Slomatics to Release Futurians: Live at Roadburn in October

Posted in Whathaveyou on July 19th, 2017 by JJ Koczan

slomatics (photo jj koczan)

How good were Slomatics at Roadburn 2017? Oh, they were mighty good indeed. All the more reason to put a note in your phone or mark your calendar or do whatever it is to do to remind yourself about shit — maybe just preorder it when that goes live on Sept. 12? — that the Northern Irish riff-crushing trio will issue their set from this year’s fest in Tilburg this October via Burning World/Roadburn Records under the title of Futurians: Live at Roadburn. I’m telling you, I was there. It was awesome enough that when they were done I jumped on stage and took the photo above. I never do that kind of extroverted shit. Usually my ass is hiding in the back, pronto.

Point is Slomatics killed it on this one, as they will, and whether you were there to catch it or not, keep your eye out for Futurians: Live at Roadburn because the proof, as the saying goes, is in the pudding. The riffy, riffy pudding.

The PR wire fills in on the particulars:

slomatics futurians live at roadburn

ROADBURN RECORDS TO RELEASE SLOMATICS FUTURIANS: LIVE AT ROADBURN

Slomatics will release Futurians: Live At Roadburn on vinyl and digital this october on Roadburn Records.

The band commented on their performance on the legendary festival beforehand:

“To say we’re excited about playing Roadburn would be an understatement,” says guitarist David Majury. “It’s funny how something like a music festival can take on almost mythical proportions, but if any festival has done so it’s definitely Roadburn! We’ve had an association with the festival through our records being on Burning World Records, so it feels good to be finally hauling our fuzz pedals over to Tilburg.”

With Majury and Chris Couzens on guitar and drummer / vocalist Marty Harvey also handling synth, Slomatics defy logic with their sheer amount of low-end output. As the follow-up to 2014’s Estron and 2012’s A Hocht, Future Echo Returns (2016) was the third in a trilogy of albums, rounding out an extended story that the band purposefully leaves open for interpretation.

“I’m delighted we’ll be joining the 2017 edition of Roadburn,” echoes Couzens. “We’ve seen some incredible performances in Tilburg over the years and been blown away how the locals embrace the hordes of music fans that descend on them. It’ll be fantastic to join that special atmosphere as a performer in April!”

* 300 copies on clear vinyl worldwide
* pre-sale starts september 12th 2017 on BurningWorldrecords.com

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http://slomatics.com/
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Slomatics, “And Yet it Moves” live at Roadburn 2017

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Desert Survival: How to Do Psycho Las Vegas on a Budget

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

psycho las vegas 2017 banner

Hey, if you’re going to go broke, let’s face it: You’re not likely to run into many causes as worthy as the lineup culled together for Psycho Las Vegas. It ain’t cheap — any event that advertises a payment plan obviously knows it’s a considerable ask — but whether you’re going to see Slo Burn for their only US gig or King Diamond doing Abigail or Mulatu Astatke because going to see Mulatu Astatke is a life-event, the arguments in favor are plentiful and convincing. Whatever else you want to say, Psycho Las Vegas is the first annually-held American festival with a focus on heavy and underground rock to really establish itself as world class.

That in itself is a reason to support the cause, whether it’s through a day ticket or a pass for the entire weekend, but it doesn’t necessarily lesson the expense of making the trip or staying in one of the US’ most lucrative tourist traps, let alone things like band merchandise, meals and the occasional adult beverage if you’re inclined to have one. The thought of seeing NeurosisSleep and Carcass share a stage over the course of a weekend or watching Conan, the new trio-incarnation of Pentagram and Yawning Man poolside or from the balcony of a room in the Casino Tower is incredible, and after hearing stories from those who undertook the journey in 2016 or attended the prior Psycho California in 2015, the idea wants nothing for appeal. Fiscal issues can be a bummer. By the time August rolls around, I’ll have been out of paid work for two months. I know how it goes.

And I’m hardly the most responsible person when it comes to money, but the truth of the matter is there are ways to mitigate costs for travel, lodging and other concerns, and if the thing preventing you from picking up a ticket to the show has been the seeming impossibility of affording a stay at the Hard Rock or of finding a cheap-enough flight to get there, maybe it’s worth trying to shift finances around to make it happen. Music is important, and when debt collectors are spamming your phone it’s hard to think about the non-cash value of life experiences, but the fact is the bills you need to pay will still be there. The bill with Corrosion of Conformity in a lineup alongside Kylesa‘s Laura Pleasants, Domkraft, Swans, Elephant Tree and Heavy Temple? Much less so.

Here are a few pointers that hopefully can save you a couple bucks. Some of it’s day-one stuff, but things like hotel picks and transportation nuances are good to know either way.

Check it out:

psycho-las-vegas-2017-poster

Flying In
• Buy tickets on a Tuesday for the cheapest rates.
• Use a discount flight search.
• If you can, fly in on Thursday and leave on Monday for better rates, search different days and times to come in and leave.
• Book early. Rates go up in the summer.

Getting There
• Ride apps cost less than cabs.
• The Hard Rock is less than a mile from the airport. Cheap trip anyway.
• There are free shuttles from most Vegas hotels to the strip and tourist attractions.

Staying There
• This one is huge… don’t stay at the Hard Rock if you can’t afford it! Alexis Park, RUMOR, Red Roof Inn are all across the street and cheap. Scope out a position on a map if you need to; that’s what Street View is there for.
• Partner up to share rooms. You’ve got social media and it’s not like you’re going to do more than sleep and (hopefully) shower there anyway. Might as well join forces and save expense where you can.

Drinks
• BYO. Vegas has open-container laws. If you think hooch is too expensive at the Hard Rock, get loaded on the sidewalk before you go in.
• One way or another, hydrate. You’re staying in the desert in August. Don’t be stupid.

Psycho Las Vegas 2017 Lineup
Abbath, Ace Frehley, Black Anvil, Blood Ceremony, The Brian Jonestown Massacre, Buzzov*en, Carcass, Celeste, Chelsea Wolfe, Cirith Ungol, Cloud Catcher, Code Orange, Conan, Corrosion of Conformity, Cough, Cult Leader, Cult Of Luna With Julie Christmas Diamond Head, Domkraft, Earthless, Elephant Tree, Eternal Tapestry, Fister, Floorian, Gatecreeper, GEQ, Gojira, Gost, Graf Orlock, Heavy Temple, Hollow Leg, Inter Arma, Khemmis, King Diamond, Laura Pleasants & Special Guests, Magma, Manilla Road, Merlin, Minsk, Morne, Mothership, Mouth of the Architect, Mulatu Astatke, Murder City Devils, Mustard Gas & Roses, Myrkur, Neurosis, North, Oathbreaker, Pelican, Pentagram, Psychic TV, The Rods, Ruby the Hatchet, Sasquatch, Saturndust, Sleep, Slo Burn, Slomatics, Snail, Sons of Otis, Sumac, Summoner, Swans, The Skull, Toke, Urchin, Usnea, Vhol, Weedeater, Windhand, Wizard Rifle, Wolves in the Throne Room, Yawning Man, Year of the Cobra, Youngblood Supercult, Zeal & Ardor.

http://www.vivapsycho.com
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https://www.instagram.com/psycholasvegas

Pentagram, “Relentless / Broken Vows” Live in Richmond, VA, 2017

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ROADBURN 2017 Day Three: And Yet it Moves

Posted in Features, Reviews on April 22nd, 2017 by JJ Koczan

roadburn-day-3-banner-Photo-by-JJ-Koczan

04.22.17 — 22.23 — Sat. night — Hotel room

I don’t mind telling you I was a total wreck this morning. There we were, finishing up the third issue of Weirdo Canyon Dispatch (get the PDF here), and holy macaroni, I just couldn’t hack it. I’d gone to sleep at a semi-reasonable time, circa 2AM — which is pretty good, considering — but woke up at around three and was up past 4:30. Just up. Weirdo Canyon Dispatch Saturday issue.Brutally, brutally awake. I could’ve cried.

Instead, I put my head down on the desk in the 013 office while we waited for the test-print of today’s ‘zine and was granted a generous reprieve from the folding process that followed. I folded three copies of today’s WCD: my own. After that, I made the most of my special dispensation and high-tailed it back to the hotel to sleep for another two and a half hours, at the end of which time I pounded water, a protein bar and ibuprofen and it was enough to temporarily trick my body into believing it was human. This weekend has been pure madness, and there’s one day yet to go.

By the time I got back to the 013, I knew I’d missed my chance to hit the photo pit for day-openers The Bug vs. Dylan Carlson of Earth, the somewhat cumbersomely-named collaboration between, well, The Bug and Dylan Carlson, but I still had plenty of opportunity to be assaulted by their combined volume of drone and beats, soundscapes thick enough to swim through and handed out with enough force to vibrate the plugs in my ears and the teeth in my skull. Really. I think I lost a filling. They were very, very loud.

Two experimentalists like that working together, even as a one-off, carried an air of being something special to start the day, and so it was. The Bug‘s rig, flanked on either side by bass cabinets with two more laid down in front in such a manner as to make Carlson half-stack look positively minimalist in comparison, shook the upstairs The Bug vs. Dylan Carlson (Photo by JJ Koczan)balcony where I set up shop for the duration, and the clear impression that came through was that although they used different means of expression — Carlson with his guitar, The Bug with his laptop and mixing board — their work together was way less of a “vs.”-type situation than the name led one to believe. They were very definitely on the same side, but while they played, spotlights slowly hovered over Main Stage crowd, feeding the air of suspicion and paranoia in such a way that was eerily appropriate for what they were doing.

Speaking of collaborations, over at the PatronaatRazors in the Night — AKA John Dyer Baizley of Baroness and Scott Kelly of Neurosis playing oldschool punk and hardcore covers — were just getting started. I stayed put in the big room, however, because I knew I didn’t want to miss a second of Oranssi Pazuzu. The Finnish progressive/psychedelic black metallers have been an increasingly steady presence at Roadburn over the last five years, and after their own slots at the church, they managed to pack out the Main Stage to an admirable degree. People stood outside the open doors for not the last time today in order to catch a glimpse of their malevolent, ultra-deep swirl.

As immersive as it was dark, I couldn’t argue. Oranssi Pazuzu, who released their fourth album, Värähtelijä (review here), in 2016, may have conjured the finest blackened psychedelia I’ve ever seen. It was so much of both, so chaotic and yet purposeful, that to Oranssi Pazuzu (Photo by JJ Koczan)consider it anything less than the work of masters would be completely underselling it. When I was done taking photos, I went out into the hallway to walk around to the other side of the room and I couldn’t believe it was still daytime. And more over, the sun had come out! Something so cosmically abysmal just seemed like it should be swallowing any and all light around it, but so it goes. Stately and ferocious, they cast their waves of of bleakness over a sea of nodding heads, and after years of missing them here, I was finally glad to have been clued in, even if I seemed to be the last one in the entire Main Stage space to have caught on. Which I probably was, because that’s the kind of hip I am. Which is to say, not at all.

Maybe it was partially a case of going easy on myself, but I once again didn’t budge from the Main Stage following the conclusion of Oranssi Pazuzu. Today was minimal back and forth, actually, which suited me just fine after two busy days of Roadburn 2017 bouncing from this venue to that one. I’d hit the Green Room twice before my evening was over, but was at the 013 the whole day, which after all the Extase and Het Patronaat yesterday almost made me feel insecure and restless — “Don’t you have somewhere you need to be, sir? Oh yeah, here,” and so on. Sometimes this festival plays tricks on your mind.

My reasoning in staying put was more than justified, though, with Warning coming on to play 2006’s Watching from a Distance in its entirety. I knew some of what to expect from a Patrick Walker performance after seeing him front 40 Watt Sun here in 2012, but of course Warning brought a presence all their own in addition to his melancholic emotionalism. They struck a hard balance between sonic weight and sheer heft-of-sadness, and yet as morose as they were, and as understated as their aura was on stage, they were never anything but engaging. Rare band, rare album, rare set. Warning (Photo by JJ Koczan)This Roadburn has had its share of special moments, and Warning fit that bill as well. There was something empowering about them, or at least validating, and as deep into their own headspace as they went, they never seemed to get lost there.

It’s not often you see a band play a full album and then want to go and put on that album directly afterward, but Warning doing Watching from a Distance had that effect. I can’t claim to know the record inside and out, but I felt fortunate to have had the chance to see the band bring it to life, which much to their credit, they did without losing the heart-wrenching resonance of the studio versions of the material.

Next door in the Green Room, the focus would soon be about an entirely different kind of crushing execution, as Belfast dual-guitar three-piece Slomatics made ready to take the stage. I got there about 20 minutes before they went on and was still too late to get a spot right up front. Should’ve figured. I’d heard people talking about how stoked they were to see them, and after being lucky enough to see them in Norway last September at Høstsabbat (review here), I also knew they weren’t to be missed. My timing being what it was, I still got there to see Jon Davis from Conan soundcheck the guest vocals he’d provide for closer “March of the 1,000 Volt Ghost,” and it was good to know that was coming.

Davis also released Slomatics‘ fucking excellent 2016 album, Future Echo Returns (review here), on Slomatics (Photo by JJ Koczan)his Black Bow Records imprint, so all the better to have him there alongside guitarists Chris Couzens and David Majury as well as drummer/vocalist Marty Harvey, who even before Davis showed up stomped out the most pummeling tones I’ve heard over the course of the last three days. “Electric Breath,” “Return to Kraken,” “And Yet it Moves,” “Supernothing” — this is the stuff of lumbering, rolling, molten doom supremacy, and as they’re five records deep into a tenure that one hopes continues into perpetuity, Slomatics know how to wield these weapons to glorious effect. I felt like I was going to pass out and ran downstairs to hammer down a quick dinner — chicken in some kind of tomato-based sauce with green and red peppers, jalapenos and cheese over lettuce; two plates in about five minutes — and was back in the Green Room in time to catch Davis‘ guest spot from the side of the stage and jump up to take a picture of the band when they were done playing. I never do that kind of thing, but Slomatics were nothing if not an occasion worth savoring.

Shit would only get more doomed from there. Like I said yesterday, everyone here makes their own Roadburn, and I knew how I wanted my night to go. I wanted it to go doom. That meant hanging out in the Green Room more for Ahab, which I was more than happy to do. The nautically-themed German funeral doomers were not a band I ever really expected to be able to see, and knowing how packed it got for Slomatics, I assumed much the same would ensue. I was right. Ahab probably Ahab (Photo by JJ Koczan)could’ve filled the Patronaat if the press of the crowd behind me half an hour before they even went on was anything to go by, but as it was they beat the Green Room into submission with their guttural, ultra-slow lurch and churning devastation.

It was by no means the same kind of grind that Memoriam were doling out on the Main Stage, but watching Ahab play was like witnessing the giant, five-foot-thick gears of some industrial revolution shipyard turning the assembled audience into powder. The very means of production brought to bear on all of our caved-in skulls. Yes, they were hyperbole-level heavy. Unremittingly so, and to a claustrophobic degree. I don’t know if it was during “Old Thunder” or “To Mourn Job,” but there was a point at which I had to remind myself that I’d actively wanted to be so brutally overwhelmed and so overwhelmed by brutality. Did that make the effect any less punishing? Not in the slightest, but thanks for asking.

There was only one place left to go to continue my downer trajectory: back to the Main Stage for My Dying Bride. Having the UK doom legends play 1993’s Turn Loose the Swans in full made an awful lot of sense after special sets in 2016 from Paradise Lost and in 2015 from Anathema and Fields of the Nephilim — I’m keeping my fingers crossed for Katatonia in 2018; never seen them and they’d seem to be next in line, despite not being British — and the drama unfolded early as frontman Aaron Stainthorpe hit the stage with violinist/keyboardist Shaun Macgowan for “Sear Me MCMXCIII.” Soon enough, founding guitarists Andrew Craighan and Calvin Robertshaw, bassist Lena Abé and drummer Shaun Taylor-Steels would join, and the full fray would be unleashed. Chances are I don’t need to tell you how influential My Dying Bride have been on the trajectory of the last two decades of doom, but suffice it to say I’m not sure I could’ve found a darker way to round out myMy Dying Bride (Photo by JJ Koczan) Roadburn 2017 Saturday night than to watch them deliver that level of scathe with that level of professionalism.

And no, I’m not just saying that because Stainthorpe wore a tie. With animation by Costin Chioreanu behind them, My Dying Bride were the consummate headliners. Mysticum were still to follow on the Main Stage with a production I’d caught in soundcheck earlier in the day that was probably the most elaborate I’ve ever seen in the 013 venue, but for me, My Dying Bride marked a culmination of what I wanted the evening to be, and so I knew my night was done. There’s always more to see at Roadburn. Always something you don’t get to. Always someone who, years down the road, you wonder, “What the hell was I doing that I missed that?” but sometimes when you’re in Tilburg, you’ve crafted your experience in such a way that makes sense at the time, and that was me tonight. Would’ve been hard pressed to find anything to top My Dying Bride anyway.

One day left in Roadburn 2017, which is something I know to be true because I only have two protein bars remaining — one for before the show, one for after. Tomorrow’s another early start to fold Weirdo Canyon Dispatch issues, so I’ll leave it there once again and say thank you for reading and if you’re so inclined, you can check out more pics after the jump.

Which is right frickin’ here:

Read more »

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audiObelisk Transmission 060

Posted in Podcasts on December 22nd, 2016 by JJ Koczan

the obelisk podcast 60

Click Here to Download

 

Consider this your usual disclaimer that, like any of this site’s coverage of year-end whatnottery, this podcast is by no means attempting to capture all of 2016’s best tracks. It is, however, over four hours long, and frankly that seems like enough to ask. If you decide to take it on and sample what I found to be some of the best material to come down the line over the last 12 months, please know you have my thanks in advance. For what it’s worth, it was a lot of fun to put together, and that’s not always the case with these.

But about the length. I’ve done double-sized year-end specials for a while now. It’s always just seemed a fair way to go. And the last few at least have been posted the week of the Xmas holiday as well, which for me is of dual significance since it just so happens four hours is right about what it takes to drive from where I live to where my family lives, so when I look at this massive slew of 34 acts, from the riff-led righteousness of Wo Fat and Curse the Son to the crush of Mammoth Weed Wizard Bastard and SubRosa to the psychedelic reaches of Zun and Øresund Space Collective (who probably show up in podcasts more than anyone, oddly enough), I also think of going to see my family, which has become my favorite part of the holidays.

Whatever associations you might draw with it, I very much hope you enjoy listening. Thanks for taking the time.

Track details follow:

First Hour:

0:00:00 Wo Fat, “There’s Something Sinister in the Wind” from Midnight Cometh
0:09:35 Greenleaf, “Howl” from Rise Above the Meadow
0:14:57 Elephant Tree, “Aphotic Blues” from Elephant Tree
0:20:49 Brant Bjork, “The Gree Heen” from Tao of the Devil
0:26:27 Sergio Ch., “El Herrero” from Aurora
0:29:44 Child, “Blue Side of the Collar” from Blueside
0:35:31 Geezer, “Bi-Polar Vortex” from Geezer
0:43:59 Zun, “Come Through the Water” from Burial Sunrise
0:49:27 Baby Woodrose, “Mind Control Machine” from Freedom
0:54:11 Curse the Son, “Hull Crush Depth” from Isolator
0:59:31 Borracho, “Shot down, Banged up, Fade Away” from Atacama

Second Hour:

1:05:50 Scissorfight, “Nature’s Cruelest Mistake” from Chaos County
1:09:19 Truckfighters, “The Contract” from V
1:16:30 Spidergawd, “El Corazon del Sol” from III
1:21:24 Fatso Jetson, “Royal Family” from Idle Hands
1:26:13 Worshipper, “Step Behind” from Shadow Hymns
1:30:57 Mammoth Weed Wizard Bastard, “Y Proffwyd Dwyll” from Y Proffwyd Dwyll
1:39:42 Druglord, “Regret to Dismember” from Deepest Regrets
1:46:34 Moon Coven, “New Season” from Moon Coven
1:52:03 Gozu, “Tin Chicken” from Revival
1:59:49 Year of the Cobra, “Vision of Three” from …In the Shadows Below

Third Hour:

2:06:53 The Munsens, “Abbey Rose” from Abbey Rose
2:14:56 Lamp of the Universe, “Mu” from Hidden Knowledge
2:21:26 1000mods, “On a Stone” from Repeated Exposure To…
2:26:45 Church of the Cosmic Skull, “Watch it Grow” from Is Satan Real?
2:30:43 Vokonis, “Acid Pilgrim” from Olde One Ascending
2:37:35 Slomatics, “Electric Breath” from Future Echo Returns
2:43:02 Droids Attack, “Sci-Fi or Die” from Sci-Fi or Die
2:47:20 King Buffalo, “Drinking from the River Rising” from Orion
2:56:51 Comet Control, “Artificial Light” from Center of the Maze

Fourth Hour:

3:06:37 Øresund Space Collective, “Above the Corner” from Visions Of…
3:22:51 Naxatras, “Garden of the Senses” from II
3:33:14 SubRosa, “Black Majesty” from For this We Fought the Battle of Ages
3:48:23 Seedy Jeezus with Isaiah Mitchell, “Escape Through the Rift” from Tranquonauts

Total running time: 4:07:32

 

Thank you for listening.

Download audiObelisk Transmission 060

 

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The Obelisk Presents: THE TOP 30 ALBUMS OF 2016

Posted in Features on December 20th, 2016 by JJ Koczan

the obelisk top 30

Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2016 to that, please do.

I say this every year: These are my picks. If you’re unfamiliar with this site, or you don’t come here that often, or if you do and just normally don’t give a crap — all of which is cool — you should know it’s all run by one person. One human being. Me. My name is JJ, and this is a list of what I think are the best albums that were released in 2016.

Since before 2016 began, I’ve kept a running list of releases. My criteria for what gets included in this list is largely unchanged — it’s a balance between what I feel are important records on the level of what they achieve, what I listened to most, what held some other personal appeal, and what I think did the best job of meeting the goals it set for itself. Pretty vague, right? That’s the idea.

The nature of worldwide heavy has become so broad that to encompass it all under some universal standard is laughable. Judging psychedelia, garage rock, heavy psych, doom, sludge and so on by the same measure makes no sense, and as genres continue to splinter and remake themselves as we’ve seen them doing all year and over the last several years, one must be malleable in one’s own taste. We’ve seen a new generation of heavy rock bands emerge in the last three-plus years. It’s been amazing, and there are a few pivotal second and third records that came out in 2016 to affirm that movement underway. Look for it to continue into 2017 and beyond.

This year more than any other seemed to want to bring the different sides together. A laudable goal. Thick riffing marked with flourish of psychedelia. Spacious doom bred against folk impulses. There’s been experimentation around melds that have led to considerable triumphs, and it just doesn’t seem to me that rigid standards can apply. It’s why I don’t grade reviews and never did.

Sound is evolving now as it always has been and as it will keep doing, but like any year, 2016 had a full share of landmarks to offer as a part of that process. As universal development hopefully remains ongoing, it’s only right that we celebrate the accomplishments helping to push it along its winding and sometimes divergent-seeming paths.

I have no doubt you know what I mean. Let’s get to the list:

30. Talmud Beach, Chief

talmud beach chief

Released by Svart Records. Reviewed Feb. 10.

Seems only fair to start with a record I couldn’t put down. Finnish trio Talmud Beach‘s second album and Svart debut, Chief, hit on just the right blend of laid back, semi-acoustic groove-blues, psychedelia and classic progressive folk rock, but with the exception of its sprawling dreamscape title-track (a welcome arrival at the finale), it also kept the songwriting simple, resulting in a natural, pastoral feel that only highlighted their melodic range in songs like “Mountain Man” and “Snow Snow Snow.” I think it flew under a lot of people’s radar, but I’ve kept going back to it over the course of the year and I see no reason to stop.

29. Comet Control, Center of the Maze

comet control center of the maze

Released by Tee Pee Records. Reviewed June 22.

Space is still the place. I’ve already highlighted closer “Artificial Light” from Comet Control‘s sophomore LP, Center of the Maze as my favorite song of 2016, so I’ll spare you the longwinded treatise on its languid cosmic glories — this time — but consider this a reminder that that song was by no means the limit of what the eight-track release had to offer in terms of breadth. From the opening push of “Dig out Your Head” to the dream-drift of “Sick in Space,” it unfolded tonal presence and a melodic depth that engaged a gorgeous, multifaceted sonic wash as it moved onward toward that landmark conclusion.

28. Droids Attack, Sci-Fi or Die

droids attack sci-fi or die

Self-released. Reviewed Feb. 17.

There was not a level on which Madison, Wisconsin’s Droids Attack didn’t make it clear they were going all-out, all-in on Sci-Fi or Die. Even the title speaks to the stakes involved. And sure enough, the trio executed their fourth album with a sense of urgency and professionalism in songcraft, production, artwork (discussed here) and nuance of presentation that managed to make even a song called “Clawhammer Suicide” a classy affair. As guitarist/vocalist Brad Van said on the hidden title-track, “Death to false stoner thrash.” Droids Attack brought that ethic and more to life across the entire record.

27. Beelzefuzz, The Righteous Bloom

beelzefuzz the righteous bloom

Released by Restricted Release and The Church Within. Reviewed Aug. 2.

A winding road brought Beelzefuzz around to following up their 2013 self-titled debut (review here), and as The Righteous Bloom brought guitarist/vocalist Dana Ortt and drummer Darin McCloskey together with bassist Bert Hall and lead guitarist Greg Diener, it found their songwriting more expansive, more progressive and dug further into their own particular oddball sense of grandeur. I’ve said on multiple occasions that no one out there is doing what Beelzefuzz are doing and that continues to be true. Even as a first offering from a new lineup of the band, The Righteous Bloom took bold and exciting forward steps.

26. Foghound, The World Unseen

foghound the world unseen

Released by Ripple Music. Reviewed July 6.

Down to business. Immediately. Not a moment to spare. Taking part in what can only be considered a landmark year for Ripple Music, Baltimore’s Foghound issued The World Unseen as an answer to their 2013 debut, Quick, Dirty and High (review here), and upped their game across the board. From the intensity in the hooks of “Message in the Sky” and Rockin’ and Rollin'” to the quiet interlude of “Bridge of Stonebows” and the mid-paced heavy rock nod of “Never Return,” they made a strong case for themselves among their label’s foremost acts and found individualism in the growth of their songwriting. It was a kick in the ass you weren’t going to forget.

25a. Egypt, Endless Flight

egypt endless flight

Released by Doomentia Records. Reviewed Dec. 11, 2015.

Put out by the band digitally in Dec. 2015 and issued on vinyl in 2016, Egypt‘s second LP, Endless Flight may be somewhat debatable in terms of when it actually landed (hence “25a.,” above), but the quality of the six-tracker more than warrants inclusion anyway. Rolling dense, massively-fuzzed groove, its nine-minute opening title-track set the course for the Fargo, North Dakota, three-piece, and they only grew the heavy revelry from there, as heard on the penultimate “Black Words,” which seemed to be chewing on rocks even as it played back and forth in tempo, build and push. The converted never had it so good.

25. 1000mods, Repeated Exposure To…

1000mods repeated exposure to

Released by Ouga Booga and the Mighty Oug Recordings. Reviewed Sept. 20.

There seems to be no stopping the Chiliomodi-based 1000mods, who with their third album have stepped to the forefront of Greece’s populous and vibrant heavy rock underground. Progressed well beyond where even 2014’s impressive Vultures (review here) found them, they seemed to hit a stride with Repeated Exposure To… thanks in part to road time and the ability to bring that energy directly into songs like the eight-minute roller “Loose” and the sizable crashes of “Groundhog Day.” Momentum working in their favor could be heard front-to-back from “Above 179” to “Into the Spell,” moving them toward something ever-more crucial and marking a considerable achievement along that path. 2017 might be a good time for them to test the waters with initial US shows.

24. Black Rainbows, Stellar Prophecy

black rainbows stellar prophecy

Released by Heavy Psych Sounds. Reviewed April 11.

Quick turnaround from Roman heavy psych magnate Gabriele Fiori (guitar/vocals) and company, but though it hit just about 13 months after their fourth full-length, Hawkdope (review here), Black Rainbows, Stellar Prophecy wholly succeeded in making an impact of its own, cuts like the oozing, organ-laced “Woman” and 11-minute jam-out triumph “Golden Widow” showcasing an approach in a continuous state of refinement that seems to get rawer as it goes, shifting like a rogue planetoid toward some maddening cosmic realization. How something can seem both so frenetic and so blissful is still a mystery, and perhaps that’s part of what makes Stellar Prophecy resonate as it does, but either way, Black Rainbows brought together some of the year’s most efficient psychedelic immersion.

23. Borracho, Atacama

borracho atacama

Released by Kozmik Artifactz. Reviewed Nov. 14.

Borracho don’t seem to release an album until they have something to say. That was to their credit on Atacama, their third LP and label debut for Kozmik Artifactz debut. Also their second collection issued as a trio behind 2013’s Oculus (review here), it distinguished itself from its predecessor in its sense of overarching flow, shifting between the ahead-thrust of “Gold from Sand” into the 10-minute sample-laden jam “Overload” to start out with such ease that the listener had little choice but to follow along. With an expanded scope on “Drifted away from the Sun” and the lightly-strummed memento mori “Flower,” Borracho found new avenues of expression to complement their well established dense, heavy riffing, and took obvious care in crafting their most realized LP yet.

22. The Golden Grass, Coming Back Again

the golden grass coming back again

Released by Listenable Records. Reviewed April 26.

Nothing Brooklyn’s The Golden Grass does feels like happenstance, and though their classic-styled boogie is imbued with a vibrant, friendly positive energy, there’s an underlying meticulousness in their arrangements and in their songwriting that came further into focus on Coming Back Again, their sophomore release 2014’s self-titled debut (review here). A more progressive take showed itself in “Reflections” and “Down the Line,” and taken in combination with the bookends “Get it Together” and “See it Through,” the three-piece stood on ground that was even more their own than on the first record, striking a careful balance between the willful exploration of new elements and the outright need for tracks to directly engage their listeners with catchy hooks and upbeat vibes. They did it. Expect continued growth.

21. Curse the Son, Isolator

curse the son isolator

Released by Snake Charmer Coalition and The Company Records. Reviewed March 1.

For something so awash in fuzz, so nodding in its rhythms, so let’s-push-the-vocals-back-under-this-huge-awesome-fucking-riff, Curse the Son‘s Isolator was also remarkably clearheaded in its purposes. With the added vocal harmonies of “Callous Unemotional Traits,” the far-off spaces of “Hull Crush Depth” and the stoner metal despair of “Aislamiento,” the Connecticut three-piece of guitarist/vocalist Ron Vanacore, capital-‘d’ Drummer Michael Petrucci and newcomer bassist Brendan Keefe drew a direct, intentional line to sometimes-grueling (hello, “Sleepwalker Wakes”) weighted tonality and found justification for their largesse in its own being. Like 2012’s Psychache (review here), I expect to be returning to Isolator over a longer term than this single year of release.

20. Neurosis, Fires Within Fires

neurosis fires within fires

Released by Neurot Recordings. Reviewed Sept. 21.

I feel like I need to explain myself here. Make no mistake, NeurosisFires Within Fires is among the year’s most accomplished offerings. There’s just about no way it wouldn’t be. So why not top 10? Top five? It’s a question of timing. With the long-running post-metal progenitors, it’s always a longer digestion period. It was about two years before 2012’s Honor Found in Decay (review here) really sunk in, and I expect Fires Within Fires will work similarly over the greater term. Maybe a little guilt on my part for the disparity between its quality and its placement, but rest assured, Neurosis remain among the most imperative bands walking the earth, and as they took on the full brunt of 30 years of unmitigated progression through Fires Within Fires, they were no less brazen in pushing themselves creatively than they’ve ever been.

19. Conan, Revengeance

conan revengeance

Released by Napalm Records. Reviewed Jan. 19.

Though the narrative of Conan has remained largely unchanged since their inception — hack, slash, kill, riff — and they still bask in nigh-on-unmatched tonal slaughter, their third full-length brings a few key developments. Perhaps most notable from opener “Throne of Fire” onward is the vocal interplay between guitarist/founder Jon Davis and bassist/longtime-engineer Chris Fielding, who joined after 2014’s Blood Eagle (review here). Adding Fielding‘s deeper growls allowed Davis to subtly move into a cleaner shout, and the emergent dynamic between them made Revengeance a decidedly expanded affair compared to Conan‘s past work. Adding drummer Rich Lewis to the mix was no minor shift either, and as much as Conan had already established their sheer dominance, they also sounded refreshed and set themselves up to keep growing.

18. Baby Woodrose, Freedom

baby woodrose freedom

Released by Bad Afro Records. Reviewed Aug. 18.

Some records just feel like gifts, and though many of its lyrical positions were cynical — “Reality,” “21st Century Slave,” “Mind Control Machine,” “Red the Sign Post,” etc. — Freedom marked the 15th anniversary of Danish garage-psych rockers Baby Woodrose with dripping lysergic aplomb, reminding some four years after their last LP, 2012’s Third Eye Surgery (review here), that bandleader Lorenzo Woodrose is unparalleled when it comes to manifesting his take on the psychedelic victories of 13th Floor Elevators and classic-era Hawkwind — firmly at home levitating on the edge of time. Its swirl and underlying foundation of songwriting, its Richie Havens cover title-track, and its sprawling interstellar “Termination” were like a welcome check-in from another dimension, and I only hope it’s not four years before Woodrose sends the next signal. Earth needs this band.

17. Geezer, Geezer

geezer geezer

Released by Ripple Music and STB Records. Reviewed Nov. 10.

I’m not going to discount the shuffle of “Sunday Speed Demon” or sleeze of “Sunday Speed Demon,” but where Geezer‘s self-titled third full-length really showed how far the New York heavy blues-psych trio have come was in its extended midsection jams, “Sun Gods,” “Bi-Polar Vortex” and “Dust,” each of which showed a distinct approach while feeding into an engaging flow between them, offering a blend of trailmarker hooks as they drifted into realms of organic chemistry previously uncharted by the band. The slow-motion swing of “Hangnail Crisis,” raucous push of “Superjam Maximus” and concluding bounce of “Stoney Pony” brought them back down to earth to finish out with a symmetry to the album’s opening, but Geezer kept a collective hand on the controls the whole voyage and when they landed, it was an arrival indeed, and very much what their two previous records were building toward.

16. EYE, Vision and the Ageless Light

eye vision and the ageless light

Released by The Laser’s Edge. Reviewed Nov. 17.

Beautifully experimental with its 27-minute finisher “As Sure as the Sun,” EYE‘s Vision and the Ageless Light seemed throughout its whole 46-minute run to be executing a cohesive vision in its synth-soaked progressive textures. Between the intro “Book of the Dead” and the subsequent “Kill the Slavemaster,” “Searching,” “Dweller of the Twilight Void” and the already-noted closer, each piece had something different to offer that added to the full impact of the whole, and with guitarist Jon Finely and bassist Michael Sliclen joining founding drummer/vocalist Brandon Smith and synth/Mellotron/Moog-ist Lisa Bella Donna (also vocals and acoustic guitar), EYE added to the scope of 2013’s Second Sight (review here) and found a place for themselves where prog complexity didn’t need to come at the expense of memorable songwriting and spaced-out vibes. An absolute joy, front to back.

15. Fatso Jetson, Idle Hands

fatso jetson idle hands

Released by Heavy Psych Sounds. Reviewed Oct. 3.

Even Fatso Jetson themselves would probably have to admit that six years — even a six years that saw several splits, singles, etc. — was too long between albums. Fortunately, Idle Hands saw the desert rock forebears in top form as regards their quirk-fueled songwriting, angular approach to punk and inimitable groove. Following 2010’s Archaic Volumes (review here) was no easy task, but with additional depth to the material from the contributions of guitarist Dino von Lalli — son of founding guitarist/vocalist Mario Lalli and nephew of founding bassist Larry Lalli — guest spots from his sister Olive Lalli as well as Sean Wheeler (the latter moves second cut “Portuguese Dream” into high-echelon strangeness) and the ever-propulsive drumming of Tony Tornay, Fatso Jetson were both all over the place and right at the core of where they most ought to be sonically. At 56 minutes, it hardly seemed long enough.

14. Hexvessel, When We are Death

hexvessel when we are death

Released by Century Media. Reviewed Feb. 5.

Each song was like a different persona the band adopted momentarily, whether it was the Bowie-goes-proto-goth-prog of organ-ic opener “Transparent Eyeball” or the grim pastoralia of “Mirror Boy” and the condemnations/proclamations of “Drugged up on the Universe,” but wherever Hexvessel went on their third full-length and Century Media debut, When We are Death, that unifying theme went with them. Death. It was everywhere in the Finland-based genre-benders’ deeply varied approach, though its presence made their material in no way off-putting, and in the case of cuts like “Cosmic Truth” or the later “Mushroom Spirit Doors,” not even dark, and as it drew the tracks together despite working in different sounds and style, it became apparent that When We are Death worked because of a universal quality in songwriting and presentation allowing for such drastic shifts without any risk of losing the audience.

13. Zun, Burial Sunrise

zun burial sunrise

Released by Small Stone Records. Reviewed Feb. 16.

Yawning Man guitarist Gary Arce — a key figure in the development of desert rock and a player of unmatched tone, period — had quite a year, between Zun‘s Burial Sunrise, his main outfit and his collaboration with Fatso Jetson vs. HifiKlub, but it was the dreamscape drift of songs like “Come Through the Water” and “All that You Say I Am” as well as the subtle hooks of “Into the Wasteland” and “All for Nothing” that, for me, made this the highlight. Sure, bringing in vocalists Sera Timms (Ides of Gemini, Black Mare) and John Garcia (ex-Kyuss, Slo Burn, Vista Chino, etc.) and having them swap back and forth between the tracks didn’t hurt either, but the wash of ethereal presence in Arce‘s guitar was an excellent showcase for his patience and improvisational sensibilities, and the spaces Burial Sunrise covered seemed to have an infinite horizon all their own. Will hope for a follow-up, will hope Garcia and Timms return, and will hope for a duet.

12. Elephant Tree, Elephant Tree

elephant tree elephant tree

Released by Magnetic Eye Records. Reviewed Jan. 29.

One had reasonably high expectations for the debut full-length from London’s Elephant Tree after their 2014 EP Theia (review here) so deftly blended spacious, sitar-laced heavy psychedelic rock with more visceral sludge impulses — a difficult mix to pull off — but I think it would’ve been impossible to see the quality of this self-titled outing coming in any substantive way. Gone were the screams, in was a depth of tone and nigh-on-perfect tempo — see “Dawn” and “Aphotic Blues,” as well as the acoustic “Circles” between them — and where some first albums have a kind of tentative, feeling-it-out vibe, guitarist/vocalist Jack Townley (interview here), bassist/vocalist Peter Holland, drummer Sam Hart and sitarist/vocalist/engineer Riley MacIntyre took utter command of the proceedings. They won’t have the element of surprise working for them next time, but as Elephant Tree made perfectly clear in its biggest surprise of all, neither do they need it.

11. Mos Generator, Abyssinia

mos generator abyssinia

Released by Listenable Records. Reviewed July 12.

If you were to ask me to summarize in one word the last four-plus years of Mos Generator‘s tenure, since their reactivation with 2012’s Nomads (review here) and the subsequent lineup changes and hard-touring that followed 2014’s Electric Mountain Majesty (review here), I’d say “go.” I might say it three times: Go-go-go. One of three LP-ish offerings out this year, the studio album Abyssinia embodied this ethic as it started with immediate momentum on “Strangest Times” and “You’ve Got a Right” and seemed to push itself into new ground as it went. Guitarist/vocalist/founder Tony Reed brought heavy boogie to bear at a frenetic clip, but Abyssinia offset its early mania with later progressive stylization on “There’s No Return from Nowhere,” “Time and Other Thieves” and harmonized closer “Outlander,” so that in addition to representing their furious creativity, it also brought them to places they’ve never been before in sound.

10. Slomatics, Future Echo Returns

slomatics future echo returns

Released by Black Bow Records. Reviewed June 29.

In some ways, Future Echo Returns was simply picking up where Belfast’s Slomatics left off with 2014’s Estron (review here), as heard on the riff of lead-in track “Estronomicon,” but as the third in a purported trilogy following that record and 2012’s A Hocht, it also brought the tonecrushing three-piece to Skyhammer Studio to work with producer Chris Fielding (Conan) and presented a linear storyline that, while rife with standout moments in cuts like “Electric Breath,” the ambient “Ritual Beginnings” and ultra-catchy “Supernothing,” found a genuine sense of resolution in the finale “Into the Eternal” that spoke to the scope the entire work was meant to represent — not just itself, but an entirety spanning three albums. Not a minor feat, but what also made Future Echo Returns so resonant was how well the material stood on its own, so that even without the narrative context, it was immersive, hypnotic and unbridled in its heft.

9. Wo Fat, Midnight Cometh

wo fat midnight cometh

Released by Ripple Music. Reviewed April 21.

After two landmarks issued by Small Stone in 2014’s The Conjuring (review here) and 2012’s The Black Code (reviews here and here), Texas forerunners of riff Wo Fat gave a concise rundown of their appeal in the six-track Ripple debut and sixth LP overall, Midnight Cometh. Their ongoing development as found them bringing together a two-sided personality of memorable songs and open, fluid jams, and cuts like “There’s Something Sinister in the Wind,” “Of Smoke and Fog,” “Three Minutes to Midnight” and “Nightcomer” emphasized the next stage of this process, while the shuffling “Riffborn” and swaggering blues rock of “La Dilleme de Detenu” gave listeners a chance to touch ground every now and again. Over the last two-plus years, Wo Fat have become a point of influence for other, particularly American, acts — see labelmates Geezer — and Midnight Cometh assured that will be the case going forward too; a status well-earned.

8. King Buffalo, Orion

king buffalo orion

Released by Stickman Records. Reviewed July 29.

Offered up this summer as a limited self-release and picked up by no less than Stickman Records (Motorpsycho, Elder), Orion might be the most molten inclusion on this list. It’s also my pick for 2016 Debut of the Year, and to hear cuts like “She Sleeps on a Vine,” “Kerosene,” the sprawling closer “Drinking from the River Rising,” or even just to take the whole record front-to-back, which was clearly how the band intended it be experienced, there’s just about no competition in that regard that stands up. The Rochester, NY, three-piece showed marked promise on their 2013 demo (review here) and 2015 split with Lé Betre (review here), but the listenability of Orion — which earned every single one of its repeat visits — made it a triumph on a different level entirely, and distinguished King Buffalo as a formidable presence in the sphere of US heavy psychedelia, fostering a sound no less soulful for its outward cosmic reach and to-be-measured-in-lightyears scale of potential.

7. Wight, Love is Not Only What You Know

wight love is not only what you know

Released by Fat and Holy Records, Kozmik Artifactz, Import Export Music and SPV. Reviewed Sept. 7.

German outfit Wight answered significant anticipation on their third album, Love is Not Only What You Know, some four years after 2012’s Through the Woods into Deep Water (review here) and undertook a significant evolution in sound. A transition from a trio to a four-piece and adding a strong current of funk to their heavy psych groove and boogie resulted in cuts like “The Muse and the Mule,” the jammed-out “Kelele” and “The Love for Life Leads to Reincarnation,” which were as danceable as they were nod-ready, and when complemented by shorter classic rockers like “Helicopter Mama” and “I Wanna Know What You Feel” (still plenty funky) and the Eastern-tinged interlude “Three Quarters,” gave Love is Not Only What You Know scope to match its ass-shaking encouragement. It was a spirit unto itself among 2016 releases, but ultimately, the key to understanding the record was right there in the title: It was all about love, and wherever Wight went in a given track, they never lost sight of that.

6. Greenleaf, Rise Above the Meadow

greenleaf rise above the meadow

Released by Napalm Records. Reviewed Feb. 18.

A decade and a half after 2001’s Revolution Rock (discussed here), Sweden’s Greenleaf most embodied that ethic with Rise Above the Meadow, their sixth long-player and Napalm Records debut. 2014’s Trails and Passes (review here) represented the key step of founding guitarist Tommi Holappa (interview here) bringing vocalist Arvid Johnsson into the lineup, but Rise Above the Meadow built exponentially on what that album achieved, bolstered by work as a touring band and a revitalized songwriting process heard in “Howl,” “A Million Fireflies,” “You’re Gonna be My Ruin,” the stomping “Golden Throne” and “Tyrants Tongue,” among others. I refuse to discount the quality of Trails and Passes, 2012’s Nest of Vipers (review here) or 2007’s landmark Agents of Ahriman (review here), but as Greenleaf shifted toward a style more reminiscent of Holappa‘s later output with Dozer, they also seemed to stake their claim on the forefront of European heavy rock and roll, which was just waiting for them to do so.

5. Brant Bjork, Tao of the Devil

brant bjork tao of the devil

Released by Napalm Records. Reviewed Sept. 15.

Perhaps the most believable lyric of 2016 was the opening line of leadoff cut “The Gree Heen” from Brant Bjork‘s Tao of the Devil: “I got all that I need. I got the gree-heen.” From the prominent pot leaf on the cover to that single clause — which set the tone for that song’s mega-nod as much as everything that followed in the boogie of “Humble Pie” and “Stackt,” the so-laid-back-it’s-almost-unconscious title-track and the longer-form explorations of “Dave’s War” and the wah’ed-out “Evening Jam” — the inimitable Bjork seems to have embraced the role of stoner guru and the Godfather of Desert Rock. Tao of the Devil was his second release through Napalm behind 2014’s Black Power Flower (review here), which introduced the Low Desert Punk Band, and far from hanging its hat on the man’s historical accomplishments from his days in KyussFu ManchuCheVista Chino, etc., the 50-minute eight-tracker came fueled by the soul most typified in Bjork‘s solo catalog, which it’s increasingly easy to argue is his greatest contribution to the desert aesthetic. Definitely in his wheelhouse, but what a wheelhouse.

4. Asteroid, III

asteroid iii

Released by Fuzzorama Records. Reviewed Oct. 21.

What a relief it was to have Asteroid back, and what a relief it was to have III arrive some six years after II (review here) and find the Örebro, Sweden, trio’s certified-organic chemistry undulled by that long stretch. The songs — “Pale Moon,” “Last Days,” “Til Dawn,” “Wolf and Snake,” “Silver and Gold,” “Them Calling,” “Mr. Strange” — there wasn’t a miss in the bunch, and in addition to the reignited craftsmanship, III made clear a progression as players and the intent to move forward from guitarist/vocalist Robin Hirse, bassist/vocalist Johannes Nilsson and drummer Elvis Campbell (since replaced by Jimmi Kolscheen), so that the material didn’t just let listeners know Asteroid was a band again after having unceremoniously faded out for a half-decade, but gave a signal that perhaps they were just getting started. One can only hope that turns out to be the case, but either way, III felt like a reward dolled out to their fanbase after a long absent stretch, and one that, like II and their 2007 self-titled debut (discussed here) before it, will reverberate its echoes for years to come. Hands down 2016’s most welcome return.

3. Gozu, Revival

gozu revival

Released by Ripple Music. Reviewed May 19.

Though it would carry the context of its scorching opener “Nature Boy” with it for the duration and, accordingly, hit with a more intense feel than its 2013 predecessor, The Fury of a Patient Man (review here), Gozu‘s fourth album overall and Ripple label debut was a kick in the ass on more than just that one level. It found the Boston foursome with the finally-solidified lineup of vocalist/guitarist Marc Gaffney, guitarist Doug Sherman, bassist Joe Grotto and drummer Mike Hubbard, and while one could argue they still wound up under the banner of a heavy rock band, that became happenstance to the songs themselves. That is, even more than The Fury of a Patient Man or 2010’s Locust Season (review here), Gozu came across as writing not to style, but to their own impulses, as demonstrated in “Big Casino,” the echoing soul of “Tin Chicken” and shuffle-thrust of “Oldie,” and as they moved beyond their initial swath of influence into this individualized sonic persona, they reaped the benefits of the locked-in lineup and a process of craft that never sounded so purposeful. Revival was indeed typified by its vitality, but it was also the sound of a band maturing as a unit, becoming who they were meant to be, and there is almost nothing more exciting than that for a single album to represent. Plus, it had a song called “By Mennen,” and, you know, references.

2. Mars Red Sky, Apex III (Praise for the Burning Soul)

mars red sky apex iii praise for the burning soul

Released by Listenable Records. Reviewed Feb. 24.

It was unreasonable to expect the third full-length from Bordeaux, France, trio Mars Red Sky to surpass 2014’s Stranded in Arcadia (review here) and the progressive crux that album brought to the warm tones and sweet melodicism of their 2011 self-titled debut (review here), but Apex III (Praise for the Burning Soul) reinforced the elements that worked so well on previous outings while pushing inarguably onto what the band seemed to know was “Alien Ground” if the title of their intro was anything to go by. More over, it did so with a natural fluidity and poise that were as striking as they were encompassing in sound. Tying to earlier 2016’s Providence EP (review here) in concept and execution through that intro and the title-track following it, Apex III presented the to-date pinnacle of Mars Red Sky‘s growth in songs like “The Whinery,” “Mindreader,” the tear-inducing “Under the Hood,” the swing-happy “Friendly Fire,” the willful atmospheric crash of closer “Prodigal Sun” — each one a crucial advancing step from the trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Mathieu “Matgaz” Gazeau — and brilliantly fed them one into the other, so that in addition to the standout impressions of each, there developed a personality to the whole span of the album; a world of Mars Red Sky‘s own creation, where they dwelt for what seemed too short a time before returning to earth and on from here to who knows where next.

1. SubRosa, For this We Fought the Battle of Ages

subrosa for this we fought the battle of ages

Released by Profound Lore. Reviewed Aug. 26.

Most of all, For this We Fought the Battle of Ages was fearless. For their fourth album, Salt Lake City’s SubRosa adapted themes from 1924’s We by Yevgeny Zamyatin, which laid out a futuristic dystopia wherein all identity is subsumed to the state and even love is outlawed when not properly sanctioned. This framework, obscure if influential, gave guitarist/vocalist Rebecca Vernon, violinist/vocalist Sarah Pendleton, violinist/backing vocalist Kim Pack, bassist/vocalist Levi Hanna, drummer/engineer Andy Patterson (formerly of Iota, among others), and a range of other contributors, a space in which to explore gender and LGBT issues across the six included tracks, and from the opening build and crush of the chorus to “Despair is a Siren” through the depiction of privilege in “Wound of the Warden,” the 97-second Italian-language ballad “Il Cappio” (translated: “the noose”) and into the gut-wrenching finale of “Troubled Cells,” their musical accomplishment was no less stunning than lyrics like, “Isn’t it good to be acquainted with darkness?/To caress it gently/To slit its throat,” from “Black Majesty.” Tense in its quiet stretches, harmonized vocally, given orchestral presence through its use of strings, flute, French horn, and so on, For this We Fought the Battle of Ages worked fluidly in what for most acts would be a contradictory modus of careful, meticulous arrangements and raw, emotional realism. No matter how deep it dove — and by the time identity was being erased and the state was taking control of the body on “Killing Rapture,” it was diving pretty deep — SubRosa never lost their sense of poise, so that the defiance in the last movement of “Troubled Cells” in which Heaven itself is rejected with the clearest of justifications, “Paradise is a lie if you’re not by my side,” the band seemed to stand as straight and tall as their multi-tiered righteousness would warrant. But even if one took For this We Fought the Battle of Ages with politics aside, its achievement in marrying post-metallic structures, gothic texture and progressive atmospherics was on a plane of its own making, operating under its own rules and in its own definitive space. Albums like it do not happen every year, and forward motion for genre as a whole is rarely so visible as it was in this special offering, which seems only fair to regard as a landmark for the band and anyone whose ears and hearts it touched.

The Next 20

Like any good Top 30, mine goes to 50. Here is the next batch:

31. Blaak Heat, Shifting Mirrors
32. Truckfighters, V
33. West, Space & Love, Vol. II
34. Seedy Jeezus with Isaiah Mitchell, Tranquonauts
35. Yawning Man, Historical Graffiti
36. Causa Sui, Return to Sky
37. Vokonis, Olde One Ascending
38. Hotel Wrecking City Traders, Phantomonium
39. The Wounded Kings, Visions in Bone
40. It’s Not Night: It’s Space, Our Birth is but a Sleep and a Forgetting
41. Beastwars, The Death of all Things
42. Naxatras, II
43. Holy Grove, Holy Grove
44. Worshipper, Shadow Hymns
45. Wretch, Wretch
46. Colour Haze, Live Vol. I: Europa Tournee 2015
47. Zaum, Eidolon
48. Bellringer, Jettison
49. Young Hunter, Young Hunter
50. Mammoth Weed Wizard Bastard, Y Proffwyd Dwyll

From the kinetic desert artistry of Blaak Heat to Mammoth Weed Wizard Bastard’s ethereal synth-laden doom, there are more than a few essentials here. I’ve never before done a year-end list that had so many releases on it, but my motivation in doing so this time around couldn’t have been simpler: They were simply too good and had too much to offer to leave out. It would’ve been an oversight to do so.

Honorable Mentions

Even a Top 50 fails to grasp the full scope of what 2016 brought about musically, so here are even more, alphabetically:

Ancient Warlocks, II
Black Moon Circle, Sea of Clouds
Sergio Ch., Aurora
Lamp of the Universe, Hidden Knowledge
Mondo Drag, The Occultation of Light
Øresund Space Collective, Visions Of…
-(16)-, Lifespan of a Moth
Spidergawd, III
The Well, Pagan Science
Wovenhand, Star Treatment

And if that’s still not enough, here are 60-plus more names who shouldn’t be left out of the discussion, also alphabetically:

Akris, Atala, Atomikylä, Backwoods Payback, Beastmaker, BigPig, Black Cobra, Black Lung, Blood Ceremony, Blues Pills, Bright Curse, Bus, Dee Calhoun, Captain Crimson, Child, La Chinga, Church of Misery, Conclave, Cough, Devil to Pay, Domkraft, Dot Legacy, Electric Citizen, Estoner, Eternal Elysium, Fatso Jetson & Gary Arce vs. Hifiklub, Fox 45, Goatess, Goblin Cock, Graves at Sea, Heavy Temple (they’ll be back on next year’s list), High Fighter, Holy Serpent, Hotel Wrecking City Traders, Inter Arma, Joy, Kaleidobolt, Khemmis, King Dead, Lord, Lord Vicar, Merchant, Mirrors for Psychic Warfare, Helen Money, Monkey3, Moon Coven, Mother Mooch, Necro, New Keepers of the Water Towers, T.G. Olson, Oranssi Pazuzu, Pooty Owldom, Russian Circles, Salem’s Pot, Samavayo, Seremonia, Skuggsjá, Sourvein, Spirit Adrift, Stone Machine Electric, Suma, Surya Kris Peters, Swans, Throttlerod, Virus, Wasted Theory, Wretch, and Zaum.

Thank You

In case none of the above has made it clear, I’ll just say flat out that 2016 has been an amazing year for music, and that every time I feel like maybe underground heavy has hit a wall and there’s nowhere left for it to go, sure enough about three minutes later another record shows up that slaps me in the face with a reminder of just how wrong that notion is.

If you’re still reading — how could you be? — thank you so much for your incredible support throughout 2016 and all the years The Obelisk has been in progress. I already know that 2017 is going to bring some incredible music as well, but that’s another list for another time, so I’ll just say again how much I appreciate your being a part of this ongoing project, how much it means to me to have you here. Thank you, thank you, and thank you.

And please, if there’s anything I forgot, got wrong, misspelled, or if you just think I used the word “breadth” too many times, please let me know about it in the comments.

One more time: Thank you.

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Psycho Las Vegas 2017 Makes Massive Lineup Announcement; Slo Burn, Vhöl, Pelican, Chelsea Wolfe, Melvins and Many More Added

Posted in Whathaveyou on December 17th, 2016 by JJ Koczan

Take a deep breath before you dive into the new lineup announcement from Psycho Las Vegas 2017. With 35-plus bands added, it officially qualifies as huge, and considering who those bands are — Slo Burn for a US-exclusive, plus bringing over the likes of Elephant Tree to play alongside SummonerHollow LegGatecreeper and others — it can be a lot to take in. If you haven’t had a meal yet today, you might want to eat something. Make sure you’re hydrated. Basically I want to avoid anyone fainting as a result of reading the list of bands. If you’re sensitive to flashing lights… you’re probably okay. But otherwise, check to see you have something soft to land on nearby, should you need it.

I missed Psycho this year owing to a new job and a general lack of funds. I’m not sure I can do the same in 2017. This one might just be a gotta-go kind of scenario. Fuckin’ Slomatics are gonna be there.

There are still more than 40 bands to announce, including headliners, whose names will be out at random points over the next 30 days.

Jeebus.

To the PR wire:

psycho las vegas 2017

Psycho Las Vegas 2017

August 18, 2017 – August 20, 2017
Hard Rock Hotel and Casino Las Vegas

Psycho Las Vegas today announces over 35 new additions to its massive 2017 lineup. The festival has quickly become the premier event in the US for underground heavy rock, psych, doom, alternative and beyond, and as the roster grows for this year’s edition, they’re clearly looking to push their boundaries even further.

Headliners remain TBA, but joining previously-announced generation-defining acts like Neurosis, Swans and French prog lords Magma, come UK grind legends Carcass, whose reunion continues to bring gruesome tales of dissections and unparalleled.

They’ll be in good company with Norwegian black metal legend Abbath, formerly of Immortal, who released a raging self-titled debut album under his own name this year, New York’s Myrkur, whose own debut, M, disrupted black metal genre convention on nearly every level, and USBM innovators Wolves in the Throne Room, who continue to refine a style they helped establish more than a decade ago.

Look for the Melvins to boggle brains with their brand of heavy rock – still unique unto itself after more than three decades – as well as for the new project Crystal Fairy with Buzzo and Dale from the Melvins, Omar Rodriguez-Lopez (Mars Volta) and Teri Gender Bender (Le Butcherettes) to bring to life their debut album, which releases in February on Ipecac Recordings.

This latest announcement also brings sludge-laden chaos from the pair of Weedeater and Buzzov*en, and Chelsea Wolfe to emit a darkness that even Las Vegas in the summer won’t be able to hold at bay.

The reunited Slo Burn (vocalist John Garcia’s first project post-Kyuss) will play an exclusive US show at Psycho, and a special highlight performance from psych-jazz legend Mulatu Astatke is open eyes, ears and minds alike as he celebrates a career spanning more than 50 years.

Also added have been long-running mischief-makers Murder City Devils, alt-rock legends Echo and the Bunnymen, progressive thrashers Vhöl (members of YOB and Agalloch), Pelican, Cult of Luna, Psychic TV, and as it did with the landmark 2016 edition, the fest digs deep into the heavy rock underground once again to unearth the best of up-and-coming bands from the States and beyond. Along with the already confirmed riff-crushers Windhand, Blood Ceremony, Slomatics and Domkraft, Elephant Tree (UK) have signed on alongside fellow fest-newcomers Khemmis, Sumac, Gatecreeper, Snail, North, Cult Leader, Hollow Leg, Summoner, Floorian, Wizard Rifle, Merlin and Morne.

Further lineup announcements will follow in the New Year — including headliners — so stay tuned for more from the best and biggest heavy festival the US has ever seen.

Psycho Las Vegas 2017 Confirmed lineup:
MURDER CITY DEVILS
NEUROSIS
MULATU ASTATKE
SWANS
CARCASS
WOLVES IN THE THRONEROOM
CRYSTAL FAIRY
MAGMA
CHELSEA WOLFE
SLO BURN
CULT OF LUNA
ABBATH
SUMAC
MYRKUR
PELICAN
WEEDEATER
ZEAL & ARDOR
SLOMATICS
OATHBREAKER
VHOL
COUGH
BLOOD CEREMONY
INTER ARMA
THE SKULL
WINDHAND
BUZZOVEN
MINSK
CODE ORANGE
KHEMMIS
GATECREEPER
NORTH
CULT LEADER
SNAIL
WIZARD RIFLE
MERLIN
FLOORIAN
DOMKRAFT
ELEPHANT TREE
MORNE
HOLLOW LEG
SUMMONER

http://www.vivapsycho.com/
https://www.eventbrite.com/e/psycho-las-vegas-2017-tickets-27758793298
https://www.facebook.com/psychoLasVegas/
https://www.facebook.com/events/1636267026703732/
https://www.instagram.com/psycholasvegas/
https://twitter.com/psycholasvegas

Elephant Tree, Elephant Tree (2016)

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Psycho Las Vegas 2017: First Bands Announced

Posted in Whathaveyou on November 18th, 2016 by JJ Koczan

And so it seems Psycho Las Vegas has found its home. What’s very quickly become a major presence in the US festival scene — certainly the biggest heavy underground fest happening in the country — will take place for the second year in 2017 at the Hard Rock Hotel and Casino. Since the inception of Psycho Fest as Psycho de Mayo (think “Cinco de Mayo”) in Southern California and certainly through the last two years of Psycho California and this summer’s first Psycho Las Vegas, probably the most glaring name missing from the lineup has been Neurosis. Where’s Neurosis? Every band on the planet but Neurosis. And so on.

Couldn’t be more fitting then that as Psycho Las Vegas 2017 makes its first lineup announcements, not only Neurosis should be found in the batch, but their progenitors and forebears in Swans as well, who should by then be wrapping their tenure or working with a different lineup. Also note the continued commitment to bringing in international acts with Slomatics, Domkraft and Abbath, and the continuing affinity for primo doom that shows itself with Windhand and Blood Ceremony.

Next lineup announcement is in December. I think by the time they’re done, Psycho Las Vegas will have outdone itself again with 2017.

From the ticket page:

psycho-las-vegas-2017-first-announcement

Psycho Las Vegas 2017

August 18, 2017 – August 20, 2017
Hard Rock Hotel and Casino Las Vegas

SWANS – NEUROSIS – MAGMA – ABBATH – WINDHAND – BLOOD CEREMONY – SLOMATICS – DOMKRAFT

** Full lineup + headliners, VIP passes and additional venue information announced in December. **

If you purchased a ticket today you will have access to the pre-party on Thursday at the Paradise Pool. Due to the capacity limit at the Paradise Pool, the pre-party on Thursday is limited to the first 2500 Psychos who purchase a 3 day pass. In order to relieve confusion, we have created a third tier for tickets. If you purchase a Psycho Special, Tier 1 or Tier 2 ticket, you will have guaranteed access to the pre-party on Thursday.

If you purchase a Tier 3 ticket (these are the same price as Tier 2 and will become available after the Tier 2 tickets are sold out) you will unfortunately not have access to the pre-party on Thursday. Bring your floaties.

http://www.vivapsycho.com/
https://www.eventbrite.com/e/psycho-las-vegas-2017-tickets-27758793298
https://www.facebook.com/psychoLasVegas/
https://www.facebook.com/events/1636267026703732/
https://www.instagram.com/psycholasvegas/
https://twitter.com/psycholasvegas

Neurosis, Fires Within Fires (2016)

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Roadburn 2017: Magma, Chelsea Wolfe, SubRosa, Slomatics, Wretch, Ahab, Mysticum, Crippled Black Phoenix, Deafheaven and More Added to Lineup

Posted in Whathaveyou on October 18th, 2016 by JJ Koczan

Roadburn 2017 banner

Great googly-moogly, Roadburn. If Roadburn 2017 didn’t already have your attention when it announced Coven as part of its first revelations for next year’s lineup — and it should have, make no mistake — then this should do the trick. The list is, frankly, overwhelming, and it speaks both to how immense the scale of Roadburn has become and how much the event continues to strive to push the boundaries of what it does. The first acts for the day curated by BaronessJohn Dyer Baizley? Magma and Chelsea Wolfe. SubRosa playing two sets, one of which is comprised of this year’s magnificent For this We Fought the Battle of Ages (review here) in full, the other a stripped-down, at least semi-acoustic version of the band. Leif Edling of Candlemass debuting his new project The Doomsday Kingdom. Slomatics, Dylan Carlson of Earth, Wretch, Inter Arma, Crippled Black Phoenix (hope they’re on the Main Stage; fingers crossed), Woe, Ahab, so many more it’s astounding.

If Roadburn 2017 was like, “Okay, that’s it. We’re done.,” could you really argue with what’s been put together already? The terrifying thing is they’re still just getting started.

Fresh off the PR wire:

roadburn-new-adds-poster

New names added to Roadburn Festival 2017 ahead of ticket onsale

• MYSTICUM to bring their incredible stage show to Roadburn 2017
• CHELSEA WOLFE and MAGMA are the first names confirmed for John Dyer Baizley’s curation
• THE BUG VS DYLAN CARLSON OF EARTH confirmed for a special Roadburn show
• DEAFHEAVEN finally make their Roadburn debut at the 2017 edition
• SUBROSA to play two exclusive sets
• …and more.

ROADBURN FESTIVAL is pleased to add new names to the bill for Roadburn 2017. The 22nd edition of Roadburn Festival will take place April 20-23, 2017 at the 013 Venue, Tilburg, The Netherlands.

MYSTICUM have been confirmed to play the main stage at Roadburn 2017, bringing their distinctive brand of black metal to Tilburg. Back in 1996, MYSTICUM wrote the rulebook, for what industrial black metal should be with their debut album, In The Streams of Inferno – and then swiftly torched it. Renowned for their incredible stage show, MYSTICUM have some clear intentions for Roadburn 2017: “We shall invade your minds and tear your souls apart.”

MYSTICUM will play the 013 venue on Saturday, April 22.

John Dyer Baizley has confirmed the first two names for his curated event: CHELSEA WOLFE and MAGMA.

Describing himself as “a loyal devotee of her songwriting, performance and recorded output”, John echoed many Roadburn attendees in calling for the return of CHELSEA WOLFE to the Roadburn stage. Having performed at the festival in 2012, and again this year as part of Converge’s Blood Moon Set, we’re thrilled to have CHELSEA WOLFE back in Tilburg.

Unequivocally one of the most talked about moments in the history of Roadburn was MAGMA’s overwhelming performance at the 2014 festival. These seminal progressive rock pioneers went down a storm, and to this day, we still hear so many attendees talking about MAGMA’s set, and craving their return for Roadburn.

Both acts will perform on Friday, April 21 at the 013 venue, as part of John Dyer Baizley’s curation.

Although they come from disparate sonic universes, THE BUG (electronic music wizard Kevin Martin) and DYLAN CARLSON (mastermind of the massively influential EARTH, who have graced Roadburn with their presence in 2009 and 2011) are nevertheless two of the more revered names in experimental music as a whole. Their paths crossed in 2014, when they surprisingly teamed up on a Record Store Day exclusive release. Americana meets industrial, minimalism meets pulsating dance beats, metal meets electronics… who knows what can happen when THE BUG meets DYLAN CARLSON OF EARTH? One thing is for sure, the walls will shake.

THE BUG VS DYLAN CARLSON OF EARTH will perform at the 013 venue on Saturday, April 22.

DEAFHEAVEN’s appearance at Roadburn has been a long time coming. As divisive as they are inclusive, DEAFHEAVEN have thrown the field wide open with regards to what it means to be a metal band. They have managed to bring extreme metal fans to the same room as shoegaze and post-rock/metal fans; their music doesn’t simply tick all those genre boxes, it plays join the dots with them – just as we like to do at Roadburn Festival.

DEAFHEAVEN will play at the 013 venue on Thursday, April 20.

SUBROSA’s For This We Fought The Battle Of Ages has been out less than two months, but at Roadburn HQ it not only hovers near the top of our album of the year lists, it is marked as a future classic. We are delighted to have the Salt Lake City five-piece perform the album in full at Roadburn 2017. Not only that, they will perform SubRosa – Subdued; a not-quite-acoustic set with all the passion at a fraction of the volume of a regular SUBROSA set.

SUBROSA will perform For This We Fought The Battle of Ages at the 013 venue on Thursday, April 20, and Subrosa – Subdued on Friday, April 21.

• CRIPPLED BLACK PHOENIX will fuse progressive rock, post-rock and righteous, guitar-driven heaviness. Prior to their Roadburn appearance, Crippled Black Phoenix will play Doornroosje, Nijmegen (NL) on December 10.
• DÄLEK will bring a different kind of heaviness to the Roadburn stage, and comment “Some people might wonder why a hip-hop act was added to the bill… we intend to show them why.”
• AHAB will play The Call of the Wretched Sea in full
• ZHRINE bring a slice of Icelandic darkness to Roadburn
• AUÐN join their Icelandic brothers, delivering windswept, atmospheric black metal
• ALUK TODOLO will perform latest album Voix in full
• ZU bring their frenzied experimentation to Roadburn 2017 again
• INTER ARMA will make a triumphant return to Roadburn, and no doubt deliver yet another stunning performance
• Leif Edling’s THE DOOMSDAY KINGDOM will make their live debut at Roadburn 2017
• Karl Simon brings his post-Gates of Slumber band WRETCH to Roadburn for their European debut
• Thick tones, soaring melodies, and bone-crunching rhythms will be the order of the day for SLOMATICS
• WOE bring their passionate and potent American black metal to Tilburg
• ULTHA will be making a bid for the heaviest set of the day when they perform
• EMPTINESS will blend black metal and power electronics

Tickets for Roadburn 2017 will go on sale from Thursday, 20 October 2016. They will be available to purchase in person from the 013 venue, Tilburg, The Netherlands from 6.30pm local time – and ticket buyers are invited to the pre-sale party at the venue featuring Ortega and Gomer Pyle. Tickets will go on general sale at 9pm (NL and mainland Europe)/ 8pm (UK)/ 3pm (East Coast USA)/ 12 noon (West Coast USA). Tickets can be purchased from this link.

For more information on the pre-sale party, click HERE.

http://www.roadburn.com/
https://www.facebook.com/roadburnfestival
https://twitter.com/roadburnfest

SubRosa, For this We Fought the Battle of Ages (2016)

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