” has not been a challenge.
But hey, music, right? Rock and roll?
Plenty of that to go around, and I’ve been working hard to remind myself of the love that I’m so fortunate to have in my life. That seems to carry me over, so I recommend it if you’ve been similarly disturbed.
I’ve been looking forward to this weekend since before the week started. A little dude-time and record shopping with the esteemed Johnny Arzgarth will be fun on Saturday, and otherwise I plan on relaxing and taking it easy as much as possible ahead of what’s sure to be more adventures next week. Writing, coffee, couch-time — all good things.
Here’s what I’ve got in my notes for next week around here (subject to change, as always):
Mon.: A batch of Radio adds and a video premiere from Drone Hunter, also news on two different fests and other tours.
Tue.: Godstopper track premiere, new Naxatras video, more news from Samsara Blues Experiment.
Wed.: Dool review, Against the Grain video.
Thu.: Six Organs of Admittance review, Lung Flower video.
Fri.: Keeping open pending a premiere, otherwise maybe Goya or Rozamov review, mood depending. Something heavy.
Of course, I hope you have a great and safe weekend, whatever you’re up to. Have fun, be safe, watch your back and please check out the forum and the radio stream.
Posted in Features on January 23rd, 2017 by JJ Koczan
Looks like it’s going to be another busy 12 months ahead. It’s been a busy better-part-of-a-month already, so that stands to reason, but you should know that of the several years now that I’ve done these ‘Tomorrow’s Dream’ posts, this is the biggest one yet, with over 150 upcoming releases that — one hopes — will be out between today and the end of 2017.
Actually, at last count, the list tops 180. Do I really expect you to listen to all of them? Nope. Will I? Well, it would be nice. But what I’ve done is gone through and highlighted 35 picks and then built lists off that in order of likelihood of arrival. You’ll note the categories are ‘Gonna Happen and/or Likely Candidates,’ ‘Definitely Could Happen’ and ‘Would be Awfully Nice.’
Beyond that last one, anything else just seems like speculation — one might as well go “new Sabbath this year!” with zero info backing it up. The idea here is that no matter where a given band is placed, there has been some talk of a new release. In some cases, it’s been years, but I think they’re still worth keeping in mind.
Another caveat: You can expect additions to this list over the next week — probably album titles, band names people (fingers crossed) suggest in the comments, and so on — so it will grow. It always does. The idea is to build as complete a document as possible, not to get it all nailed down immediately, so please, if you have something to contribute and you’re able to do so in a non-prickish, “You didn’t include Band X and therefore don’t deserve to breathe the same air as me,” kind of way, please contribute.
Other than that, I think it’s pretty straightforward what’s going on here and I’ll explain the category parameters as we go, so by all means, let’s jump in.
— Tomorrow’s Dream 2017 —
1. Abrahma, TBA
Late last year, Paris heavy progressives Abrahma announced a new lineup and third full-length in progress. No reason to think it won’t come to fruition, and a follow-up to 2015’s Reflections in the Bowels of a Bird (review here) is an easy pick to look forward to. Even with the shift in personnel, it seems likely the band will continue their creative development, driven as they are by founding guitarist Seb Bismuth.
2. All Them Witches, Sleeping Through the War
If 2017 ended today, Sleeping Through the War would be my Album of the Year. Of course, there’s a lot of year to go, but for now, Nashville’s All Them Witches have set the standard with their second album for New West Records behind 2015’s Dying Surfer Meets His Maker (review here) and fourth overall outing. They’ve got videos up so far for “3-5-7” (posted here) and “Bruce Lee” (posted here). Both are most definitely worth your time. Out Feb. 24. Full review should be later this week.
3. Alunah, Solennial
Seems like UK forest riffers Alunah are on this list every year. Wishful thinking on my part. Nonetheless, their fourth LP and Svart Records debut, Solennial, is out March 17, and if the tease they gave already with the clip for “Fire of Thornborough Henge” (posted here) is anything to go from, its Chris Fielding-produced expanses might just be Alunah‘s most immersive yet.
4. Arbouretum, TBA
I asked the Baltimore folk fuzzers a while back on Thee Facebooks if they had a new record coming in 2017 and they said yes, so that’s what I’m going on here. The last Arbouretum album was 2013’s Coming out of the Fog (review here), and even with frontman Dave Heumann‘s 2015 solo outing, Here in the Deep (review here), factored in, you’d have to say they’re due. Keep an eye on Thrill Jockey for word and I’ll do the same.
5. Atavismo, Inerte
This is another one that already has a spot reserved for it on my Best-of-2017 year-end list. Spanish heavy psych rockers Atavismo up the progressive bliss level with their second full-length, Inerte, without losing the depth of style that made 2014’s Desintegración (review here) so utterly glorious. It probably won’t have the biggest marketing budget of 2017, but if you let Atavismo fly under your radar, you are 100 percent missing out on something special.
6. Bison Machine, TBA
In addition to the video for new track “Cloak and Bones” that premiered here, when Michigan raucousness-purveyors Bison Machine put out the dates for their fall 2016 tour, they included further hints of new material in progress. As much as I dug their earlier-2016 split with SLO and Wild Savages (review here) and 2015’s Hoarfrost (review here), that’s more than enough for me to include them on this list. Killer next-gen heavy rock.
7. Brothers of the Sonic Cloth, TBA
News of a follow-up to Brothers of the Sonic Cloth‘s 2015 Neurot Recordings self-titled debut (review here) came through in October, and it remains some of the best news I’ve heard about 2017 doings. Took them a while to get the first record out, so we’ll see what happens, but it kind of feels like looking forward to a comet about to smash into the planet and cause a mass extinction, and by that I mean awesome. Can’t get here soon enough.
8. Cloud Catcher, Trails of Kosmic Dust
Okay, so maybe I jumped the gun and did a super-early review of Denver trio Cloud Catcher‘s second long-player and Totem Cat Records debut, Trails of Kosmic Dust, but hell, no regrets. Some albums require an early-warning system. Their 2015 debut, Enlightened Beyond Existence (discussed here), was a gem as well, but this is a band in the process of upping their game on every level, and the songwriting and momentum they hone isn’t to be missed.
9. Colour Haze, TBA
I’ve gotten some details on the upcoming full-length from Colour Haze. They do not include a title, artwork, audio, song titles or general direction. Less details, I guess, than word that the CD version of this answer to 2015’s To the Highest Gods We Know (review here) is set to come out next month, as ever, on Elektrohasch. That puts it out in time for Colour Haze‘s upcoming tour with My Sleeping Karma (announced here). Fingers crossed it happens. Colour Haze are perpetual top-albums candidates in my book.
10. Corrosion of Conformity, TBA
Signed to Nuclear Blast after being rejoined by guitarist/vocalist Pepper Keenan, North Carolina’s C.O.C. have been in the studio since last year. The lineup of Keenan, bassist/vocalist Mike Dean and guitarist Woody Weatherman and Reed Mullin on drums is the stuff of legend and last worked together on 2000’s America’s Volume Dealer, so no question this reunion makes for one of 2017’s most anticipated heavy rock records. They nailed the nostalgia factor on tour. Can they now add to their legacy?
11. Elder, TBA
I was incredibly fortunate about a month ago to visit progressive heavy rockers Elder at Sonelab in Easthampton, MA, during the recording process for their upcoming fourth album. I heard a couple of the tracks, and of course it was all raw form, but the movement forward from 2015’s Lore (review here) was palpable. That LP (on Stickman) brought them to a wider audience, and I expect no less from this one as well, since the farther out Elder go sound-wise, the deeper the level of connection with their listeners they seem to engage.
12. Electric Wizard, TBA
Could happen, could not happen. That’s how it goes. Announced for last Halloween. That date came and went. Word of trouble building their own studio surfaced somewhere along the line. That was the last I heard. Frankly, I wouldn’t be surprised if it showed up tomorrow, if it showed up in 2018, or if the band broke up and never put it out. They’re Electric Wizard. Anything’s possible.
13. John Garcia, The Coyote Who Spoke in Tongues
Out Jan. 28 on Napalm, The Coyote Who Spoke in Tongues (review here) is the first-ever acoustic album from former Kyuss frontman John Garcia, also of Unida, the reunited Slo Burn, Hermano, Vista Chino, Zun, etc. — basically the voice of desert rock. He does a couple Kyuss classics for good measure, but shines as well on the new/original tracks, and while it’s a piece for fans more than newcomers — that is, it helps if you know the original version of “Green Machine” — his presence remains as powerful as ever despite this new context.
14. Goya, Harvester of Bongloads
Riffs, dude. Goya seem to have them to spare. The Arizona-based wizard doomers have set a pretty prolific clip for themselves at this point, with at least two short releases out in 2016, one a 7″ of Nirvana covers (review here), and the The Enemy EP (review here). Set for a March 3 release through their own Opoponax Records imprint, Harvester of Bongloads continues the march into the abyss that 2015’s Obelisk (review here) and 2013’s 777 set in motion, finding the band coming more into their own as well. Creative growth — and bongloads! The best of both worlds.
15. Ides of Gemini, TBA
Ides of Gemini are set to record their yet-untitled third album with Sanford Parker early this year, and it will also mark their debut on Rise Above Records upon its release. They’ve also got a new lineup around vocalist Sera Timms and guitarist J. Bennett, so as they look to move forward from 2014’s Old World New Wave (review here), one can’t help but wonder what to expect, but to be honest, not knowing is part of the appeal, especially from a band who so readily specialize in the ethereal.
16. Kind, TBA
Three-fourths of Kind feature elsewhere on this list. Bassist Tom Corino plays in Rozamov. Drummer Matt Couto is in Elder. Vocalist Craig Riggs is in Roadsaw. And for what it’s worth, guitarist Darryl Shepherd has a new band coming together called Test Meat. How likely does that make Kind to release a second LP in 2017? I don’t know, but their 2015 Ripple Music debut, Rocket Science (review here), deserves a follow-up, and I know they’ve demoed some new songs. If it happens, great. If it’s 2018, at least these dudes will be plenty busy besides.
17. Lo-Pan, In Tensions
Yes, Lo-Pan‘s In Tensions (review here) has already been released — CD/LP with an artbook on Aqualamb. It’s out. Limited numbers. You can get it now. Why include it on a list of most anticipated releases? Because that’s how strongly I feel about your need to hear it. The fruit of a shortlived lineup with guitarist Adrian Zambrano, it distinguishes itself from everything they’ve done before in style while still keeping to the core righteousness that one hopes the Ohio outfit will continue to carry forward. It’s more than a stopgap between albums. Listen to it.
18. The Midnight Ghost Train, TBA
It seems to have been a rough ride for hard-boogie specialists The Midnight Ghost Train since their 2015 Napalm debut and third album overall, Cold was the Ground (review here). They’ve never taken it easy on the road or in terms of physicality on stage, and between injuries and who knows what else, their intensity at this point veers toward the directly confrontational. Nonetheless, they’ve been writing for album number four, may or may not have started the recording process, and I expect that confrontationalism to suit them well in their new material.
19. Monster Magnet, TBA
I have it on decent authority that NJ heavy psych innovators Monster Magnet were in the studio this past autumn. I’ve seen no concrete word of a new album in progress from Dave Wyndorf and company, and I wouldn’t necessarily expect to until it was time to start hyping the release, but after their two redux releases, 2015’s Cobras and Fire (review here) and 2014’s Milking the Stars (review here), their range feels broader than ever and I can’t wait to hear what they come up with next.
20. Mothership, High Strangeness
A pivotal moment for Mothership arrives with High Strangeness, and the heavy-touring, heavy-riffing Texas power trio seem to know it. Their third record on Ripple Music pushes into new avenues of expression and keeps the energy of 2014’s Mothership II (review here) and 2012’s Mothership (review here), but thus far into their career, it’s been about their potential and what they might accomplish going forward. 2017 might be the year for Mothership to declare a definitive place in the sphere of American heavy rock.
21. The Obsessed, Sacred
On Halloween 2016, founding The Obsessed guitarist/vocalist and doom icon Scott “Wino” Weinrich announced a new lineup for the band, with his former The Hidden Hand bandmate Bruce Falkinburg on bass/vocals, Sara Seraphim on guitar and Brian Costantino continuing on drums. A genuine surprise. Their first album since 1994, Sacred (due on Relapse) was tracked as the trio of Weinrich, Costantino and bassist/vocalist Dave Sherman, but clearly they’ve moved into a new era already. Wouldn’t even guess what the future holds, but hopefully Sacred still comes out.
22. Orange Goblin, TBA
When it was announced that London’s Orange Goblin were picked up by Spinefarm as part of that label’s acquisition of Candlelight Records last Spring, the subheadline from the PR wire was “Working on Ninth Studio Album.” I haven’t heard much since then, but even as 2014’s Back from the Abyss (review here) pushed them deeper into metallic territory than ever before, their songs retained the character that’s made the band the institution they are. Always look forward to new Orange Goblin.
23. Pallbearer, Heartless
Doomers, this is your whole year right here. I haven’t heard Pallbearer‘s third album, Heartless (out March 24 on Profound Lore), but I have to think even those who haven’t yet been won over by the Arkansas four-piece’s emotive, deep-running style have to be curious about what they’ve come up with this time around. I know I am. These guys have been making a mark on the genre since their 2012 debut, Sorrow and Extinction (review here), and there’s little doubt Heartless will continue that thread upon its arrival.
24. Radio Moscow, TBA
Fact: Radio Moscow stand among the best classic heavy rock live acts in the US. They’re the kind of band you can watch upwards of 15 gigs in a row — I’ve done it — and find them putting on a better show night after night, in defiance of science, logic and sobriety. Word of their signing to Century Media came just this past week and brought with it confirmation of a follow-up to 2014’s stellar Magical Dirt (review here), and for me to say hell yes, I’m absolutely on board, seems like the no-brainer to end all no-brainers. Can’t wait.
25. Roadsaw, TBA
Nearly six full years later, it’s only fair to call Boston scene godfathers Roadsaw due for a follow-up to their 2011 self-titled (review here). Granted, members have been busy in Kind, White Dynomite, and other projects, but still. Their upcoming outing finds them on Ripple Music after years under the banner of Small Stone Records, and though I haven’t seen a solid release date yet, my understanding is they hit Mad Oak Studio in Allston, MA, this past fall to track it, so seems likely for sooner or later. Sooner, preferably.
26. Rozamov, This Mortal Road
Speaking of albums by Boston bands a while in the making, This Mortal Road (out March 3 on Battleground Records and Dullest Records) is the debut full-length from Boston atmospheric extremists Rozamov. Haven’t heard it yet, but I got a taste of some of the material when I visited the band at New Alliance Audio in Aug. 2015, and the bleak expanses of what I heard seem primed to turn heads. I’m a fan of these guys, but in addition, they’ve found a niche for themselves sound-wise and I’m curious to hear how they bring it to fruition.
27. Samsara Blues Experiment, TBA
It’s been a pleasure over the last couple months to watch a resurgence of Berlin heavy psych trio Samsara Blues Experiment take shape, first with the announcement of a fourth album in October, then with subsequent confirmations for Desertfest, Riff Ritual in Barcelona, and a South American tour. Reportedly due in Spring, which fits with the timing on shows, etc., the record will follow 2013’s righteous Waiting for the Flood (review here) and as much as I’m looking forward to hearing it, I’m kind of just glad to have these guys back.
28. Seedy Jeezus, TBA
Work finished earlier this month on Melbourne trio Seedy Jeezus‘ second full-length. As with their 2015 self-titled debut, the band brought Tony Reed of Mos Generator to Australia to produce, and after their blissed-out 2016 collaboration with Earthless guitarist Isaiah Mitchell, Tranquonauts (review here), it’s hard not to wonder what experimentalist tendencies might show in the trio’s style this time out, and likewise difficult not to anticipate what guitarist Lex “Mr. Frumpy” Wattereus comes up with for the cover art.
29. Shroud Eater, Strike the Sun
Not to spoil the surprise, but Feb. 1 I’ll host a track premiere from Florida’s Shroud Eater that finds them working in a different context from everything we’ve heard from them to this point in their rightly-celebrated tenure. They also recently had a split out with Dead Hand, and their second long-player, Strike the Sun, will be their debut through STB Records. It’s been since 2011’s ThunderNoise (review here) that we last got a Shroud Eater album, so you bet your ass I’m dying to know what the last six years have wrought.
30. Sleep, TBA
If Sleep were any other band, they’d probably be in the “Would be Awfully Nice” category. But they’re Sleep, so even the thought of a new record is enough to put them here. The lords of all things coated in THC are reissuing their 2014 single, The Clarity (review here), on Southern Lord next month, but rumors have been swirling about a proper album, which of course would be their first since the now-legendary Dopesmoker. If it happens, it’ll automatically be a heavy underground landmark for 2017, but it’s one I’m going to have in my ears before I really believe it.
31. Stoned Jesus, TBA
Even as they tour playing their second album, 2012’s Seven Thunders Roar (review here), to mark its fifth anniversary and continued impact, Ukrainian trio Stoned Jesus are forging ahead with a fourth record behind 2015’s The Harvest (review here). The capital-‘q’ Question is whether or not looking back at Seven Thunders Roar and engaging that big-riffing side of their sound will have an impact on the new material, and if so, how it will meld with the push of The Harvest. Won’t speculate, but look forward to finding out.
32. Stubb, TBA
Since reveling in the soul of 2015’s Cry of the Ocean (review here) on Ripple, London trio Stubb have swapped out bassists, and they were in Skyhammer Studio this month recording a single that may be an extended psychedelic jam. I’ll take that happily, but I’m even more intrigued at the prospect of a third LP and what guitarist/vocalist Jack Dickinson, bassist/vocalist Tom Hobson and drummer Tom Fyfe might have in store as the band moves forward on multiple levels. Might be 2017, might not.
33. Sun Blood Stories, It Runs Around the Room with Us
It Runs around the Room with Us seems to find peace in its resonant experimentalist drones, loops, open, subdued spaces, but there’s always some underlying sense of foreboding to its drift, as if Boise’s Sun Blood Stories could anticipate the moment before it happened. Toward the end of the follow-up to 2015’s Twilight Midnight Morning (review here), they execute the 90-second assault “Burn” and turn serenity to ash. Look for it in April and look for it again on my best of 2017 list in December.
34. Ufomammut, TBA
Any new offering from the Italian cosmic doom magnates is worth looking forward to, and while Ufomammut have left the 15-year mark behind, they’ve never stopped progressing in style and form. To wit, 2015’s Ecate (review here) was a stunner after 2012’s two-part LP, Oro (review here and review here), tightening the approach but assuring the vibe was no less expansive than ever. They started recording last summer, finished mixing in November, so I’m hoping for word of a release date soon.
35. Vokonis, The Sunken Djinn
Born out of Creedsmen Arise, whose 2015 demo, Temple (review here), offered formative thrills, Swedish trio Vokonis debuted with last year’s Olde One Ascending (review here) and proved there’s still life in post-Sleep riffing when it’s wielded properly. They signed to Ripple in November and confirmed the title of their sophomore effort as The Sunken Djinn, as well as a reissue for the first album, which will probably arrive first. I don’t know how that will affect the timing on this one, but keep an eye out anyway.
Gonna Happen and/or Likely Candidates
Obviously some of these are more likely than others. Some have solidified, announced release dates — Dopelord‘s out this month, Demon Head‘s out in April, etc. — and others come from social media posts of bands in studios and hints at upcoming releases and so on. A big tell is whether or not a band has an album title with their listing, but even some of those without have their new albums done, like Atala and Royal Thunder, so it’s not necessarily absolute.
Either way, while I’m spending your money, you might want to look into:
36. Against the Grain
39. Attalla, Glacial Rule
40. Ayahuasca Dark Trip, II
42. Beaten Back to Pure
45. Buried Feather, Mind of the Swarm
46. The Clamps
47. Cold Stares
48. Coltsblood, Ascending into the Shimmering Darkness
49. Come to Grief, The Worst of Times EP
51. Cruthu, The Angle of Eternity
52. The Dead-End Alley Band, Storms
53. Dead Witches, Dead Witches
55. Death Alley, Live at Roadburn
56. Demon Head, Thunder on the Fields
57. The Devil and the Almighty Blues, II
58. Devil Electric
59. Doctor Cyclops, Local Dogs
60. Dool, Here Now There Then
61. Dopelord, Children of the Haze
62. Doublestone, Devil’s Own/Djævlens Egn
63. Dread Sovereign, For Doom the Bell Tolls
64. Drive by Wire
65. Elbrus, Elbrus
66. Electric Age
67. Electric Moon, Stardust Rituals
68. Endless Floods, II
69. Five Horse Johnson
70. Forming the Void, Relic
71. Funeral Horse
73. Green Desert Water
75. Grifter / Suns of Thunder, Split
76. Hair of the Dog, This World Turns
77. Heavy Temple, Chassit
78. Here Lies Man, Here Lies Man
79. Hollow Leg, Murder EP
80. Holy Mount, The Drought
81. Hooded Menace
82. Horisont, About Time
83. Hymn, Perish
84. Lecherous Gaze
85. Magnet, Feel Your Fire
87. Merlin, The Wizard
89. Mindkult, Lucifer’s Dream
90. Mirror Queen
91. Moonbow, War Bear
92. Mos Generator
93. The Moth
95. Mouth, Vortex
96. My Sleeping Karma, Mela Ananda – Live
99. PH, Eternal Hayden
100. Psychedelic Witchcraft, Magick Rites and Spells
101. Royal Thunder
102. Saturn, Beyond Spectra
103. Season of Arrows, Give it to the Mountain
104. Siena Root
105. Six Organs of Admittance, Burning the Threshold
106. Six Sigma, Tuxedo Brown
108. The Sonic Dawn, Into the Long Night
110. Spidergawd, IV
112. Stinking Lizaveta, Journey to the Underworld
113. Sula Bassana, Organ Accumulator
115. Sun Voyager, Sun Voyager
116. Sweat Lodge, Tokens for Hell EP
117. Thera Roya, Stone and Skin
119. Troubled Horse, Revelation on Repeat
120. VA, Brown Acid The Third Trip
122. Youngblood Supercult, The Great American Death Rattle
Definitely Could Happen
Maybe a recording process is upcoming (Gozu, Cities of Mars, YOB), or a band is looking for a label (The Flying Eyes), or they’ve said new stuff is in the works but the circumstances of an actual release aren’t known (Arc of Ascent, Dead Meadow, High on Fire), or I’ve just seen rumors of their hitting the studio (Freedom Hawk, La Chinga, Ruby the Hatchet). We’ve entered the realm of the entirely possible but not 100 percent.
So, you know, life.
123. The Age of Truth
124. Ape Machine
125. Arc of Ascent
126. At Devil Dirt
131. La Chinga
132. Chubby Thunderous Bad Kush Masters
133. Cities of Mars
134. Crypt Sermon
135. Dead Meadow
136. Death Alley (Studio LP)
137. Dee Calhoun
138. Destroyer of Light
140. Devil Worshipper
144. Electric Moon
145. Elephant Tree
147. The Flying Eyes
148. Freedom Hawk
150. The Great Electric Quest
151. Green Meteor, Consumed by a Dying Sun
152. High on Fire
154. Insect Ark
155. In the Company of Serpents
156. Iron Monkey
157. Jeremy Irons and the Ratgang Malibus
158. The Judge
159. Killer Boogie
160. King Dead
161. The Kings of Frog Island
162. Lords of Beacon House, Recreational Sorcery
164. Mondo Drag
166. Mountain God
167. The Munsens
169. Never Got Caught
175. Purple Hill Witch
176. Ruby the Hatchet
178. Satan’s Satyrs
179. Serpents of Secrecy
181. Shooting Guns
182. Sleepy Sun
183. Slow Season
184. Snowy Dunes, Atlantis
185. Spectral Haze
186. The Sweet Heat
187. Switchblade Jesus
191. Zone Six
Would be Awfully Nice
This last category is basically as close as I’m willing to come to rampant speculation. Endless Boogie have hinted at new material, and Queens of the Stone Age have talked about hitting the studio for the last two years. There were rumors about Om, and though Kings Destroy just put out an EP, they have new songs as well, though I doubt we’ll hear them before the end of 2017. I’ll admit that Across Tundras, Fever Dog, Lord Fowl, Lowrider and Hour of 13 are just wishful thinking on my part. A boy can hope:
192. Across Tundras
194. Elephant Tree
195. Endless Boogie
196. Fever Dog
197. Fu Manchu
198. Halfway to Gone
199. Hour of 13
201. Kings Destroy
202. Lord Fowl
204. Masters of Reality
207. Queens of the Stone Age
If you’ve made it this far, thanks for reading. Whatever this year brings, I hope it’s been great so far for you and I hope it continues to be so as we proceed inexorably to 2018 and all the also-futuristic-sounding numbers thereafter. At least we know we’ll have plenty of good music to keep us company on that voyage.
As always, comments section is open if there’s anything I’ve left out. I’m happy to add, adjust, etc., as need be, so really, have at it, and thanks in advance.
Quite simply one of the best heavy rock records ever released, and more likely than not you don’t need me to tell you that. The 1970 self-titled debut from Cactus, with the classic lineup of vocalist Rusty Day (The Amboy Dukes), guitarist Jim McCarty (The Buddy Miles Express), bassist Tim Bogert (Vanilla Fudge) and drummer Carmine Appice (Vanilla Fudge) stands among the all-timers. Put it up against Sabbath, Led Zeppelin, Cream, I don’t care who. The first in a heavy rock holy trinity of original-lineup Cactus releases with 1971’s One Way… or Another (discussed here) and Restrictions behind it, it was originally issued on Atco Records and retains a country-blues swagger the better part of half a century later that utterly distinguishes them from their peers, and from the manic thrust of their take on Mose Allison‘s “Parchman Farm” which opens to the harmonica-laden swing of “Bro. Bill” on down through the rush of “Let Me Swim” and the finale drum showcase of “Feel so Good,” there is not a fuckwithable second to be found herein. Hyperbole? You bet your ass.
Among the many elements Cactus‘ Cactus boasts over its heavy ’70s peers from outfits like Dust, Mountain — both also Long Island bands — as well as groups like Atomic Rooster, Leaf Hound, and so on, is that it’s unabashed, unashamed fun. Even the wistful “My Lady from South of Detroit,” which is an immediate and bold departure from the opener into acoustic balladry, is basically a song about getting laid. And then they move into “Bro. Bill,” which remains one of the best heavy rock hooks ever conjured, and through Willie Dixon‘s “You Can’t Judge a Book by the Cover” — listen to Bogert‘s bass! — revive the thrust with “Let Me Swim,” blues jam on “No Need to Worry” with McCarty‘s astonishing lead work, tie the blues and the rock together on “Oleo” (again, the bass, this time in a well-earned solo) and then wrap with the aforementioned “Feel so Good,” which, yes, does pull back from its drum solo to give the record a proper ending, and god damn, it’s just perfect. There’s no other word for it. It’s everything a classic American heavy rock album should have been and should be in its attitude, energy and execution. No pretense, no posturing — only 40 of the most efficiently killer minutes ever put to tape. Though I’ve always kind of associated it as a summer record, it remains an utter joy to revisit year-round, and seems to heat up any room in which it plays from the inside out. Fire on a platter.
As will almost invariably happen, the history of Cactus post-original lineup becomes more complicated the farther one follows it through the years. After Restrictions, the band split with Day and McCarty. Bogert and Appice brought in keyboardist Duane Hitchings, guitarist Werner Fritzschings and vocalist Peter French (Leaf Hound) for 1972’s ‘Ot ‘n’ Sweaty, which opened with a redux of “Let Me Swim,” and though Hitchings would soon lead the short-lived The New Cactus Band and Day had his own version of Cactus prior to his still-unsolved murder in 1982, it would not be until 2006 that Bogert, Appice and McCarty played together again, joining forces with ex-Savoy Brown singer Jimmy Kunes for Cactus V and playing reunion shows.
They’ve done gigs off and on in the decade since — bassist Pete Bremy replacing Bogert in 2008, Fritzschings once more stepping in on guitar for a time — but in 2016, Cactus released a sixth full-length, Black Dawn, with Kunes, McCarty, and Appice alongside Bremy and harmonica-ist Randy Pratt, and toured to support it as well. Not that one needed proof of the continued relevance of the original lineup, but the final two cuts on Black Dawn, “Another Way or Another” and “C-70 Blues,” are lost cuts featuring Day, McCarty, Bogert and Appice, and well, if those don’t qualify as bonus tracks, nothing in the universe does.
All that shuffling of personnel makes Cactus‘ Cactus seem even more like simpler times, and getting lost in the languid blues flow of “No Need to Worry,” one not only misses Day‘s raw-throated whiteboy soul, but can’t help but imagine what Cactus would’ve gone on to do had they held it together following Restrictions, which offered some jammier stylistic expansion. But maybe that’s being greedy. Any way you want to approach, the self-titled Cactus is a special, special album, and there’s nothing else — nothing they did after, nothing anyone else has done — quite like it. Classic. Essential. The words seem pale.
As always, I hope you enjoy, and I’m quite confident you will.
If you’ll forgive me, I’m going to try to be somewhat expeditious in wrapping this up. Not out of any particular hurry to be done with it so much as a hurry to get to work on the ‘Tomorrow’s Dream’ post of 2017’s most anticipated albums. There are, according to my half-assed count of the list, over 150 of them, with 35 of the year’s biggest upcoming releases highlighted and the rest listed under three categories of likelihood that they’ll happen — from ‘Gonna Happen and Likely Candidates’ to ‘Definitely Could Happen’ to ‘Would be Nice’ — and like the complicated history of Cactus, it’s a lot to sort through.
My hope is basically to write that all weekend and get it posted on Monday. Here’s how the rest of the week is shaping up so far:
Mon.: 150+ Most Anticipated Releases of 2017 list. Also some news from Bison Machine and others.
Tue.: Track premiere from Altar of Betelgeuze, video premiere from Pater Nembrot.
Wed.: Either a PH track premiere or a Hymn review, and a Dr. Keyboardian video.
Thu.: Either a Hymn review or a PH track premiere.
Fri.: All Them Witches review.
Obviously all of that could change, and the day for that PH premiere is still TBA, but I’m hopeful it will be one or the other.
Quite a week this week. I had Monday off and left work early on Wednesday and was out yesterday just for being kind of wiped out, but still plenty beat. Family coming up this weekend though from Connecticut, and the universe seems to be in a pretty constant state of chaos, so I’m just gonna drink my coffee and try to get by. That’s what I’ve got.
Of course, I wish you a great and safe weekend. Please have some fun, be safe, and check back Monday for that mega-list and more besides.
Posted in Whathaveyou on January 12th, 2017 by JJ Koczan
I don’t mind telling you I’ve been awaiting word of a proper Sun Voyager debut album for a while. Well, not so much word, which they’ve had out as far back as Dec. 2015, as audio. The New York-based heavy psych trio have impressed across a slew of short releases, including last year’s split with The Mad Doctors (discussed here), but they’re right when they say below it’s been long enough. They’re well due for their first album, and they’ve given an initial taste of what that might offer in unveiling the opening track, “Trip.”
It’s nothing if not aptly-titled. For anyone who dug into their 2015 Lazy Daze EP (review here) or 2013’s Mecca (review here), the vibe here should be right on. King Pizza Records pressed the 2015 outing to a limited tape and it looks like it will stand behind Sun Voyager‘s Sun Voyager as well, which one feels increasingly confident will arrive sometime later in 2017. They say Spring. The sooner the better, frankly.
Sun Voyager Unleashes New Song “Trip” from LP & New Website
We are pleased to announce the release of the new single, “Trip,” off our self-titled debut coming. The album is being recorded in its entirety with Paul Ritchie in Neptune, NJ for a spring release. “Trip” is currently available as a pay-what-you-want download on bandcamp and streaming on our new website, designed by our very own Stefan Mersch. We decided to skip the premiere and blast this one off. It’s 2017. And it’s been long enough.
Tracklist: Trip Stellar Winds God is Dead Psychic Lords Harebrained Carousel Strange Birds Fifth Dimension Ride On
Two chances to see Sun Voyager in Brooklyn this month: 1/14 – Sunnyvale – King Pizza Records’ Pizzamania 1/30 – Shea Stadium – PopGun Presents Max Pain & The Groovies & Heavy Birds
Sun Voyager is: Carlos Francisco – Guitar, Vocals Stefan Mersch – Bass Kyle Beach – Drums
It’s been a long time. Long enough that I’m not even going to link back to the last time I did a round of Radio Adds. Life happens, and with the Quarterly Review, I guess my focus went elsewhere. Well, I just did a Quarterly Review, and that actually kind of inspired this, since I found there was yet more records that wanted covering even after that over-full round of 60 that closed out 2016 and opened 2017. So here we are.
There are, in fact, more than 50 albums being added to The Obelisk Radio playlist today. I can’t promise I’ll do Radio Adds weekly like I once did, or monthly, or again in 2017, or ever, but the opportunity presented itself and it seemed only right to take advantage. This stuff all came out last year, so it’s all readily available, and audio samples are included, because, you know, music and such.
Let’s dig in:
Lord Mountain, Lord Mountain
Of all the styles under the vast umbrella of “heavy,” traditional doom is among the hardest to execute – especially, I’d think, for new bands. You need a balance of atmosphere and lack of pretense, a classic vibe, riffs, and groove. On the surface, you’re playing to the past, but if you put out something that just sounds like Sabbath and bring nothing of yourself to it, you’re sunk. Santa Rosa, California’s Lord Mountain – vocalist/guitarist Jesse Swanson, guitarist Sean Serrano, bassist Dave Reed and drummer Pat Moore – would seem to have it figured out on their self-titled debut EP. Released by King Volume Records on limited tape, it brings forth four tracks in 21 minutes that are no less comfortable playing to the downer riffing of Candlemass – opener “Fenrir” – than to the epic chanting of Viking-era Bathory – “Under the Mountain” – and that find distinction for themselves in nodding to one side or the other as they make their way across the bass-y Sabbathism of “Dying World” and into the concluding solo-topped gallop of “Tomb of the Eagle” (more Dio-era there, but effectively translated tonally). As an initial offering, its presence is more stately than raw, and part of that is aesthetic, so I still think Lord Mountain will have growth to undertake, but their EP shows marked potential and brings a fresh personality to doom’s rigid traditionalism, and there’s nothing more one could reasonably ask of it. A CD would probably be too much to ask, but it’s hard to believe no one’s snagged it for a 10” release yet.
Behold the winding, self-directed narrative of underrated, underutilized and underappreciated New York heavy rockers The Giraffes, who issued Usury via Silver Sleeve Records in Jan. 2016, on the cusp of their 20th anniversary and with it welcomed back frontman Aaron Lazar (also a one-time contributor to The Book of Knots, speaking of underrated) to the fold alongside guitarist Damien Paris, drummer Andrew Totolos and bassist Josh Taggart. Comprised of just six songs with a 28-minute runtime, it nonetheless holds to a full-album sentiment, with songs like the tense “Washing Machine” working in a vein not dissimilar to their righteous 2008 offering, Prime Motivator (review here), while the preceding “Facebook Rant” and “Product Placement Song” bask in a social commentary that one can only hope the ensuing decades make dated and the subsequent “White Jacket” has a melancholy danceability that one might’ve related around the time of The Giraffes’ 2005 self-titled debut related to System of a Down, but now just sounds like an enrichment of their approach overall. Usury gets off to a slow start (not a complaint, given the groove) with “Blood Will Run,” which seems to shake off its dust initially before commencing its real push and chug circa the halfway point, but by the time they get down to eight-minute finale “How it Happened to Me,” the sudden conclusion of the jam leaves one to wonder where they went and when they’ll be back, which presumably is the whole idea. Behold a band who did it before it was cool, should’ve been huge, and still kept going. The story is more complicated than that, but there are few tales more admirable.
The first Saint Vitus live album – Live – surfaced in 1990 via Hellhound Records and captured the band in Germany in 1989. Its 2005 reissue on Southern Lord played a large role in introducing the pivotal doomers to a new generation of fans. Live Vol. 2 follows some 26 years later via Season of Mist and likewise documents a crucial era in the four-piece’s existence, having been recorded in 2013 in Luxembourg following the release of their 2012 album, Lillie: F-65 (review here), with the lineup of vocalist Scott “Wino” Weinrich, guitarist Dave Chandler, bassist Mark Adams and drummer Henry Vasquez. It’s a 59-minute set, all told – one suspects some of Chandler’s stage rants between songs were shortened or removed – and among the most striking impressions it makes is how seamlessly Lillie: F-65 cuts “Let Them Fall,” “The Bleeding Ground” and “The Waste of Time” fit in alongside classics like the speedy “War is Our Destiny” and “Look Behind You” or the more grueling “Patra (Petra)” and galloping “White Stallions.” Of course, the anthemic “Born too Late” closes out, with Chandler’s wash of feedback and all-low-end tone at the start the ultimate hallmark of what Saint Vitus have always been – a middle finger to square culture unlike any other. This era of the band may be over, with original vocalist Scott Reagers stepping back into the frontman role, but as one continues to hope for another studio album, Live Vol. 2 proves more than a stopgap and takes an active role in adding to the band’s legendary catalog.
After two successful full-lengths in 2010’s Skygrounds and 2012’s Slow Rivers, next-gen Swedish heavy rockers Långfinger join forces with Small Stone Records for their 10-song/46-minute third album, the crisply-executed Crossyears. Like their countrymen labelmates in Jeremy Irons and the Ratgang Malibus, the Gothenburg three-piece bring modern edge and production to what a few years ago might’ve been purely retro ‘70s boogie rock, as tracks like “Fox Confessor,” “Say Jupiter,” the more languid “Atlas” and “Caesar’s Blues” bask in a showcase of tight, natural performance with a clean production style that still highlights same, bassist/keyboardist/vocalist Victor Crusner, guitarist/backing vocalist Kalle Lilja and drummer/backing vocalist Jesper Pihl proving the maturity of their songwriting while still delivering the push of “Silver Blaze” and closer “Window in the Sky” with a sense of energy behind them. Their approach so solidified, Långfinger don’t seem to leave much to chance in their sound, but Crossyears engages heavy rock tradition effectively while bridging a gap of decades across its run, and that, frankly, seems like enough for any one record to take on.
Soggy’s self-titled LP, released in this edition by Outer Battery Records (see also Arctic, Earthless Meets Heavy Blanket), is a reissue of a 2008 collection of tracks from a span of years that find the blown-out French punkers paying direct homage to The Stooges with a cover of the seminal “I Wanna be Your Dog,” immediately drawing a line to what seems to have been the band’s most prominent influence. Some 35-plus years after they were initially put to tape, Soggy’s tracks continue to feel dangerous and raw in their frenetic proto-punkery, and that would seem to be exactly what the Soggy LP is looking to convey, digging into the vast trove of lost artifacts in heavy and punk rock and finding a treasure ripe for hindsight appreciation. As much as it just makes me want to put on the self-titled Stooges record or Fun House, I can’t argue with the success of Soggy’s Soggy or not admire its mission, even if some of its blows land harder than others.